Archive | Patrick McNeese RSS feed for this section

Coming UpArt

26 Oct

This new communique about artists and their art is dedicated to my mother, Ruthe Ballard Figart Sphar, who taught me at a very early age to surrender to the call of creativity. Without Mom, I would not be the creative communicator that I am — and this first installment would have been finished a month ago.

For the past 30 days I have been beside my mother day and night, 24/7, intuitively taking care of her as her body tries to find a way to coexist with a deteriorated heart, and her mind struggles to let go of the physical limitations she cannot change. I have perhaps learned more from her this past month than in all my 47 years with her, because I have listened more attentively, cared more affectionately and loved more fully than ever before.

During this trying time, the few hours I’ve been able to devote here and there to this project have brought me release and inspiration. The goal is to promote artists that I admire, spreading the word about their work. Artists are the least compensated members of the work force proportionate to the amount of joy they bring to human beings. Even in the face of difficulty, the inspiration of art, music, film, theatre or literary composition can make us feel that everything’s coming up roses. Coming UpArt is a new e-mail blast and blog update of fresh art you can enjoy, buy for holiday gifts, and learn more about through online links. Get in touch with me via e-mail if you would like to provide feedback or have your projects featured in Coming UpArt.

~~~

Nate Miller, Photographer ~ Asheville, North Carolina

Nate Miller hails from Parma, Ohio, where he started focusing on macro nature photography about a decade ago while being a caregiver to his father. Now working in the artsy Asheville, North Carolina, he still uses a fairly rudimentary camera and takes a bold approach to his subjects, mostly flowers. His collections include thousands of nature portraits, about which fellow artist Cynthia Cusick has written, “He pours you into the middle of the flower’s petals or the connection between blooms. His framing immerses us in the richness and luminescence of color, cropping out any distractions.” Landscape photographer John Snell says, “Nate has a great eye for nature’s graphics and simplicity.” But Nate stakes no claim to the title of artist. “I’m rather an interpreter,” he says, “seeking to reveal that which transpires behind that which appears.” He is currently booking guest appearances at open houses in both homes and businesses from North Carolina to Ohio to show and sell his prints during November. See more of Nate’s work and purchase prints on his web site; follow his work on Facebook; purchase his art on various household items, including laptop skins, phone cases, organic t-shirts and more on his CafePress site; read Cynthia Cusick’s blog about him and check out mine as well.

~~~

Joe Lamirand, Filmmaker/Musician/Songwriter ~ Indianapolis, Indiana

Film director, writer and producer Joe Lamirand won accolades during the past year when the short film “Turning Japanese” swept through numerous world-class film festivals winning countless awards, including best short at the prestigious American Pavilion Emerging Filmmaker Showcase at Cannes. “It was truly a life changing experience and an opportunity to work with some very talented people,” he says, “including our star Brian Austin Green.” The feature length version of “Turning Japanese” is currently in development with Robin Gurland, notable casting director for Star Wars Episodes I and II. Joe’s earlier films include the off-beat feature-length comedy “Talent,” and the short “Hollow.” In addition to being a producer, Joe co-wrote three original songs for “Turning Japanese,” two of which he produced with vocalist and collaborator Mia Joseph. After the film’s success, the two teamed up to form an alternative rock band, Blue Spark, which has been making waves in Indianapolis during 2011. The band is going into the studio in early November to record their first CD. Helping to grow the band’s cult following, Joe directed a whimsical music video featuring Blue Spark performing one of their most popular originals from their demo, “Punk Cowboy.” Watch “Punk Cowboy” on YouTube; listen to other Blue Spark songs on ReverbNation; follow Blue Spark and Turning Japanese on Facebook.

~~~

Cynthia Cusick, Ceramicist ~ Irvine, Kentucky

Growing up just north of New York City and spending much of her young adult life immersing herself in what she calls “the energy and grittiness of the City,” Cindi moved to an old farm house in rural Eastern Kentucky in the late ‘90s. This shift to a more natural environment, she says, “added a dimension to my self-expression. I rediscovered my sense of awe and fulfilled childhood dreams long thought abandoned.” One of these dreams was to be an artist, so in her 40s she finally took time off from her graphic design business and got a BFA from Eastern Kentucky University with concentrations in ceramics and metalsmithing. Much of her work references organic objects as metaphors for life experiences, focusing on women’s issues, sexuality, nature and intimacy. Shown above: Porcelain Juice Cup with Slit and Red Eruptions. A continuation of other “eruption” works, this whimsical piece sits on small, unobtrusive feet placed inside the bottom edge and is brushed with pink and mauve underglazes. Read more about this item on Esty; follow Cynthia Cusick, Teahorse Studio on Facebook; see more of Cindi’s work on her web site; read Cindi’s marvelous blog about her process and check out my blog interview with her.

~~~

Paul Ramey, Author/Musician ~ Jacksonville, Florida

Artist, writer and musician Paul Ramey lost his best friend Salvador earlier this year. Salvador was Paul’s dog. Within two months, Paul had published “Zen Salvador,” a tribute to “Sal” in the form of a bound series of minimalist ink-brush illustrations depicting man and dog, along with original observations about life’s path. All proceeds from the sale of this book are earmarked for the Jacksonville Humane Society. “Salvador and I had an amazing 16-year journey, and he taught me many things along the way,” Paul says. “After his death, I wanted to do something that honored that journey, and would send some positive energy forward. Helping other animals in Sal’s memory was a natural direction.” Paul hopes that people will consider this 24-page publication as a collectible piece of art more than simply a book. Each page is intended as a meditation, allowing the reader to stop, absorb the thought, and have a quiet moment to contemplate. The book ends with the touching story of how Paul and Salvador first met each other back in 1995. Visit the “Zen Salvador” web site; follow “Zen Salvador” on Facebook; learn more about Paul; and check out the 2-CD goth/rock opera Veil & Subdue that Paul composed and recorded.

~~~

Patrick McNeese, Musician/Painter/Director ~ Lexington, Kentucky

Patrick McNeese is a Kentucky-based visual artist, singer-songwriter and documentary filmmaker. Perhaps best known for his highly expressionist artwork, Patrick has been creating distinctive oil and mixed media paintings for nearly three decades in his downtown Lexington studio. His paintings are included in numerous public and private collections throughout the U.S. Patrick writes and performs his original songs on piano and guitar. “My recent work has been described as ‘Appalachian Jazz’ because it embodies the energy and freedom of certain jazz ideas (i.e. syncopation and improvisation), as it also borrows from the rich traditions of music-making and song craft from the Appalachian region,” he says. Patrick has written, performed and produced three independent albums: “The Singing Bridge” 1989; “Me, Mywolf and I” 1993; and “Any Day Now” 2005, and has also composed original music for several film and video projects. Patrick wrote, produced and directed five independent documentaries, most dealing with the lives and work of both historical and contemporary artists and musicians. In 2006, he received a Director’s Citation at the Black Maria Film Festival for his film about a Vietnam veteran who is also a gifted artist. See more of Patrick’s art, check out his music on iTunes, CDBaby and ReverbNation, follow Patrick on Facebook and read my blog interview with him.

~~~

Hans Peter Jorgensen, Sculptor ~ Decorah, Iowa

Like many artists, Hans Peter (HP) Jorgensen has worn many professional hats to support himself throughout his career, and has returned to a more concentrated focus on art in his retirement. Earning a BFA from Michigan State in 1965, HP soon discovered that making a living as a sculptor in the Midwest was problematic. So instead he earned his living through design and construction of architectural elements, historic restoration and, more recently, non-profit program design. “I’ve always thought of myself as an artist, whatever I was designing,” he says. Over the years, HP has produced thousands of objects—sculptures, furniture, clothing accessories, photographs, books, architectural restorations and programs for various non-profits. Since retirement he has focused on producing sculptures featuring the human figure with an emphasis on faces. He works in clay and casts in either plaster or bronze. Shown here: Homo Technologicus II (detail) is painted plaster, 18″ x 32″, 2011, the second in a series exploring the interface between humans and the technology that is an increasing part of our society. This piece is one in a series currently on display through the end of October at Perfect Edge Gallery in Decorah, Iowa. Click here to follow Hans Peter Jorgensen, Sculptor, on Facebook.

~~~

Kathleen Farago May, Fine Artist ~ Ottawa, Ontario

The evolution of her art from drawing to painting, to printing (etchings and silk screens) and finally to digital painting has been part of Kathleen Farago May’s life adventure. “Each medium has allowed me to more clearly express the spiritual impulses that have driven my creative work,” she says. She perceives her creative process to be a collaboration, to which she contributes her experience, technical skill and aesthetics in order to express the ideas and feelings she is inspired to bring to life. While her early paintings often expressed a rejection of traditional religious forms, today’s images are about “embracing the sense of the numinous that we feel when we acknowledge Oneness.” Kathleen’s themes reflect the fact that she adheres to no single spiritual tradition, but rather remains open to guidance from her higher self. The imagery is symbolic – a sphere, a face, wings, water, the sun – alluding to elements of philosophical and spiritual significance. When the images are not figurative, there is simply a feeling in the abstracted color-scapes and mandalas – a sense of awe, wonder and transported gratitude. Shown here: Time Lapse Self Portrait 1978-2011. You can view Kathleen’s collections on Facebook by clicking these four links: EmergenceAffinitySpringWall.

~~~

Mike Coykendall, Producer/Musician/Songwriter ~ Portland, Oregon

Best known for touring with and producing M. Ward, Mike Coykendall (“Kirkendall”) fits his own songwriting and recording in between recording projects with artists like Blitzen Trapper, Richmond Fontaine, She & Him and Pancake Breakfast. Mike’s folk-rock sound features his trademark wise, raspy vocals set to country-infused psychedelia. In the early ‘90s, he and musical partner Jill Coykendall formed San Francisco’s Old Joe Clarks, an alternative country ensemble whose highly acclaimed CD “Town of Ten” shot to number 16 on the Americana charts. Rubbing elbows with musicians such as GIllian Welch, Bright Eyes, Jim James, and Victoria Williams, Mike has appeared on Austin City Limits, Late Night with David Letterman, Conan O’ Brien and Craig Ferguson. He performs around Portland regularly with The Golden Shag, has recorded two solo CDs – “Hello Hello Hello” (2005) and “The Unbearable Being of Likeness” (2009) – and is seeking the right label for his new double-CD release. Taking bookings across the U.S., Mike says, “I just want to perform as much as I can and tour as much as is possible.” Learn more on Mike’s web site; listen to his music on  iTunes; watch him perform “Lost as You Are” and the cover “I Can See Clearly Now,” and read my blog interview with him.

~~~

Please, before you buy your holiday gifts, consider purchasing art from one of these eight or countless other artists who have their work available online or in your local community, wherever you may be. Thank you for taking time to read these profiles! Get in touch with me via e-mail if you would like to provide feedback or have your projects featured in Coming UpArt.

Advertisements

The Patrick McNeese interview, unabridged

23 Aug

A seminal figure in downtown Lexington’s art scene, Patrick McNeese is an accomplished fine artist, musician and film maker who has found a way to make his art into a business. He’s perhaps best known for his stylized series of oil paintings and two-dimensional mixed-media on paper portraying colorful pensive figures in a blend of post-modernist and Cubist style with nods to Chagall and Picasso. He describes his brand of original introspective music as “Appalachian Jazz,” in which he sings and plays edgy piano and rhythm guitar, usually complemented by others playing mandolin, fiddle and various percussion instruments. He’s recorded and produced three albums, “The Singing Bridge” 1989; “Me, Mywolf and I” 1993; and “Any Day Now” 2005, has a live album in the works, and has also extended his songwriting talents to composing sound tracks. In his award-winning career as a film maker, McNeese has not only art directed commercials, but produced, directed and edited three regional documentaries: Hemplands; Of Myth and Muse: Stephen Foster and My Old Kentucky Home; and Searching for Wolf Boy: The Art of Jimmy Gordon. He was also production designer and art director for the local feature film 100 Proof and a location scout for Simpatico, starring Jeff Bridges and Sharon Stone. This interview was originally published in a much shorter form in Business Lexington.

Frances: What choices have you made in order to live your life in such a way that you were able to make a living from your art?

Patrick: If you are trying to be independent and not take some prescribed corporate route, you have to do a lot of different things. From early on, I never thought about a single pathway. You keep yourself open to many choices within the area where your talent lies. As an artist, not only do you wear a lot of hats, you have to have about three different heads under those multiple hats. I have six or seven micro jobs. They are all very important; some of them bring me more income, and some of them bring me more satisfaction.

To have control, you are willing to trade a lot of other things. I live in the top of a building down here [in downtown Lexington], I’ve never owned a home; I’ve never really aspired to own a home. My wife Claudia is a painter and we never went after those kinds of things, thinking that freedom and flexibility and the ability to be creative and take those paths that present themselves was very important in the way to design a life.

Frances: What do you see as the relationship between art and the current state of our economy in this country?

Patrick: If you are going to be in the art or music business, you have to be an innovator; on some level, you have to embrace innovation. I’m going to take what I’ve been given, and I’m going to change it. That could be an act of arrogance, that could be an act of courage, however you want to frame it. I heard a great quote the other day: “The country demands bold, persistent experimentation.” This was FDR and he was talking about the depression, but that was his very short, and I thought very eloquent and true recipe for moving ahead and that’s true in the arts, true in trying to change the environment, trying to improve our business practices, the way we treat each other – everything.

At this moment, it seems like we are at this flash point where there is going to be an awakening – because the Styrofoam container bullshit is done, and the giant car and the burning up of limited fossil fuels. It’s the big slowdown. We have to change the way we do things, or we won’t be able to move ahead, we won’t be able to innovate.

As an artist, you are not working directly with the environment, you’re not working directly with the people that actually have their hands on the levers of power and can actually make those changes, but you are certainly like the pioneer kind of guy who at least, through his art, figures out a philosophical way to live that then translates into ways that improve modern life. Scaling back and simplicity, which sounds really painful to a lot of people, is a shared philosophy between the arts and the environmental and sustainability movement. How can we do more with less, how can we save our resources, how can we recycle everything we use? We can’t be throwing things away and keep living the materialist, consumerist life that our parents did.

Some artists go for the more practical, straightforward connection in terms of using recycled materials in their work, but my art comes from a more self-oriented narrative. Rather than literally demonstrating the connection between creativity and sustainability through my work, what I do and the way I do it, and what I have to do in order to achieve what I do means that I employ a lot of those same sustainable tenets, and I had to figure that out on my own by reading good books and having experience.

We are all like a bunch of cows standing out in a field, bored and frightened, mindlessly consuming, and anybody who can get their head up out of that modern day trap and do something different is really a breath of fresh air.

Frances: Do you consider Lexington an artist-friendly town? Put another way, is it easy or difficult to make a living as an artist in Lexington compared to other places?

Patrick: I would argue that the more involved, engaged, creative and open people are the people that like art. They want to dream a little bit. They want some sort of magic or almost religious experience that art provides. There is a mystery about art. If you make it, you’re very cognizant of that.

But struggle is implicit in that choice of being an artist. I wrote a song called “And I Will Struggle.” I will struggle through the days and nights; I will struggle all my life. It’s like a little prayer. If you sign up for this life, struggling is inherent. When art is derivative and only emulates something else, that’s people refusing to struggle.

In Lexington, there’s not a gallery system. You come in and, there are a few galleries, but it’s not New York City, it’s not San Francisco, it’s not Chicago – even Asheville has a better gallery system. The problem is a lack of audience, and in the visual arts sense it’s a lack of purchasing audience. So the visual artist is very dependent on a gallery that can market their work. For example, Marjorie Guyon is really the template of successful Lexington artist because she works here, but she’s been able to market herself elsewhere. She’s found galleries that support her work and her vision, and she’s done well.

The economy could improve… and actually the ‘90s was better than the present time; I was selling more work then. It’s like we have to lift up the level of the whole lake, and then that particular boat will rise.

Frances: How do you strike the necessary balance between immersion in your work, and marketing it?

Patrick: It’s a rare artist that can do both of those things well [at once] because a very different portion of the soul is needed [for each]. The artist that is a really good marketer I sort of don’t trust as an artist – and vice versa. I’ve tried to overlap it; I turn certain switches off per a period of time. I haven’t made a painting for a number of years; right now currently, I’m mostly a musician. But through the 90s I painted hundreds of paintings. I developed and finalized the style most people know me by and I still have a big backlog of original work that I haven’t sold; I was so prolific.

The best thing about marketing in the last few years is Facebook. You hit people like raindrops, again and again, and you have to be consistent. “The Face” is perfect for a visual person. Luckily for me, my paintings work in a little thumbnail: at first viewing you can look at those little faces and it works. People are driving by all this [marketing] at a high rate of speed; they’re scrolling through and it’s usually a visual thing that catches them. For the visual artist, Facebook is great because the visual hooks them. And then you can upload your music or films. It’s a great tool for the small producer/creator who wants to bring 40 people to a show or sell a painting. It’s the hygienic of marketing: you are doing something every day to market yourself, like flossing your teeth. I’ve sold more paintings in a year and a half on Facebook than in the five years prior, so it’s visceral. The computer is a great tool to build community, and art can ride on that.

Frances: Over the years, you’ve been playing more and more live music in Lexington; in fact, that’s how we first met when I saw you play at Shakespeare in the Park in the mid ‘90s. How do you get your gigs, and how do you feel music as an art form contributes to social development in Lexington?

Patrick: I shifted [from painting] to live music performance five or six years ago. I like it because it takes a lot of physical energy to perform and I like the community and the collaboration of it. And there are all these other non-artistic considerations that inform that decision: You realize you need a community, and ask yourself what kind of artistic work best builds community. And music has that quality.

In Lexington, I know all the players. I’ve been here so long; I have the rolodex. There are people who hire me for private parties. I played at Alfalfa’s every Friday night for ten years. One of the problems with being an innovator is, people want to buy a known product. And they’ll ask, “What do you do? Is it like this?” And my response is, “Well no, it’s not like that.” Also, the cultural scene has been dictated by college students – that’s been a limiting factor. Natasha’s is a wonderful example of trying to do it right from the artist’s point of view. It’s a good marketing gig because it’s high profile; they do a great job of marketing. The Lexington Area Musical Alliance (LAMA) is a great new thing that’s going on that goes right to what we are talking about; it was created expressly to support local music production and performance.

Music right now because of its communal sense is a real important thing. People know how music makes them feel and they know that that’s important. These guys are in front of you live, making this thing happen, and you see the mistakes, you appreciate the humanness of what is going on, with its triumph and its potential disaster. It really is how church functions. We come together and we acknowledge certain things and reaffirm them amongst ourselves and these guys on the stage are going to create something under the threat of failure. That’s a magical moment and that’s truly music making. [My] next album is going to be live. That live feeling is real important.

Last night I saw Big Maracas playing right down the street from me here. A guy from South America, Enrique, came up here and taught all these guys all these Latin rhythms and it’s like you’re in Havana, and it raises my blood! That’s my favorite band because I’m just instantly made happy. Everybody was just gyrating: young people, old people, people who had some money and people who looked like they didn’t have money – and everybody was in communion.

Frances: How has Lexington’s relationship to art matured since you started out, and what draws you to – and keeps you in – this city?

Patrick: When I started out downtown Lexington in the ‘80s, it was me and the lawyers – there were like three other artists. Now everybody is wanting to be an artist and talk about art and even a business magazine wants to talk about art because they see that, in a society that has a lot of problems, part of what we are doing is dying off so something else can grow, and art is the laboratory for that. There are those individuals that are bold and persistent and experiment. I responded to a certain reality around here that has its limits and I just bought into and accepted those limits and don’t always think about how they can change.

Central Kentucky’s my home and that is a powerful elixir to sip – and you want to make it work. I’m glad I stayed here, because there was a period where I left, and I always came back like a magnet. I’ve met a lot of good people. The woman I’ve spent the last 25 years with, Claudia Hatfield, an oil painter and chef, I met at the University of Kentucky in art school, so that’s a great benefit. I’ve had this primary relationship with somebody that is like me – that is an artist – and we sit at the breakfast table and we talk about what we’re confronting. They’re witnessing what you are going through and you’re witnessing what they’re going through. The value of that kindred spirit can’t be overstated as far as survivability goes.

To see more of Pat’s work and listen to his songs, become a friend on Facebook.