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Art & Culture
Beautiful Paradox
A N INSIDE LOOK AT THE AMERICAN PAINTER AND HER ETHEREAL APROACH TO THE CANVAS.
Developing a taste in art is a skill that can be learned. Everyone can visit museums and galleries to study works of art or read books about an artist’s life and career. Developing a critical eye can take a while, but it is something that will exponentially improve over time, and it’s a fun process of self-exploration. Approach buying art as a journey of a lifetime. It’s not like buying a pair of shoes or other novelty items. Select works that are interesting and important. there are three important things to look for when considering a piece: critical attention, support from museums and curators, and commercial sales. You are really happy if you get two of these...but three is amazing! Every city, regardless of size, has an art scene. Research and support the art-focused entities in your area, whether that means a museum, small gallery, non-profit artist collective, or cooperative art studio space. Getting involved with your local art nonprofits and galleries is a great way of immersing yourself into the art world, as it will inevitably open you up to other art-centric oppor- tunities. Visiting public and commercial spaces also allows you to see so much art for free - good and bad. Don’t be afraid to seek out art you don’t like, as It’s equally important to see both good and bad art, because the more you look, the more you start to see the difference, and the more you realize what resonates with you. Below are a few quick tips that will help you demystify the art collecting process: Tips on Art collecting Buy art because you like it and because it moves you, and because it will enhance your life. Visit as many art galleries as you can, gallery staff can be helpful guides in your art education. Get on gallery mailing lists so you'll be invited to openings and special events. Attend Art Fairs whenever possible. If you know art collectors, talk to them and find out what they know and what they’ve learned about collecting art. • Visit and join your local art museums and non profit art organizations. • Read books on art history and books about collecting art. • Subscribe to art magazines. • Read reviews by local and national art critics, keeping in mind that reviews usually just reflect one persons opinion. • Once you've educated yourself and have fallen in love with a work of art, buy it, take it home and enjoy it. www.tfa-advisory.com
Photographer: Rebecca Roberts Artwork images courtesy of Coupralux Brenda Bogart is a mixed media collage artist based in Dallas, TX. Her studio is chock full of boxes of found and collected objects from literally everywhere. She has rescued treasures out of muddy puddles, amassed countless objects on long walks with her husband and dogs, and collected hand- made papers from artisans all over the world. Brenda’s favorite haunt is in Paris where she finds hand-lettered antique documents and paper ephemera. She defines collaging as “painting with paper” and coaxes this chaotic medium into intriguing works of art using her distinct style of color, pattern, and texture. Brenda holds a degree in Interior Design from TCU and studied painting and drawing at SMU extensively under Mary Vernon and Barnaby Fitzgerald. For her solo debut at ANFA, Brenda created a brand new collection of pieces that honor Charlotte aka Queen City, lovingly entitled THE QUEENS’ GARDEN. Two Trees of Life on large wooden panels are flocked with a plethora of playful birds, chipmunks, and squirrels which dance among the branches of these stately arbors. Presiding over the collection are Willow and Magnolia, two life-size Garden Queens frocked in an impressive array of local flora. The underlying composition of each queen is collaged from French, hand-lettered documents from the 18th and 19th centuries. Set against a backdrop of the palest pink, a flurry of hummingbirds hover around Garden Queen Willow, whose gown is burst- ing with a bevies of blossoms. Hidden amongst the layers of her floral skirt, groups of tiny fairy children float on a leaf-hewn boat, swing from a flower stem, and dance gleefully on the petals. You can almost hear them laughing and singing with the joy of Spring! Garden Queen Magnolia is re- gal, set against a stunning blue floral background. Her hoops of leaves and corset of stems fas- ten her ornate dress in an airy, breathless fashion. The flora of her gown has attracted an array of ladybugs and butterflies. Anne Neilson Fine Art (ANFA) is proud to announce world-re- nowned mixed media artist, Brenda Bogart, to the gallery’s roster with her debut solo exhi- bition, THE QUEENS’ GARDEN in Charlotte, NC this spring. Owls, wrens, cardinals, raccoons, Eastern chipmunks, squirrels— all inhabitants of the North Carolina for- ests— complete the collection, with the crowning jewels of a peacock and a red fox which adorn the gallery walls. Who doesn’t love a story set in an enchanted forest? From Highlands to Mocksville, Brenda has spent time wandering all over North Carolina. With a spirit closely tied to nature, she has been deeply inspired to translate whispers of woodland creatures into remark- able mixed media collage, as varied and vibrant as each wooded glen. Even her personal residence in Dallas is uniquely situated overlooking a large park that is a nat- ural habitat for many of the animals, birds, flowers, and trees found in this collection— especially the owls, car- dinals, and raccoons! orn with a heart to serve, Brenda is incredibly ac- tive in her community through art-centric philanthro- py. During the pandemic, she has helped raise just over $60,500 towards the $100,000 goal for the North Tex- as Food bank through sales of her artwork. In addition, half of the net proceeds from the sale of her beautiful coffee table book, What to Give Up for Lent That’s Not Chocolate, will also be donated to Feeding America. Her community-focused passion is a perfect ideologi- cal union with Anne Neilson Fine Art, whose mission is to be a lighthouse in our community and to give back through art. Each month, ANFA donates 10% proceeds from art sales to a different local/ region charitable or- ganization serving those in need. In honor of Brenda’s commitment to ameliorating food insecurity and home- lessness, ANFA will be supporting The Harvest Center of Charlotte in March, 2022— making an impactful dif- ference in the lives of real people with real needs.
J uggling her passions as an artist, art educator and independent curator, Sonomi Kobayashi is no stranger to the arts. Raised in Japan and based in New York, the artist has a unique lens into the creative sphere—blending traditional and contemporary techniques into her work as well as influences of science, physics, astronomy, nature and spirituality. Kobayashi’s guiding ethos—using art for healing, meditation and inspiration—shines through everything the artist does, whether she is creating something special for an exhibition, traveling across the globe, hosting one of her workshops or teaching classes for young art students. Kobayashi is truly a modern renaissance woman, with incredible talent to boot. “I teach children's art class at The Art Students League and also sometimes substitute for their adult abstract classes.” “I also work for a community program teaching art and crafts to children enrolled in NYC Parks Learning Labs and occasionally teach watercolor and printmaking for adults in NYC Parks' Arts, Culture and Fun workshops.” “In 2019, I received a Certificate of Recognition from the Mayoral Service Recognition Program of NYC.” “I also started holding workshops of my own, teaching watercolor and alcohol ink art which is a newer material that many people are interested in now.” Where did your love of art begin? “My family was not artistic (though my father told me he liked to draw as a child, and I saw him drawing a portrait once when I was young). I never thought that I would study art and had no idea it would be my life work. I always loved to paint or draw more than hanging out with others outdoors as a child. I don't remember this, but my kindergarten teacher sent my mom a note...when everybody was drawing leaves in the class, I was drawing one with veins and all the details, and the teacher thought it was very good for that age.” From your perspective, what are the notable differences between Japanese and American art? “I never studied art in Japan, but many people say they see Japanese influences in my art. I did grow up in Japan, so I probably have observed Japanese culture without noticing. Since I moved to New York, I enjoy Japanese art more than when I lived there. I love visiting old temples or castles when I go back to Japan. I find Japanese art, especially old pieces, are well designed, using fine lines, subtle emotional expression and have a lot more detail compared to art in the United States.” What is your favorite part about the classes you teach? “My class is about enjoying the process, not the result. I love hearing that many of the participants say that they got into their art so much that they felt like they went back to being a child. I started teaching alcohol ink art since the pandemic started, both online and in-person in small groups. This material is very unique and you kind of have to let ink work on its own. It’s easy and enjoyable for people who are new to art, as well as artists who want to explore this new material.” This issue is all about “renewal.” What inspired you to start your workshops for healing through artwork? “Working on my art is like a meditation for me, sometimes frustrating, but usually I find an inner peace once I am in the ‘zone’. It helps bring me to the present moment. Because of the pandemic, many people had to change their lifestyles and felt insecure and anxious in living in uncertain times. I think art helps people find inner peace in their own way, as well as think dimensionally for a ‘new normal’ life.” *Maybe web address for online workshops? Or including pricing or dates? What’s on the horizon for you? “I will be participating in an art book fair with Printed Matter, Inc. at NADA Miami a couple of art events includ ing Kameyama Triennale and a group exhibition in Japan. Right now I am continuing teaching the art class at The Art Students League of New York, and I am planning to do more alcohol ink art workshops. My goal is always to help people in art in some way, either by giving fun art projects or showcasing my own artwork.”
F or Kenny Nguyen—a mixed media artist and immigrant—creating has always been an integral and stabilizing part of his DNA. Despite a whirlwind journey, art continues to serve as the connecting force between the artist’s culture, identity and career. Nguyen, a master of silk scu lpting, has swept onto the Charlotte scene with depth, heart and soul. “(Growing up) we lived in a tiny village in the heart of the Mekong Delta in South Vietnam,” Nguyen recalls. “There was something about the peaceful landscape of coconut farms, silk villages, boats and rivers that nourished my dream to be a painter. I painted a lot of the landscape when I was a young child.” At the age of seventeen, Nguyen moved to Ho Chi Minh City to attend the University of Architecture, where he studied art and worked at a fashion design house. “Having a part-time job with helpful skills and experiences pushed me to pursue a professional fashion design career,” Nguyen says. “Fashion design is a great creative job, but fine art is more like a mission. I think my passion for art just transformed into more conceptual and self-reflection, versus industrial and production.” Just two years later, Nguyen and his family moved to the United States. He notes that this experience was his most transformative, motivating him to work even harder towards the dreams he had begun to build in South Vietnam. “I was shocked and isolated. I barely spoke English and couldn’t communicate,” Nguyen says. “To learn a new language, new culture and begin a new life ... I told myself I must make it through and that there’s no other way.” This determination and grit led Nguyen to pursue his formal fine art training at UNC Charlotte, and after graduation, land a showcase spot at Sozo Gallery (which has represented his work since 2017). While the artist’s deep cultural ties shine through each of his designs, perhaps his most notable creations are his silk sculptures—a hybrid of painting, textile work and sculpting. The art pieces are primarily composed of silk, a material that has a long history in traditional art. “Silk has become a connector that ties both culture and career together,” Nguyen says. “From the silk village in the Mekong Delta tracing back to French and Chinese colonial history in Vietnam, it has had a profound meaning to the Vietnamese for thousands of years.” Nguyen says that he begins the process by cutting and tearing the fabric into small strips, before soaking them in acrylic paint. From there, he reconstructs them onto a canvas. “I think my approach in using silk for my artwork is what makes it unique,” Nguyen says. “It mimics my process of adaption and transformation in a new cultural environment. This also reflects my point of view on the constant change of our identity. At some point I think the process of making the art becomes more important than the finished artwork.” Looking back on his path thus far, Nguyen says he is proud to have helped his family achieve their “American Dream,” as well as introduce Vietnamese culture to more people in the states. Nguyen also appreciates that his career path has allowed him the opportunity to influence so many young Vietnamese Americans, and connect them with their history and cultural roots. “I think everyone has a story to tell and every artist finds a different way to approach the viewer,” Nguyen says. “My background is an inspiration for my artwork ... when I present my work to the community, the artwork overcomes all boundaries.” OUT & ABOUT: Nguyen’s work is available at Sozo Gallery. He also features an on-view group exhibition ‘Deconstruction Reconstruction’ at the Brooklyn Collective Gallery (open until Jan. 2, 2022). ‘The Fuse Project,’ the artist’s first public art display (in collaboration with Upcycle Arts) is located outside of the historic Brooklyn Collective building.