Painting

An Interview with Artist John Sonsini

Britney Keller

John and BritneyOn Saturday, February 9, artist John Sonsini presented his artwork at the opening of his exhibition at Phoenix’s Bentley Gallery. Upon walking into the gallery, the size alone of the paintings commanded attention. The life-size portraits made an instant impression. While I stopped to view the paintings, I came to realize a commonality that I am rarely able to see in most artwork: the voice of the subject.

We often see art as a discourse for political and social statements. The opinions of artists can often overshadow the person that is being painted; the subject is a tool to express a particular belief. In Sonsini’s portraits, however, he embraces the simplicity of focusing on a particular person, and allows us to see the complexities that are hidden in the faces and gestures of everyday people. To him, this is what his art is all about.

Viewing the Work

In the following interview Sonsoni states, “I have always been interested in painting faces, figures. That always interested me. But, of course, for many years I’ve been painting portraits only, painting from life. I usually am interested to paint someone who has strong features, a commanding presence.”

These presences were obvious to me as I viewed the portraits, as I was able to sense the appreciation that Sonsini has for the men he paints. By creating a scene on his canvas that is relatable, real, and unblemished by any silent statement, the audience is exposed to a kind of art that goes beyond the norm.

Because of this simplistic approach to the meaning of his art, I was curious to know how Sonsini decided he was ready to expose his craft to the public.

Sonsini’s desire to exhibit his work is definitely to the advantage of all who are able to view his portraits. By letting the characteristics of his subjects speak for themselves, we are able to admire a portrait of raw emotion and qualities.

Thank you, John Sonsini, for answering Superstition Review’s questions.

1. Q: Who/what gave you the idea to become a public artist?

A: Well, of course, there are artists who don’t view exhibiting (which is a public experience) as all that important. But, in my case, I had always intended that exhibiting my work was an important continuum of the process of making art.

2. Q: Are there any artists in your family? What do they think of your career and work?

A: Actually my father was very gifted, in particular when it came to drawing. He had a natural ability. He really could draw anything. My family was very set on my being an artist. They always encouraged me to go in that direction when I was young. And, I believe they’ve enjoyed seeing me develop a career in the arts.

3. Q: How do you decide who/what to paint?

A: I have always been interested in painting faces, figures. That always interested me. But, of course, for many years I’ve been painting portraits only, painting from life. I usually am interested to paint someone who has strong features, a commanding presence. It’s quite difficult to sit for a painting. It takes a great deal of concentration and focus. Not everyone I’d like to paint is interested in modeling, or even has the time available. I ask each prospective model to work five hours each day until the painting is completed. So that does take quite some time. So, you see, ‘who’ I want to paint is all tied up in ‘who’ really can commit to that sort of focus and daily sessions.

4. Q: Do you believe that skilled painting can be taught and learned? Or is it a natural talent?

A: Well, you refer to the ‘skill’ of painting. You’re asking IF someone can be taught the skill of painting, as in a classroom. Well there are all sorts of technical issues that can be passed along, taught. But, really how one uses those things…I think that has to be just learned from doing, working, and of course, the best lesson is probably just…trial and error. But, sure, there are certain technical skills that could be taught and learned.

5. Q: Why do you use oil paints to create your art? Do you use any other mediums? Why or why not?

A: Yes, I work with oils. I like the fluidness of the medium. Because oil remains wet for quite some time, it is very suitable for working and reworking from day to day. And, of course, the color, the pigment in oil I find to have a saturation that I haven’t found in other mediums.

6. Q: What have your sitters thought of the process and your finished portrayal of them? Are you able to cultivate a kinship with them? How long does a piece usually take to complete?

A: Before I set out to do a large painting of someone, I always ask that we work for a few days drawing or a small painting. In this way it allows a new model to kind of test out the work before we launch into a large project. Most sitters seem to like the process. It’s very organized. We take a break about every half hour, then a long lunch break mid day. Most sitters seem to enjoy the finished painting. And, especially after so many days working on a painting, and getting to see the process, and understanding that the painting is a handcrafted object. In other words, anyone who’s expecting a photographic likeness well, I think, after a few days working, it would be obvious that my painting will be a far more painterly portrayal. A full figure portrait usually takes about 10 – 14 days to complete.

7. Q: Do you have any hopes or plans for your future in the art world?

A: A new painting I’m working on at the moment for an exhibition at the Autry National Center of the American West, here in Los Angeles. I’m painting a large portrait of two vaqueros/cowboys as part of a new installation at the museum, organized by Museum Curator Amy Scott. And then a group show in NYC at Salomon Contemporary in the Spring. And, of course, I’m very pleased to be showing my most current group of paintings here in Phoenix at Bentley Gallery.

John Sonsini’s paintings are on display at Bentley Gallery in Phoenix until tomorrow, February 28.

Edna Dapo, A Solo Exhibition on View at the Phoenix Center for the Arts 10/5 -10/26/2012

Superstition Review
Edna Dapo is an international artist who resides in Scottsdale, AZ. She has been painting for 20 years and has won numerous awards. Her work has been selected for NEW AMERICAN PAINTINGS, Volume 70, and is on the cover of American Art Collector (CA, V4 B2).
Dapo holds an MFA in Painting from Savannah College of Art and Design, BFA in Painting from ASU, and a diploma from Art School Luka Sorkocevic in Dubrovnik, Croatia.She is a Department Head of Painting & Drawing at the Phoenix Center for the Arts, and also teaches drawing and life drawing at Mesa Community College.
You can view her artwork in issue 5 of Superstition Review.
Or visit her website at www.ednadapo.com
Her exhibit “Stripes, Figures, Drips & Swans” opens First Friday, October 5, 2012, 7-10 p.m.
Phoenix Center for the Arts
1202 N. 3rd Street, Phoenix, AZ 85004

Interview with Duncan Hill

Duncan Hill

SR conducted this interview with Issue 9 contributor Duncan Hill.

Duncan Hill

Superstition Review: Please give some examples of your past projects and published pieces. Where were they published and when were they published?

Duncan Hill: Based in Washington, DC, many of my projects focus on activism and multiculturalism in the city. I have recently had photos from my project “A Capital City” published in F8 Magazine, and Photography Monthly, and scheduled for publication in SB Quarterly.

SR: How have you grown as an artist? If you could give your past self any advice what would it be?

DH: Over the last few years I have learned so much about the photography and arts industries. One of the most important traits I have learned as a photographer is perseverance. The art/photography world can be a rough place, and if you give up the first time your work is denied, or criticized, you won’t make it far. If I could go back in time and give myself advice, I would tell 16-year-old me to start exploring the photography of Garry Winogrand and Henri Cartier-Bresson. Their photographs have had a great impact on my work and I wish I would have been familiar with them at a younger age.

SR: How did you first get involved in your field? What sort of challenges have you faced? What do you believe have been your greatest achievements?

DH: My interest in photography started as a kid, my father was an avid photographer and gave me a 35mm SLR when I was in middle school. I went to the University of North Carolina at Wilmington for Film, and minored in Digital Arts. Throughout my college career I studied cinematography as well as still photography. A challenge for me has been my shyness. In today’s world of social media, you have to be comfortable promoting yourself. My two greatest/favorite achievements would be: Being named a finalist in the “Under 30” category of Black + White Photography Magazine’s, “Black + White Photographer of the Year” awards; and being awarded “Best in Show” in UNCW’s 2009 Student Art Show and having my winning photo “Metro” added to the school’s permanent art collection.

SR: Have you ever tried to work in other creative areas (e.g., publishing, illustrating, etc.)?

DH: My father is a painter, and my mother is a librarian and avid reader. So I was influenced by both visual and literary arts growing up. I have written extensively about cinematography and other film topics in the past. I also enjoy drawing and painting occasionally. I am hoping to publish a book of my “A Capital City” series sometime in the near future.

SR: Please give us some background biographical information. 

DH: Born and raised in High Point, North Carolina, the “Furniture Capital of the World.” I lived in Wilmington, NC for five years, moved to DC in 2010. I’m a huge Washington Nationals fan and unfortunately, a Charlotte Bobcats fan as well. I collect cameras, and especially love old rangefinders and folding cameras. Some of my favorite: TV Shows: Flight of the Conchords, Arrested Development; Movies: Midnight in Paris, The Fall, The Usual Suspects; Music: Bob Dylan, John Coltrane, Flaming Lips; Books: Bob Dylan: Chronicles, 1984, Confederacy of Dunces

SR: What awards or recognition have you received for past or present work? 

DH: 2011  Shortlisted, Black + White Photographer of the Year (Under 30 Category), B+W Photography Magazine
2011  Best Cinematography, Reel Teal Film Festival, Wilmington, NC
2010  Honorable Mention, Digital Photo Magazine’s Art of Photography Competition
2009  Finalist, Digital SLR Photography Magazine, Worlds Apart Photo Competition
2009  Finalist, Digital Photo Magazine, Perfect Portraits Competition
2009  Best of Show, University of North Carolina at Wilmington Annual Art Show

SR: What inspired you to create your piece for Issue 9 of Superstition Review? Why did you choose our publication for your submission? How would you describe your Issue 9 contribution? 

DH: Although much of my work is documentary in nature, I always aim to capture interesting scenes of lines and light. My four images for Issue 9 are studies of converging lines and visually pleasing geometry. I chose to submit to Superstition Review because I was impressed by past issues and I liked the viewer friendly website. Also, I liked the fact that Superstition Review promotes itself well and is involved in social media outlets.

Read more about Duncan Hill’s work at his website.

 

Featured Art for Issue 9: Jonathan Faber

Superstition Review
Jonathan Faber

We had the opportunity of featuring six of Jonathan Faber’s paintings in our newly-released Issue 9. Jonathan’s award-winning work has been exhibited in galleries and museums throughout New York and Texas including the Austin Museum of Art, the David Shelton Gallery, and the Galveston Arts Center.

His work fuses the beauty of both abstract and realistic environments. Jonathan describes his new collection as “being involved within the paradox of memory and observation – seeking out subjects that co-exist between the expansive and the intimate, the recognizable and the ambiguous.” He explains that “they manifest from memories of places or things observed, lived with, or passed through.”

Jonathan draws inspiration from the houses and backyards from where he grew up: “Many things inspire me but my most recent subjects are connected to domestic objects and landscape settings. Other sources of mine examine conversations, things I’ve read, and things I’ve listened to. These associations tend to lean more into the abstract spectrum.”

He has received awards from the Pollock-Krasner Foundation in 2011, the Joan Mitchell Foundation in 2003, and has been nominated three times for the Arthouse Texas Prize. Faber finds creating art is about the journey and the discovery: “To me the transformative process of making paintings doesn’t necessarily lend itself to an ultimate goal. I find it’s much more exciting, productive and ambitious to try to solve problems and take risks. So goals for me tend to suggest an ending where I am more interested and concerned with discovery and where that may lead.”

This new collection takes on a slightly different tone than some of his previous work: “I think about past work as being in two camps — graduate school and post graduate school. Graduate school was about trying on a lot of different hats and mimicking for better/for worse some of my past heroes, such as Gerhardt Richter for example. Post graduate I found myself introducing a broader range of invented vocabularies and moving more or less in a linear direction from one painting to another, responding to the discoveries made in each painting. Now I look at what I make as a hybrid of many interests with a better handle on orchestrating and decoding the rules of representation.”

For those looking to hone their talents, Jonathan suggests new artists “work hard at their practice. Stay engaged with your art community so people know who you are and what you’re up to. Very few artists can live off their own work. Most artists need a second job to support themselves. It’s very important to be honest and admit to yourself what kind of artist you are.”

Being an active part of the art community is essential: “Go to every art event you can and get to know the right people in that art community. If you are the type of artist who doesn’t enjoy the social aspects of asserting oneself in this way then you will need another job like teaching a painting class or working in a design field. Just relying on the quality of your work and the purity of your spirit/conscience rarely puts enough food on the table to maintain a robust artistic practice.”

Jonathan Faber currently works part-time as an Assistant Professor at Southwestern University Georgetown in Texas and is a Lecturer at the University of Texas in his hometown of Austin. You can see Jonathan Faber’s work in Issue 9 and on his website.

 

Issue 8: Tim Flannery

Samantha Allen

Northern Michigan resident Tim Flannery is an artist whose work is deeply influenced by his surroundings. Living and working in the Upper Peninsula, his photography often captures the idyllic beauty of this place, which is defined by its dense forests, its Great Lakes, and its long, harsh winters. On his website, Flannery states, “during the long winters I find that my work becomes more convoluted…As the winters drag on the images start to take on a surreal feeling.”  Indeed, this is evident in the pieces that will appear in Issue 8 of Superstition Review this December, particularly his painting “Twig Man.” The palette is awash in grays, and looking at his painting I can’t help but feel the sense of confinement that comes with being forced indoors. I can only imagine that Flannery completed this particular piece during the coldest days.

Flannery’s passion for the Upper Peninsula is not confined to his artwork. When not working on his own art, he edits Art on Ice: Digital Magazine of Art and Culture in the Frozen Upper Peninsula. His magazine covers a wide array of subjects in the arts, including articles on everything from literature to dance to dining. What unites these subjects is a strong sense of the contributors’ regional identity, and like Flannery’s own art, the work in this magazine is clearly influenced by the thick forests and ever-present cold. Coming from Arizona, where Superstition Review is based, it is particularly interesting to explore how environment shapes art, since the Sonoran Desert and the Upper Peninsula are about as different as two environments can be. It is a pleasure to glimpse another part of the world through the work that reflects its identity.

 

Worldwide Day of Occupation: Phoenix

Samantha Allen

Last Saturday was the Worldwide Day of Occupation, when protests of all sizes occurred in 1500 cities and 82 countries across the globe. Ten thousand people marched in the streets of Madrid. It’s estimated that 20,000 showed up to flood Times Square. And at the height of the protest here in Phoenix, between 1-2 thousand of us came to show our support at Cesar Chavez Plaza downtown.

Since the protests began on Wall Street one month ago, there has been a certain amount of criticism aimed at the people involved. One common charge is that the protestors are just bored college kids who protest for the sake of protesting. What I saw at Occupy Phoenix couldn’t have been further from that accusation. There were plenty of young people airing their frustrations over the lack of opportunity many of us will face once we graduate college. But there were also entire families whose small children proudly waved American flags as we marched as a group towards Martha T. Hance Park. There were a surprising number of older Americans airing the same grievances as the youth, including a stooped elderly couple that made sure to be in the front row of one of the impromptu assemblies at Cesar Chavez Plaza. The husband wore a hearing aide, so the wife made sure to wave his hand in support for him whenever a speaker expressed frustration that our system has failed us, the 99%.

Another criticism has been that the message is too muddled to make a difference. But I disagree. One message was loud and clear: we need peaceful action to show the world we’re listening, that the power must remain in the hands of the people. The myriad of problems the world faces is too large and diverse to fit on a protest sign. But the message that the interests of the many must take precedence over the interests of the few is one that unites the world, from Hong Kong to London to New York to Phoenix.

This weekend made me think about why art of all kinds is so crucial to civilization. Writers and artists are responsible for interpreting our surroundings, encapsulating the world in which we exist in a poem, or a story, or a painting. We make art to communicate and share ideas with the people of today, and to make our voices heard to the people of tomorrow. We are living in turbulent, fascinating times. I can hardly wait to see what art arises out of our struggles.

To see a list of writers who support the Occupy movement, including Dorianne Laux, whose work will be published in Issue 8 of Superstition Review, visit http://occupywriters.com/

Meet The Interns: Rebecca Glenn

Superstition Review

Rebecca Glenn is looking forward to the challenge of contributing to the publishing process at Superstition Review. Her experiences in upper-division class work have inspired and encouraged her to consider a career in publishing. She is thrilled to have an opportunity to experience the field first-hand through Superstition Review.

Superstition Review: What is your position with Superstition Review and what are your responsibilities?

Rebecca Glenn: I am an Art Editor and I am responsible for soliciting art submissions from local and national artists. I also make decisions on art to include in the issue and then I correspond with artists to facilitate its publication.

SR: Why did you decide to get involved with Superstition Review?

RG: I took a class on publishing in literary magazines with Trish Murphy and my interests stemmed from that experience. I have always been drawn to the publishing process, but it wasn’t until I took the class that I was educated on what exactly literary magazines are.

SR: Besides interning for Superstition Review, how do you spend your time?

RG: I’m a homebody with a traveling streak. I love to cook and goof around with my two girls. We do a lot of drawing, art projects and impromptu dance parties.

SR: What other position(s) for Superstition Review would you like to try out?

RG: Nonfiction is my passion. It would be exciting to be the nonfiction editor. I also really like the idea of being a reader.

SR: Describe one of your favorite literary works.

RG: Madelene L’Engle’s A Wrinkle in Time is a personal favorite. There are certain creations, like A Wrinkle in Time, that are beyond category and that is part of the appeal to me. Most would say it is a children’s novel and yet I read it again a couple weeks ago and was entranced.

SR: What are you currently reading?

RG: I like to spend summers re-reading books from my childhood. I was addicted to reading in my youth and my summer days were almost always monopolized by a book and a cool spot in the shade. Since we are just coming out of the summer months now, I most recently finished the Lord of the Rings trilogy.

SR: Creatively, what are you currently working on?

RG: I paint sporadically and also dabble in charcoal. I am constantly drawing. I just finished a charcoal portrait of my mother for her 50th birthday. It is such a momentous celebration and I spent a lot of time trying to capture the years of her life in a single expression; it was tough. As far as writing goes, most of it is academic these days due to my school schedule.

SR: Where do you see yourself in 10years?

RG: That is the big question…I’m not so concerned with knowing. I can say with all confidence I have no idea; maybe a pig farmer in Peru.

Meet the Interns: Nicole Davis, Photoshopper

Superstition Review

Nicole Davis is a freshman in Graphic Design.

Superstition Review: What is your position with Superstition Review and what are your responsibilities?

Nicole Davis: I am the Photoshopper. I use Photoshop to format all the headshots that are published in SR and I also help with advertising ideas.

SR: How did you hear about Superstition Review and what made you decide to get involved?

ND: I got an email about an internship and applied. I didn’t expect to get it, and I am so excited to be a part of SR this issue.

SR: What are you hoping to take away from your Superstition Review experience?

ND: I want to gain a better understanding of what it takes to put together and publish a magazine.

SR: Describe one of your favorite literary or artistic works.

ND: I really love collages and photomontages like work by Hong Hao.

SR: What are you currently reading?

ND: Blue Like Jazz by Donald Miller, I love it so far.

SR: What is your favorite Superstition Review section, and why?

ND: I really love the art section. I’m a painter and a photographer so seeing other people’s art is really inspiring.

SR: What other position(s) for Superstition Review would you like to try out?

ND: I would love to be an art editor or work in advertising.

SR: Do you prefer reading literary magazines online or in print?

ND: Print, I truly love having that tangible object versus the computer screen.

SR: Do you write or create art? What are you currently working on?

ND: I used to write when I was younger but now I’m much more artistic. I’m currently working on a painting of superman for my older brother for his birthday.

SR: Besides interning for Superstition Review, how do you spend your time?

ND: I’m a full-time student, and I also have a part time job and a pizza place called Picazzo’s. I also attend a group called YoungLife and rehearse with the ASU Gospel Choir each week.

SR: What is your favorite mode of relaxation?

ND: Napping. Nothing is better than a nice, mid-day nap.

SR: Where do you see yourself in 10 years?

ND: In 10 years I hope to have a job that I enjoy. While my dream is to be a magazine editor, I’m open to my future. I’m not positive where I’ll end up, but my biggest goal is to be happy.

Meet the Interns: Amy Cheung, Advertising Coordinator

Superstition Review

Amy Cheung is a Creative Writing junior at ASU.

Superstition Review: What is your position with Superstition Review and what are your responsibilities?

Amy Cheung: Advertising Coordinator. I am responsible for creating and sending out email blasts regarding submissions, readings, and notifications about Issue 5 of Superstition Review. I also work to contact other magazines and advertise SR there, as well as other locations so that we can increase awareness of our magazine.

SR: How did you hear about Superstition Review and what made you decide to get involved?

AC: I took a course with Trish last semester about publishing in literary magazines. I received email blasts about Issue 4 and an email blast requesting applications for interning this semester with SR. I thought it would be a great opportunity to contribute!

SR: What are you hoping to take away from your Superstition Review experience?

AC: I hope to learn a lot from this experience of working as a small part of a really big project. I want to learn the process of getting a literary journal out, better appreciate all the hard work that goes into it, and understand the extent to which each role plays an important part. More importantly, I want to have fun this semester working with my peers on this amazing journal.

SR: Describe one of your favorite literary or artistic works.

AC: One of the best books that I’ve ever read is by Australian author Tim Winton called Cloudstreet. It’s an amazing book about real life people and real life situations. The magic realism of the book creates a fascinating world that anyone can be a part of and brings the characters and the house they live in to life. The author’s style is so beautiful and fitting for his characters. It is definitely a must read.

SR: What are you currently reading?

AC: Besides all the textbooks for my other courses at ASU, I’ve just started reading Balzac and the Little Chinese Seamstress.

SR: What other position(s) for Superstition Review would you like to try out?

AC: I think I would enjoy trying to do Photoshop and web design work for SR. I wouldn’t mind trying my hand at being a fiction editor, since I love reading other people’s work.

SR: Do you write or create art? What are you currently working on?

AC: I both write and create art. I’ve been revising a lot of my old stories as well as very slowly working on a book that I thought up several years ago. Art wise, although I haven’t painted in three years, I’m trying to paint again. I also like to do digital art, although it tends to be very time consuming.

SR: Besides interning for Superstition Review, how do you spend your time?

AC: Currently, I have three other classes at ASU, and I work part time for my high school in China. I’m finishing up helping coach for the basketball season. I also work as a media designer, creating advertisements, posters, pamphlets and other documents to promote the school.

SR: What is your favorite mode of relaxation?

AC: I love sitting and talking to my friends, since I have so little time to do so. I also like taking time for myself, reading, drawing, and playing video games when I need to do something mind numbing.

SR: Where do you see yourself in 10 years?

AC: I hope to still be writing in 10 years, and working as a museum administrator. I love art and organizing, so I hope to make a profession of it!

Meet the Interns: Nicole Dunlap, Photoshop Editor

Superstition Review

nicoledunlap_1Nicole Dunlap is a English Literature Senior at Arizona State University. She is currently the Photoshop Editor for Superstition Review.

Superstition Review: What do you do for SR?

Nicole Dunlap: So far I have been formatting headshots and designing various banners and logos for the website and advertisements. I plan to continue these activities throughout the semester and I also plan to do any miscellaneous tasks that will be given to a Photoshop editor.

SR: How did you hear about or get involved with Superstition Review?

ND: I first heard about Superstition Review through an advertisement for needed interns.

SR: What is your favorite section of SR? Why?

ND: I like the nonfiction section, just because I tend towards the creative nonfiction genre.

SR: Who is your dream contributor to the journal?

ND: I would love if my friend Kara would contribute some of her artwork. She does mostly performance art, but her paintings and prints are amazing; I would love to help publish some of her art.

SR: What job, other than your own, would you like to try out in the journal?

ND: I would love to be a nonfiction editor. I would love to read submissions and get a feel for the behind-the-scenes operations of the publication process.

SR: What are you most excited for in the upcoming issue?

ND: I’m excited to read the submissions, of course. But I’m mostly excited to see how the redesigning of the website will look.

SR: What was the first book you remember falling in love with and what made it so special?

ND: I’ve had several favorite books but the earliest one that I can remember is a book called Sirena. It was a young adult novel about the Siren mermaids–the author wrote a series of novels that reworked common stories or fairy tales. She put her own twist on them, added in a bit of drama and made them all great for teenagers to read.

SR: What are some of your favorite websites to waste time on or distract you from homework?

ND: www.stumbleupon.com (if you don’t have an account here, you need to make one), www.etsy.com, www.flickr.com.

SR: What are your feelings on digital medium?

ND: I’m hoping that being involved with Superstition Review will help rid of me this opinion, but it’s hard for me to take digital literary pieces seriously. Blogs have to be especially entertaining or humorous for me to like them. And similarly, literature needs to be especially engaging to hold my attention. I’m also a person who prefers a photo to a digital file, a printed page over a PDF. I just like tangible things better.

Do you create art? Tell us about a project you’re working on.

I’m always tweeking my own photographs, trying to decide on a series to shoot, a series to put together.  Currently, I’m working on putting together a poetry/photography book.  I’ve printed out a sentence or two on a transparency so I can bring it into the darkroom with me to make it a part of the printing process.