Five Questions for Pauline Fowler

We sit down with photographer Pauline Fowler.

Your work is beautifully textured and layered, and you describe your work as “textural photography.” Can you describe your process?
I use multiple photographs ( all my own nowadays unless stated! ) to overlay on to my original image and create an atmosphere and story. I often do water colour washes on paper, photograph them, and add them as textural layers….you could call it mixed media! The layers should enhance, not overtake, the original image, and the original image is the most important part!

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Five Questions for Dan Murphy

We sit down with sculptor Dan Murphy.

1. I like the combination of darkness and light in your work…your sculptures are sinister and humorous at the same time. Do you think about this balance as you create?

Definitely. Nobody likes getting hit on the head with a hammer, which is what happens when the work is too dark. The flip side is nobody looks at the work seriously if it’s just humorous. Since I see myself primarily as a storyteller, I have to have conflict, and that conflict between light and dark is as fundamental and universal as you can get.

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Five Questions for Gerald Barnes

Artspan sits down with collage artist Gerald Barnes

Your collages are like boxes of memories. How do you choose your images? Are any of them specific to your life? Your own relatives? Or are they historical figures?

The images I use reflect the things that interest me – art, literature, architecture, history, travel, graphic design and the human condition. I have a large library of material that I’ve collected over the years, ephemera, old magazines and newspapers, stamps and notes. I also use my own drawings and photographs. Usually I select one particular image and then build around that.  I have in the past used family photos but there are only so many times you can use Grandma and Grandpa! Some images are of historical figures. Mario García Menocal was President of Cuba from 1913 -1921 and looked like a Hollywood movie star.


 Numbers Series #79

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Five Questions for Kay Smith

Light through paint.

An interview with watercolor artist Kay Smith


1. You describe your watercolor technique as “transparent.” Can you explain what this means and how the process works? 

Being able to see light pass through clear paint on paper is the hallmark of watercolor’s abilities and allure. I use transparents such as alizarin crimson, thalo blue/green, and arylide yellow mostly in initial washes if doing traditional work, and a mix of transparents with a few opaques if painting in a direct one-application manner.

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Five Questions for Kelly Burke

Opposing Forces in Nature

An interview with abstract painter Kelly Burke

 Toujours Fidele

Your work seems very personal and connected to your mood or your view of the world on a particular day. You strike an interesting balance between feelings and ideas…the vague and the specific, the soft and the harsh. Do you paint in response to specific events in your life or the world around you? Do you find that your mood changes while you paint…that the very act of exploring your state of mind changes your state of mind?

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An Interview with Sheen Ochavez

Artspan sits down with painter Sheen Ochavez


Thoughts on Life and Painting:

“The act of painting is like trying to get to one’s own skin, addressing one’s own weaknesses, unearthing one’s own prejudices, fears and limitations. One becomes a perpetual student in attempting to get better at handling life at handling colours so as to be able to compose a piece worthy of all the sleepless nights. Learn. Unlearn. The cycle continues as one adapts to what works best.”

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An Interview with Kerry-Fleur Schleifer

Spirit and Flesh in Seamless Existence

Questions for Kerry-Fleur Schleifer


What types of subject matter do you find most resonant with your creative ideas?

•Birds -spiritually and other worldly.

•Revealing spirit and flesh in seamless existence.

•Aboriginal tribes and their use of body art.

•The idea of weaving and layering. Transparency within the layers of depth.

•Spirit inside of human and nature’s flesh.

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