#studio two three

Nelly Kate is a Richmond-based artist and musician who works to engage the public with the urban scape through site-specific interventions of sound, video, and print.

Tell us about the work you have done in relation to Studio Two Three?

Studio Two Three is always expanding what I know about designing for print, and has made it possible to learn from fellow artists and find new collaborators. Being in residency has kept me on my A-game by motivating me to maintain and further explore that aspect of my work. Right now, I'm preparing to get back to printing my own photographs in the darkroom. Without the resources of the studio, these aspects of my practice would take a back seat to the rest of my endeavors.

How does Richmond play a role in your work as an artist?

Richmond has a played a huge role in my work; this is a really generous community. It seems like many artists are aiming to facilitate for one another those intangibles that money can't buy; the result is cycle of reciprocity and an economy of kindness. It is hugely rewarding, not to mention inspiring to be a part. My work is often conceived for the dead urban scape and the path less traveled; this city has so many pockets of opportunity for me to wrap my mind and ideas around, and I feel like an integral part of its revival.

So, most of our research turned up your amazing musical talent. By the way, definitely on our playlists now. What inspired you to do work at a printmaking studio?

While, I'm a musician first, design has been my secondary practice for about 8 years now. At some point, I recognized that the visual depth and materiality I was after could not be achieved in my designs using strictly digital methods. I love designing for print, so working in print making seemed a natural extension of that passion. It's rigorous, and honestly a little bit too repetitive for me, but I embrace its challenges because I believe in maintaining discipline with the less-romantic facets of my process. Print making forces me to confront those things that are most difficult for me. 

You appear to be very active in Richmond in many different aspects. Are there any specific events or projects you would like to share or suggest?

Low Frequency Travel Agency is still available for check-out (it's free!) and it's a dreamy way to explore all different places throughout the city. I love the things happening at Black Iris Gallery; the curator, Benjamin Thorp is regularly bringing socially-engaged works and parallel programs into their space. That's something that Richmond hadn't had so explicitly until he started it. And I also follow what's happening at the Storefront; they're concerned with the fabric and quality of our urban environ, so they are constantly hosting community-centric forums and events that I recommend.  

With your broad range of creative talents, do you feel that all of your projects share a similar feel and/or style?

The guiding principle of my work is that the message rides along the ridge of the medium. Which is to say that I am often trying to address + confront a specific 'problem,' and once that's established, I determine which medium is best for the job. I resort to a broad range of media, but I am always after some of the same things--interrupting redundancies + inefficiencies of Western culture, inviting expansion from my audience, and maintaining clarity. At heart, I am a minimalist because it allows us to descend into the essence of our experiences. Even when my projects are densely layered or seemingly complex, they are usually operating from a simple set of rules or parameters I have created for myself, so I believe that all of my projects share similarities. Clean lines. Soft washes. Layers. Intention. Play. Outrage. Idealism. Compassion. Substance. 

What upcoming projects can we expect to see from you in the future?

This summer, I'm working on two series of posters. One is a collection of historically-significant works of visual poetry. The other is a self-assigned campaign of cycling PSAs. I'm also excited to...start performing again, create a mural for an elementary school in Portland, OR, and collaborate on a score with Jonathan Lee for a dance by Malinda Crump. There are a couple of other huge projects in the works that are still secret for now, so keep your ears to the ground.

Support + Connect with Nelly

Website : http://nellykate.net/

Twitter : https://twitter.com/nellykate

Instagram : http://instagram.com/nellykate

E-mail : iamnellykate [at] gmail [dot] com

Emma Barnes is a recent VCU graduate with a double major in Gender Studies and Painting and Printmaking, as well as a teacher and active artist in the Richmond community. She will be teaching a basic screen printing class at Studio Two Three on June 14th!

Tell us about the work you have done in relation to Studio Two Three?

I started out as an intern/volunteer at the Studio and generally worked around the studio printing promotional flyers, assisting at workshops, and volunteering as a representative at festivals/gallery events. However, my time working with the studio has been so much more than that! I have learned how to teach workshops and screen print t-shirts. I steamrolled a giant print, and gained so much inspiration from Ashley Hawkins (executive director), board members, volunteers, and artist residents at the studio. So I guess my work at Studio Two Three has been less about "making" work or building a portfolio and more about learning to work in a communal space, support other art makers, collaborate, and care for a place that is not only supporting my work but the work of other local artists in the Richmond community. I met one of my best friends Elisa Rios here and our collaborative work/ friendship has been a significant part of my art practice!

How does Richmond play a role in your work as an artist?

Richmond has a large impact on my work because of the amazing people I have met here that are so active and eager to collaborate. Events like Zinefest have been pretty influential! At Zinefest I have seen artists make what they truly wanted, issuing zines with unique honest personality -- almost as if I could read through their zine and feel like I am their friend. It is so genuine and these makers offer them on the table in stacks so many people can get the experience of their zine. I love it! I guess I feel like Richmond has a this indescribable spirit you know? Well, I guess that sounds cheesy but I have seen a lot of things begin in the city since I got here and I am excited to be a part of it or at least get to watch! So, overall the ambition and people of the city have inspired me to not be afraid to be me within my content when I make. Living here has shaped my will to work with others and not be afraid to share my work, to share me. 

As a student, what attracted you to becoming so involved with Studio Two Three? Do you suggest more students visit the space and become members?

I knew I wanted to get involved in a place that valued printmaking. I was so excited about their mission to cultivate the printmaking community by making facilities more accessible. This is important because printmaking itself is a medium that creates multiples and makes the dissemination of ideas a reality! Going into art school I was nervous about what career path I would take after college and also concerned about finding a place to make work after I graduated. Studio Two Three offered a community after school and through programs and events it sought to increase awareness about print media and the value of art making. 

I highly recommend students to volunteer/intern or become members! Interning is hard work but super worth it. You learn so much! Renting is amazing, especially right now because the studio has been pretty busy. We have a good range of renters -- some coming in to do darkroom photography, others like the Chilalay fashion crew printing shirts and clothing for their brand, and some making lithograph, dry points, linocuts. It is pretty amazing, and when you share a space you learn from each other too -- share different techniques, secrets, ink, inspiration. I love it! I encourage everyone to check out our open hours and stop by we have a lot of fun! 

You’ve been involved with The Richmond City Jail helping to make collaborative zines with both VCU Students and Inmates. Can you tell us about that experience and how you got involved?

I got involved with the Open Minds Program when it was recommended to me by Professor Liz Canfield! At first I was excited to be a part of the poetry reading and sharing in class, but when we made the zines at the end of the class, my love for printmaking hit another level -- the significance of the multiple expanded even more. Every time we wrote and shared it was political, not necessarily because of the content but because of the creative act of making yourself and reclaiming you. But then it is also more than your work too! It is about solidarity -- cheering each other on, knowing when listening is more important than participating, and participating in zine-making outside of class. So I think that has been a large part of the experience -- building myself but offering attentive ears for my peers, reassuring classmates that it wasn't necessary to apologize before reading because we shouldn't be ashamed of what we make or who we are.  But this is only a small portion of what we do and how important making is ~~ I encourage everyone to look for our zine table at Zinefest! I think reading the work that comes out of the program, better explains what I am talking about and in the act of reading you begin to become a part of this solidarity. 

What are your futures plans after school? Do you see yourself staying in Richmond or moving on to other experiences?

I plan to stay in Richmond! I do not feel that my time is done here, and I look forward to getting more involved in the city's growing art community. I hope to teach workshops at Studio Two Three ~(( I have one in June if you want to learn screen printing! ))~ and I wish to continue making art and going to RCJ.

What upcoming projects can we expect to see from you in the future?   

Well, as of now I am mainly just excited to start sharing a studio with Brook Inman! I am looking forward to mono printing, screen printing, and etching at the studio. I am also looking forward to keep collaborating with Elisa Rios. We want to make flags and keep printing on larger scales! Recently we printed on velvet! 

I am also participating in a print exchange organized by Stuart Dumais, called REPEAT ACTION: EXCHANGE. Keep your eyes and ears peeled as we will hopefully be showing the exchange series around the city at some point this summer.

Support + Connect with Emma

[email protected]

Brooke Inman is an artist and teacher, inspired by introspection, social progression, and environmental preservation. She will be teaching a three-week Experimental Screen Printing Technique Workshop at Studio Two Three starting this Monday, April 7th. http://bit.ly/1dXImr1

Tell us about the work you have done in relation to Studio Two Three.

My work develops from honesty and compassion. Through persistent questioning of the self, the work is constructed out of rudimentary writing and drawing, and traditional printmaking techniques.  I embrace printmaking’s history of calling people to political action, and its ability to disseminate information by utilizing the multiple.  Including private thoughts (the personal) with larger questions about humanity (the public) and the health of our planet (the natural), the work mirrors my pursuit of understanding.  Studio Two Three, being Richmond’s community print shop is my favorite place to print!  Teaching printmaking keeps me excited about the process, I find myself teaching from my studio practice, and my classes and students influence and inspire my work. 

How does Richmond play a role in your work as an artist?

I love living in Richmond!  I am so glad Virginia Commonwealth University led me here.  Being minutes away from the river, and only a couple hours away from the ocean or the mountains has allowed me to reconnect with nature.  Wilderness backpacking has allowed me to realign what is necessity: (sustainability) the health of our planet, clean water, and fresh locally grown food.  Gardening and fishing attempts have proven valuable in understanding and respecting where my food comes from.  I strive yet often fail at being connected to the natural world, and being conscious of the resources I consume.  In our culture, it is difficult to avoid convenience or disposable packaging and the many products that have been imported or contain plastic.  I respectfully admire and reach back to Native American practices and our forefather’s dream of living off the land.  Focusing on the disconnection many Americans have with their natural world, I examine and reflect the interaction between perceptions and reality. 

We loved your Everything Color Circle project from a few years back. How long did it take for you to get everything the way you wanted it and how many times did mistakes happen?

Thank you!  Everything Color Circle is a floor piece that was made intuitively.  When I draw, I enjoy organizing my drawing materials around me in color order, and one day I decided not to stop.  This obsessive organization, heightened awareness of detail, and the requirement of close observation bring much potential to lift one out of the habitual of their everyday world. This may be slight OCD, but I always strive to embrace who I am, and SAY YES TO WHO YOU ARE.  I knew the piece was finished when I was happy about where everything was located (as if there is a right or wrong order for color pencils to exist in). 

Most of your work is heavily focused on etching and printmaking. Was this your initial focus in art or did you acquire the taste later?

I had romantic ideas of becoming a painter and a sculptor when I was younger, but was immediately hooked by the first intaglio etching class I took at the Cleveland Institute of Art. There was something so freeing about being able to make multiples and perfect about having to slow down to wipe a plate and wait for things to dry or etch. This slow pace allows me to reflect on the work I am making. Yet, the immediacy of drawing is my first love that I will forever return to. Printmaking shops cultivate community, they bring makers together, and I enjoy working amongst others. I find it inspiring to see others making discoveries or struggling to see their ideas through to completion.

You’ve taught at VCU, UR, Visual Arts Center, and several different courses at the Studio. What is special to you about teaching printmaking?

I grew up in an environment full of education and educators; my parents are both teachers, and my grandparents were also teachers.  I’ve found myself in school or teaching my entire life as I went straight to graduate school after undergrad.  My sister and I set up our playhouse as a schoolhouse complete with a chalkboard, school desk, workbooks, and an old school bell.  I would invite my neighbor friends to come play school with me.  So, I can easily say, Yes, teaching is something I’ve always wanted to do.  Teaching beginning printmaking is the best because I get to show students how to use new processes and techniques that they have never used or tried before as well as talk to them about their ideas, concepts, and concerns.  It’s really rewarding and inspiring to see your students grow and create.  

What upcoming projects can we expect to see from you in the future?

I am working on an on-going series of screen monoprint Bird portraits.  And, have also begun working with found balloons.  It’s hard to talk about work I have yet to make, but I am really excited about being in my new studio with Emma Barnes at Studio Two Three!   

Support + Connect with Brooke

[email protected]

Come hang out with Brooke and make handmade stencils & monoprints at her Experimental Screen Printing Technique Workshop, and be on the lookout for her Summer Etching Program this summer—all at Studio Two Three!

Aijung Kim is an artist, writer, and printmaker—fascinated by the intersection of visual art and language. She will be teaching a Collagraph Sampler Workshop on March 14th & 15th at Studio Two Three. 

Tell us about the work you have done in relation to Studio Two Three? 

I began working as a resident artist at Studio Two Three a couple of years ago, mostly using the studio and the etching press to create linocut prints which I sell at craft fairs and online. I also experimented with creating cardstock collagraphs which I printed on fabric to create series of printed and embroidered works for my "Return" show at Gallery Two Three last June.  I love working at Studio Two Three. Ashley and all the others who run the place are inspiring and driven, and continue to shape the studio according to the needs of the people who use it. It is a great place to work - to take the practice of printmaking seriously. When you're a Studio Two Three resident, you are valued as an artist and person.

How does Richmond play a role in your work as an artist?

Moving to Richmond was a huge force in making me the artist I am now. The combination of being in a new place, not finding a job right away, and throwing myself in Richmond's welcoming art community made me work hard to create art and earn a living doing it (at least partially). Richmond is not too fast and not too slow. There's space (physical and psychic) to feel like I can expand while still feeling nurtured by friends and colleagues. I just wish the summers weren't so humid!

You've been creating zines for years now; with Richmond hosting a growing annual Zine Fest, how do you see the art form growing in the future?

The Richmond Zine Fest is one of my favorite fairs to participate in. I wish more people from different backgrounds knew about zines. It's so easy to create your own zine - you just need the desire to express yourself and share it with others through tiny books. I've noticed an increase in the production quality of zines, now that digital printing and self-publishing venues have become so much more accessible. I see zines experiencing a revival in the form of experimental art zines. A certain population of zine-makers see zines as art objects, and I think there's going to be more of those kinds of zines created. But I hope that scrappy zines always exist. In an era where blogs are prevalent, there's nothing like holding a love-worn booklet in your hands.

Your Golden Moth Illumination Deck Kickstarter rightfully raised $4,800 (of $4,000 goal) -- what was your experience like carrying out the project?

It was an exhilarating and exhausting experience. I'm really glad I did it, but I would have to plan much better if I was to do it again. It was so affirming and wonderful to be financially supported by so many friends and some people I didn't even know. But it also was a big responsibility to live up to what I asked of them. The process of creating the finished product took much longer than I anticipated. I now have about 50 decks left of the 300 I had printed. I've seen a huge interest in the decks and lots of positive feedback, but I think the relatively high price of purchasing a partially handmade item has kept people from buying them as quickly. In the near future, I would like to reproduce the deck more commercially so I can lower the price and make the deck available to an even greater audience.

You have extensive teaching experience at Studio Two Three, VMFA and Visual Arts Center—how you suggest people cultivate and maintain their creativity and art practice?

You must make time for it. I know that's not easy for a lot of people, including myself. But it's essential to do the work (whatever that may be), and to try to do it regularly. Even if it's just playing around with materials and doodling, that is a form of practice and it keeps the creativity flowing. If you don't have time, think about whether you can rearrange your schedule to get even one small chunk of time a week devoted just to you. And then try to fit it in at odd moments. Taking art classes can also be inspiring and help get you into the habit of creating something regularly. Personally, I find that while I try to maintain a regular habit, often my creativity will come in intense bursts. So I might work intensely for a certain time period, and then relax a bit to restore my creative spirit. Your life grows where you put your energy, so do whatever works for you!

What upcoming projects can we expect to see from you in the future?

I just attended the Society of Children's Books Writers and Illustrators annual conference in New York City. It was inspiring and overwhelming, and I have a much better idea of the direction I want my children's book career to go. I know that writing and illustrating children's books will be an involved process and one that may not be immediately achievable, but I am ready to roll up my sleeves and work on a book dummy. I want to develop my art notecard business which I started last fall, so I can get my artwork into more retail stores around the country. I will also be in a two-person show at Rivermont Studio in Lynchburg this November, so I plan to create a lot of new linocuts and I would like to experiment more with my cardstock collagraph techniques. I've got a busy year ahead of me! But I feel very optimistic.

Support + Connect with Aijung

Art: www.aijungkim.com

Shop: www.sprouthead.etsy.com

Blog: www.aijungkim.blogspot.com

E-mail: [email protected]

ARTIST SPOTLIGHT: Dana Ollestad

Dana Ollestad is a multi-media artist currently based in Richmond, VA, who utilizes participation to engineer public experiences and encounters.  He will be teaching a Super 8 class February 15th & 22nd from 6-9pm at Studio Two Three. http://bit.ly/1akZO71

Tell us about the work you have done in relation to Studio Two Three.

I founded and run the Super 8mm Filmmaking Workshop series. The antiquated format is used as a vehicle for renewed expression and exploration, with the focus of the sessions being bringing people together, trying something new, and through having a shared experience and being part of a temporary community, establishing new social bonds.

How does Richmond play a role in your work as an artist?

I’m from So. Cal., by way of the Pacific Northwest, and Richmond has been incredibly welcoming and empowering. I’ve found in Richmond an energetic independent attitude, people willing to try new things, that are excited about investing in the city, in the art and music scene, and in each other as visionaries and producers.

We noticed you have a cult following on facebook. How hard is it to join this cult? Will there be punch?

Hahaha, yeah, I don’t really know who’s behind that. I think it’s a group of students from last year. I don’t really have a facebook account, so I guess some enterprising individuals took it upon themselves.

On ratemyprofessor.com, you have been rated ‘hot’ with a jalapeño; how much time do you spend each morning before class getting ready?

Even with my interest in socially engaged art and alternative pedagogic models, I’m excited by the countless stories of incredible academic instructors- instructors that are empowering, critical, and aggressively liberating.  I obsess over classes and coursework; it’s not a matter of how much time I spend each morning, but how thoroughly being a mentor/art cheerleader has become part of my life and practice. I do however enjoy a morning walk to school, and consider on the way, as artist Ester Partegas likes to say- “Everything is foreground.” That’s the mindset I approach the teaching day with.

On your vcuarts web-profile, we see you’re sporting an afro -- was this just a phase or will we be seeing more of the afro?

The afro showed up when my roommates in northern Washington state and I got costumes to play each other Poker when we were snowed in. I wore the afro the whole drive out to keep them close. Now it’s here and makes appearances when they need me most.

What upcoming projects can we expect to see from you in the future?

Part of my practice is co-operating an alternative gallery space with artist Janelle Proulx. We’re gearing up for our next show, so that’s going to be fun to keep an eye out for. I’ll be helping out with the s23 film series that’s transitioning from filmmaker James Mattise who just got hired on as Mass MOCA’s film technician to local filmmaker Cody Huff. I’m also really excited by the work going on with art group that activist/educator/artist Liz Canfield is organizing; I’m thinking about offering lipstick-making workshops through them. I’ve got a bunch of sound installation pieces I need to finish, and I’ve got some more sound/performance things in the works- sticking underwater microphones in people while they go at it… fun stuff.

Support + Connect with Dana

ollestad.blogspot.com

[email protected]

fb.com/super8workshops

fb.com/TheRefrigeratorArtspace