"Bountiful" interview series - with Stephanie Shulman

Today is Thanksgiving! "Bountiful" is now exhibiting at Future Tenant until December 7th, although the space is closed for the holidays, it will be open this weekend on November 29th and 30th. Future Tenant has been presenting the "Bountiful" interview series since the opening of this group exhibition, today we present artist interviews with Stephanie Shulman, conducted by Visual Programming Manager Kate Lin.

Could you give us a brief introduction of who you are and how you became an artist?

Stephanie: Well, I am still figuring out who I am. I could tell you what I am, but I don’t know whether that is the same thing. I come from a Jewish household that has always encouraged me to chase my creative dreams which led me to choosing art. I feel like the way that I became who I am was through a very clear series of choices. I can remember each of the moments vividly. In high school I chose art to be my profession and in the fall of my junior year I knew which direction within the arts that I wanted to go in. It is kind of funny because people say to me “oh, so you are an artist” and for the whole time that I was in school I would reply that I was not an artist yet, but an art student. I still feel like I have not quite reached artist status yet, as I still have so much to learn. 

Please give us a short description of concept to your showing pieces.

Stephanie: The Scale was an experiment, quite honestly. I wanted to take something rigid and figure out a way to soften it. I tried to think of what would be the softest thing to turn wood into, and food was the answer. That was how I initially conceived the idea of making a wooden cake, but I wanted to make it interesting. I thought about my relationship with food. I have struggled with my weight for most of my life and I love food but I hate that it has been such a challenge for me. It also always amused me that something so light, like cake, could add so much weight to me. And who hasn’t wanted to punch their scale in?

What is your creative process? How long does it usually take you to complete a project/artwork?

Stephanie: That really depends. It depends on what I am using for the project and how much iteration it goes through, as well as how inspired I am at the time of creation. Inspiration is the driving force to my independent art making. If I feel the need to get an image out of my fingers, I will paint and work until I am too afraid of screwing it up if I go any more. If I don’t have the inspiration, give me a deadline and that is usually enough motivation to make something.

You mentioned that you’re very interested in human and human relationships with everything and everyone around us. Can you tell us a little more about how you observe people and translate those observations into your work?

Stephanie: I do a lot of people watching. In airports, parks, on the bus, anywhere that I can see people, I tend to watch them. I also have a habit of interviewing people when I am left in a new place with my ipod and time on my hands. I love to ask people what they are afraid of. It is fascinating to hear the variety of responses and one may not expect some of the people to say what they say. I love chatting up random people at bus stops and in airports as well. These people are clearly going somewhere and I like to find out where and why. It’s amazing that every person has an individual set of experiences and associations we would have no idea about and I want to bridge that gap between me and my fellow humans as much as I can. I like finding the differences between people and where we are all the same. Sometimes it is through questions, sometimes it is through observation. I want to get into people’s heads and figure out how their brains work.

I have done pieces and experiments with what I have found out from these encounters which try and create empathy where there is not expected to be. I have done body art workshops that doubled as therapy sessions about people’s body image, face castings where I had people’s fears playing out of the faces’ mouths, and fear sharing therapy where people told each other their fears without knowing who they were exposing themselves to. It is really cool to see people react to hearing the thought processes of another person.

How does food in general relate to you on a personal level (and your art)?

Stephanie: I love food. It’s pretty awesome. I love cooking and trying out new recipes. It is really satisfying to make something that tastes good and makes other people happy. As someone on the chubbier side of the spectrum I have been trying to control my own food consumption, which is where this piece was really important. I have been fighting the scale for many years, trying to lose weight to be healthier, but the call of delicious food is really strong. After this piece, I focused on food specifically in my work only a few times, but more frequently I have worked with body image. 

Do you admire any other artists? 

Stephanie: Of course I do. Within this show I greatly admire Ruby Wang and her work. We were in school together and I always loved seeing her fascination with food really come out in her paintings which are always beautiful. Beyond that, I admire many artists from many fields. My favorite artists from history are always the impressionists, but every day I find new artists who make cool things. At the shops I meet scenic artists who can make any material just with paint, which is so cool to me. My friend Lorena Lopez designs costumes that are just stunning. I admire Lydia Delgado who makes beautiful watercolor paintings of flowers, and I admire all of my fellow classmates who have set out to follow their art. I am sure that there are so many artists that I am not mentioning but the general rule of thumb for me is that I admire artists who make beautiful things.

Are you working on any new projects at the moment? And where can we follow your work? (Blog, website, twitter, Facebook,etc)

Stephanie: Currently I am working as a freelance scenic artist in the NY/NJ area. I work in scenic shops and wherever else I am needed. I have recently painted the production of Avenue Q that is playing in the studio theater of the University of Pittsburgh. I do have a website that you could check out. 

How did you know about Future Tenant?

Stephanie: I remember hearing about the gallery while I was at CMU and many of my classmates had shows at the gallery. 

"Bountiful" interview series - with Ruby Wang

"Bountiful" is now exhibiting at Future Tenant until December 7th. Future Tenant has been presenting the "Bountiful" interview series since the opening of this group exhibition, today we present artist interviews with Ruby Wang, conducted by Visual Programming Manager Kate Lin.

Could you give us a brief introduction of who you are and how you became an artist?

Ruby: I am a Taiwanese Canadian, and I came to the States to pursue college education in the arts. My family members are separated across Asia and North America; thus, food becomes something that speaks of my cultural background and connects our relationship since having a family meal together is rare and is to be cherished. There is not a decisive moment in time where I realize, “I want to become an artist”; for what I can recall, I have always been involved with arts and crafts since youth, and have always known that my future path would involve this expression of the creative mind. 

Please give us a short description of concept to your showing pieces.

Ruby: Last year this time, I was going through some personal experiences that reshaped how food can carry a meaning for me as a woman. Wine and Bananas, the painting series shown in the Bountiful exhibition, derives from a video installation project exploring food and pleasure, but also alcohol and sexual abuses in an intimate prospect. 

How are the paintings different from the video installation project? What message did you want to address to the audience who view the paintings for the first time without seeing the prior video project? 

Ruby: The video installation project is named “One Week and A Day” to signify the period of time of gradual personal conflict, yet the paintings focus less on the chronology of event but the beauty of these food and objects. For these Wine and Bananas paintings, the central emphasis is on these two unconventional food pair, which has unconcealed association to bodily fluids and sexual organs. The pieces aim to purely provoke viewers’ visual senses with the erotic nature of these simplistic yet sensual objects. 

What is your creative process? How long does it usually take you to complete a project/artwork?

Ruby: The creative process varies for each project, but recently I have adopted the method of using digital media (usually photography or video) to compose my concepts. Digital photography is just an efficient way for me to plan the picture, but while taking these pictures, I am simultaneously considering how I can build on top of these images physically with paint and other medium. From concept planning, prop prepping, photo shooting, editing, printing, to physically altering and adding final touches to the projects, it usually takes a little bit more than a month to complete one series. Often I will work on other photography shoots and projects at the same time to get new ideas flowing. 

How does food in general relate to you on a personal level (and your art)?

Ruby: Food connects with me in a very personal level. If one asks me what I am pondering about, 95% of the time it will be about food. Food is both need and desire. Theorists like Brillat-Severin and Roland Barthes have written about eating, suggesting that this irrational human behavior to consume after you are full has erotic implications, for our needs have already been satisfied and what is left is lust. My art deals with this lust. It is something that occupies almost all my personal and artistic life. For me, food is both a pleasure and a struggle. 

Do you admire any other artists? 

Ruby: As a child, I had an affinity for realist painters, especially Rosa Bonheur, but my admiration lay beyond their artistic abilities. As shallow as it may sound, my adoration for Bonheur was probably due to the simple fact that she is a female artist, and her works outshined those of the other artists in this Impressionism exhibition I once visited. As the theme of food and the female body has gotten more relevant to my artist practices, I look at artists who have dealt with the subject of edibles, like Marilyn Minter, Lee Price, Will Cotton, Claes Oldenburg, Wayne Thiebaud, and those who discusses the women body with food, such as Cecelia Dahl, Julia Fullerton-Batten, Judy Chicago, Karen Finley, and Janine Antoni. 

Are you working on any new projects at the moment? And where can we follow your work? (Blog, website, twitter, Facebook,etc)

Ruby: I am working on new photography and painting series that concern the female figure and sensuous food such as yogurt, jam, cream, and berries. These new projects can be seen on my website.

How did you know about Future Tenant?

Ruby: I have come to know about Future Tenant through the Carnegie Mellon connection, for a lot of graduate and undergraduate students have had exhibitions in the space. Thus it was such an honorable surprise when I was asked to participate in this group exhibition. 

"Bountiful" interview series - with Teréz Iacovino

"Bountiful" is now exhibiting at Future Tenant and a complimentary sustainable food panel and tasting event,"Bountiful Harvest" will be happening on November 22nd from 3 to 5 pm. Dive deeper into what food means to us, Future Tenant continues to present artist interviews and take a glimpse of what inspired the artists to create work such as the ones showing in "Bountiful". This interview is conducted by Visual Programming Manager Kate Lin with Teréz Iacovino.

Could you give us a brief introduction of who you are and how you became an artist?

Teréz: I’m an artist and educator currently based in Minneapolis. Over the years I've worked as a book preservationist, papermaker, gallery installation coordinator, and live-in studio intern. As far as how I became an artist, I’m someone who has always been drawn to process, problem solving, and making things with my hands. For me, art encompassed all of this with an added creative freedom. 

Growing up in apartments with just my mom, I acted as the family "handyman," creating hack fixes for things like a leaky air conditioner by funneling water into a bucket, or tying our Christmas tree to the window sill one year with shoelaces because it kept falling down. I'm starting to find that even at a young age I was embracing the role of the "non-expert," which I feel has carried over into my multimodal approach to making. Rather than viewing non-expertise as a weakness, I find strength in the fluidity that it provides and strive to generate constant questioning and curiosity, rather than solely prescribing answers.

Please give us a short description of concept to your showing pieces.

Teréz: Dinner for One plays with the idea of the TV dinner as an industrial edition - essentially a mass produced multiple (in this case a meal) that strives to be identical to all other meals of its same make. What fascinates me about industrial agriculture and corporate food culture is exerting this control over nature and taste to be able to create a meal that is exactly the same no matter if you microwave it in Minneapolis or Morocco. 

Can you explain how the interactive installation works? What did you put on the screen print and how does it react to the temperature change in the toaster oven?

Teréz: Dinner for One invites the viewer to “cook” the art, which are screen printed half tone images of scanned TV dinners. They are printed using a concoction of corn syrup and cornstarch that when heated caramelizes on the paper and creates various tonalities of brown. The science behind the project was inspired by invisible ink experiments I used to do as a kid with lemon juice on paper. You then hold the paper back and forth over a flame until the message starts to decode from the lemon juice reacting with the heat. 

You mentioned that your work focuses on the intersections of nature and technology. Can you tell us a little more about how you apply technology in your other work and your thoughts on how art and technology relate to each other? 

Teréz: More recent works and collaborations use technologies like hydroponics - a soil-less or dirt-less method of growing food - in an effort to create sculptures and objects for the home that grow edibles. In many ways I’m employing very low fi and ancient technologies in my work, since hydroponics have been around for centuries. They're really nothing new. And of course "invisible ink" is nothing novel, but I still find magic in it. And in terms of how art and technology relate to each other, I see them as both being about communication. Each challenges how we think about and see the world. They both possess a motive to question, to explore, to reimagine, and they're always constantly evolving. What we now refer to as interdisciplinary, multidisciplinary, or transdisciplinary art carries with it the lineage of systems and cybernetic art, bio and transgenic art, all of which are deeply rooted in technology. Technology has given rise to the "postdisciplinary" artist and will continue to complicate the artist’s relationship to a medium.

What is your creative process? How long does it usually take you to complete a project/artwork?

Teréz: When I was in undergrad studying graphic design (which I later left for printmaking) the program motto was “just redo it.” I’m finding more and more that this is a large part of my creative process. Usually I need to play with materials and make several prototypes before completing the final project. I may do a couple different iterations until it get the material to do what I want, which can be highly frustrating. In terms of a time frame I've had individual projects (like Dinner for One) that I’ve completed over a couple of months, but more recent hydroponic collaborations have taken up to a year or more.

How does food in general relate to you on a personal level (and your art)?

Teréz: Growing up I was fortunate enough to have access to wholesome, nutritious food, but I never had any relationship to where my food came from. In 2009, I moved to upstate New York to live and work at the Women's Studio Workshop. Food culture there centered heavily around a daily lunch potluck in which the entire staff partook. It was also an area of New York that had a rich local and organic food movement and it was the first opportunity I ever had to garden. The experience dramatically shaped my current relationship with food and just instilled an awareness of the politics surrounding food that becomes more and more prevalent throughout the United States as the slow food movement gains momentum.
My art practice becomes another vehicle from which to question and critique my own (and our country's) relationship with food.  With the explosion of social practice, so many contemporary artists are working with food. It is something that everyone has some form of relationship with, no matter where you come from. For me, that makes it a powerful subject to unpack. 

Do you admire any other artists?

Teréz: Of course! The amount of talented artists that we have access to via the web is overwhelming, so I've been working on making these massive Google Doc indexes for myself of artists who inspired me. Lately, I've been looking at the mycology research and prototyping of Phillip Ross, as a challenge to myself on how to rethink the way in which I use materials. Phoebe Washburn's massive, seemingly haphazard installations always provide a reminder for how amazing structures can be made from the mundane. Most recently I've been thinking about how to bring my foundational roots in printmaking back into my practice as a way to give my process of diagramming and writing a new life. I've been looking at the prints of Marnix Evereart and the drawings of Jorinde Voight as inspiration for how to illustrate the unseen, how to map familiar and everyday moments, and how to breakdown various systems, no matter how large or small.

Are you working on any new projects at the moment? And where can we follow your work? (Blog, website, twitter, Facebook, etc.) 

Teréz: Yes, primarily collaborative versus solo endeavors at the moment. I collaborate with an artist/architect team of two other women (Laura Bigger and Artemis Ettsen) known as Crescent Collective. We recently finished a project called The Hydroponic Table in which we designed a dining table that can produce edibles using very low tech hydroponic growing. Find out more at Crescent Collective's website.

How did you know about Future Tenant?

Teréz: I was first introduced to Future Tenant back in 2011 when Future Tenant Vet, Katy Peace, gave me the opportunity to do a window installation of a project that was just winding down called Posted Public. I’ve traveled to Pittsburgh quite a few times since then and always keep my ear to the ground for what's happening at Future Tenant.

"Bountiful" interview series - with Taylor Preston

Ten days has passed since the opening of "Bountiful", a group show all about food. Future Tenant will continue to present artist interviews and offer an deeper insight with the work and life of the artists. This interview is conducted by Visual Programming Manager Kate Lin with Taylor Preston.

Could you give us a brief introduction of who you are and how you became an artist?

Taylor: I’m currently in my final year at Carnegie Mellon University, where I'm finishing up my Bachelor of Humanities and Arts degree, with concentrations in Fine Arts and History. In high school I excelled in academics, especially English and History. I think art presented a lot of interesting challenges that the other subjects I was studying did not. In art, there are no right or wrong answers. There’s no one-way to accomplish something, and I think that was really refreshing. 

Please give us a short description of concept to your showing pieces.

Taylor: Nobody Came to My Party is a series of digital prints depicting the destruction of a birthday party table setting. Left alone at her own birthday party, the idea is that the dejected birthday girl has a total meltdown. Smearing the cake and icing around the table. In the end, she lights her birthday candle and serenades herself to "Happy Birthday."

These cakes look so delicious! Can you tell us a little more about where and the process of creating these scenes? What materials were involved? 

Taylor: For the piece, I constructed a set made up of many cakes. Each one is brightly colored and elaborately iced. Some are real cakes, decorated with real icing and sprinkles. But many are plaster, dyed with pigments and casted, shaped and carved until they resemble cakes. The process of creating the set was definitely work intensive, but I think it was a really important part of the process of trying to recreate this somewhat vague memory.

What is your creative process? How long does it usually take you to complete a project or artwork?

Taylor: I read a lot and have always loved film, so I’m constantly drawing inspiration from outside the realm of of visual arts. I also usually do a lot of research in the beginning stages of creating a piece. As far as time length is concerned, I think it all depends on the scope of the project. Sometimes I'll work on smaller projects - books, prints, photographs, etc... - and finish them within a couple weeks. Usually though I take on larger projects, which just inherently take more time to complete. If I do start work on a larger project, I'm almost always simultaneously working on some smaller pieces - even if I'm just making some prints, or working on some smaller books or drawings. If I'm working on one thing for too long my mind tends to wonder, so having a couple things going on at the same time helps me to stay active and thinking.

You mentioned that you see birthday cakes as one of the iconic images of Americana, can you share a little more of your thoughts on that? Are there other things in your opinion that contribute to a greater American experience? 

Taylor: I think there are certain aspects of day-to-day life that become so commonplace that, over time they reach this kind of iconic status and become symbols for something greater. License plates, billboards, statues, cars, fast food - we see these everyday, but hardly think twice about them. I think these kinds of things have come to represent American society, but also speak to this longing for the past - to longing for "better days." All I needed in my piece to show that I was eluding to a birthday party was a candle in a single cupcake. None of the cakes have happy birthday piped on them in icing. There are no happy birthday banners in the background. But the viewer can still infer that I'm depicting a birthday party, just because this imagery has become so iconic.

How does food in general relate to you on a personal level (and your art)?

Taylor: To be honest, food doesn’t often find its way into my artwork. In the past, I've drawn a lot from my childhood memories. Every family gathering, every birthday, every holiday always revolved around food. Since many of my childhood memories revolve around these special events, I think it's only natural that the subject of food sneak its way into my work every once and a while. 

Do you admire any other artists? 

Taylor: Yes, definitely! Lately I’ve been admiring the work of a lot of photographers, especially those that integrate text into their photos - Carrie Mae Weems, Alec Soth and Nicholas Muellner just to name a few. Carrie came to Pittsburgh to speak a couple years ago, and I was on the edge of my seat the entire time. She's an amazing speaker, and I really admire her work. Also, I have a very intense love of Duane Michaels. I think he's one of the few people I've ever really "fan girled" over.

Are you working on any new projects at the moment? And where can we follow your work? (Blog, website, twitter, Facebook, etc)

Taylor: Yes! Over the summer I went on a big road trip down south. During my trip I visited the site of every battle that Loretta Janeta Velezquez, a Cuban American woman who disguised herslef as a man in order to fight in the Civil War, was known to have fought in. I'm currently working on compiling all my photographs and writing form the trip, as well as excerpts from Loreta's writings, into a book. Hopefully it will be finished soon! I've also recently fallen back in love with Bolly Parton and Loretta Lynn, so I've been working on some smaller projects inspired by my obsession. You can follow my work at my website. I also have a blog, where I tend to post more in progress stuff.

How did you know about Future Tenant?

Taylor: I’m a student at Carnegie Mellon and, since the Master of Arts Management students at Carnegie Melon run Future Tenant, I’m really well informed on new programming going on. I am very happy I was asked to participate in Bountiful !

"Bountiful" interview series - with Cayla Skillin-Brauchle

During the "Bountiful" exhibition, Future Tenant will continue to present artist interviews and offer an deeper insight with the work and life of the artists. This interview is conducted by Visual Programming Manager Kate Lin with Cayla Skillin-Brauchle. 

Cayla Skillin-Brauchle graduated with a BA from Beloit College in 2006 and she earned her MFA in Printmaking from Ohio University in 2012. She was a Fulbright Fellow in Mumbai, India from 2012 - 2013 and she has recently joined the faculty at Whitman College in Walla Walla, Washington as a Visiting Assistant Professor of Art. Her trans-disciplinary studio practice spans printmaking, drawing, installation, performance, and social practice. Her work has been shown at venues including JDK Gallery in Burligton, VT; the Rotunda Galley in Bangkok, Thailand; ROY G BIV Gallery in Columbus, OH; the Sir JJ school of Art, Mumbai, India; and 621 Gallery in Tallahassee, FL.

Could you give us a brief introduction of who you are and how you became an artist?

Cayla: As a kid I was good at academic stuff, reading and writing came easily. At some point I realized that art, unlike many of the other things I was studying, was really hard and therefore exceedingly engaging. That desire for challenge has really stuck. My goals as an artist continue to evolve while my conviction that art and creative problem solving are crucial to happy, healthy, and just communities grows.

Please give us a short description of the concept of your work “Candy Scans”. 

Cayla: Inspired by the ever popular Candy Gram, my "Candy Scans" series employs gummy candy to to construct delicious nuggets of admiration. The resulting glowing, beautiful, and out-of-reach images aspire to talk about ideas of sweetness, desire and consumerism.

Aside from “Candy Scans”, you have several other works that are related to candies and sweets. How did those subjects relate to you and how did they inspire you to create your work?

Cayla: My work with candies, sugar, and sweets dealt with the notion of sweetness not just as taste, but also as an attribute that is ascribed to women and girls. How I perform and embody sweetness interests me. Or how I, as a woman, feel a cultural pressure to strive to make myself consumable: to look good or be agreeable.

What is your creative process? How long did it take you to complete this project?

Cayla: Usually, I have some sort of broad idea of what I want to work on. In the case of "Candy Scans" I wanted  to work with the idea of sweetness: both literal sweetness (in taste) and the figurative sweetness that women are expected to possess in U.S. culture. Once I have a basic field or idea to explore, I employ my studio practice to develop that idea. My studio practice involves solo studio time, all types of research, discussions or collaborations with other other artists and thinkers, and performances that blur the line between art and research for future projects. Often, I start with solo studio time or research, but I will go back and forth between all these realms as I work through an idea. The result tends to be a body of work not limited to one medium. I made "Candy Scans" while simultaneously creating prints, installations, and a performance that all investifated the idea of "sweetness."

You have had other installations using food as the medium. What were some of the biggest challenges dealing with food and what part did you enjoy the most?

Cayla: The biggest challenge would be controlling the gooey and melty tendencies of sugar and gelatin with sugar’s tendency to attract bugs maybe a close second. On the other hand, this tendency of food and sugar to change over time taught me to embrace change and temporality within my work. The time component of decay is present in all mediums, but seems to be most obvious when you work with food.

Do you admire any artists / photographers?

Cayla: So many! A short list would include Janine Antoni’s performative objects; Francis Alys’ performances; Cy Twobmly’s drawings and paintings; Ann Hamilton’s installations; Yayoi Kusama's  use of color and pattern; and Sharon Hayes’ intervention work.

Are you working on any new projects at the moment? And where can we follow your work? (Blog, website, twitter, Facebook, etc.)

Cayla: In 2012-13, a Fulbright Fellowship allowed  me to study cargo truck decoration in Mumbai, India; this research is currently being distilled through drawings and a large-scale book project. In 2014, I debuted THE HUMAN XEROX PROJECT, which is a mobile, interactive performance during which I draw participants' favorite things as they describe them to me.Acting as a Human Xerox machine allows me to duplicate and highlight our collective material landscape, while simultaneously recording the stories that tie humans to their possessions. This project is part of an ongoing investigation into ownership over possessions as well as ownership over individual or collective thought. Yon can check out these, as well as other recent projects on my website.   

How did you know about Future Tenant?

Cayla:  I first showed at Future Tenant when I was in graduate school at Ohio University in 2010. I am happy to be invited back to participate in Bountiful!

"Bountiful" interview series - with Diane White

"Bountiful", a group show all about food is opening On Friday November 7, 2014 at Future Tenant. This exhibition revolves around the concept of food. Food has come to represent many things in our society, as a means of survival and cultural cohesion, our relationship with food is complex and varied. While in preparation for the show, Visual Programming Manager Kate Lin interviewed one of the artist, Diane White.

Could you give us a brief introduction of who you are and how you became an artist?

Diane: I am an artist from Pittsburgh, PA. Always interested in art, I first began painting decorative items for the home as well as murals and faux finishes. It led into a natural progression to the fine art field. I am a member of the Oil Painters of America, Associated Artists of Pittsburgh, Pittsburgh Society of Artists, and several other local art leagues. My paintings have won many awards in local juried exhibitions. I have also been juried into several national juried exhibitions.

Please give us a short description of concept to your showing pieces.

Diane: I have been trying to use ordinary objects such as take out containers and chopsticks, coffee cups, or fast food wrappings in a symbolic way or with a humorous twist. These “trash to treasure” paintings relate to our fast paced, throw away society, finding beauty in the ordinary. Still life paintings of the past used objects and food items commonly found in those times. Now, people often have their meals on the go or using take out food as a meal. I am trying to capture of snapshot of our life in the 21st century.

What is your creative process? How long does it usually take you to complete a project/artwork?

Diane: I often have a color concept or a theme that I am trying to express. Often I have an idea for a title, and then create the still life to fit the title. I have a large collection of pieces gathered from flea markets or antique shops as well as disposables, such as bottles, bags, wrappers, and take out containers gathered from various sources. Even an occasional “trashcan pick” might catch my eye.  

I light the still life from a single light source.  When I set up a still life, I arrange the light to have interesting shadows, lost and found edges. I want the viewer to take a closer look to see the beauty in the painting.  As I paint I am trying to capture the subtle nuances of light and color in the still life.  I usually complete a painting in 2-4 "sittings" unless it is particularly complicated.

Is there any stories or reasons that made you choose objects such as take away lunch boxes as the theme of the paintings?

Diane: The first painting that I did, involving those boxes, called “Waiting” subconsciously mirrored things going on in my life at the time. My life was in a state of change with an unknown future, so those closed boxes represented the parts of my life that were ending and closed, while the open ones represented being open to new opportunities. After that painting I began looking for more items that you might not associate with a classically painted still life, but I presented them in that manner. I especially like to paint paper bags, capturing the wrinkled paper. Most often, I don't have a specific reason for using an object except for finding interesting shapes and sizes that make an interesting composition.

How does food in general relate to you (and your art)?

Diane: Everyone likes food and because of that, my paintings appeal to many people. It makes it easy to find items to use in my paintings. I initially was attracted to the take out containers because of their shapes, graphics, and the ability to open or close the lids. They also have a wonderful translucent quality that I try to capture.  

You mentioned that you have collected other interesting pieces at antique shops and flea markets. Can you give us some examples of the type of things you have collected and how you have applied them into your paintings?

Diane: I have collected many beautiful brass and copper pieces that lend themselves to being used with contemporary objects. They have a great reflective quality and challenged my ability as painter! I have rugs and fabric as well as other little vases and pots that I use in more traditional still lifes. 

Do you admire any other artists? 

Diane: I admire many contemporary artists, David Leffel, Jeff Legg, Laura Robb, Elizabeth Robbins, and many others. I have studied artists of the past but find most of my inspiration from current art.  I have tried to study with artists whose work I admire, including those mentioned above.

Are you working on any new projects at the moment? And where can we follow your work? (Blog, website, twitter, Facebook,etc)

Diane: I think I am known most for my still life paintings but I have recently been doing some plein air painting. I was invited to a plein air event in Westfield, NY, where we painted for 4 days in  the surrounding area, then presented our 3 best pieces for a joried show. I was thrilled to win a 2nd place award for my piece, Vineyard Vista. I hope to participate in more plein air painting in the future. It definitely challenges me to be a better artist.

My website is Dianewhiteart.com. I always post my new paintings and plan to start a Blog about my process and and painting adventures. I am also on Facebook under Diane White.

How did you know about Future Tenant?

Diane: I had heard of Future Tenant, but when I was invited to be a part of the Bountiful exhibition, I knew that it was an opportunity that I could not pass up. Thank you very much for the honor of being a part of this show!