Category Archives: Interviews

Talking to Katy Horan

Tell me about “Spinster #3”

I use a process of layering textures, materials and details to rearrange elements of Victorian costuming and portraiture. These characters were specifically inspired by the figure of the unmarried woman in Victorian society, especially the specific clothing that was customary for Spinsters to wear.


Talking to Andrea Pramuk

Question: Tell me about “Moon Tide”

These small paintings are made using heat with alcohol inks, alcohol medium and rubbing alcohol on the Ampersand Claybord surface. I do these little paintings late at night to decompress kind of like my version of sketching. The light in “Moon Tide” resembles moonlight as it might be experienced in an altered state or deep underwater looking up at the sky while being tossed around by the tide. The recent blue moon provided some inspiration for this on


Talking to Charles Williams

Question: Tell me about ‘Mirrored Souls’
Mirrored Souls began when I was living in FL and I was missing home. Being on the boat and in the lowcountry, I began sketching ideas of where I wanted to be and it turned into a 36″x60″ oil on canvas painting. I personified the trees in the painting to represent me and family standing looking into the distance. Us(trees) standing in the water shows the reflection of ourselves and what we love. The viewer can see our souls form the place we come from – the lowcountry.

Talking to Jared Steffensen

Tell me about “Mom’s always afraid that I’m going to hurt myself…I usually do.”

I am interested in how to merge skateboarding and art making into a body of work. One that does not rely on the inherent aesthetics found in skateboard culture, i.e. skateboard graphics, company logos, etc., that are generally assumed when an artist chooses skateboarding as their subject matter. I am filtering the act of skateboarding and the objects used to facilitate its practice through the aesthetics of minimalism, video art from the 60’s and 70’s, geometric abstraction, and abstract expressionism to create objects and videos that straddle the perceived line separating skateboarding and art. This allows the works to exist in either world separately or in both simultaneously.

I am using actions, objects, and the residual marks created by the act of skateboarding, that are central to its practice, and translating them into a visual language that is specific to contemporary art. I am also incorporating an important aspect of skateboarding, the ability see the potential of objects, that serve a specific function in ordinary day to day life, to exist beyond their intended function, i.e. handrails, transitioned embankments, curbs, etc. I am further appropriating these actions, objects and marks to facilitate their existence in a gallery setting.



Talking to Marianne C. McGrath

Question: Tell me about “Overgrowth”

“Overgrowth was conceived in the throngs of the heat of last summer in Austin and was finished late in the fall. Although the work is aligned with themes from my most resent body of work, focusing on ideas of reflection on landscapes lost, Overgrowth is my most direct and realistically representative work to date. By employing realistic imagery and form, and juxtaposing actual and unexpected materials, I present the viewer with an alternative idea of the man vs. nature struggle, hoping to leave the viewer questioning which element will, in the end, be triumphant.”



Talking to Tony Stamolis

Question: Tell me about “Fresno”

Fresno is my birthplace, I spent six years photographing my strange hometown. The Result: a disturbing, often humorous, and consistently poignant insider’s view of a post-suburban American badlands.


Talking to Suzanne Koett

Question: Tell me about  “The Study of Aloneness”

In  series of photographs called The Study of Aloneness, photographs are arranged into small series. Each series is an unconventional visual journal depicting what aloneness looks like and shows what it’s like to have a relationship with the self. Each series touches upon the elation and freedoms as well as the struggles in having to face oneself when experiencing aloneness.

When aloneness and renunciation is accomplished, identity no longer matters. Within each series, the stripping down of identity is depicted so that the imagery gives way to being universal. In each study, the subject gets closer to becoming no one, which is sequentially the most relieving condition of being alone. The deeper into aloneness one goes ultimately paves the way of losing and unraveling the false identity created over a lifetime. The minimal and simplistic compositions support the idea of forced self-awareness and challenges, the behavioral patterns of avoiding oneself through external distractions.


Talking to Buster Graybill

Question: Tell me about “Tush Hog’s”

It is speculated that a Donald Judd sculpture escaped from the Chinati foundation. Without curators and conservators to care for it, the lonely sculpture eventually crossbreeds with a deer feeder in the nearby rural landscape. Their offspring are “Tush Hogs”. This breed of feral sculpture retains some Minimalist traits, but also functions as a wild game feeder that dispenses corn/feed to wild animals when it is rolled or jostled. The Tush Hogs quickly adapted a more rugged diamond-plated armor and more muscular stature to endure the attacks bywild hogs, deer, rams, critics, and locals looking for some casual target practice.




Talking to David Culpepper

Question: Tell me about “This Page Intentionally Left Blank”

This page intentionally left blank was a series of work I did about the idea of leaving earth and living in space. When the time comes that human beings leave this planet there will be a lot of artifacts left over. I picked an ambiguous shape between the radio tower and the oil derrick, both of those objects spoke to our ancestors as solutions to futures problems. Depending on how you interpret them, they can change the narrative of why humans would be leaving earth.

This page intentionally left blank, 2010




Talking to Jason Webb

Question: Tell me about “Flagman Ahead”

“Flagman Ahead” is part of a series of paintings of derelict buildings in the Austin area. It is a scene inside the Norwood House. The house was built in 1922 by wealthy real estate developer, Ollie Norwood, who went on to build the Norwood Tower in 1929, a gothic revival office tower located behind what is now Arthouse in downtown Austin. The Norwood House has been unoccupied since its acquisition by the City of Austin in 1985- that is as long as I’ve been alive. Efforts to restore the house have been slow and fraught with setbacks.

“Flagman Ahead” was painted using a technique I describe as acrylic posing as watercolor; meaning no white pigment was used, just thin washes which rely on the white of the paper for brightness. This process requires careful planning because it can only move in one direction, forward from lighter to darker. There is no going backwards. Alterations always add darkness, and no mark can ever be reversed.


Talking to Mark Johnson

Question: Tell me about “Healed”

“Healed” –  Is a destination to attain. I row around in circles trying to find it while people yell out directions to me. The closer I get, the louder they yell.


Talking to Michael Anthony Garcia

Question: Tell me about “Bodies of Work”

Using sculpture and installation, I am exploring the limits of our corporal forms. It begins with our early realizations in childhood of what the limits of our physical experiences are; where do our bodies end and the rest of the world, begin? The other extreme deals with our certain deaths, and where do WE end? The work contains site-specific materials and themes related to exploring what we are, who we are and going back.

The title Bodies of Work plays off the idea of the retrospective, looking back where you’ve been to see how far you have come. This show is very much a homecoming for me in many ways. Not only is it a revisiting of my alma mater, and floods of memories, but also a return to a past way of working and sources of materials. Installing this show has afforded me the opportunity to work closely with Austin College staff and a group of students and as well as familiarize myself with their own artistic endeavors.

This show is very heavily tied to ideas of duality and shifts in who we are throughout life as well as death. But as everyone knows, something must end for something else to begin.


Talking to ABOVE

Hello from Miami. I’m very excited and wanted to share with your blog this new info about my book “Passport”

Question: Tell me about ” Passport “

Passport  examines the street artist that has blanketed the world with art covering over 90 cities in 60 countries. The book includes hundreds of plates and quotes from artists across the globe and introductory statements by Shepard Fairey, FAILE, Wooster Collective – Marc and Sara Schiller and Tristan Manco.


“I first encountered ABOVE’s art on the streets of Paris in early 2003. His large-scale trademark arrows were painted on roll down gates, trucks and storefronts with impressive coverage throughout the city. ABOVE is extraordinarily driven. To paraphrase Radiohead, “ambition can make you look pretty ugly,” but in ABOVE’s case, his ambition makes the streets look very engaging. I am very impressed by ABOVE’s diligence, but after I got to know him and his artwork more, I began to realize that his output is not evidence of selfish ego, but of a lust for life, a utopian life, where his generosity, and curiosity, and his pursuit of creativity and social-consciousness have led him around the world making more friends than enemies.

ABOVE made the time to act as tour guide for me and my wife and our two young daughters in a city he knows well and we didn’t. The gesture made me greatly value ABOVE’s friendship and reinforced my belief that what you give is what you get. The Karma Police are not coming for ABOVE even if the police vandal squad is.” —Shepard FaireyLos Angeles, California

Technical Specs

  • Edition: 200
  • Sales start at edition number 61/200
  • Hardcover book: signed/numbered – 12.25 x 12.25″ (31.1 x 31.1cm)
  • 156 pages
  • Over 120 color plates
  • ISBN 978-1-937222-04-8

This edition is housed in a vinyl clamshell box placed in a publisher’s shipping box
Size: 20.5 x 16.5 x 2.25″ (52.1 x 41.9 x 5.7cm)
Weight: 9.5 lbs / 4.3 kg
Giclee print: signed/numbered – edition 200 – image size 11 x 16″ (27.9 x 40.6cm) / paper size 13 x 18 (33 x 45.7cm)

Price: $250.00


Talking to Paul Beck

Question: Tell me about “Axis of Evel”

Axis of Evel is a tribute to one of my heroes. As I heard one of the catch phrases for our rally to war, “Axis of Evil,” I thought about what goes through the heads of these men of power. I could not comprehend. So much pain and suffering.

I needed to smile and think of a time when all I wanted was to meet Evel, be Evel. The painting Axis of Evel is inspired by the assembly packaging of my Evel Knievel Stunt Cycle.

Evel to me had the spirit of freedom not a controlled man. He put his life on the line with each jump. He jumped 14 busses and paid his bills. Pure art.



Talking to Dameon Lester

Question: Tell me about “Ethnocentric Nature of Line”

Ethnocentric refers to the belief that one’s cultural group is centrally important, and that all other groups are measured in relation to one’s own.  The title loosely references the human race as a singular culture and it is with this mentality that we have separated ourselves from the natural environment.   This particular art show uses man-made materials to create three-dimensional line drawings in space and organic-shaped forms through intense repetitive processes. My attempts at reinventing natural or organic shapes through these processes and materials inevitably result in the beautiful failures that are my sculptures.


Question: Tell me about “Pattern Plan”

 is made by reusing/recycling man-made materials to create vague representations of nature that could only be produced from this second resource of unnatural materials.  These works focus on the circular form relating to one of the most basic building structures in nature and life, from blood cells to microscopic skeletal forms.  These circular units stand alone as individual forms, are shown as truncated sections, or as repeated patterns that potentially create larger environments, and relationships. I wonder to what extent this second material source can sustain human existence as we steadily deplete the earth’s resources. 

For the most part, my interest is in process and creating forms from reinventing very basic craft and art techniques using materials derived from the excess of our culture.


Pattern Plan

Opening reception Friday, September 30, 7-9pm

grayDuck gallery

608 W. Monroe Street, Suite C,
Austin, TX 78704 (S.1st St. & Monroe)

Talking to David Matheson

Question: Tell me about “Untitle”

I’ve been currently building new forms upon pre-existing ones, and the blobs themselves are sorta amorphous interpretations of things not yet revealed or understood.  As Robert Hass put it, “Big subject, big shadow.”



Talking to Jason Archer

Question: Tell me about ” Jesus Cornbread & the Alcoholics”

Jesus Cornbread and the Alcoholics follows the lives of a group of misfits. Despite their best efforts to live responsibly, they continue to screw up along the way. After each misadventure they congregate around their reluctant guru nicknamed Jesus Cornbread, who delivers them infinite wisdom, sustenance and guidance along their path to salvation.


” Jesus Cornbread & the Alcoholics”


Talking to K.C. Collins

Question: Tell about “Buy the ticket, take the ride”

” Buy the ticket, take the ride” is kind of an on going project. I’m always doing these little gesture thumbnails and I was looking for a way to capture that energy on a larger scale. The box idea came about when I was working at a winery. We had walls of wine boxes and compulsive scribbler in me had a hard time not writing all over them. So I took some home and started painting them.


Talking Identity Crisis

Carlos Donjuan, Hector Hernandez & William Hundley
opening reception: Friday, July 15, 7-9pm

This show explores the concept of identity or alter ego by using masks and costumes and questioning how we might use them to function in society. Why do we hide? Is it to protect others, ourselves, or to conceal what we may have done? Identity Crisis features mixed media, photography, painting and sculpture.

Hector Hernandez
grayDuck gallery
608 W. Monroe Street, Suite C,
Austin, TX 78704 (S.1st St. & Monroe)

Talking to Gage Opdenbrouw

Question: Tell  me about “Christmas Past” 
That particular piece is part of a series based on old family photos.  So it seemed like a natural place to start exploring such subject matter was with my own family’s photos.  The little girl in that is my mom, probably about 6 years old, in the tiny town of Arapahoe Nebraska.

Christmas Past


Talking “HEIR today, gone tomorrow”

In HEIR today, gone tomorrow, Hector Hernandez and Michael Anthony Garcia have linked together the works of various artists from the States of Texas and Tennessee to Mexico and Spain exploring the complexities of inheritance, legacy and human interaction. The body of work becomes a journal, a meta-cognitive examination of who we are through our relationships, culture and heritage.

The Artists
HEIR today, gone tomorrow includes the work of Daniel Adame (Houston, TX), Aisen Caro Chacin (Austin, TX), Paco Castro (Guadalajara, Mexico), Gabriel Dawe (Dallas, TX), Carlos Donjuan (Dallas, TX), Santiago Forero (Austin, TX), Eduardo Xavier Garcia (Austin, TX), Sergio Garcia (Dallas, TX), William Hundley (Austin, TX), Kristy Perez (San Antonio, TX), Carlos Rosales-Silva (Austin, TX), Rubén Verdú (Barcelona, Spain), Amelia Winger-Bearskin (Nashville, Tennessee) and Los Outsider curators Michael Anthony García (Austin, TX), and Hector Hernandez (Austin, TX). The artists have produced works of photography, installation, sculpture, and painting to explore what we inherit and what we pass onto others. Some of the works have been specifically produced for the exhibition.





Talking to Bryan Schnelle

Question: Tell me about “Apocageddon”

Apocageddon is a body of work I began in 2008 that deals with the sometimes overwhelming sense of emptiness and meaninglessness of much of what our current fear-and-consumption-based capitalist society promotes and markets as important. It also explores the whole end-of-the-world scare as we approach the year 2012. The title Apacageddon is a combination of the words Apocalypse and Armageddon. It’s supposed to be funny, like mankind in all its arrogance can’t even take its own demise and subsequent extinction seriously.







Talking to Mike Stilkey

Question: Tell me about “Reminiscent”

This was a commission piece and was in 2 parts when I created it. When the show came down they moved the piece to there Nike 225 store in Laguna Beach and stacked the 2 on top of each other, at which point I came down and connected them by painting her hair turning into the piano. They had a contest to see how who could guess how many books were in the piece.

   77   88

They received hundreds of votes and one lucky young kid guessed correct and won a bag of Hurley-Nike goodies. I think the final count was 3400 or something like that. When they finally took the piece down they donated the piano half to Laguna Beach High School (It’s in the Library) and the other half lives at Hurley.



Talking to Debra Broz

Question: Tell me about “Feeding”

There are two ways the oddities come about: by my finding specific things and having an immediate reaction of what I’m going to do, and by my acquiring things that interest me without knowing when or if they will become something…all objects in the latter case go into something I loosely refer to as “the box” (which at this point is about 4 boxes). After an inordinate amount of time I get everything out of “the box” and look at it. Then there is a mating.
Feeding was made during a mating – I had the leopard cub for a year or so and someone had given me bird piece…the leopard’s head had been broken off before, so I broke it again and I loved the way it fit over the existing bird head, like a mask.

I like the tension between subject and object in these works – little ceramics like these are most often passed off as benign so they can easily camouflage their strangeness behind their kitsch. In this work in particular there is something not purely, but possibly sinister about to happen. Is this a mother feeding a baby or is it an impostor eating a baby? This is the moment before the moment of truth…but there will never be a moment of truth because the time is suspended and the motion is stopped. That type of forever-unresolved question makes me laugh.



Talking to Mark Mulroney

Question: Tell me about “Rotterdam”

I was invited to paint a mural in Rotterdam. So I got on a plane sat next to a nice lady and her husband and flew to Amsterdam. Then I took a train to Rotterdam and walked to the gallery. I put my bag down and hopped on a bike and rode across the city to the paint store. I picked out my colors and rode back to the gallery. The next day the paint arrived and I painted a big pink thing. After just a few more days I was finished.

Rotterdam has many nice things like fake bird sounds throughout the city and free public skate parks for the teens so they don’t get hooked on drugs. It was a very short trip and I was happy to get back to the States where the birds are real and all the teens are Robo-trippin’

I appreciate the interest in both my work and the city of Rotterdam.


Talking to Abby Ronaldes

Question: Tell me about “Future Perfect”

Future Perfect: A Completed Action Before Something in the Future

This project started about a year ago as a way to think out what I wanted in life- and to think about the vast separation between the things I wanted.  When I was little, my cousin and I would play teenagers.  We would act out what we imagined our future lives to be, with the dramas and excitement of being older.  It was like deciding, if I was in this situation, this is how I would handle it.  So that’s what I did with Future Perfect.  Part of me loves kids and wants to be a mother, and the other part wants to work and not split my attention that way.  This is me trying on that hat and seeing how it would be.  I created this scenario and just tried to live it honestly.


This is a continuation from the piece I am showing at the Texas Biennial at 1319 Rosewood.



Talking to Mel Kadel

Question: Tell me about  “Back to Brick”

Back to Brick is pretty literal. It’s the spot we often find ourselves, that feels like the walls are closing in, or that the heaviness of all these things around might push us down. But, there is always that little space to push back and not let it win.



Talking to David de Lara

Question: Tell me about “Under Surveillance”

It really wasn’t planned out far ahead of time. I had the model booked for that day but the idea I was originally planning on doing wasn’t going to work out. I saw a couple of surveillance cameras I hadn’t installed yet and thought it would be interesting to use them for the shoot’s concept. It was split into two parts. The first was in the bedroom. She handled one camera focused on herself while the other was watching her on the bed. Meanwhile I had two monitors with video from both cameras displayed. The second part was in the living room. The tv in the background played a video she shot of herself on the bed while the small monitor had video from the surveillance camera of her posing on the chair.


Under Surveillance


Talking to Glenn Herbert Davis

Question: Tell me abotu “Track aNd trolly”

This work was inspired by high-risk workers in foundries, mines, and on scaffolding — and further by the Russian soldiers who ran across the roof at Chernobyl. Thoughts to of the Squirt Bridge collapse in Minneapolis (and the workers who built it and the workers who rebuilt it).

More at:

Question : Tell me about “West Tulsa Spent”

West Tulsa Spent, This work commingles autobiography with universals of expenditure.

West Tulsa Spent will be an installation and intermittent, 1 hour performance featuring orations, oblique gesturing, manufacture and/or de-manufacture, sounding, and tap dancing by collaborator Linda Clark. The installation might be best situated as a working space of theatrical mid-moments; as hidden dangers, sublime difficulty and discomfort mix with banality, residue, and dusty remains. What prompted the draw will not be present. Only that which can be reassembled will lay here as sign and suggestion of that which passed through.

Location: grayDUCK Gallery
608 W. Monroe St. | Suite C | Austin, Texas 78704
Time: ‎7:00PM Friday, April 8th

Talking to Seth Wulsin

Question tell me about Animas

Animas are studies of human image through the overlapping interior and exterior spaces of portraiture.The Animas seek to access the image-space of the human soul as directly and viscerally as possible, to make the presence of that space visible or invisible depending on the active perception and movement of the viewer. Different kinds of formal spaces overlap in the same coordinates to create a resonant interference of elements that approach a synthesis of consciousness.



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