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AUGUSTANA STUDENT INVITATIONAL

Personally, I have moved on from Augie, but that doesn’t mean there are not things happening. In fact, quite the opposite! Did you know that Sioux Falls’ very own, Augustana University hosts several different gallery exhibits every year? I’m always trying to stick my head in the doors, just to peak at what they’re up to.

Currently, they are housing The Augustana Student Invitational, which runs June 1-September 1, 2017. Augustana is located right off of 33rd Avenue; whereas, the Eide/Dalrymple Gallery is a few blocks down on Grange Avenue. Before we get started, I want to add that there is some incredible work displayed in this show by all the participating students. By all means, go take a closer look at all of the interesting pieces! With that, let’s dive in!
-Hannah

DR. LINDSEY TWA

Does the sophomore and junior summer show normally happen every year?

Yes, this is traditional. We always do our Augustana Student Invitational every summer. That’s been true for a couple of decades now, I believe. So, every summer our rising juniors and seniors get the opportunity to get a professional exhibition under their belt as a part of the group show. These are curated out of our sophomore and junior reviews, which are the two major check points for the art major on the way to their senior thesis show.

What’s some outstanding history with the Edie/Dalrymple Gallery?

Sure! Well, the Edie/Dalrymple Gallery was founded in the late 60’s with former professor Carl Grupp, who was a signature print maker of the region and professor of drawing here. He’s still in town. He also founded our permanent art collection. He did it sort of informally, in addition to his very heavy load over the years, by bringing in professional exhibitions and then having student shows. Then eventually, he got a gallery space that is now the archaeology lab, and then this space opened new with the building in 2006. We are free and open to the public. We always do 7:00 pm – 9:00 pm exhibitions every year. There’s always the Senior thesis show that closes our academic year and then the Sophomore, Junior Invitational is always our summer exhibition.

So, does this run the whole course of the summer?

Sometimes it varies on our upcoming exhibitions. Typically, it’s open all summer and then closes the first Friday of the academic year. We use that as a closing reception to welcome back all of the students from their summer breaks, and to reconnect with them. It gives them a chance to see their show, because for many of them out of town, this gets hung post graduation. So, they won’t see their work in it until they step back on campus in the fall. So, we keep this until the first week of classes.

Of the students here, how would you say their progress has been with their work?

Each one of these artists is worth highlighting and elevating. One of the best things about this being our summer show, traffic tends to be a lot lighter, but we also have a lot of campus tours going on. So, the students that are here as prospectives looking at the college, they get to see that all of these pieces were created in an Augustana art class, and they get to see who the artists are. I love this show because I see these students in the art history classes, but I don’t really get to meet them as artists until I get to sit with them in their sophomore and junior reviews. It’s just fun to have. So, we have, of course, sophomore students that are maybe relatively early to the major. We have several students that are double majoring. Many Augustana students also triple major. Then we, of course, have students that are almost on their way to their senior thesis show. So, Sydney Kelly would be one of those that already has a very advanced and large body of paintings, then she’ll be wrapping up next year with both her art major and her student teaching for education major. It’s just a fun show!

Alex Meyer When the World Was Wild and Waste Scenic Design 2017

Is this show, specifically, any different feeling than previous ones? Is there anything that struck you differently than previous years?

I mean, each show has its own characteristic and is as unique as the group of artists that are here, right. A couple of fun things to point out, we have Alex Meyer’s large stage set. He’s incredibly talented. So, this might be a nontraditional form. It’s his photography, the concept drawings, and then the model on it. He actually presented that in Washington, DC and got a national award for his set design! We were very excited for him to bring that back to campus, and then to display it. This show gives a great set of how wide-reaching Alex is.

Alex Meyer Powder Gate Memory 2017

That stained glass tower up in the middle area on the pedestal is his, and then we’ve got these graphic design pieces from him. Right next to them we’ve got Marissa Hight’s digital piece. She’s a biology and art double major, and is interested in medical illustrations and sort of blending that. So, that’s a fun piece, along with her hand cast one. Actually, in the Black Hills this summer she got a research appointment at a research lab in the Black Hills. She will be doing laboratory research, but they were also interested in allowing her to do microscope drawings and proofing images for publication. She’ll get really good experiences being a visual artist who assists the scientists. This year we have Anna Reich in our photography department. We have far more photography present. So, that’s another difference. We just haven’t had a substantial body of photography in a while. That, of course, is a testament to her for building our photography program. Even Wyatt, who I think of as being a screen printer, has some phenomenal experimental photography.

Do you have any words of overall encouragement, or words of critique, for the students presented here?

Maybe a good sort of word of encouragement, especially for perspective students who walk in here… I know you had an excellent high school experience as far as an art program goes, but many students don’t. So, they already come to college saying, oh, I can’t draw. I can’t do this. I can’t do that. I think, particularly with the faculty here on campus, wherever you are at, they will make you better. So then, some of these students probably had no, or little-to-no, art before they came. Some already arrived thinking, oh, I’m uncomfortable with drawing, or I can’t do x, y and z. Yet, in Drawing I they can do things like Dagne’s castle shading to a t. The students who come out of that, and what they present, are far beyond what they would’ve thought could be possible. Then we have students that come in with a very high foundation of art. Then it’s just fun to see how much they improve year after year. Really just in an exponential type of way.

In three words can you describe your impression and experience from this show specifically?

I would have to say uniformly eclectic, because it all hangs together, and yet, it’s such a broad reach. I think it’s a good sense of just how many different avenues you can pursue in the program, and also do individually tailored expressive experiences. I would say hard work. Inspiration. I think, well, you know how many hours go into the studio!

Full list of students displayed at Edie/Dalrymple Gallery:
Allessandra Abel
Ajla Becirovic
Connor Bergh
Brooke Christenson
Wyatt Dickson
Tate Green
Marissa Hight
Sydney Michael Kelly
Joshua Kingsbury
Emil Knapp
Joshua D. Matzner
Alex Meyer
Mara Morrill
Katie Munson
Dagne Ode
Lynsay Prosser
Olivia Revier
Kylie Rome

Hannah Wendt chatting with Wyatt Dickson at the Edie/Dalrymple Gallery.

The process: Straight from the artists

[BEFOREHAND]

How have the before-the-show steps treated you? What’s your impression of the gallery space process before hand; was this a new experience for you? Did you enjoy it?

Wyatt:
For me, I think that’s always hard just because I know what other people kind of like, but I don’t necessarily know what kind of stuff of my own that other people like. I kind of have a negative view point over my stuff, just because sometimes it’s really weird stuff just for fun. I don’t take it as serious at times, so I don’t think other people will, even if it’s a serious thing. So, if it’s for the review, it was mainly trying to find things that I like, at the same time other people might like , as well. I think that it helped by doing a write up. I had all these different pieces up for the reviews, so the professors could critique my work, and eventually pick pieces for the show. I had to have a write up that stated what I was trying to get at, but in a super concise way, so that it’s clear. Sometimes I’m going, well, I took this picture just because I messed with a bunch of settings on my camera, or I made this screen print for fun, or because people said “you probably shouldn’t do that,” and I’m going to do it anyway. I couldn’t really say that, so I had to have this concise thing where I had everything down pat. I think that’s where it was stressful. I don’t know most the time if what I’m trying to convey is read by the viewer. With a lot of my pieces I like to have really open-ended outcomes, so that they can pick what they think maybe in a different way than me. Only after the fact, if they’re wondering what I’m trying to get at, I’ll tell them then. Other than that, either making weird things, or making them more confusing, or purposefully under confusing so that it’s easier for them to get. Maybe even harder for them to get, if I’m trying to have a conversation, or something that I’m just trying to get out there. I guess it just depends on each piece. With the ones in here, I think it worked a little both ways. My photographs are definitely a series where I was just trying to experiment with different objects. There’s a variety of things that I’ve taken pictures of. For most of them it was try something and go with it, rather than going, this is exactly what I’m going for and making sure everything is perfect. It was more of what Dr. Twa was saying, working with an experiment. That’s something that I like to do with photography, because it’s quick.

When putting my photographs in here, I wanted to try something a little different. So, instead of having vague titles, I made little music pieces for each of them. Some of them are bridges that are connected by a chorus that runs throughout the whole series. I’m definitely not a music writer at all, it was just something when I sat at a piano thought sounded good. I was trying to do something, that if the viewer has knowledge of music, they can pick out the little tunings with them and then decide if the sound would really go along with it. I’ve always wanted to do different sounds and photography, kind of like music and movies. I’m really into movies, so maybe that has something to do with it? I want the viewer to gain something from it. I like to have fun with it.

Katie:
Preparing for the show was pretty straightforward; we just had to matte and mount our work so it was ready to hang in the gallery. We did not hang our own work for this show, so I did not experience that process.
The pieces that are in this show were selected by the faculty during our spring reviews. Though they picked a few of the things that I would have chosen myself, I did have some work in ceramics that was finished after the reviews which I wish had been included in the summer show. There is always next year, though!

Sydney:
Before the show, we create work for the academic school year, and then our work is chosen by our professors in what is known to the Sophomores and Juniors as their review. To me, it is kind of a coming of age rite of passage. With me being a junior and having done a review last year, I am well aware of the space as well as how a review is carried out. Regardless, it is still just as nerve wracking to get up in front of your peers and lay your work on the line. In my review summary, I had written about how with art and being an art major it always feels like I am undressing myself and pulling off my skin, folding it neatly, and handing it to someone, while in a way, asking them to accept and appreciate it. I am literally showing you my vulnerability when I am showing you my art, and telling you about the symbolism behind it. The review was exactly this. Each and every time, no matter the audience, I get a certain nervousness about me when speaking on my work. Mainly because my subject matter is so visceral, but also because there is some part of me that is still afraid to tell the stories of what I have been through, and to tell someone is to let them in, and I am not good about letting anyone in. Review is a good test run though for me being able to talk about my work, and the things that go into it.
We are told to bring pieces of work, usually anywhere from 10-12 (sometimes 15 or so if they are smaller), but beyond that we are given the freedom to choose work that we feel is our best. But then you start staring at your rather large portfolio of about 30 or so works that you have created that year and you begin to question what your best is. Is it the piece that you spent countless hours on that got an A- and yet you still are madly in love with it? Or is it the piece that got you an A and yet you do not really care for it, but you know the professors will like it? You start to wonder if you should cater to your professors or to yourself… and to that, I will say that you should cater to yourself. When your work is chosen to be hung up in that space, you should feel a sense of pride, and that pride only comes with staying true to yourself. I make each of my paintings with a very direct purpose in mind, and therefor when my pieces were chosen, I was very pleased with the result. I also felt honored to be a part of an institution that displays the work of their students so proudly and wants to display mine as well the work of my peers. The process leading up to review is nerve racking, the review is nerve racking, preparing your work to be shown around finals week is nerve wracking, but seeing your work hung up is worth every minute of it.

Work by Katie.
Work by Katie.

[DURING THE FUN]

Do you have a specific goal, or immediate impression, that you want the viewers to think and feel when experiencing your work?

W:
Well, like I was saying, I do have stuff there, when other times it’s just if it happens then it happens. So, if a viewer sees something in a piece, I’m glad for them, but I’m not specifically trying to push them a certain way. With some pieces I’m trying to just get them and see how they look, while experimenting with different techniques and things like that. It wasn’t really a process of, this is really important to me and having to let the world know. I think my work is still important, in a way, but just not like that. With the photograph series, we’re suppose to explore something that we knew. However, going after that, I decided to take photographs of objects around my house. In the full series, I think there’s 35 or 40 pictures. Some are as simple as mason jars of tomato paste that we have from canning stuff. Other things are, like in here. There’s a certain image that started that series. It’s the self image. I was trying to experiment with light, which I really like to do with photography. I was trying to experiment with the light on the shelf, that in reality isn’t that important because it’s just a shelf in my bathroom. To me, there’s an importance behind it that I can’t quite understand, if that makes sense. Similar to, well, I know this, so it feels important. To anyone else, I don’t think they feel that, but to me, there’s a reason that this feels important. So, that’s where this series turned into something that wasn’t really just things around my house, but things that have a specific importance even if it’s just really vague for the viewer. For those, I’m not expecting the viewer to get anything out of them. They might find bits of relations that, in turn, can find comfort in, but I’m not specifically trying to get the viewer to see that. So, like I was saying, if the viewers see something, I’m glad they do. I would honestly like to know what they see, just because I think that’s interesting, but I’m not trying to force them to see something that I may be putting out there.

K:
My two screen prints that are in this show are the works which I am most pleased with and feel represent a certain side of my work effectively. I am largely influenced by nature, namely the sky and cosmos. I hope that my screen prints will convey some degree of a connection with nature. The piece, “Where are you now? I still need you here,” was created shortly after the unexpected death of my mother. That is the first piece in a series that I am working on which deals with the concepts of life, death, the afterlife, and the consideration of a higher power. I don’t like the idea of telling a viewer exactly how to interpret my work, but I use titles as a guide of my intent.

My intaglio print of my dog, “Charlie,” explored texture by focusing on hair. Charlie has crazy, wiry hair which I thought would be fun and challenging to convey in a drypoint print. The position of him resting was my way of conveying how solitude can oftentimes be a necessary means to feeling inner peace.

S:
When you first look at my work, you are either attracted it to it or repulsed by it. Often there is an innate reaction when viewing the grotesque or death. Your throat tightens a little, your chin clenches, maybe you blink frequently or your advert your glare, but in general you have a response. The secondary response when viewing my art should be the curiosity of why the subject matter is chosen, in an attempt to figure out the piece. The third common response is why does a 21 year old woman attending an upscale university in South Dakota originally from a small town in Iowa want to paint such things? To that, I would have to tell you to sit down with me and listen to the full story. But when that is not do-able, the viewer often just notices my attention to detail and the craft of my work. Notice the ants that are either fleeing away or being attracted to the objects around them. Pay close attention to the use of color and what you might be noticing as an American flag, a desecrated pie symbolizing human interaction, or maybe the mourning ceremony that gives you a closer view of tragedy and the influence of fate. My work is used to show my occupancy in this world, and how as a sexual assault victim and an abuse victim, I have often felt left without control. From that, I have pushed my feeling of being small in this vast world and how there are many parts of my life that are left open to the influence of greater powers. Dominant versus submissive, choice versus the lack of, nature versus nurture, authoritarian parent versus authoritative, resilience versus conforming, and conscience or the lack of. These are some of the things that play a role in my life and the pieces that I create, carrying out a plan to tell my story through the visual arts.

Sydney Michael Kelly’s oil paintings

[AFTER IT’S SAID AND DONE]

Personally as an artist, is there anything else that you would want the public to look forward to? Any shows coming up, are you planning any projects, etc.?

W:
I do a lot of stuff on my own, and apart from that, I don’t hear much going around town. Unless it’s from this one girl, Hannah Wendt, that I know, I don’t really hear a lot going on. I’m working on making t-shirts with print making stuff and using screen printing t-shirts, right now. I like wearing t-shirts, and I just wear weird stuff. Why not make my own? I don’t paint a lot, but I’m wanting to get into making my own inks and paints out of random crap. Maybe just smashing up a whole bunch of stuff and seeing what happens. I’m trying to use a bunch of different materials in my work, and do more experimenting because that’s the name of the game with my stuff. Other than that, I guess I need to get out a lot more. For right now, just through Facebook, Wyatt Dickson, would be a way of contacting me. If you wanna say hi, or if you wanna be like, hey, let’s make something. If you want to buy something, sure!

K:
I am drawn to illustration (pun somewhat intended) and showcase my skills in my ceramics work. They are really fun to look at and people seem to get a kick out of them. I am also developing my series of screen prints which is dealing with the concepts of the cycle of life, and the existence of god. I am always dinking around in the printmaking studio and constantly have new stuff I am working on, which I share online. You can find my portfolio, including examples of my ceramic work on Facebook and my website.

S:
I create about one to three paintings a week during the academic year, and I will continue to work at this rate. My work can best be found on social media, as I post my creative journey. I occasionally participate in small shows, but for the most part, I make work for myself and not for show. I have made such grand progress over the 2016/2017 school year and as I go into my final year at Augie, I do not intend on halting my progress. I fully recommend anyone to come to the senior show in May of 2018 if you want to see my grand finale, and hear me speak publicly on my journey. Until then, I sell most of my pieces for cheap so that they are obtainable by many. You could be the next owner of an original piece and you should be. My Instagram is sydneymichaelkelly and it is where most of my work can be seen. My email is smkelly14@ole.augie.edu for any other inquiries.

 

LIZ BASHORE HEEREN – AN INSPIRING INTERVIEW

LizHeerenI don’t like to admit when I’m intimidated. It seems unnecessary to show that type of weakness, to evaporate any sliver of feigned confidence I may be portraying. There are internalized rules that we each hold ourselves accountable to, certain routes we explore to make us stronger, smarter… more safe. It is the individuals that step beyond these constraints that I applaud, and equally admire. The people who adhere themselves to a path of growth, that embrace struggle to enlighten their perspective in some reaching way. The people who step away from their own shadow, if only in an effort to teach someone else about the light.

Liz Bashore Heeren intimidates me, and for good reason. She is poised, polite, and professional. Heeren is an artist, a professor, a gallery director, a mother… Each role presumably as demanding, and rewarding, as the next. Growing up in an artistic family, Hereen was not a stranger to the role of an artist, and the realities of pursuing your dreams in a thoughtful and practical way. Heeren continues to use her long love of science to pursue that beautifully whimsical line between human and synthetic, the marriage of elemental juxtaposition. Her take on this perspective reminds me to give pause, investigate my world in the immediate sense, and every now and then, step into the light. ~Amy

Continue reading LIZ BASHORE HEEREN – AN INSPIRING INTERVIEW

Blue Is The Warmest Color: The Art of Hilaire Hiler

While some artists (Picasso, Pollock and Warhol) loom larger than life in our cultural memory, it is only a precious few whose names are actually preserved for posterity. This is why, every once in awhile, one should look back at those artists who were lost to history and bring their unique, if limited achievements to light.

Hilaire Hiler is one of the Continue reading Blue Is The Warmest Color: The Art of Hilaire Hiler

LAURA JEWELL – AN INSPIRING INTERVIEW

LAURA-JEWELL-FEATUREDWhat does home mean? Is it where you were raised? Where you are now? Even if you’ve never left, there is that special gut feeling that just tells you… you are here. You are home. The sanctity of that word blankets many attachments to the notion. That creaky second stair on your family’s porch, the soft nape of your mother’s neck, the warm smell of the wood burning tool you were given as a child. Anything can be home, if it is home to you. Laura Jewell recognizes the importance of knowing your home, and understanding your roots.

 Laura is the kind of person that makes you want to close your eyes and smile. She has a captivating, almost magical quality to her that is effortlessly translated into her artwork. Her most recent series, Rural Superstitions and Astrology, focuses on different lessons she has taken from Old Farmer’s Almanacs. In approaching these lessons, Jewell has had the opportunity to reconnect to her roots as a country girl from rural Kansas, and find re-purpose in the activities of her youth. I feel privileged to have had the opportunity to hear her words, and am happy to share them with you. Please read on, and reflect on the lessons that you’ve learned, and the home that you hold dear.  -Amy

What is the path that has led you to where you are today?

I’ve been interested in art since I can remember. I grew up in the country, in Kansas, and my first art set was a wood burning tool, which I thought was the coolest. I did 4H and did the arts and crafts, did that in high school. Then when I went to college I tried some different things, like Agriculture Business. I just wasn’t into the math part of things, so I started taking art classes and went from there. I moved up here and finished school at USD,  and just kept going I guess.

laura-sitting-jewell

laura-jewell-painting-detail-splatter

Were you attending school in Kansas before USD? What was your major?

Yes, I have a BFA in printmaking.

Did you have mentors, or anyone that helped you through the schooling process?

I had a lot of really fantastic professors. I took a couple of classes from Continue reading LAURA JEWELL – AN INSPIRING INTERVIEW

ANDRES TORRES: AN INSPIRING INTERVIEW

Andres-Torres_FeaturedSometimes understanding what you don’t know can be one of the most beneficial truths to attach bearance. By acknowledging that void, there is an internal release provided, a demand for discovery and intuitive action. For Andres Torres, that visceral approach is matched with strong intellect and an explorative understanding of art theory. His abstract paintings have a captivating allure that provide interest for a multi-faceted audience, which he creates through finding an articulate intersection between playful and purpose.

JAM had the pleasure of talking with Andres before he moved to Wisconsin for graduate school. It feels so much longer than two months ago, when we were sitting outside in mid-August, enjoying iced tea and Torres’ thoughts. I have always enjoyed his company and valued his opinion, and his absence has not gone unnoticed. During these fleeting days of fall, take this time to read on, and reminisce on the warmth of summer, and the flowing thoughts of a genuine soul. ~Amy

paintings-on-the-floor-torres

What is the path that has led you to where you are today?

Well, I’d have to say that my mom was a huge part of me becoming an artist, along with my grandmother. I’ve always been exposed to Continue reading ANDRES TORRES: AN INSPIRING INTERVIEW

Some Quick Thoughts About Carl Grupp

carl-grupp-koch-hazard-2007-eyob
Today, the art world is a really big place. In the last few decades, the advent of the internet and the decline of Western cultural imperialism have opened making it an almost global network of creativity.  Major galleries and museums now make a point to feature artists from all walks of life and countries of origin.   If Picasso, a Spaniard, was the world’s foremost artist-celebrity in his heyday, one might argue that China’s Ai Weiwei has inherited his mantle.

But in some ways, the art world has changed for the worse.  Sadly, it is still exclusive and money-driven, prone to excessive hype and bizarre trends. And for all intents and purposes, it is still based in a handful of cultural meccas: New York, Paris, London, Tokyo.

This is why it can be refreshing, even enlightening, to look at the work of artists living in places where the art world has scarcely penetrated, where the creative impulse isn’t overwhelmed by Continue reading Some Quick Thoughts About Carl Grupp

JANA ANDERSON: AN INSPIRING INTERVIEW

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How do we become attached to images? What is the force that pulls a person towards something? Where is the interest forged, and how is that connection solidified? Sometimes, there isn’t an explanation, or at least not one that gives itself to the written word. I was watching an interview with Noam Chomsky last night, and in it he talked about the recognition of an object, regardless of the physical presence that it embodies. Now, I could be interpreting this incorrectly, but what I took from it was the connective process, the inherent cognitive solving of a physical complication. I see this in Jana Anderson. She attaches herself to these images, and sees the abstract connection in her subject matter, much beyond the obvious. It was a pleasure to speak with her, and I hope you enjoy her insights as much as I did. Please read on to see Jana’s views on the creative process, the struggles of private creation and public display, and the importance of creating a routine for yourself.  ~Amy

JAM: What is the path that has led you to where you are today?

JANA: The path to getting here has been difficult. Some days I don’t even know where I’m at, but creatively I’ve always been interested in art as a kid. It was that kind of path. I went to college thinking I was going to be an art teacher. I like kids, I like art; I thought it would be a good combination… turns out it wasn’t. I’m a one-on-one kind of person. I don’t do that great in a crowd or in a group of people, so classrooms seemed more about discipline than creating art. I slowly realized that all I really want to do is create art and that makes teaching children difficult, in terms of getting that going for myself. However, as it turns out, I am a nanny right now; it’s my full-time job. I do that and then painting. I’ve created a studio for myself for the past four years or so, and have been selling stuff the past couple of years. It’s just slowly been going together more and more, wanting to create and trying to get my name out there a little bit and see where that goes. If I can slowly back off on a full-time job that would be awesome.

Jana-Anderson-in-orange-chair

Is there anyone that has been a mentor, or given you guidance on how to approach what you’re doing?

Not anymore. I had some really great professors in college that were professors and working artists, and making a living that way. I saw their solo shows throughout my college career, which was really cool to see Continue reading JANA ANDERSON: AN INSPIRING INTERVIEW

Shaine Schroeder and the Art of Instagratification

Shaine Schroeder knows how to work. Since I moved back to Sioux Falls after college, and even more so in entering the area’s art scene, his name is one that I have noticed has often come to attention. His art is visible in galleries, restaurants, the walls in countless friends’ houses, and even a school. Schroeder has made a reputation for himself, and it is one of perseverance and versatility.

shaine-1

This past weekend, he did something particularly interesting. Using Continue reading Shaine Schroeder and the Art of Instagratification

Steve Larson: An Inspiring Interview

Steve L featured image
So often in our youth we forget how indiscernible time has a way of becoming. The moments that we experience in our early adulthood may become mere sentences or moments of hardly recalled time. It is hard to imagine the future, and sometimes even more so the past. To give us some perspective on the transitory nature of both art and life, JAM met with artist Steve Larson at his home in Sioux Falls. He is a former Lutheran minister and social worker that did not begin to create art until he was in his forties. Larson spoke to us about the importance of being open to inspiration, and finding it through fostering a will to keep yourself in constant creative motion. He shared with us his rock collection, past paintings, and his most current 3D constructions. Most importantly, Larson pointed out to us to never consider things to be final, as in our lives, it’s not where you’re at—it’s where you are. -Amy

Continue reading Steve Larson: An Inspiring Interview

Art by Carly: An Inspiring Interview

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On April 24th, JAM Art and Supplies set out for our first of many interviews in our Inspired Interview series. Representing JAM for this project will be three of our board members: interviewer Amy Jarding, photographer Katie Farritor, and fearless leader and founder Jess Johnson to oversee the whole process. We are incredibly excited to partake in this adventure and look forward to connecting with the talented artists in our community. Everyone has a story to tell, and valuable input to offer. We hope these interviews will encourage exposure for the artists involved, and serve as an invitation to start your own conversation with someone. Strive to connect with your peers; we all are so very dear.
For this interview, we met with local painter Carly Zebell at her cozy downtown apartment in Sioux Falls. Carly graduated from South Dakota State University in 2010, and is an active participant in Artists Against Hunger. Although Carly got her BA for graphic design, she primarily focuses on Continue reading Art by Carly: An Inspiring Interview