The creative energy in Sacramento is surging. From the diversity in the region’s live music scene to the legacy of innovation and creative vitality among its community of visual and performing artists, the feeling of civic pride is palpable. With creative businesses flourishing, creatives are taking hold of Sacramento and giving its residents reason to celebrate the various neighborhoods that comprise this diverse city.
For graphic designer Amber Witzke, this sentiment of community pride has manifested itself in her latest project: a limited-edition screen-printed poster titled Neighborhoods of Sacramento that memorializes every Sacto ‘hood from Greenbriar to Valley High and everything in between.
And while she was born in Santa Barbara—her family moved to the region when she was 3 years old—suffice it to say, Witzke reps Sacramento hard.
The project’s evolution came out of Witzke’s love for Sacramento and celebrating the 130 neighborhoods that connects all who inhabit the City of Trees. The work is currently being shown at Archival Gallery, where fellow devoted Sacramentans can show their love for the city by scooping up one of her graphic homages to the region.
The Sunny Side of Sacramento | 18 in. x 24 in.
“I grew up in Sacramento and I’ve lived pretty much my entire adult life here, and I have loved the city from the moment I moved down to Midtown,” Witzke gushes. “And recently, my now-husband and I were looking for a home to buy, and I just kind of happened upon all these different neighborhoods and realized how many different areas within Sacramento there are. The actual city itself I didn’t realize had all of these really cool names. Each of these little neighborhoods have their own distinct qualities.”
Born into a family of creatives, the newlywed’s passion for the arts revealed itself early in life, and she was compelled to contribute to the fabric of the local creative space.
“My grandmother is an artist. My mom is an artist. I always loved drawing and painting and anything creative as a child,” Witzke explains. “So, when my dad brought home a computer, it was just like, ‘what can I do with this artistically?’ That’s kind of how I fell into design and advertising.”
This natural curiosity led Witzke to pursue a degree in design from Sacramento State. The intensity of the program she says was vital to her development of discipline as an artist.
“The program is pretty difficult, and it’s pretty difficult to get into,” she explains. “You wouldn’t think being a state school it would be something that would be so desirable for so many people in California to get an art or design degree from, but they were really impacted, and it was really hard to get into.
The Neighborhoods of Sacramento | 18 in. x 24 in.
“You had to go through a portfolio review where they would look at your work and see if they thought you had potential,” Witzke continues. “Then, once you got in, they actually did more of a fundamentals program; we didn’t spend any time on a computer—it was color theory and that sort of thing—and you come out of that with a portfolio and you go through another review for them to see if they’ll let you graduate. It was pretty tough, and I’m really glad that [it was], because it teaches you discipline. A lot of people think that as an artist you don’t need to have that, but you really do, especially if you want to create stuff for yourself.”
As the senior art director at Un/common advertising agency, Witzke taps into her creativity on the daily by serving the greater community through television and print ad campaigns for local governments, state administrations, as well as in the private sector.
“I started [at Un/common] about seven years ago,” she explains. “I started as a designer and have moved my way up to art director. There’s definitely a lot of creative freedom that we have, and it’s fun to explore different areas of other people’s business and trying to come up with creative solutions for a lot of public issues.”
My Type of Town—Sacramento is! Midtown to Downtown tote
Drawing on the vibe of other projects that celebrate neighborhoods in other cities like New York and Paris, Witzke’s black-and-white graphic map homage to Sacramento sprung to life during the course of her wedding planning (in December 2017 to fellow graphic designer Jason Malmberg) when she snuck in time over the course of several long nights spent visualizing and contemplating how best to articulate the diversity within the confines of the River City.
For the Neighborhoods of Sacramento project, while each neighborhood’s moniker leaps to life with a nod to a vintage vibe, the work is thoroughly modern, as each neighborhood is confined to the borders on the official city map—the creativity in fitting in each neighborhood was an exercise in patience and ingenuity. Letters are stretched and fit snugly within the framework of each boundary, evoking an urban feel, fitting for a celebration of the grid and all of Sacramento’s outlying communities.
Initially, the project was offered as a limited-edition run of signed, 18-by-24-inch screen-printed posters, but when the maps leapt off the shelves and quickly sold out with its first run at the ShopCuffs boutique in Midtown and Kicksville Vinyl and Vintage in the WAL Public Market, Witzke was approached by Archival Gallery to show at the space with her Sacto tribute.
The Grid Kid T-shirt
As Witzke looks forward to taking on new projects that boast the unique and diverse community she’s proud to call home, she cites her extensive research on the many communities in the area as that “aha” moment that brought everything together in the Neighborhoods project.
“I’ve been learning a lot about the city, and I’m very proud of our city,” Witzke says. “And it’s nice to see other people now appreciating it like I have for so long. That’s where it started, and it’s continued to grow, and I’m trying to think of other ways to express the amazing diversity and the awesomeness of our city.”
Left My Heart in Sacramento limited edition screenprinted poster
Keep up with Amber Witzke online at Facebook.com/shopamberwitzke, on Instagram @missamberw or on her website, Amberwitzke.com. You can purchase her limited edition screen prints, totes and pins at Amber-witzke.myshopify.com. For her T-shirts and other merch, go to Redbubble.com/people/missamberw. You can also check out Witzke’s work at Archival Gallery (3223 Folsom Blvd., Sacramento) through the end of September.
**This piece first appeared in print on pages 26 – 27 of issue #274 (Sept. 12 – 26, 2018)**
“I watched a lot of Care Bears as a kid,” muses local artist Jessica White with a laugh. “I use colors all from that palette, I don’t know if that’s on purpose.”
White is a tattoo artist at Reclamare Gallery and Tattoo. She works out of the Land Park shop with her boyfriend, local artist and Reclamare owner Corey Bernhardt. Born and raised in South Sac, she didn’t make her way to Midtown until a few years ago.
White’s tattoo work is a play on traditional American, a style she describes as whimsical neo-traditional.
“It’s a little bit more stylized than American traditional, and I think I take that neo-traditional concept and I add a little bit of whimsy and an effeminate touch, and so it doesn’t quite look like the standard neo-traditional, it ends up having a little bit softer color palette,” White explains.
Her tattoos retain a youthful, fun playfulness, with a color pallette that utilizes bold, bright blues and striking pinks. If you’ve ever enjoyed the boardgame Candyland just for the elaborate, colorful board itself, you will find something to appreciate in her style.
She has a fun approach to color and pop culture elements, binding them with elements of traditional American tattoos. Her love of coffee and fantasy and cartoons is also evident in her portfolio.
One thing that comes as a surprise when talking to her is how humble she is as an established artist, making a specific point to note her group of friends as influences artistically and just all around. When she started to recall the possibility of pursuing a different career path, you could hear the moment of pause where she, for that moment, tried to visualize her life without her group of friends.
Reclamare will be celebrating their four-year anniversary with a group art show Saturday, Nov. 12, 2016.
“The theme for the show is very loosely surrealism,” elaborates White. “I have a couple digital pieces of mine that I’ll be offering at the show that would fall into that realm for sure.”
Why did you choose tattooing as a medium?
It sort of was by happenstance. I was really into drawing and art in general at an early age, but in my generation I guess, being an artist wasn’t necessarily a very lucrative career, and I was worried about that, so I actually went to UC Davis to study science, because I was good at science too, and I thought, well, I can make a living at that. And fast forward four years, I was pretty miserable, I wasn’t really happy with the path that I was on or what I was doing. So I told my parents that I didn’t want to go to school anymore, and they were really supportive, and then I started getting into photography, and thought that was going to be my artform, and I really enjoyed it, but it wasn’t 100% what I wanted to do. And I got asked to take some photos at a tattoo shop, and while I was there I started to talk to the artists about the industry and what tattooing was like, and I had mentioned that I thought it’d be something really interesting to get into, and they offered me an apprenticeship, and I was there for like maybe two weeks before I quit all of my other jobs. It was called The Body Embellished; they’re not around anymore. I just dove right in, it was different than anything else I had done before. And I really liked that I could be creative and interact with people. I was there for almost a year, and then I went to another shop in Dixon and learned a lot from them as well, before I officially was a tattoo artist.
I think that I was always surrounded by tattoos; my parents had a lot of friends that had tattoos, so maybe subconsciously it was something that I was interested in. At a young age, I didn’t know that tattooing was as artistic as it is. I didn’t know that the industry is as influenced by art. I always thought that it was American traditional and that was it. I had no idea up until I started working in the industry, that there was so much more going on, so many fine art applications being used.
Did you always identify as an artist? Were you creative as a child?
Definitely, I used to draw and color all the time. Specifically, I drew Jessica Rabbit a lot, and I drew this little girl that was from this movie Cats Don’t Dance and I drew the hummingbird from Pocahontas a lot.
My mom Sally White and my grandma Naomi White both painted, and painted around me at an early age. My mom painted things that were a little more storytelling and my grandma did landscapes, so their subject matter didn’t necessarily resonate into my work, but being surrounded by art at such an early time I think was unavoidably influential. My mom was always encouraging me to do art and supplying me with all the tools to do so. I remember her taking me on a trip to see a family friend who was an oil painter, I don’t know how old I was but we all sat at the table and they were trying to teach me how to draw a horse. I actually think I still have that drawing at home, or maybe only the horse she drew, because mine was probably terrible. My mom saved a lot of my early doodles though, I think she was pretty proud.
Unfortunately [my mom] never got to see me working as an artist. She passed away before I received my apprenticeship. But I think that her passing was another moment that signified my departure from a conventional career path and made me want to focus on something more fulfilling. Life is short as they say …
When do you feel like you found your stride as an artist?
I would say I definitely recognized it in 2015, at the end of the year. I looked back and I was like, ”This was the year, this was my year, that things really started clicking, and I really started honing on what my style looks like. And then this past year has been further delving into that, and trying to tighten my portfolio up and really make sure that everything looks like ”Jessica did that tattoo.”
I think that this last year, and the year before, really solidified that this is what I want to do forever. I never thought that I didn’t want to do it, but I was always open to the possibility that there might be something else. And now, I don’t think that I could not tattoo, it would be crazy if I didn’t tattoo.
How different do you think your life path would be if you would have just pursued the sciences?
Hugely different [laughs]. Because I was thinking about going into phlebotomy or pharmacy; I guess phlebotomy wouldn’t have been that different, still dealing with needles. I probably wouldn’t even have the same group of friends, which is really sad to think about, because my core group of friends are huge, are very, very important to me. I didn’t meet any of them until after I started working in the industry, and I think the solidity of those relationships is much due to the fact that I was really coming into my own and being more true to myself, which allowed me to connect with people on a better level. My friend group is very important to me. I don’t know what I would do or be without them and I’m so grateful to have these people in my life.
Who inspires you as an artist?
My main inspiration would be [Reclamare owner] Corey Bernhardt. He is definitely my baseline. His drive and approach to art has definitely pushed me and helped me tremendously. Watching his growth and seeing him strive to achieve what he wants out of himself artistically is extremely inspiring. As for artists whose work I find inspiring: Kelsey J. Beckett, Brandi Milne, Ly Aleister, Kelly Doty and Emily Rose Murray.
What music is on heavy rotation while you work or paint?
There’s a lot of music that inspires me to get down to work. Right now I’m listening to a lot of This Will Destroy You, because Corey listens to them a lot. And this band Eisley, and Radiohead has always been something that I listen to when I work; they are probably one of my favorite bands. My favorite album is OK Computer. There’s also a lot of Sigur Ros and The National. And also Sacramento artists Rituals of Mine [formerly known as Sister Crayon]; I have listened to them consistently for probably the last 10 years.
The Reclamare Gallery Annual Group Art Show is Saturday, Nov. 12, 2016 from 6–10 p.m. at Reclamare Gallery & Custom Tattoo located at 2737 Riverside Blvd. in Sacramento. The show will feature new original art and prints by some of the best tattoo artists in the greater Sacramento area on display and for sale. Find more information at Facebook.com/Reclamaretattoo.
Have you been to Arden Fair Mall lately? If you have, chances are you’ve noticed the massive LED Video Media Tower that wraps around the mall’s elevator shaft in the central court. Over 40 feet tall, the colossal tower has become the mall’s center piece, and is really quite eye catching. Now, for the first time ever, Arden Fair is calling on local artists to submit their work for a chance to be featured on the big screen. Elevate: An Art Exhibition is open to all artists, but submissions must be in a video format to the specifications found at Ardenfair.com/events/elevatecontest. This is an incredible opportunity for regional artists to have their work seen by thousands. And don’t worry, this isn’t another one of those “contests for exposure” that artists and designers tend to hate on (hey, we get it, nobody wants to work for free), so we’re happy to say that there is some serious cash up for grabs in this contest: the top three winners will receive prizes ranging from $500 to $2,500! As many as 25 submissions will make their way to the LED Video Tower to be voted on by the public from June 1–30, 2016. The top 10 artworks chosen by the public will then be voted on by a panel of judges made up of notable artists and creatives from the art community at an event on the evening of July 16. Additionally, any artists who submits will also be considered for potential commissioned artwork at Arden Fair in the future. Submissions for Elevate: An Art Exhibition will be accepted through May 25, 2016, so let’s all try and get the word out to as many local illustrators, painters, photographers, videographers, etc., as we can. For more information, visit Facebook.com/ShopArdenFair, Ardenfair.com/events/elevatecontest or email jamie.donley@macerich.com with any questions.
**Editors Note: The deadline to submit has been EXTENDED to June 11, 2016**
PMA-Team
Maya Angelou wisely once said, “If you don’t like something, change it. If you can’t change it, change your attitude. Don’t complain.” The idea is, with the right frame of mind, one can accomplish anything, and with a negative mindset, negativity comes back to you.
If unfailing positivity makes you want to barf, you better get a bucket ready.
JM Knudsen is a Sacramento-based artist who paints, tattoos, creates clothing, does graphic design and pretty much any form of art he can get his eager hands on.
But he’s not just in it for himself. As coordinator of American Gypsy Apparel and project manager of Sacramento Free Art Drop, Knudsen endeavors not only to create art, but to create new channels for other artists to share their art and collaborate.
Sacramento Free Art Drop consists of a painted box that shows up in various locations throughout Sacramento and is filled with donated art, free for the taking to anyone who sees beauty in it. Participant Arturo Romero says he was, “… very intrigued by the idea of creating an art hub in the middle of an ‘art desert.’ This city needs color!”
Another participating artist, Ahlo the Alchemist, shares that, “It feels amazing to be a part of such a unique and positive project. It’s cool because you don’t know who is behind the artwork, unless you’re familiar with the local art scene, and [as an artist] you have no idea who can end up with your art.”
Knudsen’s own artwork can be found throughout Sacramento in public areas, free from the monetary ties associated with galleries. This is not because the artist does not accept payment for his art, but because there are other forms of intrinsic payment that Knudsen also values. Much of this artwork consists of paintings on wood that are held up with chain, temporary adhesive or U-lock.
As Knudsen explains, if you don’t like your local art scene, change your attitude and watch the scene change, too.
Why do you think this project was started?
The SFAD was created to spread local art throughout the community of Sacramento in a unique, new way. It was created to get the art we create as Sacramento residents in the homes of our own people, to cover the walls of Sacramento homes with Sacramento art. To inspire artists young and old to create again, to create for the first time, to inspire future artists of Sacramento and instill a sense of pride in what we can do as people here. To create networking opportunities between artist and admirer. To create a platform for unknown artists to be discovered. To give those without the ability to afford a priced piece of artwork an opportunity to own art.
Artists of all skill levels and mediums are welcome to contribute. Not a single person knows how one drop can affect the course of their lives or the City of Sacramento, so no limitations should exist with who can participate. You truly never know the outcome when you give art without expectation.
And last but not least, you can inspire another to create. No dollar can match this … Without a doubt, art saves.
Have there been any issues with the project so far, or complaints? How is the project being received by the community?
To date, there has been only one real complaint, in regards to a single local artist stating that he wouldn’t drop art in the chest because he felt doing so would devalue his art. But besides that, this project has received nothing but praise from the community.
Describe other artistic endeavors in which you’re involved—from your own artwork, to other collaborative projects.
Outside of the SFAD I am the Creative Director/Artist for American Gypsy Apparel “One of a Kind,” an artistic collaborative involving more than 150 artists, including participation in several other U.S. cities and countries. The focus of this group is promoting the idea that we are all “One of a Kind.” The Instagram account has grown to more than 20,000 followers. Some people confuse AG with a brand, AG is not a brand.
For instance, a person in Germany will commission me to design a “One of a Kind” vest with a guitar on the back. I would create that item, text my friend James Cavern for a photoshoot with the vest, and post the photo on Instagram so people can see what James does through tagging him on Instagram, then I would ship the vest.
If an artist shot photography with me for AG, I would pay them with a “One of a Kind” item. Tattoos for sculptures, drawings for haircuts, playing music at an art show for a painting—we find a way to avoid using our currency and trade skills.
In 2016 I have a project with Peace Market around 18th and O streets, with more painting and murals, making art present inside and out. Working with local artists Goop Massta, BAMR and Arturo Romero, we completed a mural on Peace Market the first week of January and we have a group art show at Peace Market together in April.
How does tattooing integrate into your experience as an artist?
Tattooing is a major part of the artistic culture. Midtown Sacramento is saturated with artists and many residents are heavily tattooed. Things I want to express the most, I get tattooed.
What is the state of the art scene in Sacramento currently, in your opinion? What’s going well and what’s lacking? How would you like to see it change?
In my opinion, the state of the art scene in Sacramento is stronger than it has ever been since I’ve lived here. Artists are really starting to come together to do tremendous things, and it’s beautiful to witness—holding events like Launch and TBD Fest that bring in big name artists to our city, and show our artists off to the city. This is bringing us forward in a major way.
The Warehouse Artists Lofts are a great addition to the community as well, a place where artists can afford to live, create, thrive and collaborate. Establishments like the Hacker Lab are a valuable resource where we can learn the tools that can get us to the next level as an artist.
Murals are popping up all over downtown where businesses are becoming more accepting of the artist’s ability to attract through art. Coffee shops like Old Soul and Insight are giving artists a chance to showcase art for 30 days.
With technology, times have changed drastically for artists—many artists who don’t use Instagram are missing out on a free platform to showcase their ability, to network with other artists, to sell their craft and to see what other artists are doing around the world.
How can people find out where the art box is going to show up and when?
To track the whereabouts of the Community Art Chest, follow the Instagram account @sacfreeartdrop. The Chest is set to be at Peace Market on 18th and O every second Saturday of the month for the Art Walk. But the chest can pop up anywhere in Sacramento.
Follow Sacramento Free Art Drop on Instagram (@sacfreeartdrop) to find out where it may pop up next! You can also learn more about American Gypsy Apparel at Americangypsyapparel.com or on Instagram @americangypsyapparel.
Vanity and Impermanence
My first memory of Kim Scott’s work is also one of my first memories of Sacramento.
Scott was showing with several other artists at the Toyroom Gallery back in 2002. I was wandering down K Street with a companion, and we had just started hanging out; you know, when you’re bored out of your mind and you know that the first date was a fluke because now you have nothing to talk about.
The small gallery space tucked into the back of a clothing boutique offered welcome respite from the rain that night. I also hoped it would provide something to talk about. It didn’t. But the art was amazing!
I didn’t know how to form an opinion on Scott’s work other than it appealed to me visually—bold color and subtle gradients, thick, ruby-red slabs of raw steak imposed over heads, all casually occupying comfortable, serene rooms or natural settings. The collision of gems, polished jewels and various cuts of bright red, raw meat create a textural feast, a visual orgasm. Very satisfying.
Scott has been showing and working as an artist in Sacramento, specifically the Del Paso Boulevard area for decades, as well as abroad. She saw the art boom of the ‘80s come to Sacramento, in galleries such as the Acme and Michael Himovitz. She even recently had a retrospective show of her work at the 1616 Gallery.
I turned onto the street to Scott’s home studio, deciding to park behind the vehicle I thought, on first sight, looked the most like it belonged to an artist. Looking at my phone for the address, I found I was right out front.
Scott and her husband, owner of the Toyroom Gallery, live and work within a small artist community called Surreal Estates. Building a vacant lot from the ground up with a group of like-minded artists, Surreal Estates is a functional artist community with 11 single-family units. The live/work space garnered interest nationally from other artists looking to own and work on a property while investing some serious sweat equity.
Scott has a show this month at Little Relics. The new body of work is recognizable as her work, and should not be missed. Decadent colors tell the story of a near future where bird watchers no longer have birds to watch.
{Imitation of Life, Oil on panel, What Do the Bird Watchers Watch When There Are No More Birds?}
So what was your sort of pathway to art or illustration?
My mother was an artist when I was growing up, so I did get a lot of encouragement from her. She would take me to art openings around town and with her to art classes at American River College. Perhaps that wouldn’t be enough in itself, but I already enjoyed drawing and fanciful stuff, sci-fi, comics. I liked dressing up and fantasy life role playing when I was a kid.
I liked to doodle, so I wouldn’t say those drawings were completed thoughts. I did a lot of drawing as a child, but many of them just weren’t finished pieces.
When I was in high school I had a teacher who was a serious artist, and he really put me through the ringer in terms of the creative process. I suppose he introduced me to the formality more, and then in community college for sure I had teachers like that. I’d really made art my whole life, I was considered the class artist in grade school, but when I got into college, I still didn’t realize that you could be an artist as a career, it was just like, something I did. When I was there I was taking like marine biology classes, and at some point there I thought, man I could be a half-assed marine biologist, or be a pretty good artist, because my interests were really in art. So that sort of cemented my direction a little bit, in finding out about becoming the person I wanted to become from that point.
{Buffoon (The Masquarade), Oil on canvas, From the Crocker Art Museum Collection}
Who kinda made you want to start doing the style or mode of art you do now?
Something I use to this day, I use myself as a gauge, so like when I see someone’s work, or eat something, or I hear music, or I see colors, or architecture. I just get some kind of feeling, and I think “Oh, I’d like give someone that kind of feeling from my work.”
When I was in college, one of my first exercises from my oil painting instructor was a self-portrait. I mean everyone does that, but I just kept doing it and doing it. After that assignment I just kept going into it and into it. They look somewhat like me, but they don’t have to look like me to tell that story.
I had one art history teacher who told me a story about a guy who goes to this cocktail party, and he stands in the corner for five minutes and nobody notices him, and then he’s there for an hour and people start saying “What’s that guy standing in the corner for?” and then a day goes by and the neighbors know about it, and then he’s there for a month, and he gets in the newspapers. The story there is … if you stick at something long enough, it creates its own momentum, and I knew I had more than just standing in the corner at my disposal, but I took that on, so I think the self portrait thing, pragmatically, the only thing I know about is where I’m coming from … anyway, so is it narcissistic? Maybe, but I feel like, with full impunity, I can talk about all the shit that goes on in my own mind, the crazy stuff, or the beautiful stuff, and maybe get that right, and not impose on anybody else. So I’ve done that a long time, standing in the corner working on that, and I’ve sort of gone all over the place.
Also, I took up bird watching a few years ago so I’m out in nature a lot, taking photographs of birds, and I was already doing paintings of birds, but I had to rely on someone else’s imagery, so they were always more made up than photographic.
The two things I focus on the most are vanity and impermanence. What is the vanity of what you are doing? What is the impermanence? So with that in mind, maybe it opens things up in the work.
What I’m expressing in my work about vanity is more about the human condition, about how it’s a crutch, and there’s a lot of suffering that comes from that. And it’s also funny too, it’s like clownish or foolish to hold on to things like that, but it’s human, a foible, or weakness, or a misunderstanding of how things are.
{Red Queen, Oil on Panel}
When did you feel the most a part of an artist community in Sacramento?
Probably the first strong community I felt a part of was the Acme Gallery group, and it was predominately started by David Stone, who now owns a gallery down in L.A. He was a Dadaist, but now he’s more into conceptual art. I used to do performance art as well as painting and sculptures. There were a lot of interesting artists in that group. After that, the Michael Himovitz gallery, which isn’t around anymore, but is now the 1616 Gallery.
During the mid- and late ‘80s there was a lot of money to be made in art; that was like Fast Times in Sacramento.
Was that a time when there was a more active creative class?
There was a very active creative class then. There were a lot of people who collected Sacramento artists during that period. Michael Himovitz helped during that period. He really brought about sort of a renaissance in Sacramento, and people still talk about what he brought to the arts community then. He was a guy that liked art, didn’t know a lot about it, but he was an innovative guy, and he wanted every artist in Sacramento to bring him their work. So he took it from everyone who would bring it, he formed for himself an opinion about what he wanted to show. He believed in it, and he found people that trusted him, and people bought it.
{New Breeds, Oil on canvas, What Do the Bird Watchers Watch When There Are No More Birds?}
What would you say is motivating your upcoming show? What has changed in your focus?
Well, I think bird watching, but not just seeing birds, but observing nature, and the delicate balance and reading the newspapers about extinction and global warming, that’s a big part of it.
This body of work is really experimental … and it relates to the last work I did. My private working title for this show, which is sort of a reminder, is What Would the Bird Watcher Watch When There are No More Birds. So when I really started seeing that, and started internalizing it all, the beauty of nature and where things are going.
{Cry Baby, Oil on canvas, What Do the Bird Watchers Watch When There Are No More Birds?}
Check out Kim Scott’s solo show at Little Relics now through Aug. 30, 2015. Little Relics is located at 908 21st Street, Sacramento. Check out Littlerelics.com for more information and gallery hours. You can also sample Scott’s work at Feedyoureye.com.
Lenzi’s Angels
During this month’s Second Saturday I found myself on foot, hiking over to Alley Cuts in downtown Sacramento to take in the art of Chad Lenzi. The artist’s voyage over the last few years has taken him from Sacramento to Los Angeles and back. It is evident that this journey has served as inspiration for his paintings and ink drawings. It is also evident that his art connects with people, judging by the large turnout at his shows. His paintings draw you in by their sometimes twisted, sometimes provocative portrayal of the ‘50s and ‘60s.
Much of his art starts with the pop culture and social influences of his childhood—which include comic books, ‘60s television and the civil rights movement—then veer into his relationships with women and the punk scene of the ‘80s.
Lenzi’s paintings almost always feature a woman in the foreground displaying authority over a scene that is often chaotic. Never does this woman show panic. She calmly assesses and controls the situation with ease.
Lenzi asked me to meet him at the Starlite Lounge in Sacramento, which was fitting since the bar’s mid-century modern theme seemed to place us right in the middle of one of his paintings. The normally soft spoken artist opened up about his family, moving from North Hollywood to the rural town of Courtland and his fascination with fire.
Chad Lenzi will follow up his current exhibit in September with a show at Little Relics at 908 21st Street in Sacramento.
When was the first time you realized you wanted to be an artist?
Actually, the first time I remember drawing was when I was four. I remember drawing the Star Wars movie poster straight from the newspaper. My dad then took me to see the movie. I don’t think I could even see above the seats [laughs]. That was the first time I said to myself, “I want to draw that, I want to duplicate that, I want to be that.”
Was there ever a time when you stepped away from drawing or painting?
No, I just kept going. I kept going, because it was something I enjoyed. It was just like riding a bike or riding skateboards; it’s just what I enjoyed doing. Still to this day it’s the only constant in my life that brings me happiness and joy.
I’ve noticed a theme of strong women in your art. Where does that come from?
Growing up in a house with a mother and two sisters, that’s how it is. They rule the roost. I paint women because I love women. I don’t objectify them; they have always been a powerful element in my life. They are not to be disrespected.
Malfunction would have to be my favorite piece of yours. Can you tell me what you were thinking when you painted it?
I love the whole Batman ‘66 series. I thought it was funny and bizarre. Batgirl was a big deal at the time and so was Eartha Kitt as Catwoman, especially with the Civil Rights Movement. I really liked all of the colors and camera angles. I took those images and thought “I’m going to fuck with it. I’m going to flip the script a little bit and place Batgirl in the foreground so she’s running the shit. Batman is in the Batmobile, and it’s on fire.” I just wanted to see what would happen. It’s not so much, “Let’s set Batman on fire.” It’s more like, “Let’s fuck with the perspective and give it a controlled chaos and go from there.” Batgirl is like, “I got this, I got this.”
You mentioned Eartha Kitt and the Civil Rights Movement. Do you draw inspiration from that as well?
I do. I did do a piece with James Garner from The Rockford Files. He was a big civil rights activist. I stumbled upon a photo of him in a civil rights march when I was back in L.A. I flipped it and featured a bridge in L.A. and another car on fire. There’s a series where I liked to put things on fire. Whatever’s going on in the painting, something has to be on fire. I’m still kind of into it. I’m on the tail end of it though. I never want it to take over. I want it to be an element.
You mentioned your mother and your sister. Was your dad around when you were growing up?
My dad was around, he was a very good man. We came from a very low-income neighborhood. I just remember living in a duplex in a fucked up area. But my dad worked his ass off and became a structural engineer, and he just worked and worked and worked. I respect my dad; he’s a fucking champ for that. He was completely selfless, but I think he was selfless to a fault. I love him to death, but he and his father worked themselves to fucking death. As I got older I got mad at him for not living his life. He was an awesome musician. He’s the best guitar player I have ever seen. He could play anything.
How has music inspired your art?
I was raised on punk. I grew up in a goddamn mosh pit. I grew up in the punk scene in the ‘80s, and that scene here in Sacramento was fucked up, terribly fucked up. The skinheads fucked everything up. I went to my first show when I was 16. I got my license, I had a car, a station wagon. I remember I was so excited that I was going to see Social Distortion at the Cattle Club. It was the most violent fucking show on the planet. I have never seen a show since then that has been that violent. Before I even got into the show I watched skinheads get their heads smashed in by security guards swinging billy clubs.
I’ve noticed that your ink drawings are a little more provocative and intense than your paintings…
I keep my ink drawing more Sci-Fi, more horror. They are two different animals. It’s just a totally different outlet. I do the ink drawings when I want to take a break from the paintings, when I just want to cut loose a little bit more. In my ink drawings I like to make the women a little more sexier, make the violence a little more heavier, and lots of blood and whatever. I think, “Let’s turn it up a little bit.”
Have you ever thought about making a graphic novel?
Absolutely! I’ve tried a couple of times but I’m a horrible writer.
Something you’re not horrible at is cooking. Is it true that you cooked food at your last show?
I love cooking! Yeah, I cooked all of the food that was at the show on Second Saturday! When I’m cooking for other people, I want to fucking blow it up! I want things to be nice and taste good. For my last show I brought a big thing of water because I knew it was going to be hot. I filled it up with cucumbers and mint from my garden in Courtland. Everybody loved it!
You mentioned your garden in Courtland. Can you talk about your journey from Sacramento to L.A. and back to Northern California?
A very close friend of mine saw what I was doing and said, “What the fuck are you doing up here? You need to get your ass to L.A.!” So I packed up my truck and left. I did a show with Homeboy Industries only two weeks after I moved there. I hit the ground fucking running. It was bonkers. The assistant director of The Simpsons was there and he actually did buy one of my paintings that night for his office. It was like one of the greatest things ever.
Why did you move back to Northern California?
Sacramento is a boomerang. One of the reasons I moved back is because my family is here. I didn’t have any friends down there. Sure, I could sell paintings, but I didn’t have any friends. And I was sick to death of Hollywood. I was finally like, “Dude this place is fucked up.” I wasn’t happy, and when you’re not happy with something what are you going to do? You’re going to change it. So I’ve been living in Courtland since March.
How do you see your art changing now that you are back in Northern California?
I think I’m just going to do a lot of rural stuff. I mean, living out in a rural community … I have to deal with coyotes. I’m going to keep my perspective though. The lens will be the same, it’s just the target that will be different. Instead of walking out of my place in North Hollywood and seeing five guys zip tied together I have to deal with coyotes trying to get my chickens.
To learn more about Lenzi, go to Facebook.com/chadlenziart.
The City of Sacramento and the Kings announced last week that the plaza at the new ESC (Entertainment and Sports Center) will feature an original sculpture from world-renowned artist Jeff Koons. The $8 million work of art will be part of the artist’s Coloring Book series and is described as “a towering design of stainless steel” intended to capture “a child’s ecstatic enjoyment of the world,” according to a press release from the city. This will mark the first time a Koons piece has been purchased by a municipality to be displayed permanently. The sculpture will be paid for with $5.5 million of the ESC’s construction budget that the city and the Kings announced last year would be invested in the Sacramento Metropolitan Arts Commission’s (SMAC) “Arts in Public Places” program, as well as an additional $3 million in donations from Kings owner and chairman Vivek Ranadivé, Envision Pharmaceutical Holdings, Inc. founder Kevin Nagle and Buzz Oates Group of Companies chairman Phil Oates.
Jeff Koons, who was born in York, Pennsylvania. in 1955, is easily one of the most iconic living names in the art world. His unmistakable work can be seen in major museums and institutions all over the globe, including the Guggenheim Museum Bilbao, the Metropolitan Museum of Art in New York and many others. In 2013 one of his sculptures, Balloon Dog (Orange), sold at an auction for $58.4 million, the highest amount of money ever paid for a work of art from a living artist. Château de Versailles (The Palace of Versailles) opened its doors to a living artist for the first time ever with Jeff Koons: Versailles, where some of his work was displayed within the Grand Apartments. He’s received many awards and recognitions for his artwork and cultural contributions; most recently, former Secretary of State Hillary Clinton honored Koons with the State Department’s “Medal of the Arts” for his outstanding commitment to the Art in Embassies Program and international cultural exchange.
So yeah, you could say that landing a Koons piece for the new downtown Sacramento arena is sort of a big deal, and the artist seems to be excited about it too. “With all of the excitement around the new arena, I’m thrilled to have the opportunity to have my work prominently displayed in Sacramento,” Koons is quoted in the press release. “Over the years I’ve spent a lot of time in Sacramento, from discovering the downtown area to visiting the train museum for inspiration. To have Coloring Book interact with the vibrancy of the city and its citizens is going to be fantastic.”
Not to be overshadowed by all the hype surrounding the Koons piece, it was also announced that $1.5 million will be invested into commissioning regional art for the ESC, with $1 million of that being gifted by Sacramento philanthropist and artist Marcy Friedman. The other $500,000 will come out of the ESC construction budget. The process for selecting which local artists will be involved in the project starts after the City Council approves Koons’ contract; the vote is expected to happen on March 10. “The Sacramento region has long been an incubator for artists that have earned both national and international prominence,” said Friedman in the release. “Ensuring that the ESC reflects the voice of the regional art community will guarantee, through artistic expression, the unique character of Sacramento.” To read more and to see high-resolution renderings of the Koons piece, visit Portal.cityofsacramento.org. To learn more about the artist and to see some of his past work, visit Jeffkoons.com.
Inside the Creative Mind of Sacramento Artist Daniel Choe
Artist Daniel Choe lives in what he describes as “a more colorful neurological hemisphere.”
His mind is constantly reaping the essence of overlooked beauty caught in the monotony of day to day life, only to let it seep in his brain and regurgitate it all via ink onto a blank canvas.
Choe creates pieces with the blackest calligraphy-like lines. You can see where he increases pressure on his utensil to create the marks that stain his canvas, spreading the ink darker and wider. The ink forms to create a topographic landscape with layers upon layers of varying depths that unite to make one entity, often splashed with a bit of watercolor.
He has described his work as being “An evolving culmination of matter that stems from my creative and illogical outbursts.”
You may have seen Daniel’s work wrapped around the silver coffee thermos from Temple Coffee, which is reportedly almost sold out because it was so dang pretty. I recently met up with Choe (pronounced Choy), to find out where he is, and where he plans to be.
How has your show at Temple been?
It has been really good. I always work on art purely for self-gratification. Just to say my motivations with these things are usually me working on art because it feels good to me. Inquiries are never expected, but it has really been a pleasant after-effect of displaying my art in this show. I feel like I am being gifted with interests and opportunities right now.
You also designed a special thermos for Temple.
Yes, Temple asked me to help design a limited edition thermos for their artist series. I also manage one of the Temple locations, so I work closely with them on a daily basis. I chose to wrap a coffee plant around the thermos. It sold way better than I expected and was really successful. In fact, I think they are pretty much gone and sold out. Temple, however, has some more really cool things planned in terms of the thermos series.
You also participated in the Pizza Rock pizza box design contest?
I created this really intricate and detailed box for Pizza Rock in a competition they held a little while ago. I utilized every section of the box from front to back, and even did a bit of research on the owners and took some of those findings and included little personal trademarks for each one. Only they would be able to find the trademarks among my designs.
Who are your subjects? You use a bunch of females. Are they friends or figments of your imagination?
Sometimes some of the subjects I know. Some are just inspired by passersby.
Most of the things I use are drawn from daily rituals and nature. I just look at physical life in-depth. I pay attention to things I see on my daily routine and I naturally incorporate it into whatever I am working on. For example, have you ever really picked up a leaf and examined it? They are everywhere, but have you picked one up every once in a while and noticed how beautiful and intricate they are? I like to take these little tidbits and appreciate them. One thing I really love to do is hike. Whenever I hike, I pay attention to texture and symmetry or lack thereof. I incorporate all of these things into my work.
Is this why you like to use topographic lines?
My work has a lot of similarities to a topography map. Some people have even flirted with the idea of commissioning me to make an actual topographic map for them. I use the lines to show texture, contours and depth.
I recently read a book called Daily Rituals [by Mason Currey], and it explores the environments in which creative minds thrive. What sort of rituals do you have while working on your art?
I’m actually pretty neutral and low key. I sit in my small one bedroom apartment in Carmichael, usually with my dog curled up at my feet and some odd background noise. I like to curl up on my couch, or sprawl out on my kitchen floor. Usually a strange documentary for ambience will be playing in the background. I work almost 100 percent from home because everywhere else is full of distractions. A lot of the time, I just need to go home and spill out what has been mentally brewing.
Do you come from artistic roots?
My dad was a musician who drew on the side. At the time, I remember thinking he was really good. I mean, I still think he is really good, but it wasn’t his main artistic commitment. He was just a very creative person, and drawing was simply another avenue to express that. For me, it is my primary direction. The last few years, I have taken on a very serious relationship with it. Dad was a jazz percussionist who also played strings. I remember I would often bug my dad to draw me small things.
Despite this, I actually didn’t grow up in a household where art was commended. I’ll accomplish something, yet, I’m not a doctor or lawyer so its not good enough. I can honestly say that I’m pretty good at not letting things get to me. I do something I love and enjoy, that can never be taken from me. I never had a clear and supportive path paved for me. I work for everything I have, despite it being a struggle sometimes. I just chill and drink coffee and say, “Well, OK!”
How do you handle critics?
Art is such a subjective thing. You’re going to get fans, and you are going to have critics who are not very happy with what you are producing. You kind of just have to roll with the punches. I’ve come to realize that I shouldn’t be trying to make anyone happy. Well, especially with me and art, because it has always been, like, this isn’t a job. I love this and it’s not turning into this thing I do to please others. If it upsets people, then that’s cool. It’s evoking some sort of emotion even if it’s not in my favor. Weighted opinions never really upset me, because it would limit me. It should leave people inspired to do something themselves and consider how they came to these feelings, and think back to initial contact with the piece.
On your personal site, Limeflavorednoms.com, you provide a list of intentions. What are some up-to-date intentions?
These intentions still all hold true. In essence, I just want to do everything. I think that Sacramento has an art scene that has so many great things going on. Every time I hear of a project, I want to be a part of it. I want to expand, collaborate and create as much as possible. I just want someone to offer me a mural to paint and I would be so happy.
Visit Choe’s site at Limeflavorednoms.com/press for upcoming show dates.
Now through November 3, be sure to stop into Little Relics Boutique and Galleria in Downtown Sacramento to see It’s A Small Word, an awesome group show with an all-star cast featuring ceramics by Philip York Simpson, sugar skull art by Rob-O, and cultural sculptures from Kanika Marshall! This show is an absolute perfect fit for this time of year, what with Halloween and Dia de los Muertos and all! So grab your friends, parents or your little ones and head to 908 21st Street (between I and J streets). Little Relics’ hours are Monday through Friday 11 a.m. to 6 p.m.; Saturday and Sunday 11 a.m. to 4 p.m. Visit Littlerelics.com for more information.
On Thursday, Nov. 11, 2010 from 5:30 p.m. to 9:30 p.m. Sacramento-area art enthusiasts will have the opportunity to take a peek at what the fine folks over at Verge Center for the Arts have been up to. Their new location (625 S Street) won’t be fully completed until May (featuring two large galleries, over 30 studios, a print lab and a classroom), but that isn’t stopping them from throwing a holiday party stocked with Belgian brew, snacks and silent auction items like dinner for two at Magpie Café, a gift basket from Trumpette and work from local artist Chelsea Greninger. The artists will be on hand and their studios will be open, so come hang out and see some locally bred contemporary art. For more information, visit vergecenterforart.wordpress.com.
