A R T I S T S P O T L I G H T
A I S H A P A L M I T E S S A
shot + edited by becker
Aisha Palmitessa has amassed a body of work that is seductive and poignant and yet silmultaneously illusive. Her photography is crafted with a vulnerable sensibility, offering up private moments in time that convey a blend of melancholic emotions. The cryptic presentation of figures, shattered glass, and thematic fall of sunlight through windows all concurrently leave the viewer with more questions than answers.
She writes in a similar fashion, offering a glimpse into the fragmented script of her own mind via pages that are presented as they would appear in her own journal: raw and real, but lacking in explicit direction.
It is a beautiful way to work and, quite honestly, is a breath of fresh air given the flagrant over-sharing of personal information that often takes place across various platforms of social media. Palmitessa sets her work apart with artful intention and sophistication as she concocts an episodic mystery that leaves the viewer hungry for more.
Below, I talked to Aisha about her writing and photography, and how these different outlets for expression provide her with a sense of freedom.
PASTEL: Introduce yourself!
AP: Well, hello! My name is Aisha Palmitessa, and I am currently working on my BFA in photography at Lamar Dodd; just one semester left! I am a proud mother of the squishiest, sweetest, bundle-of-love cat, Phoenix, and my momma and sister are my world. My heart swoons with a good red sauce (for pasta) and large sweaters.
PASTEL: How would you describe your work to a new audience?
AP: Through all my years of creating, I have maintained the theme of expression. I consistently make work that means something to me; it is driven by different feelings/emotions/events. My most recent work focuses on quiet, clean scenes that translate a greater emotion or hidden feeling.
PASTEL: Can you explain your process in coming to an idea for a shoot? Do you have preconceived shots in mind, or do you prefer to shoot intuitively?
AP: I’ve definitely done both, but I tend to end up with better results when I shoot intuitively. When I plan, I tend to come up with these developed scenes, and I become too invested, so I don’t budge. I’ve learned that I can shoot intuitively (while still retaining an aesthetic/theme in mind) and produce more clean and focused photographs. I will continue to work on the planning, because I do love that aspect, but I need to be able to waver from the plan as well.
PASTEL: What themes do you like to explore within your work?
AP: I’m always exploring "the figure" in my photography, or more appropriately, the "absence of a figure". I’m interested in a hand coming out from under the covers, the light falling on a friend’s face, or the footsteps left behind by a person. My photos show fragmented figures or the presence of an individual, even if one is not shown. With this, I am exploring the internal feelings of us all; mostly what we aren’t comfortable expressing.
PASTEL: What came first—writing or photography? What sparked your interest, and do you think that either practice informs the way that you handle the other?
AP: I would say probably photography; at least in regards to the way that I write now. I mean . . I wrote silly stories as a kid, but that was just young stuff, and I’ve been photographing for a long time now. I think with photography, it was just something that I always did for fun and then it became a
way to create and express what I saw in my mind. The writing has arisen over the last two years or so.With writing, I realized at some point that I could put words to events or emotions that my friends or myself had been through. So far, they have been pretty separate practices for me. I tend to shoot when I’m feeling happy and motivated, while I write when I’m feeling down and glad to be alone.
PASTEL: Do you have any other talents hidden up your sleeve? What about hobbies?
AP: I can do the wave with my eyebrows, and I am an excellent pancake flipper. Trying to think…I think the "hobbies" question is easier to tackle. Unfortunately, I don’t play any instruments or sing (in front of other people), but I love music and it will always be a constant for me. Reading is also a big love for me, and I almost always have a book on me. Other hobbies are snuggling with my cat and friends, cooking with momma and my sister, and searching for gems at the thrift store.
PASTEL: What, or who, are some of your greatest influences at the moment?
AP: I think for this question I will only talk about the who (photographers) because this list could go on and on. My most recent inspirations are Li Hui, Ahndraya Parlato, Marcela Paniak, Ryan McGinley, Astrid Kruse Jensen, and Andrea Resner.
PASTEL: You're photography often seems to depict intimate scenes that bear complex emotions; people occasionally appear in these environments. Are the people in your photographs close friends or family? If so, do you think that your relationship with the subject affects the final photograph?
AP: They almost always are. I prefer them to be [friends or family], because we’re both comfortable, and I think that kind of intimacy affects how my piece appears. I want them to trust me, and I’m trusting them to be who I know they are.
PASTEL: Literature seems to be an important part of your life and your art. Any recommendations for a good read?
AP: I’ve read so many books, and I shamefully don’t remember many of them now. A few that I remember from the past few years that I’ve really enjoyed would be American Gods, Shantaram, In the Woods (and its follow-up, The Likeness), The Interestings, The Secret History, and a classic, Heart of Darkness.
PASTEL: What kind of atmosphere promotes the best writing environment for you?
AP: I haven’t experimented much yet but usually I’m just sitting in bed, listening to music by my lonesome.
PASTEL: Do you find that it's easier to express yourself through writing versus photography? Or vice versa?
AP: That’s kind of a tough question. I want to say writing because it’s easier for me to jot down the deeper or darker things that I can’t easily show in a photograph. Photography has—and always will—maintain an outlet for my expression as well, but maybe in a slightly more subdued way.
PASTEL: You've recently begun to intermingle pieces of your writing with your photography. How has that process been? Has it changed the way that you work at all?
AP: It’s been pretty exciting! Writing started as something really private and something I wasn’t comfortable showing for a little while. As I became more confident in my writing, I experimented with the connection, and it wasn’t a bad thing. I think the writing has helped me to “let go” in a sense with my photography. When I write, I don’t overanalyze my thoughts and that may be what my photography needed.
PASTEL: What is your favorite part about being an artist?
AP: Along with the obvious, I’m doing what I love. It has and will always continue to be an outlet and a way for me to work through things.
PASTEL: What is next for you and your art?
AP: Who knows, honestly?! I will continue with my current series—intermingling my writing because I’m not ready to move on from it. I’ll also be brainstorming during this necessary break on a new series. Next semester will be my last at UGA and I’m not sure where I’ll go from there. The goal is a big city. I’m originally from Pennsylvania, so maybe I'll head North and hopefully go back to school for my masters. We will see!
PASTEL: What do you want people to take away from your art?
AP: At the risk of sounding lame, I just want people to feel something when they look at my photos or read my poems—some emotion or sensibility. There’s a sort of somber significance I’m trying to convey; I’m intrigued by the idea of these private moments being made public.
A R T I S T S P O T L I G H T
P E T E R S A M U E L S
g i f b y b e c k e r
(click to enlarge)
photo provided by Peter Samuels
Well, it's finally happening. My classmates are starting to say their last farewells, and as an art student, part of that process means exhibiting your final series of choice in a senior exit show. Now, I still have until next spring before I start tearing my hair out, riddled with anxiety over an endless list of impossible decisions as to what photographs are worth displaying and which should hang where . .
I'm rambling. My apologies.
The point is that this group of photographers—they've actually done it. They've labored through the exhaustive but exciting preparatory stages, and now they're about to embark on the next chapter of their lives as artists—whatever that means to them.
But first comes the exit show, so if you're reading this, I encourage you to come to their show on Friday, and see what these talented folks have chosen to share with you. I promise, it is not an easy thing to show work, but it can also be an incredibly rewarding experience.
As an artist, it can be tricky to relay your passions, and what drives you to create, to an audience. We hope that our work says it for us, but it's also nice to have an opportunity to expound upon these topics in writing. I had a chance to ask one of these exiting photographers, Peter Samuels, about his process, his sources of inspiration, and it's all here for you to read below!
PASTEL: Introduce yourself!
PS: Hi! My name is Peter Samuels.
PASTEL: What sparked your interest in photography?
PS: I’m not even really sure. It’s been a part of my life for so long! BUT, there’s this movie called Vertical Limit (it’s a disaster thriller rescue movie made in 2000) and if you haven’t seen it, you should watch it. It’s so shitty but awesome. And in the movie, the main character (named Peter btw) is a wildlife photographer. They show some POV shots through the camera lens while it’s going in and out of focus on some fighting snow leopards, and the shutter’s released, and I literally asked my parents for a “camera that makes that noise” the next day. So that was in like fifth grade; I was a baby with a film SLR camera. People always asked me what I was doing with it and questioned why my parents would give such a young person that type of camera (film was already basically “dead” at that time). I still have that camera today and I use it all the time!
PASTEL: Are there any underlying themes that you find reappearing in your work?
PS: Well, I mainly take photos of every day life when I see moments of beauty or something surprising, so the theme of the work is really just what I find aesthetically pleasing. I do think that there is an innocent humor in a lot of my work, which makes sense because I laugh at almost everything. I’m really interested in those moments where everything comes together, and it seems too good to be true. Like, when I see a composition possibility where so many things line up and there's finally just the “cherry on top” of something—something that is fleeting and iconic. I’m very interested in iconography and stand-ins—things that people can see and already have all of these associations that don’t exist in the photograph.
PASTEL: You've mentioned your affinity for a 90's aesthetic—and it certainly shows in your vibrant imagery and playful subject matter. What about that time inspires you the most?
PS: Well, I grew up in the 90's and I am a really nostalgic person. I really just love that time period. It’s so relevant now because we were in the midst of this super digitized age where people are like, "I grew up always having a computer, and I always knew what a cellphone was". Now, with iPhones and such advanced technology, people have really changed. When you watch 90's TV shows (especially kids’ shows) there’s just this really funny and weird humor that shaped me and my friends so much. So there are these visual cues of the 90's—gradients, kind of digital patterns, and this general attitude. I guess every generation thinks that their childhood era was the best.
PASTEL: Are there any other artists, books, or music that you're currently listening to or looking at to fuel your inspiration to create?
PS: I always look at David Hockney, Edward Hopper, William Eggleston, and Luigi Ghirri as sort of go-to artists. I recently read a bunch of books by Gabriel Garcia Marquez which deal with magical realism, which I find really inspirational. I have been listening to so much 80's music, and I think that’s really inspiring me right now, and I’ve been revisiting a lot of childhood movies to think about how they are relevant to me now. Like, I just rewatched The Land Before Time and it was an out-of-body religious experience. I’ve also been watching a lot of new wave French films, and always Donnie Darko and The Virgin Suicides.
PASTEL: A lot of your work also appears to be documentary. Can you talk a bit about your process? Are the people in your photographs friends or family, and how do those series compare to projects like Digitalia (Where the process seems more premeditated)?
PS: My process is that I basically carry my camera around with a preconceived notion of what I’m looking for, what sort of feel I’m looking for, what colors I’m trying to capture, and I constantly observe my surroundings for something to photograph. I basically see things photographically at all times, and sometimes I don’t have my camera and it’s such a bummer. The people in my photographs are pretty much strictly friends; they’re really used to me having a camera, and there was a time when all of us had cameras with us all the time, so I think we’re all used to it (although I really dislike having my picture taken; I hate when people expect you to pose or smile!) Lately, I’ve been taking pictures of strangers, but only from a distance and when they turn away from the camera so they become more like characters to inhabit the world rather than an actual person—like if I like the color of someone’s shirt or something, I’ll try to use it in the image. Digitalia was interesting because I shot it with my usual method of documentary with a preconceived notion, but I combined it with completely staged images, it wasn’t quite as premeditated as you might think. I had these ideas that I knew I wanted to photograph, and some came more naturally.
PASTEL: Do you think your personality is prevalent in your work? If so, how do you think personal evidence affects the quality of each piece?
PS: I do think that my personality is in my work. It’s hard for me to really know because I’ve only ever seen my work through my eyes. I’ve never been detached from it at all. I have to assume that my personality is there, but for me it’s an almost completely aesthetically driven process—I have to assume that the idea I have formed in my head will come through on some level because it’s what I was thinking as I took the photo.
PASTEL: Looking at your work (especially in Sunrise and Postcards from the Coast), there seems to be an awareness of time (the present's aesthetic, or the passage of time) on your part. What do you want people to take away from your work?
PS: I want people to look at it and first, be like, whoa that’s pretty. And then I want them to be like, weeird. I really appreciate how everyone can have a slightly different response to things we all recognize and know.
PASTEL: Speaking of time: If you were to put your photos into a time capsule, do you think your audience's reaction to the same work would change 10 or 20 years down the road?
PS: Ah!! So weird to think about. I don’t think the reaction would be the same, no. BUT I think that an educated person (who knew what was going on during the time the photos were taken) would be able to get the same vibe. It’s funny because you never know if something will look dated or if it will kind of continue to defy time—photographs are different because you can see technology, fashion, and essentially the world as it was in the photograph, but with a painting or something it can be harder to pin down.
PASTEL: What are some of your other hobbies outside of Photography?
PS: I watch a ridiculous amount of movies. Going to the movie theater at least once a week is something I just hhaaaave to do. I also love to draw, eat, hit snooze on alarms, read weird wikipedia pages, drive around aimlessly, watch shitty reality TV, ride my bike, quote episodes of 30 Rock, and when I have the time, travel.
PASTEL: You shoot primarily in 35mm film, correct? How does that method of photography contribute to your process and the resultant images?
PS: Yes, I shoot pretty much only 35mm color film. I really don’t know. Some people say that you can get the same quality from digital as you can with film, and by quality I don’t mean like resolution- I mean the feeling you get. And I have to disagree (at least for me). There’s just something about film that is so special. I’m more considerate about the photographs I take because only so many fit on a roll versus the infinite space on a memory card. I also just love shooting 35mm color film because it’s just part of the process for me.
PASTEL: Quick! List 5 things you could never live without:
PS: Assuming that family and friends are already included in this deal, five things: movies, my iPod, the internet, laughter, work.
PASTEL: What is the best part about being an artist? What is the most challenging?
PS: The best part is that you get to do whatever you want! This is also the most challenging part.
PASTEL: So, your exit show, Paradise Sux, will be on exhibition at the Lamar Dodd School of Art very soon, and then graduation will be looming on the horizon! Do you have any other exciting plans for your next step as an artist?
PS: Uuuuuuuuggghh don’t remind me! I don’t have any concrete plans yet haha, but I’m excited to see what happens.
PASTEL: Lastly, if you could collaborate with any artist (dead or alive) who would you choose, and what would the project be called?
PS: Yikes! That’s a tough question. There are so many artists I admire and I’m not sure if I want to pollute their work with my own ideas. The late cinematographer of some of my favorite films, Harris Savides, was incredible. He was the cinematographer for Somewhere, directed by Sofia Coppola. I would have loved to make something with him. I would probably have to see it to name it!
Like what you see? Head to the Photography Exit Show in Gallery 101 of the Lamar Dodd School of Art on Friday, November 14th from 6-8PM to catch Peter Samuel's series, Paradise Sux, along with all of the other talented photo crew's work (Painting/Drawing, Art Education, & Printmaking students will also be hosting their own exhibitions)!
Cheers,
B
THROWBACK TO 90'S HALLOWEEN FLICKS
(Collage by Becker)
Oh, Halloween.
I have to admit, there's just something about this holiday that makes me nostalgic and eager to participate in all of its ludicrous festivities. And let's face it, in a college town like Athens, Halloween extends well into several weeks of celebration. Hopefully your costumes have held up through multiple shindigs, and you're still hyped and ready for the 31st!
In honor of the holiday, I thought I'd provide you with a list of old Halloween flicks and a compilation of trip-hop, in case you feel like forgoing one of the many nights out to instead veg on the couch with a bowl of candy corn (Bravo to you, my friend. There's no shame!).
As per usual, you'll find that most of this content if from the 90's. Haha.
Beetlejuice
Haha.
Hocus Pocus
There's just so much sass.
. . . and not a lot of class.
The Craft
Ok, so I've never seen this one. But apparently it's a classic.
I'll give it a try if you will.
It's probably a little edgier than Hocus Pocus . .
And here are some other guilty pleasures that you know you're not above watching.
Halloweentown
Don't Look Under the Bed
Twitches
^Everyone needs a few Disney classics.
The Little Vampire
The Nightmare Before Christmas
Casper
Corpse Bride
Scream
In addition, here are a few eerie, trip-hop tunes.
See if they're as spellbinding for you as they are for me.
K's Choice - Virgin State of Mind
Portisthead - Only You
Tricky - Aftermath
Morcheeba - Never an Easy Way
Massive Attack - Teardrop
Radiohead - Talk Show Host
*LOVED* this song ever since I first watched Romeo + Juliet.
Craig Armstrong featuring Liz Fraser - This Love
Have you every seen Cruel Intentions? If not, go ahead and add it to the list above. It's dark plot and biting cynicism somehow qualify it as Halloween-esque.
A T H O U G H T O N F E M I N I SM
B E C K E R W H I T N E Y
i l l u s t r a t i o n b y b e c k e r
For the past couples of months, I have become increasingly aware of a trending topic on Facebook and other forms of media: Feminism—are you for or against? As the creator of a blog that focuses entirely on female artists, I have certainly given thought to women’s rights and capabilities.
I began toying around with the idea of creating Pastel back in March of last year. Initially, I was worried that I wouldn’t be adept enough to handle the rigorous work that comes with researching and writing articles. Moreover, I worried that my voice would be inconsequential because the Internet is so deluged with other voices (much louder and more engaging than my own), debating every subject in the universe. I wanted my blog to be captivating and prompt change, but how would I be most effective?
So, I created Pastel because, as an artist, it is my inherent desire to create and to motivate an audience. I thought this blog could be an outlet for female artists in and around Athens to share their work, what it means, and why they choose to make it. I wanted to illustrate that—in a culture that often promotes women as objects, rather than talented and qualified individuals—women are actually making astonishing, complex, and compelling work.
I still believe this to be true—now more than ever.
Though the nature of feminism is often misconstrued, its doctrine embraces the belief that all people are entitled to civil equality and liberty. And though Pastel highlights a very small facet of life, the decision to exclude male artists does make a statement: it is simply not the statement that I had intended to make.
In Pastel’s latest article, I wrote that art is about opening yourself up to the limitless possibilities that its practice can provide. It was during the process of writing those words that I realized the hypocrisy of a blog that promotes liberation through the arts, but in reality, sets boundaries for the art that it shares with you.
I believe in the empowerment of all artists.
I believe in the empowerment of all human beings.
I believe in art’s ability to challenge, inspire, and connect all people.
Though I initially set out to empower women by interviewing gifted female artists, I now realize that I am only closing potential readers off to the opportunity to engage with women as equals.
I wanted to prompt change, and I wanted my voice to be heard. But I failed to recognize that change comes from the ability to reach many audiences, and you can only reach as far as you’re willing to extend your hand.
In light of this recent epiphany, I’ve arrived at the conclusion that Pastel should no longer exclusively feature female artists.
I hope that by expanding Pastel’s subject matter in order to encompass the art of all individuals, I can invite you as well to cogitate the idea that being a feminist (whether you are a man or a woman) does not mean the devaluing of one gender in favor of another. It simply means that you offer respect to a person because you believe that all humans are equal.
I do not want Pastel to perpetuate the negative connotations associated with the term "feminism". I do not want to fall into the "us vs. them" mentality that plagues our society. The negative byproducts of people’s aversion to these deeply imbedded social constructs are unavoidable, but taking action can yield a positive outcome as well. I still do not know if my voice is loud enough to be heard, but I made this blog because I wanted to be proactive. So instead of dismissing my male counterparts, or pointing a finger at someone else for the issues that we all face together, I choose to extend my hand to you all, in the hopes that you will take it, and accept my proposal to unite behind a movement towards equality.
I look forward to sharing art from a sundry of artists with you.
Cheers,
B
A R T I S T S P O T L I G H T
c i n e m a g r a p h s b y b e c k e r
As artists, I think we are all constantly trying to find ways to explain why we do what do. Some people simply don't understand how or why anyone would attend a university to study art when there are zero guarantees for a steady income. But that is life. Life isn't a guarantee, and art certainly isn't about guarantees. It's about funneling your passion into something, taking risks, and discovering new outlets for liberation and expression.
It's rare to find a student who is as passionate about his or her major as Mika Fengler, and the funny thing is—that despite the fact that I obviously find her work compelling—I think Mika's enigmatic nature precluded me from realizing just how much she truly loves what she does. It's amazing what you can discover by simply providing someone the opportunity to be heard. Below I chatted with Mika about life as a photography student, the subconscious nature of making art, and how her culture is shaping her newest body of work.
" . . . photography is what I get super pumped about, and my focus is 100% committed to taking a photo each time. It's mesmerizing; I adore it."
PASTEL: Introduce yourself!
MF: Meow! My name is Mika. I'm an Aquarius and enjoy dancing in the moonlight with my three (sometimes four) empowering lady roommates. We have a badass forever kitten and neurotic dog, both of which I tolerate and enjoy cuddling with when they are trying to disembowel me.
PASTEL: Do you come from a line of artists?
MF: I would say that I come from a line of creative and slightly eccentric persons; all of whom inspire me constantly. My parents dabbled in photography and doodling which are strangely enough the two art forms I indent my time to. I grew up listening to Dad drumming on every surface imaginable (he used to rock out to bands as a young lad), Mom's traditional Okinawan songs (she now teaches Eisa), and to their experimental jazz music and talks of string-theory, wormholes, and tennis.
PASTEL: How do you think your work has been affected as a Photography student at UGA?
MF: The Dodd constantly expands my brain (in a good way) and this translates to the evolution of my work. Not everyone realizes the treasure that the art program is, how enriching the lessons and opportunities are culturally, historically, and philosophically. Photography specifically allows me to view the world as a constant opportunity, enabling me to appreciate the transience of experiences and beauty in banal moments transformed into otherworldly images by something as simple as light. When you open your eyes to your surroundings the world never disappoints. Photography challenged me to seek these moments and absorb every detail of the Earth until noticing the motion of leaves growing, the bristling of hair, or convergence of lines became second-hand nature.
PASTEL: What came first—your passion for illustration or your passion for photography?
MF: I'm not sure entirely; art in all forms has always been enjoyable. I used to be obsessed with taking photographs in an unhealthy way. Like, I would snap my point-n-shoot so much just because I wanted to capture every moment that I thought was "photo worthy". Once during a sunset, mid-picture, my Aunt told me that some moments didn't need to be captured—that taking a good photo also meant knowing when to not take a photo. To let the notion of capturing a moment go, allowed one to experience it fully. After that, I meditated on what photography meant as an art form and took steps to consider each frame that I shot. Becoming a photography major was a spontaneous decision and it surprisingly has turned out to be the only art form that I never tire of.
PASTEL: You've mentioned that your cultural heritage is a driving force in your work. Can you talk a bit about your background and how it influences your work aesthetically and conceptually?
MF: My mom is Okinawan, and I grew up surrounded by the culture. She is heavily involved in an association that exists around the world called Okinawa Kenjinkai, so it makes sense that I became involved as well. The association was established to help preserve Okinawan culture after many people left as a result of World War II—a time during which Okinawan culture and language was "discouraged".
Growing up, I separated this part of life from the everyday part of school and friends, became less engaged with my heritage during my early teenage years, and then began returning to it. Now I am seeking to merge my culture with my art, including: the struggle and choices many second-generation kids face with assimilation, integrating their cultural roots into every day life, and the multitude of grey areas that come with these things.
PASTEL: What mediums do you prefer to work with, and have you noticed any other overarching themes in your work?
MF: Watercolors, pastels, and micron pens are some of my favorite, especially in combination. Lately, I've been experimenting with intermingling these mediums with photography. I find alternative processes meditative and enjoy the nuances that come with them. Trying to combine these processes with watercolors, printmaking, and other avenues always brings about an unpredictability to a piece that I find exciting.
PASTEL: I've noticed that you like to draw on random papers + items. What inspires your drawings, and do you find that it enables a different form of expression that your photography? Do you think there's any discernible overlap in these two modes of art making?
MF: Drawing is a very subconscious and essential process for me. My mind constantly goes from this idea to that—the gears are always turning, so if I'm not drawing, I can't pay attention in class or even be fully involved in a conversation sometimes. Slowly, these drawings are evolving into actual pieces, and I hope to continue down this path of developing more finished works. So while drawing is a more subconscious and steady practice for me, photography is what I get super pumped about, and my focus is 100% committed to taking a photo each time. It's mesmerizing; I adore it.
PASTEL: Can you talk a bit about what your process is like for making photographs? Do you spend a lot of time conceptualizing, or do you prefer to find the right moment as you go?
MF: Capturing in the moment is definitely fun and is what come naturally to me, but I love executing things I've mulled about conceptually.
PASTEL: Do you think that your personality is prevalent in your work? If so, how do you think personal evidences affect the quality of each piece?
MF: That's a funny question. It would make sense that some part of an artist would be revealed or translated into their pieces, which is, perhaps, both true and untrue. As for me, I have never really taken notice of how evident my personality is in my work, but each time that I make a piece, one of my friends usually tells me that it's very "Mika".
PASTEL: Do you have a favorite work (or set of works) that resonate with you above the rest? If so, why?
MF: I couldn't say. I move on very quickly from my works. Once I finish something, I become completely unattached from it. All I'm thinking about is what I will be doing next.
PASTEL: What are the greatest challenges that you face with your work, and how do you deal with them?
MF: Decisions. Getting started. Thinking too much about an idea. A vision always exists in my mind that's very complex and concrete—so much so that I can't bring myself to execute it (a common problem amongst artists). The end product always turns out completely different from any vision that I have though, so I'm trying to embrace that and just dive into the making of art rather than fret about how or where or when I will ever be able to begin a certain project.
PASTEL: What are you currently reading, listening to, or looking at to fuel your work? Are there any artists that have inspired you?
MF: Man . . . Well, I just finished Dancer, by Colum McCann, which moved me to create. I'm always reading from Women Who Run with the Wolves. And I've just started The Second Sex and The Elegance of the Hedgehog. My roommate usually reads me poetry too (she's one of those creative writing majors), and those words paint pictures in my head that I wish to recreate often. It's lovely to be in Athens, surrounded by a creative community; the local bands and upcoming artists are also always an inspiration. My top favorites are The Rodney Kings, Mothers, Nurture and I'm super impressed by Wrenn (*Check out our artist spotlight on Wrenn below)! Also, Felix Gonzalez-Torres, Fridha Kahlo, and Jim Campbell are constant favorites.
PASTEL: What's next on the agenda for Mika Fengler?! Do you have any current or upcoming projects that you are excited about?
MF: Yes! I'm currently working on an independent mini-documentary on the beginnings of the Atlanta Okinawa Kenjin Kai for their 30th anniversary in August of 2015. This is the first long-term project that I've ever done, so I'm keeping my fingers crossed, but so far the process has been extremely rewarding.
PASTEL: What do you hope that your work will accomplish? What reaction do you hope to get from your audience?
MF: There exists a certain emotion that I feel underlying everyday thoughts and happenings . . . one that is tangible, but difficult to find the right words for. I hope someday that, that sensation may leak through my work and speak to the viewer.
A R T I S T S P O T L I G H T
A I S H A P A L M I T E S S A
shot + edited by becker
Aisha Palmitessa has amassed a body of work that is seductive and poignant and yet silmultaneously illusive. Her photography is crafted with a vulnerable sensibility, offering up private moments in time that convey a blend of melancholic emotions. The cryptic presentation of figures, shattered glass, and thematic fall of sunlight through windows all concurrently leave the viewer with more questions than answers.
She writes in a similar fashion, offering a glimpse into the fragmented script of her own mind via pages that are presented as they would appear in her own journal: raw and real, but lacking in explicit direction.
It is a beautiful way to work and, quite honestly, is a breath of fresh air given the flagrant over-sharing of personal information that often takes place across various platforms of social media. Palmitessa sets her work apart with artful intention and sophistication as she concocts an episodic mystery that leaves the viewer hungry for more.
Below, I talked to Aisha about her writing and photography, and how these different outlets for expression provide her with a sense of freedom.
PASTEL: Introduce yourself!
AP: Well, hello! My name is Aisha Palmitessa, and I am currently working on my BFA in photography at Lamar Dodd; just one semester left! I am a proud mother of the squishiest, sweetest, bundle-of-love cat, Phoenix, and my momma and sister are my world. My heart swoons with a good red sauce (for pasta) and large sweaters.
PASTEL: How would you describe your work to a new audience?
AP: Through all my years of creating, I have maintained the theme of expression. I consistently make work that means something to me; it is driven by different feelings/emotions/events. My most recent work focuses on quiet, clean scenes that translate a greater emotion or hidden feeling.
PASTEL: Can you explain your process in coming to an idea for a shoot? Do you have preconceived shots in mind, or do you prefer to shoot intuitively?
AP: I’ve definitely done both, but I tend to end up with better results when I shoot intuitively. When I plan, I tend to come up with these developed scenes, and I become too invested, so I don’t budge. I’ve learned that I can shoot intuitively (while still retaining an aesthetic/theme in mind) and produce more clean and focused photographs. I will continue to work on the planning, because I do love that aspect, but I need to be able to waver from the plan as well.
PASTEL: What themes do you like to explore within your work?
AP: I’m always exploring "the figure" in my photography, or more appropriately, the "absence of a figure". I’m interested in a hand coming out from under the covers, the light falling on a friend’s face, or the footsteps left behind by a person. My photos show fragmented figures or the presence of an individual, even if one is not shown. With this, I am exploring the internal feelings of us all; mostly what we aren’t comfortable expressing.
PASTEL: What came first—writing or photography? What sparked your interest, and do you think that either practice informs the way that you handle the other?
AP: I would say probably photography; at least in regards to the way that I write now. I mean . . I wrote silly stories as a kid, but that was just young stuff, and I’ve been photographing for a long time now. I think with photography, it was just something that I always did for fun and then it became a
way to create and express what I saw in my mind. The writing has arisen over the last two years or so.With writing, I realized at some point that I could put words to events or emotions that my friends or myself had been through. So far, they have been pretty separate practices for me. I tend to shoot when I’m feeling happy and motivated, while I write when I’m feeling down and glad to be alone.
PASTEL: Do you have any other talents hidden up your sleeve? What about hobbies?
AP: I can do the wave with my eyebrows, and I am an excellent pancake flipper. Trying to think…I think the "hobbies" question is easier to tackle. Unfortunately, I don’t play any instruments or sing (in front of other people), but I love music and it will always be a constant for me. Reading is also a big love for me, and I almost always have a book on me. Other hobbies are snuggling with my cat and friends, cooking with momma and my sister, and searching for gems at the thrift store.
PASTEL: What, or who, are some of your greatest influences at the moment?
AP: I think for this question I will only talk about the who (photographers) because this list could go on and on. My most recent inspirations are Li Hui, Ahndraya Parlato, Marcela Paniak, Ryan McGinley, Astrid Kruse Jensen, and Andrea Resner.
PASTEL: You're photography often seems to depict intimate scenes that bear complex emotions; people occasionally appear in these environments. Are the people in your photographs close friends or family? If so, do you think that your relationship with the subject affects the final photograph?
AP: They almost always are. I prefer them to be [friends or family], because we’re both comfortable, and I think that kind of intimacy affects how my piece appears. I want them to trust me, and I’m trusting them to be who I know they are.
PASTEL: Literature seems to be an important part of your life and your art. Any recommendations for a good read?
AP: I’ve read so many books, and I shamefully don’t remember many of them now. A few that I remember from the past few years that I’ve really enjoyed would be American Gods, Shantaram, In the Woods (and its follow-up, The Likeness), The Interestings, The Secret History, and a classic, Heart of Darkness.
PASTEL: What kind of atmosphere promotes the best writing environment for you?
AP: I haven’t experimented much yet but usually I’m just sitting in bed, listening to music by my lonesome.
PASTEL: Do you find that it's easier to express yourself through writing versus photography? Or vice versa?
AP: That’s kind of a tough question. I want to say writing because it’s easier for me to jot down the deeper or darker things that I can’t easily show in a photograph. Photography has—and always will—maintain an outlet for my expression as well, but maybe in a slightly more subdued way.
PASTEL: You've recently begun to intermingle pieces of your writing with your photography. How has that process been? Has it changed the way that you work at all?
AP: It’s been pretty exciting! Writing started as something really private and something I wasn’t comfortable showing for a little while. As I became more confident in my writing, I experimented with the connection, and it wasn’t a bad thing. I think the writing has helped me to “let go” in a sense with my photography. When I write, I don’t overanalyze my thoughts and that may be what my photography needed.
PASTEL: What is your favorite part about being an artist?
AP: Along with the obvious, I’m doing what I love. It has and will always continue to be an outlet and a way for me to work through things.
PASTEL: What is next for you and your art?
AP: Who knows, honestly?! I will continue with my current series—intermingling my writing because I’m not ready to move on from it. I’ll also be brainstorming during this necessary break on a new series. Next semester will be my last at UGA and I’m not sure where I’ll go from there. The goal is a big city. I’m originally from Pennsylvania, so maybe I'll head North and hopefully go back to school for my masters. We will see!
PASTEL: What do you want people to take away from your art?
AP: At the risk of sounding lame, I just want people to feel something when they look at my photos or read my poems—some emotion or sensibility. There’s a sort of somber significance I’m trying to convey; I’m intrigued by the idea of these private moments being made public.
A R T I S T S P O T L I G H T
P E T E R S A M U E L S
g i f b y b e c k e r
(click to enlarge)
photo provided by Peter Samuels
Well, it's finally happening. My classmates are starting to say their last farewells, and as an art student, part of that process means exhibiting your final series of choice in a senior exit show. Now, I still have until next spring before I start tearing my hair out, riddled with anxiety over an endless list of impossible decisions as to what photographs are worth displaying and which should hang where . .
I'm rambling. My apologies.
The point is that this group of photographers—they've actually done it. They've labored through the exhaustive but exciting preparatory stages, and now they're about to embark on the next chapter of their lives as artists—whatever that means to them.
But first comes the exit show, so if you're reading this, I encourage you to come to their show on Friday, and see what these talented folks have chosen to share with you. I promise, it is not an easy thing to show work, but it can also be an incredibly rewarding experience.
As an artist, it can be tricky to relay your passions, and what drives you to create, to an audience. We hope that our work says it for us, but it's also nice to have an opportunity to expound upon these topics in writing. I had a chance to ask one of these exiting photographers, Peter Samuels, about his process, his sources of inspiration, and it's all here for you to read below!
PASTEL: Introduce yourself!
PS: Hi! My name is Peter Samuels.
PASTEL: What sparked your interest in photography?
PS: I’m not even really sure. It’s been a part of my life for so long! BUT, there’s this movie called Vertical Limit (it’s a disaster thriller rescue movie made in 2000) and if you haven’t seen it, you should watch it. It’s so shitty but awesome. And in the movie, the main character (named Peter btw) is a wildlife photographer. They show some POV shots through the camera lens while it’s going in and out of focus on some fighting snow leopards, and the shutter’s released, and I literally asked my parents for a “camera that makes that noise” the next day. So that was in like fifth grade; I was a baby with a film SLR camera. People always asked me what I was doing with it and questioned why my parents would give such a young person that type of camera (film was already basically “dead” at that time). I still have that camera today and I use it all the time!
PASTEL: Are there any underlying themes that you find reappearing in your work?
PS: Well, I mainly take photos of every day life when I see moments of beauty or something surprising, so the theme of the work is really just what I find aesthetically pleasing. I do think that there is an innocent humor in a lot of my work, which makes sense because I laugh at almost everything. I’m really interested in those moments where everything comes together, and it seems too good to be true. Like, when I see a composition possibility where so many things line up and there's finally just the “cherry on top” of something—something that is fleeting and iconic. I’m very interested in iconography and stand-ins—things that people can see and already have all of these associations that don’t exist in the photograph.
PASTEL: You've mentioned your affinity for a 90's aesthetic—and it certainly shows in your vibrant imagery and playful subject matter. What about that time inspires you the most?
PS: Well, I grew up in the 90's and I am a really nostalgic person. I really just love that time period. It’s so relevant now because we were in the midst of this super digitized age where people are like, "I grew up always having a computer, and I always knew what a cellphone was". Now, with iPhones and such advanced technology, people have really changed. When you watch 90's TV shows (especially kids’ shows) there’s just this really funny and weird humor that shaped me and my friends so much. So there are these visual cues of the 90's—gradients, kind of digital patterns, and this general attitude. I guess every generation thinks that their childhood era was the best.
PASTEL: Are there any other artists, books, or music that you're currently listening to or looking at to fuel your inspiration to create?
PS: I always look at David Hockney, Edward Hopper, William Eggleston, and Luigi Ghirri as sort of go-to artists. I recently read a bunch of books by Gabriel Garcia Marquez which deal with magical realism, which I find really inspirational. I have been listening to so much 80's music, and I think that’s really inspiring me right now, and I’ve been revisiting a lot of childhood movies to think about how they are relevant to me now. Like, I just rewatched The Land Before Time and it was an out-of-body religious experience. I’ve also been watching a lot of new wave French films, and always Donnie Darko and The Virgin Suicides.
PASTEL: A lot of your work also appears to be documentary. Can you talk a bit about your process? Are the people in your photographs friends or family, and how do those series compare to projects like Digitalia (Where the process seems more premeditated)?
PS: My process is that I basically carry my camera around with a preconceived notion of what I’m looking for, what sort of feel I’m looking for, what colors I’m trying to capture, and I constantly observe my surroundings for something to photograph. I basically see things photographically at all times, and sometimes I don’t have my camera and it’s such a bummer. The people in my photographs are pretty much strictly friends; they’re really used to me having a camera, and there was a time when all of us had cameras with us all the time, so I think we’re all used to it (although I really dislike having my picture taken; I hate when people expect you to pose or smile!) Lately, I’ve been taking pictures of strangers, but only from a distance and when they turn away from the camera so they become more like characters to inhabit the world rather than an actual person—like if I like the color of someone’s shirt or something, I’ll try to use it in the image. Digitalia was interesting because I shot it with my usual method of documentary with a preconceived notion, but I combined it with completely staged images, it wasn’t quite as premeditated as you might think. I had these ideas that I knew I wanted to photograph, and some came more naturally.
PASTEL: Do you think your personality is prevalent in your work? If so, how do you think personal evidence affects the quality of each piece?
PS: I do think that my personality is in my work. It’s hard for me to really know because I’ve only ever seen my work through my eyes. I’ve never been detached from it at all. I have to assume that my personality is there, but for me it’s an almost completely aesthetically driven process—I have to assume that the idea I have formed in my head will come through on some level because it’s what I was thinking as I took the photo.
PASTEL: Looking at your work (especially in Sunrise and Postcards from the Coast), there seems to be an awareness of time (the present's aesthetic, or the passage of time) on your part. What do you want people to take away from your work?
PS: I want people to look at it and first, be like, whoa that’s pretty. And then I want them to be like, weeird. I really appreciate how everyone can have a slightly different response to things we all recognize and know.
PASTEL: Speaking of time: If you were to put your photos into a time capsule, do you think your audience's reaction to the same work would change 10 or 20 years down the road?
PS: Ah!! So weird to think about. I don’t think the reaction would be the same, no. BUT I think that an educated person (who knew what was going on during the time the photos were taken) would be able to get the same vibe. It’s funny because you never know if something will look dated or if it will kind of continue to defy time—photographs are different because you can see technology, fashion, and essentially the world as it was in the photograph, but with a painting or something it can be harder to pin down.
PASTEL: What are some of your other hobbies outside of Photography?
PS: I watch a ridiculous amount of movies. Going to the movie theater at least once a week is something I just hhaaaave to do. I also love to draw, eat, hit snooze on alarms, read weird wikipedia pages, drive around aimlessly, watch shitty reality TV, ride my bike, quote episodes of 30 Rock, and when I have the time, travel.
PASTEL: You shoot primarily in 35mm film, correct? How does that method of photography contribute to your process and the resultant images?
PS: Yes, I shoot pretty much only 35mm color film. I really don’t know. Some people say that you can get the same quality from digital as you can with film, and by quality I don’t mean like resolution- I mean the feeling you get. And I have to disagree (at least for me). There’s just something about film that is so special. I’m more considerate about the photographs I take because only so many fit on a roll versus the infinite space on a memory card. I also just love shooting 35mm color film because it’s just part of the process for me.
PASTEL: Quick! List 5 things you could never live without:
PS: Assuming that family and friends are already included in this deal, five things: movies, my iPod, the internet, laughter, work.
PASTEL: What is the best part about being an artist? What is the most challenging?
PS: The best part is that you get to do whatever you want! This is also the most challenging part.
PASTEL: So, your exit show, Paradise Sux, will be on exhibition at the Lamar Dodd School of Art very soon, and then graduation will be looming on the horizon! Do you have any other exciting plans for your next step as an artist?
PS: Uuuuuuuuggghh don’t remind me! I don’t have any concrete plans yet haha, but I’m excited to see what happens.
PASTEL: Lastly, if you could collaborate with any artist (dead or alive) who would you choose, and what would the project be called?
PS: Yikes! That’s a tough question. There are so many artists I admire and I’m not sure if I want to pollute their work with my own ideas. The late cinematographer of some of my favorite films, Harris Savides, was incredible. He was the cinematographer for Somewhere, directed by Sofia Coppola. I would have loved to make something with him. I would probably have to see it to name it!
Like what you see? Head to the Photography Exit Show in Gallery 101 of the Lamar Dodd School of Art on Friday, November 14th from 6-8PM to catch Peter Samuel's series, Paradise Sux, along with all of the other talented photo crew's work (Painting/Drawing, Art Education, & Printmaking students will also be hosting their own exhibitions)!
Cheers,
B
THROWBACK TO 90'S HALLOWEEN FLICKS
(Collage by Becker)
Oh, Halloween.
I have to admit, there's just something about this holiday that makes me nostalgic and eager to participate in all of its ludicrous festivities. And let's face it, in a college town like Athens, Halloween extends well into several weeks of celebration. Hopefully your costumes have held up through multiple shindigs, and you're still hyped and ready for the 31st!
In honor of the holiday, I thought I'd provide you with a list of old Halloween flicks and a compilation of trip-hop, in case you feel like forgoing one of the many nights out to instead veg on the couch with a bowl of candy corn (Bravo to you, my friend. There's no shame!).
As per usual, you'll find that most of this content if from the 90's. Haha.
Beetlejuice
Haha.
Hocus Pocus
There's just so much sass.
. . . and not a lot of class.
The Craft
Ok, so I've never seen this one. But apparently it's a classic.
I'll give it a try if you will.
It's probably a little edgier than Hocus Pocus . .
And here are some other guilty pleasures that you know you're not above watching.
Halloweentown
Don't Look Under the Bed
Twitches
^Everyone needs a few Disney classics.
The Little Vampire
The Nightmare Before Christmas
Casper
Corpse Bride
Scream
In addition, here are a few eerie, trip-hop tunes.
See if they're as spellbinding for you as they are for me.
K's Choice - Virgin State of Mind
Portisthead - Only You
Tricky - Aftermath
Morcheeba - Never an Easy Way
Massive Attack - Teardrop
Radiohead - Talk Show Host
*LOVED* this song ever since I first watched Romeo + Juliet.
Craig Armstrong featuring Liz Fraser - This Love
Have you every seen Cruel Intentions? If not, go ahead and add it to the list above. It's dark plot and biting cynicism somehow qualify it as Halloween-esque.
A T H O U G H T O N F E M I N I SM
B E C K E R W H I T N E Y
i l l u s t r a t i o n b y b e c k e r
For the past couples of months, I have become increasingly aware of a trending topic on Facebook and other forms of media: Feminism—are you for or against? As the creator of a blog that focuses entirely on female artists, I have certainly given thought to women’s rights and capabilities.
I began toying around with the idea of creating Pastel back in March of last year. Initially, I was worried that I wouldn’t be adept enough to handle the rigorous work that comes with researching and writing articles. Moreover, I worried that my voice would be inconsequential because the Internet is so deluged with other voices (much louder and more engaging than my own), debating every subject in the universe. I wanted my blog to be captivating and prompt change, but how would I be most effective?
So, I created Pastel because, as an artist, it is my inherent desire to create and to motivate an audience. I thought this blog could be an outlet for female artists in and around Athens to share their work, what it means, and why they choose to make it. I wanted to illustrate that—in a culture that often promotes women as objects, rather than talented and qualified individuals—women are actually making astonishing, complex, and compelling work.
I still believe this to be true—now more than ever.
Though the nature of feminism is often misconstrued, its doctrine embraces the belief that all people are entitled to civil equality and liberty. And though Pastel highlights a very small facet of life, the decision to exclude male artists does make a statement: it is simply not the statement that I had intended to make.
In Pastel’s latest article, I wrote that art is about opening yourself up to the limitless possibilities that its practice can provide. It was during the process of writing those words that I realized the hypocrisy of a blog that promotes liberation through the arts, but in reality, sets boundaries for the art that it shares with you.
I believe in the empowerment of all artists.
I believe in the empowerment of all human beings.
I believe in art’s ability to challenge, inspire, and connect all people.
Though I initially set out to empower women by interviewing gifted female artists, I now realize that I am only closing potential readers off to the opportunity to engage with women as equals.
I wanted to prompt change, and I wanted my voice to be heard. But I failed to recognize that change comes from the ability to reach many audiences, and you can only reach as far as you’re willing to extend your hand.
In light of this recent epiphany, I’ve arrived at the conclusion that Pastel should no longer exclusively feature female artists.
I hope that by expanding Pastel’s subject matter in order to encompass the art of all individuals, I can invite you as well to cogitate the idea that being a feminist (whether you are a man or a woman) does not mean the devaluing of one gender in favor of another. It simply means that you offer respect to a person because you believe that all humans are equal.
I do not want Pastel to perpetuate the negative connotations associated with the term "feminism". I do not want to fall into the "us vs. them" mentality that plagues our society. The negative byproducts of people’s aversion to these deeply imbedded social constructs are unavoidable, but taking action can yield a positive outcome as well. I still do not know if my voice is loud enough to be heard, but I made this blog because I wanted to be proactive. So instead of dismissing my male counterparts, or pointing a finger at someone else for the issues that we all face together, I choose to extend my hand to you all, in the hopes that you will take it, and accept my proposal to unite behind a movement towards equality.
I look forward to sharing art from a sundry of artists with you.
Cheers,
B
A R T I S T S P O T L I G H T
c i n e m a g r a p h s b y b e c k e r
As artists, I think we are all constantly trying to find ways to explain why we do what do. Some people simply don't understand how or why anyone would attend a university to study art when there are zero guarantees for a steady income. But that is life. Life isn't a guarantee, and art certainly isn't about guarantees. It's about funneling your passion into something, taking risks, and discovering new outlets for liberation and expression.
It's rare to find a student who is as passionate about his or her major as Mika Fengler, and the funny thing is—that despite the fact that I obviously find her work compelling—I think Mika's enigmatic nature precluded me from realizing just how much she truly loves what she does. It's amazing what you can discover by simply providing someone the opportunity to be heard. Below I chatted with Mika about life as a photography student, the subconscious nature of making art, and how her culture is shaping her newest body of work.
" . . . photography is what I get super pumped about, and my focus is 100% committed to taking a photo each time. It's mesmerizing; I adore it."
PASTEL: Introduce yourself!
MF: Meow! My name is Mika. I'm an Aquarius and enjoy dancing in the moonlight with my three (sometimes four) empowering lady roommates. We have a badass forever kitten and neurotic dog, both of which I tolerate and enjoy cuddling with when they are trying to disembowel me.
PASTEL: Do you come from a line of artists?
MF: I would say that I come from a line of creative and slightly eccentric persons; all of whom inspire me constantly. My parents dabbled in photography and doodling which are strangely enough the two art forms I indent my time to. I grew up listening to Dad drumming on every surface imaginable (he used to rock out to bands as a young lad), Mom's traditional Okinawan songs (she now teaches Eisa), and to their experimental jazz music and talks of string-theory, wormholes, and tennis.
PASTEL: How do you think your work has been affected as a Photography student at UGA?
MF: The Dodd constantly expands my brain (in a good way) and this translates to the evolution of my work. Not everyone realizes the treasure that the art program is, how enriching the lessons and opportunities are culturally, historically, and philosophically. Photography specifically allows me to view the world as a constant opportunity, enabling me to appreciate the transience of experiences and beauty in banal moments transformed into otherworldly images by something as simple as light. When you open your eyes to your surroundings the world never disappoints. Photography challenged me to seek these moments and absorb every detail of the Earth until noticing the motion of leaves growing, the bristling of hair, or convergence of lines became second-hand nature.
PASTEL: What came first—your passion for illustration or your passion for photography?
MF: I'm not sure entirely; art in all forms has always been enjoyable. I used to be obsessed with taking photographs in an unhealthy way. Like, I would snap my point-n-shoot so much just because I wanted to capture every moment that I thought was "photo worthy". Once during a sunset, mid-picture, my Aunt told me that some moments didn't need to be captured—that taking a good photo also meant knowing when to not take a photo. To let the notion of capturing a moment go, allowed one to experience it fully. After that, I meditated on what photography meant as an art form and took steps to consider each frame that I shot. Becoming a photography major was a spontaneous decision and it surprisingly has turned out to be the only art form that I never tire of.
PASTEL: You've mentioned that your cultural heritage is a driving force in your work. Can you talk a bit about your background and how it influences your work aesthetically and conceptually?
MF: My mom is Okinawan, and I grew up surrounded by the culture. She is heavily involved in an association that exists around the world called Okinawa Kenjinkai, so it makes sense that I became involved as well. The association was established to help preserve Okinawan culture after many people left as a result of World War II—a time during which Okinawan culture and language was "discouraged".
Growing up, I separated this part of life from the everyday part of school and friends, became less engaged with my heritage during my early teenage years, and then began returning to it. Now I am seeking to merge my culture with my art, including: the struggle and choices many second-generation kids face with assimilation, integrating their cultural roots into every day life, and the multitude of grey areas that come with these things.
PASTEL: What mediums do you prefer to work with, and have you noticed any other overarching themes in your work?
MF: Watercolors, pastels, and micron pens are some of my favorite, especially in combination. Lately, I've been experimenting with intermingling these mediums with photography. I find alternative processes meditative and enjoy the nuances that come with them. Trying to combine these processes with watercolors, printmaking, and other avenues always brings about an unpredictability to a piece that I find exciting.
PASTEL: I've noticed that you like to draw on random papers + items. What inspires your drawings, and do you find that it enables a different form of expression that your photography? Do you think there's any discernible overlap in these two modes of art making?
MF: Drawing is a very subconscious and essential process for me. My mind constantly goes from this idea to that—the gears are always turning, so if I'm not drawing, I can't pay attention in class or even be fully involved in a conversation sometimes. Slowly, these drawings are evolving into actual pieces, and I hope to continue down this path of developing more finished works. So while drawing is a more subconscious and steady practice for me, photography is what I get super pumped about, and my focus is 100% committed to taking a photo each time. It's mesmerizing; I adore it.
PASTEL: Can you talk a bit about what your process is like for making photographs? Do you spend a lot of time conceptualizing, or do you prefer to find the right moment as you go?
MF: Capturing in the moment is definitely fun and is what come naturally to me, but I love executing things I've mulled about conceptually.
PASTEL: Do you think that your personality is prevalent in your work? If so, how do you think personal evidences affect the quality of each piece?
MF: That's a funny question. It would make sense that some part of an artist would be revealed or translated into their pieces, which is, perhaps, both true and untrue. As for me, I have never really taken notice of how evident my personality is in my work, but each time that I make a piece, one of my friends usually tells me that it's very "Mika".
PASTEL: Do you have a favorite work (or set of works) that resonate with you above the rest? If so, why?
MF: I couldn't say. I move on very quickly from my works. Once I finish something, I become completely unattached from it. All I'm thinking about is what I will be doing next.
PASTEL: What are the greatest challenges that you face with your work, and how do you deal with them?
MF: Decisions. Getting started. Thinking too much about an idea. A vision always exists in my mind that's very complex and concrete—so much so that I can't bring myself to execute it (a common problem amongst artists). The end product always turns out completely different from any vision that I have though, so I'm trying to embrace that and just dive into the making of art rather than fret about how or where or when I will ever be able to begin a certain project.
PASTEL: What are you currently reading, listening to, or looking at to fuel your work? Are there any artists that have inspired you?
MF: Man . . . Well, I just finished Dancer, by Colum McCann, which moved me to create. I'm always reading from Women Who Run with the Wolves. And I've just started The Second Sex and The Elegance of the Hedgehog. My roommate usually reads me poetry too (she's one of those creative writing majors), and those words paint pictures in my head that I wish to recreate often. It's lovely to be in Athens, surrounded by a creative community; the local bands and upcoming artists are also always an inspiration. My top favorites are The Rodney Kings, Mothers, Nurture and I'm super impressed by Wrenn (*Check out our artist spotlight on Wrenn below)! Also, Felix Gonzalez-Torres, Fridha Kahlo, and Jim Campbell are constant favorites.
PASTEL: What's next on the agenda for Mika Fengler?! Do you have any current or upcoming projects that you are excited about?
MF: Yes! I'm currently working on an independent mini-documentary on the beginnings of the Atlanta Okinawa Kenjin Kai for their 30th anniversary in August of 2015. This is the first long-term project that I've ever done, so I'm keeping my fingers crossed, but so far the process has been extremely rewarding.
PASTEL: What do you hope that your work will accomplish? What reaction do you hope to get from your audience?
MF: There exists a certain emotion that I feel underlying everyday thoughts and happenings . . . one that is tangible, but difficult to find the right words for. I hope someday that, that sensation may leak through my work and speak to the viewer.
PS: I’m not even really sure. It’s been a part of my life for so long! BUT, there’s this movie called Vertical Limit (it’s a disaster thriller rescue movie made in 2000) and if you haven’t seen it, you should watch it. It’s so shitty but awesome. And in the movie, the main character (named Peter btw) is a wildlife photographer. They show some POV shots through the camera lens while it’s going in and out of focus on some fighting snow leopards, and the shutter’s released, and I literally asked my parents for a “camera that makes that noise” the next day. So that was in like fifth grade; I was a baby with a film SLR camera. People always asked me what I was doing with it and questioned why my parents would give such a young person that type of camera (film was already basically “dead” at that time). I still have that camera today and I use it all the time!
