In the heart of any successful story lies man, man as a sentient being, der Mensch as in German or manushya as in Sanskrit; the great doer and the chronicler, an observer as well as the observed. He picks up his instruments of creativity, a pen, a brush, a camera, facial or bodily expressions, voice and so on. He becomes a narrator. He keeps registering events or things that stir his passions through means that he chooses for himself. He weaves himself in his story just as much as he describes his outer world in his narrative. In fact, he becomes his story. The audience too does not remain isolated from the premises of his storytelling but becomes a part of it. In that respect, Giovanni Savino is at once a protagonist, an author and a critic of the many tales that he endeavours to narrate each day. After all, these are nothing but mini episodes of his great life’s show, the core of his creative self. Camera in hand he observes each moment as a precious uncut diamond waiting to be given shape and context to let it shimmer in exhilaration. The weather–beaten traveller that he is Giovanni knows the how a man’s freedom and restriction both lie in these four letters, Time. The acute awareness of it driven him from his birthplace the Tuscan landscape to Dominican Republic and now New York with many stops in between. The consciousness of the same also motivated him to extract the maximum out of his own self, day in and day out, testimonies of which galore on the pages of his illustrious albums and now in this thoughtful interview.
Laura Barisonzi prefers capturing images of her subjects in natural surroundings instead of depending on the tried and tested ambience of the studios. The NYC photographer also likes showcasing people in action. Since she often works with sportspersons, fitness fanatics and dancers, particularly for her commercial assignments, this aspect of her visual narratives thrives on an added dimension. The photographs, exuding a youthful verve, appeal to the senses of the audience. However, as an artist she does not want any stereotypes. So every now and then, camera in hand, Laura embarks on a trip to gratify her inner creative. Her restless eyes keep searching for ‘stories’ in the obscure shades and corners of New York and beyond, before she finalises on the latest topic for her explorations.
In challenging herself Laura finds great satisfaction, for only by doing so she manages capturing such evocative images that otherwise would have been beyond her. Her dedication towards her craft also forces her to stay super–fit as she needs spending long hours under the sun. An outdoor–oriented person and admirer of many sporting activities, this aspect of her work too does not bother her unduly. Many years ago Paul Cézanne said, ‘Right now a moment is fleeting by! Capture its reality in paint! To do that we must put all else out of our minds. We must become that moment, make ourselves a sensitive recording plate. Give the image of what we actually see, forgetting everything that has been seen before our time.’ This holds true for the making of any visual representation, painting, sculpture or photography, for artists before and after Cézanne, including, such talents as Laura Barisonzi.
Brad Spencer is a forerunner among the artists who explored the potential of creating brick sculptures in recent times. In fact he dedicated three decades of his life in perfecting his skills at this not–so–usual–art form. Due to the nature of the work, brick sculptures are particularly suited for public art projects. Many prominent landmarks of Reidsville, North Carolina, where the artist lives, and beyond are now adorned with Brad’s sculptural essays. The visual lyricism of his art is self evident.
Creating exquisite pieces of sculptures, including bas reliefs, of bricks is actually an age old process with an illustrious history dating back to 575 BC. The Ishtar Gate, reconstructed and preserved, is a proud possession of Pergamon Museum, Berlin. But many who visit the museum to observe this architectural marvel do not seem to recognise the fact that this monument, dedicated to goddess Ishtar, is made entirely of bricks. Numerous rows of golden lions, dragons, aurochs and floral motifs studding the gate are nothing but carved bricks sculpted out of the blocks of clay glazed in an ethereally azure tone. Babylonians were responsible for elevating brick sculptures to an art form. Artists and craftsmen of Babylon must have captivated Ishtar, the deity of love in Sumer and Babylon, with such an offering. Brick sculpture did not enjoy such exalted status after Babylon suffered cruel blows into the hands of time.
Born in 1971, Ed Chapman tiptoed into the world of art holding the hands of his artist parents. Playing with pastels or pencils were part of his everyday routine even before he was conscious of his natural gifts. But instead of the more conventional media like acrylic or gouache, Ed Chapman found mosaic to be ideally suited for his artistic expressions. He devoted himself in the exploration of mosaic art and finding his own niche in its illustrious legacy. From ceramic to pieces of paper, smashed vinyl records to plectrums, there is hardly any item with which creating art is not possible for Ed. He mostly uses famous faces from the world of music and art as his subject. He aims for maximum impact by trying to keep the palette as simple as possible and audience is left gasping at beholding the eloquent faces staring back at them from the frames. Watch closely and you will start identifying the fragments of life affectionately preserved in each piece of vinyl or ceramic before being skilfully strewn into a larger picture.
We would never know if the famous Rascal Flatts song Life is a Highway was in the back of the subconscious mind of Joe Simpson, the gifted artist from England, when he created Across America. For the paintings, often consisting fleeting images of a vast country, evoke a feeling of Life’s like a road that you travel on / When there’s one day here and the next day gone / Sometimes you bend, sometimes you stand / Sometimes you turn your back to the wind. If noticed closely the sketches, monochromatic and denuded from any distraction, feel even more intimate. As if you may find your own home or the corner of a street of your neighbourhood staring back at you from the frames!
Joe Simpson is one of those artists whose faith is firmly rooted in realism. He uses facets from everyday lives to weave his story on canvas. So common men and women with their hopes and aspirations, love and affections, despondencies and rejections become loci of his narratives. In that respect his work is a golden link between him and the masters of Dutch Golden Age who brought genre paintings into the centre of attention. Appropriate to the age the backdrop changes as much as does the characters. The rustic folks busy in merrymaking or a lonely girl working at a corner of a room are replaced by men and women jostling with each other in an urban setting or a forlorn figure intently reading a letter with a smirk on the face. And at times objects like telegraph poles and pylons set up against the wide blue yonder are personified to communicate their own story.
Born in 1984, Lancaster, England, Joe Simpson acquired critical acclaim showcasing his work in a number of galleries in United Kingdom and beyond. Not only did he manage to excel in a relatively short period of time but also exhibited his entrepreneurial and organisational skills. His series Almost There and Musician Portraits required considerable efforts from his part to make the collaboration between him and some of the busiest musicians of this day as smooth as possible. To provide for Across America he depended on crowd funding and returned the favours of the contributors by sending them his paintings. His favourite artist Edward Hopper asserted, The inner life of a human being is a vast and varied realm. Let us then try to peep into the heart and mind of this young painter.