Local Art Residency - Scott Sorrentino

LC: Scott, we're thrilled to have your work up at the shop as we have been in touch for some time now and there's a certain sense of satisfaction seeing it all come together. Please tell us about this work that you created for the shop and what you hope our community walks away with after spending some time with it.

SS: Robert, thank you immensely. It’s rare an artist gets an opportunity to create a site-specific work - where you know you have an audience. And where folks who may not usually seek out art, but love good coffee, will see it.  I like to dream that they are my target audience… and yes, my painting is THE one that opens their minds to the fine tradition of painting forever! 

The painting is about one who struggles with irrelevance. How one is, or, why one is, obsessed with being/becoming irrelevant or relevant for that matter. Relevant or irrelevant to what, of course, is ‘fill in the blank’. The poem is mainly about a friend of mine and i growing up artists in NY. in the eighties and nineties - it may also express his fear of irrelevance.

The painting and the poem titled the same in the throes of irrelevance, i thought  to be an amusing title/image; i like the large swaying, movements that move the eye around.

These 2 ideas that we brought together at the end for the presentation at Local. The poem of the same title references lyrics from different bands that i’m currently listening to. Each line from a different song. I always love lyrics and poetry. Have you found the excerpt of the e.e. cummings poem in the piece - an excerpt from i carry your heart with me. There’s also another poem by me…called the camel. There’s a lot going on in there - I enjoyed getting into details once I had the main drawing down.

I intended to create the sense of movement.  Something of a dance move is at times what is needed for effect of the mark. The mark is very important - it comes first - before design. Design emerges naturally as you feel/plan, or not plan;) your marks. The painting in the throes is mainly comprised of marks - reactions to a previous mark in the design of the entire composition. So, it’s a lot of …make a mark…step away … come back and react to the previous mark. Choosing my materials is the space between doing and not doing something on the canvas.

The Local wall is beautiful with nothing on it so i wanted to keep that integrity - scattering pictures salon style was never an option. The intention is to create a lyrical sense of movement to complement the everyday goings on at Local Coffee.

In general, I like large paintings that can fill up a room, create an atmosphere, a presence - Cy Twomblys’ Peonies/Blossom series comes to mind. Or installations by the likes of Judy Pfaff or Jonathan Borofsky - a sort of entertainment quality.

What i hope the community can take away is a tricky question. I’m not typically an idealist so there is no right answer. Perhaps I’d like the community to walk away feeling like there was something different about the experience outside of the great coffee and friendly atmosphere. Ask themselves a question about the experience, get an impression of the experience. 

I wanted to give the community a small taste of an artist who has struggled with his imagery for over 40 years of painting. Forever unlearning, experimenting and painting like a kid again. It’s the activity of making art that’s most rewarding. In my case, through impulsive/reactionary marks, movements, pushing and pulling paint until stepping away. So, a painting is never really complete, never finished.

LC: You are a multimedia artist in that you are also a musician having played in the band BencH. What was it about your childhood that allowed you to pursue such rich, expressive opportunities?

SS: I believe we have innate tendencies toward things we love to do. I’m always drawn to music and art - yes, all kinds, no judgement. I owe every ounce of my childhood growth as an artist to my mom. Making art and music was always encouraged at our Brooklyn apartment. At about age 7 I’d raid her trimmings drawer (she was an apparel trimmings designer) and doodled and glued things like beads, buttons and ribbons onto looseleaf paper, eventually evolving to oaktag. By age 14 i had permission to have a 4-piece drum set in my high school bedroom on the 6th floor of a building in Brooklyn.

By age 16 i was playing Shine on you crazy Diamond with a keyboard and bass player in that same room!  So, encouragement to be oneself is a good start for a kid. All i wanted to do was to get home from school and into my kid cave to make art and music. And that’s just what i did. I would take the Daily News and make collages out of the headlines and photos and stick them on the wall and scrawl away. On my high school bedroom walls hung my artwork and those huge posters of rock bands that you bought at Spencer gifts - taped up with fluorescent orange and green masking tape and black light bulbs!  Irrelevant indeed.

BencH was an attempt at a street-core, industrial noise art band. 3 people grew up in a band together for 14 years so what you learn is relationship. Musically especially - we were an experimental, noise jam band - heavily influenced by Missing Foundation, Einstürzende Neubauten, Throbbing Gristle, Butthole Surfers, etc.

If you like experimental rock/jazz/industrial noise you might like to venture - find us here:

https://soundcloud.com/tom-t-hall-1

https://soundcloud.com/tom-t-hall-1/popular-tracks

https://www.youtube.com/user/benchresinvideos

LC: We talked a bit about the East Village in NYC. While I was more situated in Greenwich Village and Little Italy, the East Village always fascinated me with its 'we don't really give a fuck what you think attitude'. Some of my childhood's most memorable events happened there. Tell us what the East Village meant and means to you.

SS: The artists and musicians had to think like that - it was a self-fulfilling prophecy - failure was success… we fail over here in the east village - that’s why no one likes us and that’s ok! It was naturally transgressive. It was living art and well done at that. Remember Nick Zedd and Tommy Turner from the cinema du transgression? They were two that had that attitude you speak of but being artists they gave us what they knew how to give at the time. So it was very rock and roll.

Art and Music coincided, cohabitated - it was wonderful.

LC: You've transitioned your life to New Jersey and it's quite a swing from your childhood in Brooklyn and impressionable years in NYC. It took me a while to really accept not living in NYC anymore. (I still dont think I'm over it) How have you made the transition and maintain your core?

SS: For me, the core is maintained by knowing that it exists and most importantly, respected. That it needs food and attention just like a living being - creativity in nature.

Without art and music i am imprisoned. Honor thyself.

As far as the transition? I had built a house in upstate NY while in the band BencH - at first it was a rustic 1 room cabin with an outhouse. It soon became a house on 13 acres with an art studio and 16 track recording studio. So, I already made up my mind that the city was not where I will always be. I had all my toys in one place, it was heaven.

LC: What are you working on now and what can we expect to see from you in the near future?

SS: I’m working on a house in upstate NJ and just about completed the art studio. I have several ideas for another polyptych that is in sketch phase. It will be different than the Throes - they always are. Picture making always seem to get to where it need be.. most times without the throes of anything! 

Thanks again Robert! and look forward to another go at that great, rust-colored wall @Local.

LC: What is your favorite coffee or tea beverage?

SS: Cappuccino molto caldo per favore!

Reach out directly to Scott for any inquiries @ 973.873.4258

Local Art Residency - Chris Manobianco

LC: Thank you so much for allowing us to share your propagation stations here at Local! In six years, this is the first work of its kind and we're so happy to have them. Let's start at the beginning of this journey as such an interesting story. How did you begin working in this space?

Chris: No, thank you!! It has definitely been a slow progression into woodworking, but picking up steam over the last couple years. I’ve always loved working with my hands and building things since I was young. The quarantines over the past few years gave me some extra time to become more comfortable with wood, and the tools, to begin experimenting building some things!

LC: Please tell us how working in this medium has made you feel as I have to believe that the transformation from raw materials to a beautifully finished product is an extremely cathartic process.

Chris: It certainly is! It’s amazing to see the wood go from a very rough material, to a silky smooth and very solid feeling end product. Each step cleans up the rough edges, creates more definition in the piece, and brings out the natural beauty of the wood. It is also a very tactile hobby, each species has its own weight, grain, and smell as you work on it, really immersing you into the craft. After a long day of staring at a screen, it’s quite relaxing to bring something to life.

LC: Tell us about the types of woods that you seek out and are there any particular favorites? 

Chris: I am still very new to this and exploring the world of hardwoods, but the most prevalent ones in my current work are Maple, Mahogany, Cherry, Paduak, and Purpleheart. Out of those Paduak (the bright orang-ish/red one) is my favorite. There is something about the vibrance contrasting your typical browns of many other woods that always catches my eye. With that being said I love shopping at the wood supplier and seeing what new types I can try. The latest round of propagation stations will include a species called Wormy Maple, which has a really unique pattern.

LC: Perhaps a funny question but what has been the most interesting cutting or plant that has made its way into one of the stations?

Chris: A true staple in most of my propagation stations is the Pothos, featured on the walls in the coffee shop today! That being said one of the more exciting plants is definitely a Monstera Deliciosa plant (also known as a swiss cheese plant), with broad, bright green leaves and large fenestrations! I absolutely LOVE seeing the creativity of what everyone else puts in them, so shoot me a message on Instagram with your best décor!

LC: You included a philanthropic cause in this exhibition. Why is this important to you?

Chris: The root and name behind the company comes from my Mini Australian Shepherd, Evie, who I adopted about 8 years ago from a truly horrible shelter in the south. Since then I’ve always tried to be a big advocate for both pet adoption and animal sanctuaries in general. Having a hobby that allows me to both enjoy building new things and give back to charities is truly a win win!

LC: As a fellow canine enthusiast, I love that your heart is in this place as well. Tell us about Evie :)

Chris: I touched on this a little above, but Evie is one of the most unique dogs you’ll ever meet. Her experiences before I adopted her continue to impact her to this day so she is definitely not an average dog. She loves long walks, and carrying around her stuffed toys to show off to the neighborhood, and drinking water (weird, I know)!

LC: What is your favorite coffee or tea beverage?

Chris: While tea is always a morning staple, I have been slowly increasing my coffee intake over the years. While I’m still in the minor leagues (hello lattes <3), I am slowly becoming a more adventurous drinker! I will continue to work my way through the Local Coffee Menu in the coming months!

See more from Chris on his Instagram Page here

Local Art Residency - Fiona Chinkan

LC: Thank you so much for sharing your work here at the shop! What a wonderful reception thus far! Tell us why you chose them for the shop?

Thank you for the opportunity to share my work with the Local Coffee Montclair community - I really appreciate it! 

I chose these particular works because of the time of year! When New Year's rolls around, many of us are thinking of goals, resolutions or ways to challenge ourselves. On January 1st 2019, I decided to challenge myself creatively by taking on the "100 Day Project", where I would do one drawing a day for 100 days in a row. I managed to complete my goal and exhibit all 100 works together in a solo show later that year (Image here: http://www.fionac.nyc/100-day-project). Now 2 years later, I have less than 50 still available in my shop, but thought it would be fun to showcase the project together again.

LC: What do you hope viewers take away from this showing?
I hope by seeing this, it may inspire others to take on their own creative challenge this year!

LC: You mentioned the 100 day project in association with these works. Tell us more about this -

I became familiar with it through seeing fellow artists online participating through the hashtag #The100DayProject. While some folks draw and paint, other people do gardening or other hobbies they want to invest more time into. There are also several artistic challenges out there, such as "March Meet the Maker" or "Inktober", but they involve everyone working from the same "prompts" for a month. Something about creating my own personal boundaries for 100 days was appealing. I also had stacks of leftover color-aid paper that I thought would go to good use for this type of project. For anyone interested in doing their own project, you can see more on the official website here: https://www.the100dayproject.org/ 

LC: In reading your bio, I smiled at the notion of the 'shoot from the hip' style as I can often find this approach incredibly difficult to accomplish. Even when we hung your work, we were relatively loose and fast in the composition - and it worked out so well! Tell me about this approach especially as you work in a medium where people will review your work.

My personal approach to artwork is to have a dialogue with each piece I create. If I were to plan every brushstroke ahead of time, I don't believe it would be as interesting of a conversation. As an abstract artist, I'm able to really invest myself into a work and explore my emotions on a deeper level when I leave room to react to the surface as I build layer upon layer. There is something exciting about starting a new work with an idea in my head, but then seeing the unknown unfold as I let the moment lead me. There is a constant push and pull between being in control and letting chaos rule, which I enjoy. Even with the installation, I like a level of flexibility. I can plan everything inch by inch, but I may miss an opportunity that comes up in the present if I'm too attached to a plan. Being in the present in the moment and being open to possibilities is what excites me about the creative process.

I saw James Victore speak many years ago and he said something that has stuck with me. He asked the audience, "what is the most important part of business?" People replied with "money", "productivity", "efficiency", etc. He replied, "No. The most important part is play." As adults, we spend so much time in schedules and having every aspect of our lives planned, that we forget to "play". Even with creating artwork, some artists forget to "play". I like to leave myself open to "play" in my creative process.

LC: In our conversation, we discovered that we shared a bit of history together having worked at the same fashion company. How has working in a creative based industry such as fashion served or frustrated your gifts as an artist? 

Working as an graphic designer/art director has most definitely influenced my work. From my mark-making style, which developed out of my obsession with lettering, to the paper I work on, which is recycled from photoshoot backdrops. My choices with color, composition and even how I display my work are all influenced by my time in the fashion industry. With that said, it is also easy to burn yourself out creatively when working full-time in a creative role. I was spending my little free-time trying to harness any creative energy left to produce works for art fairs, gallery exhibits, etc. When I had a photoshoot call time of 8am, but was up at 5am to paint before going into work, I knew I was burning the candle at both ends. Thus I made the leap to be an artist full-time and this will be my 5th year of doing so.

LC: What is your favorite coffee or tea beverage?

I enjoy a latte, whether it's normal or a fun flavor like matcha. Hot or cold depending on the weather. Latte art or no art. Latte's just feel like a fun indulgence :)

Learn more about Fiona here

Local Art Residency - Norman Rosenblum

LC: Tell us a bit about these photos, where were these taken, what objective(s) did you have in mind when you set out to capture this environment?

The photographs in this exhibition which I call “Remains,” were all made July 10, 2021, on a visit to a friend who lives on Yankee Lake in the Catskills. I was kayaking around an island in the middle of the lake, originally looking to photograph a pair of young eagles that nested in a tree on the island. I was unable to get anything satisfyingbecause the eagles were always hidden behind branches. I reluctantly gave up and continued to kayak around the island where I spotted the driftwood that is the subject of these photographs. The shapes, reflections, light, and color immediately appealed to me, and I spent quite a bit of time there with a paddle in one hand and my camera in the other.

LC: I notice a few variations on a similar image. What was the thought of sharing a couple of different looks of a similar view?

From the beginning I wanted to show these photographs as a single moment of time. The scene, which was totally unexpected, suddenly appeared to me as a complete lost world—one that was decaying as well as supporting new growth. I found myself intensely inhabiting this wonderful graveyard of sorts. I let the kayak drift as slowly as possible, as the viewpoint would change even if I thought the kayak was not moving. In this intensely sensual world of sun, water, shapes, colors, and reflections I became completely focused on trying to make photographs that showed what I was feeling. Hopefully these 14 photographs do that. You are correct that there are variations of a scene, and images seen from various perspectives. To me, that helps engage a viewer to not only see but to be drawn in. There is no one “meaning” I attach to this exhibit; rather, I hope to invite the viewer into a meditative experience.

LC: What is your favorite aspect of capturing nature scenes?

In both the natural world as well as urban landscapes, I am inspired to find new meanings. I try to interpret the social and aesthetic realms of human experience.

LC: Tough question (maybe) but do you have a favorite camera and why?

For Digital- Nikon 6, and for film-Nikon Fm2n.

LC: What is your favorite coffee or tea beverage?

A cortado with a plain croissant to dip. Of course, at Local Coffee!

Lastly, what’s the best URL to direct our followers if they would like to connect further?

www.normanrosenblum.com

Instagram: norro99

Local Art Residency - Scot Surbeck

LC: Tell us a bit with respect to this exhibition as compared to the previous exhibits from back in March 2019 and September 2020.

The current exhibition has a somewhat similar layout as the 2019 show (below)

But it is quite different from the 2020 show (below).

Current show (below)

SS: The current exhibit has a good balance between the photos and the surrounding space. The photos are complicated and dense and therefore invite contemplation. The spacing allows viewing without distraction from adjacent photos, yet keeps the photos close enough to be seen from a distance as a coherent group.

LC: I can’t help noticing that, and opinion only, the images seem more personal, more raw than previous…almost peeling back a layer of your subject and allowing us the viewer a closer connection to the the actual person. Does this thought seem accurate?

SS: There is a developing looseness and ambiguity in my work that I like. I don't have an emotional agenda when I shoot but I like to find images, through my camera, that interest me and others. Every viewer will interpret those images differently.

LC: There’s an image of a construction worker’s arm in the foreground of a kind of ubiquitous NYC construction area that is very powerful. I have to ask if you were aiming to capture that particular shot after assessing the scene or simply caught by lucky chance.

SS: I was looking through my view finder at the construction worker in the background when the worker in the foreground suddenly thrust his arm out. I took the picture.

LC: Of this collection, which image stands out most to you and why?

SS: They all make me happy, individually and as a group.

LC:. I’m already looking forward to your next collection. Anything planned that you can hint to?

SS: A year is a long time. I'm looking forward to it as well :)

See more of Scot’s work here: www.scotsurbeck.com

Local Art Residency - MHS Senior, Max Myers

LC: Let’s start with some background. How did you get into photography and develop to the level of ability you have today? 

MM: Back in 2016 I started to get into drones, an up and coming trend that persists today. I started off with the smaller toy drones, learning as I crashed them. Eventually over the course of around a year I saved up and got a great prosumer DJI drone. On the drone was a high quality camera that I subsequently used to capture the first of my many photographs and videos. I firmly believe that having the ability to position a camera at any angle and height in the sky directly assisted my eye as a photographer today. I’ve been through four upgrades of cameras and lenses to get to where I am today, and I owe the level of ability I’ve developed to persistence, practice, and trial and error. I am proud of where I am today, being self taught, but I still have a lot of room to grow. 

LC: Your photographs capture a variety of subjects and scenes in a wide range of styles. How do you decide the what, when, and how of your pictures? 

MM: I definitely don’t have a central theme in this show, as I practice so many different styles and types of photography. I like to have some variety in my life, and my art exemplifies that. However with many of my projects, the process starts with an idea. Let's take the photograph of the Aston Martin in Chinatown as an example. That car is called the Dragon 88, and was created for the Chinese market. Only 88 of them were ever made, and the one I photographed is the only one in the United States. I thought it would be fitting to take it into Chinatown, an area I’ve always imagined photographing a car in. We traveled there with the car and captured it under the Chinese lanterns strung across the streets. It involved a long shutter speed and shining a light over the car to illuminate its deep maroon paint. I am very happy with how that photoshoot came out. 

LC: Clearly your life has included a fair bit of traveling. What are some places you’ve visited and do any stand out as favorites? 

MM: I’ve been extremely lucky to travel around the United States and to Europe. I spend a lot of time in Arizona, because I have family there. I have also visited Miami, Wisconsin, Tennessee, Yellowstone, and many more places. In Europe I’ve been to Paris, Venice, Florence, Rome, Lisbon, and Barcelona. I really enjoy traveling, as it allows for an amazing new array of scenery and sights to photograph. Venice was my absolute favorite, and I was able to take my drone up there to photograph the Grand Canal, leading to one of my favorite photos of all time, which is in this show. 

LC: Can you tell us more about your service trip to the Dominican Republic, where some of these photos were taken? 

MM: I was able to go on a mission trip with my church to the Dominican Republic, where myself and a group were given the amazing opportunity to work with and assist a group of disabled orphans. Among the 50 or so children there, only 3 or so could even walk. The majority were strapped to wheel chairs, perhaps indefinitely. I still remember walking down the stairs and seeing them for the first time. I walked back up the same stairs for the last time at the end of my mission trip as a changed person, with a very new perspective on life. I was lucky to be able to document the experiences of me and my peers through my camera, and captured some moments of pure emotion that I think would be impossible to emulate in any other circumstance. The trip left a lasting effect on me, and I’ve decided to donate a portion of the proceeds from selling my photographs to the Mustard Seed Communities foundation which oversees the disabled children in the orphanage. They need it now more than ever as for the past few years they haven’t had their regular donations, of both money and supplies because Covid prevented travel to the orphanage. 

LC: What do you feel is your relationship to the stories being played out in your pictures? Are you preserving an existing narrative for memory or creating a new story within the image? 

MM: I feel as though the stories I tell in my photographs are created by myself, based on the way I have the subject positioned, combined with the lighting, editing, and many camera settings I hand pick. I feel as though I am creating a new story within the image. For example when shooting cars, most new photographers would merely capture the vehicle. I choose a scene and try to capture the car within the scene to tell a story. 

LC: For fellow photographers coming into the shop, what sorts of cameras do you use, and do you have a preferred go-to? 

MM: I’ve been through four upgrades of cameras since starting. I started with a Lumix G7, a great affordable camera for beginners. I moved to the Sony A7ii, which I highly recommend for mid range beginners. Then onto the Sony A7iii, which helped me delve more into videography, and now I’m using the Sony A7iv as my main camera and the Sony A6300 as a secondary. The A7iv is an excellent camera with 33 megapixels and many great video features, and will be my go-to for a while. 

LC: What’s your favorite coffee or tea beverage? 

MM: My girlfriend has been a huge factor in developing my love for the Chai tea latte, which is now my go-to whenever I’m out.

Visit Max’s website here: maxvuz.com

Local Art Residency - William Bullard

LC: What a treat to have your work shared here at Local! So much to cover here but let's start with your relationship to Montclair, NJ. Please tell us how you are connected to this town.

WB: During the summer of 1976, I drove across the country interviewing at every independent high school that still needed an English teacher for the fall.  The last interview was at MKA, and I was the last thing between the English chair and his vacation, so I got the job.  My wife and I moved to a railroad flat above the ice cream store in Upper Montclair, and I started my first teaching job.  Two years later I remember that I couldn’t believe they were actually paying me to teach…I was having so much fun.  In 1978 we moved into a cottage on Central Ave owned by the school, which we later bought from them.  In 1983 and 1986 our kids, Nick and Zoe, were born.  In 1991, we moved to San Francisco so I could try my hand as the academic dean of a school there, but Montclair was always my “origin story,” and I never felt so woven into the full life of a community as I did there.  And I never found brighter, harder working, more joyful, whole, and fully alive students as I knew at MKA during those 15 years.  To get to see a group of them again 35 years later – brighter than ever and still full of beans – was so cool.  Thank you.

LC: I had the pleasure of seeing you reconnect with some of your students from some time ago. It made me smile and got me thinking about reconnecting with some of my childhood teachers and mentors. How has this role (of teacher) allowed you to become an excellent communicator in your current (photographer) craft?

WB: I don’t think I have anything more profound to say about photography than most photographers, but just as teaching helped me overcome my natural introversion, it also gave me some ability and confidence to connect to strangers, to be interested in and respect their presence, and see in a moment the potential for a story…all important qualities for street photography.

LC: Alrighty then...let's get right to it. I listen to my clients talk about your photographs and I laugh at the wild swing of characterizations. What were you REALLY going for when setting out to capture these moments in time?  

WB: I enjoy working in art museums because they provide ready-made some of the crucial elements for all street photography:  a “set” or dramatic stage that provides geometry, lighting, and, of course, compelling props and people who are absorbed, mindful, unself-conscious, often dressed for the occasion, and naturally arranged in tableaux.  Sometimes the compelling picture is purely formal – abstract arrangements of color and form that, once framed by the camera, hold the eye.  “Alexander Calder at the Whitney” is a good example of a time when I saw such a potential and waited until the woman in white turned to reveal that phenomenal Gallic profile.  Other times, the juxtaposition between the viewer and the work of art allows for a suggestive, psychological portrait.  “Brancusi at the Guggenheim” is one of many examples when I returned time and time again to a work of art waiting for the right person to appear in exactly the right relationship to that iconic sculpture.  And sometimes, though more rarely, a kind of dialogue occurs in which the viewer and the work of art appear to interrogate each other, in which the painting or sculpture appears to move or speak in response to the viewer.  “Ferrucci’s Caesar at the Met” or “Michelangelo’s Brutus at the Met” are the most dramatic examples in which that mutual interrogation occurs across cultures and millenia, but I see that happening in the Mukherjee, Medicis, and Picasso portraits as well.

LC: Your exhibition here at Local, 'Pictures at an Exhibition', encouraged me to revisit several Street Photography masters. I agree with your summation that the photo allows us to 'witness story after story unfold that can only be revealed in 1/250th of a second and bound within a 2:3 aspect ratio.' Looking back at images from Arthur Fellig (Weegee) and Saul Leiter who really nailed that raw NYC of yesteryear - I also think there's a bit of  'someone else out there understands me' as these images are so very personal. Do you ever feel like you've perhaps gone in and ultimately allowed someone permission to express something they couldn't have otherwise?

WB: In general, I find that street photography, and particularly these images, do not reveal a story as much as they create one.  So they may offer an illusion of self-expression, but it’s a fiction, entirely invented by the power of the frame, which creates its own context, and the invisible-to-the-eye momentary expression of the subject.  The man next to Louise Bourgeois’s creature was not, as it appears, shocked by the threatening shape looming behind him; indeed, I have no idea what prompted his fleeting look of horror, but it was perfect for the story that the frame of that picture tells, the frame which conveniently eliminates all the other visitors and thrusts him into a relationship with the sculpture that he’s not even looking at.

LC: You are lucky in that you are able to share your work across different venues. What are the types of things you learn from having the same work in different spaces?

WB: It’s rare, actually, for me to have this kind of opportunity to engage in a dialogue with an audience, but I’d say I’ve learned more by photographing in different venues than by exhibiting in different forums.  Occasionally, I’ll get into conversation with a curator or editor about the work, but then it’s usually a matter of selecting and sequencing photographs.  I have learned that folks often believe that the scenes have to have been staged or posed.  Or, at least, that the subjects knew that I was photographing them.  Those kind of questions seem to speak to the success of the illusion I just mentioned, that the images seem intimate and personal, that they seem to get inside a relationship or reveal a mind.  In fact, the subjects rarely know, if ever, that I’ve made a photograph, and I’ve never posed or set up a picture.  Occasionally, I’ve been tempted to ask, but that would defeat the purpose and certainly result in weak image.  One of the strategic advantages of photographing in museums is that I’m just another visitor with a camera, so it’s pretty easy to stay inconspicuous, to be the observer who does not influence what he’s observing.  Different exhibits inspire different general responses from visitors.  For example, the Michelangelo drawing show at the Met in 2018 seemed to pull in a lot of “slow art” sensibilities – visitors who would study a work for 20 or 30 minutes and be completely transported.  On many occasions I was able to get within a foot or two to make a portrait.  Others seem to provoke “mirroring,” visitors who take on a stance or posture reflecting a figure in the work of art.  In that case, I will compose the image ahead of time and wait (or “fish” in street photo lingo) for a visitor to complete the photograph.  But overall the failure rate is very high.  If I emerge from two hours at an exhibit with one image that I eventually print, I count the day as a huge success.

LC: Tough question (maybe) but do you have a favorite camera and why? 

WB: Actually, it is an easy question.  All of my recent museum work is made with Leica Q2, either the regular model or the new monochrome version.  It is a light, nimble, silent, inconspicuous camera with a fast, fixed 28mm lens, pretty good autofocus, and excellent resolution at high ISO values – so it’s very good in the dim light of most museums.  I do very little post-processing and print on smooth baryta paper because I want the prints to look like classic silver photographs.  The harder choice for me is between B&W and color, and with the monochrome camera, I often have to make that choice before I go into a show.  By experience and taste, I am a B&W photographer and mostly agree with Ariana, your previous artist, that color is often a distraction and conceals more than it shows, especially in street photography.  I have photographed frequently in Cuba – really the color capital of the world – and always process that work in B&W, which focuses my eye on the geometry of the streets and on the character of the people.  And yet with the museum work, where the color in paintings is so critically important to the experience of the artwork, the juxtapositions I’m seeking are often strengthened by working in color.

LC: What's your favorite coffee or tea beverage?

WB: Small cappuccino, regular milk (just a little, please).

Learn more about Bill by visiting his website here

Local Art Residency: Ariana Gavriilidis

LOCAL: Ariana! So happy to have your work up at the shop. How do you feel sharing a bit of yourself at the shop through your photography?

ARIANA: Hey Local Coffee! Thank you for allowing me to show my artwork, as I’m lucky to be among the talented artists before me. Over the last year, I started showing this collection of black and white photo series titled Europe in Black and White around different cafes and coffee shops in New Jersey and Upstate NY. I feel it should have gotten easier with each show, yet it is still nerve-racking! I am always nervous about how others will react or what they might think about my style of photography. However, I am thankful to exhibit my photographs and not only get feedback on how I can improve as an artist, but connect with people on their travels. As a result, I connected with loyal patrons of Local Coffee about traveling, their favorite style of photography, and most of all, their go-to coffee orders! 

LOCAL: Tell us a bit about these photographs. When, Where and Why?

ARIANA: Europe in Black and White captures moments from when I traveled in the summer of 2019 and the winter of 2017. This collection pertains to the countries of Ireland, the United Kingdom such as England, Scotland, and other countries such as Amsterdam and Norway. I've been lucky to travel and take these photographs around Europe, either on solo trips or traveling with close friends and family. I love traveling to new places and experiencing new cultures and bringing my camera along is no exception.   

I shoot my pictures in black and white as I believe it forces the viewer to focus on the image while adding color, in my opinion, can complicate and distract from what is right in front of them. Photographs in black and white exhibit the simplicity of the world, and can reveal that we’re much more similar than we are different. In addition, I’ve always been a fan of timeless black and white films, such as Casablanca, Notorious, and The Maltese Falcon. If the movie stars Humphrey Bogart or Cary Grant, I’ve seen it. My style and taste does not always resonate with everyone, but I believe there is something timeless with photographs taken in black and white that brings me back to a past life where we were not obsessed with editing an image to perfection.

LOCAL: You're still young and have been able to travel to many places many of us are still dreaming about. Tell us how you've been able to prioritize travel in your life -

ARIANA: For as long as I can remember, I had the travel bug. I will never turn down an adventure or the opportunity to go somewhere new. With my father being Greek and moving to America at 27-years-old, I got the chance to fly and visit my dads' side of the family from a young age. I knew traveling to Europe as a family was a privilege that not many kids my age had the opportunity to go. Once I knew places such as Athens, Mykonos, and Crete existed, I wanted to experience more of not just what Europe had to offer but the rest of America and the world. Being the youngest sibling, I traveled with my mother and sisters across the county for soccer tournaments or to see college campuses. Traveling has been a way of life. When COVID hit, I did not know if I could travel again. As much as I love New Jersey, there is so much more of the world to see. I learned that to grow not only as an artist but as a person, we need to step outside of our comfort zone and be open to new experiences. Additionally, it helps that my mother also loves to explore and travel, so I always have a travel buddy.   

 LOCAL: Was there one place that stood out where you felt super-connected to the environment?

ARIANA: One place that stood out to me when traveling in the summer of 2019 was the country of Ireland, especially the Irish countryside. I saw well-known cities such as Dublin, Galway, Cork, and Killarney and got the chance to explore Northern Ireland and tour Belfast, and crossed the National Trust Carrick-a-Rede bridge in Ballintoy. If you haven't seen it, you have to look it up! It is a wooden bridge that leads you to a remote island. I surprised myself by crossing the bridge. In addition, visiting The Cliffs of Moher, which are sea cliffs located at the southwest edge of Ireland that look out to the Atlantic Ocean, was a surreal experience. It’s breathtaking being on the edge of the world. Not only is Ireland's vast green landscape and the rolling hills unbelievably beautiful, but the people are friendly and welcoming. Growing up in North Jersey, I'm familiar with heading to Upstate NY and seeing a remote landscape, but Ireland's extensive history and open space needs to be experienced by all. 

 LOCAL: Is there a special location OR geographic environment that you have on your roadmap?

ARIANA: I’ve always said that before turning 30, I wanted to complete a road trip out west and explore the landscapes of Montana, Wyoming, Idaho, and Utah and visit either Glacier National Park or Yellowstone National Park. There are so many places in America that I have yet to tour. I would pick mountain ranges and forest landscapes any day compared to a beach setting. I’ve never been a person that chooses an island or a pool vacation to relax and unwind. Back in 2018, I climbed to the top of St Mary’s Glacier in Colorado, which at the peak is around 11,000 ft above sea level. I remember feeling small amongst these gigantic pine trees, and there wasn’t a feeling quite like it. It reminded me how important it is to look past what’s right in front of us and look at the bigger picture. I have three years left to fulfill this goal and now that I work remotely, I’m hoping to accomplish this vacation sooner rather than later as it has never been easier to work while traveling.

LOCAL: For our fellow photophiles out there, what type of camera(s) are in your arsenal and do you have a 'go-to' camera for special moments?

ARIANA: That is a difficult question! In total, I own ten cameras as some cameras I inherited from relatives and other cameras I purchased. Although the camera I can never leave the house without, besides the camera on my iPhone, is my Nikon FM 10, which is a manual 35mm. This camera I used for the Europe in Black and White series. It’s been with me everywhere and my most prized possession. I seem to be a brand loyalist to Nikon. It was the first camera I purchased back in middle school when I started adventuring into photography. My parents bought me a Nikon CoolPix L24 Digital Camera, in the color red, and Nikon has been my go-to ever since. The rest is history. 

If I somehow forget to carry my Nikon FM 10, I like to have either my Nikon DSLR handy, a Fujifilm color 35mm disposable camera or an Instax Mini 9 in my bag for some fun quick shots with friends. I love the feeling of sending in the camera in order to see the photographs.    

 LOCAL:  What's your favorite coffee or tea beverage?

ARIANA: Personally, it depends on the season. In the winter, I love chai with soy milk, and in the summer, it is either an iced coffee with soy milk or an iced tea with some honey. The honey I buy is from Local Coffee! Over the last year, I've been on a honey hunt for the best honey in New Jersey, and the Raw Honey available to purchase here goes with me everywhere!   

To learn more about Ariana and follow-along through her many journeys: https://linktr.ee/ag_curate

Local Art Residency - Janette Afsharian

LC: Janette, we first connected more than a year ago when the concept of showing your work at Local was first discussed. What I remember from that call is that we were on the phone for more than an hour (which is a rarity these days) and it was the most honest and enjoyable conversation I had in a long time. You have this pure form of communicating that both made me laugh but also made me feel better about some of my own thoughts. Have you always been this forthcoming in your dialogue?

JA: We totally clicked. Our phone conversation was great. But seeing you in action at Local it’s pretty obvious you have a talent for making people feel comfortable. It may be one of those, “it ain't me, it’s you” type of things. However, you are right that I’m pretty candid. I have a tendency to lead with letting people know I’m not on 100% footing on many things. I’ve been joking around lately saying that in a job interview when asked what are some of my weaknesses I’d say, “I’m wrong a lot of time.” Thankfully, I’m self-employeed. Also, I’m super cool until I totally panic. I like to tell people I’m the person that you’ll have to shake and slap a few times when things get in a high stress situation. Even though I like to lead with my mess, at times, I do have my crap together (sort of) but I like to connect with people on the interesting and funny stuff... the struggle that’s where I relate.

LC: I love this approach because I can tell immediately when either a person, a brand OR anything else for that matter tries to be or do something that they do not have the experience or right to express. Think this is part of the beauty of growing up in NYC... most of us can immediately sense authenticity or lack of it. How did your childhood and/or formidable years contribute to you being so real?

JA: That is 100% why when I moved to New York City 25+ years ago, I knew I had found home. I grew up with two cultures that strongly believe in manners over truth. The Iranian culture (my dad) and Texans (my mom) have may subtle mannerism which always left me wondering what was the truth. In New York if they like you knew it, if they wanted you to get the fuck out of the way, you knew it. I loved it!

LC: OK so I was setting you up with questions number 1 + 2...tell me how this honesty translates into your craft and expressing yourself in your art?

JA: Honestly, I have no idea. I think I’m trying to work out something in all these lines but I’m not sure. I paint in my attic listening to music. It’s meditative for the most but part but I do get frustrated at times because I can’t draw a perfect cat or deer or something like that but then I just move back on to my abstract line drawings. I try to balance the colors and find depth and balance as I draw each line with yard sticks. I try to perfect some things and destroy others as a progress. I think about my family, friends, kids, my past, crazy times, marketing art, and grand ideas of being an artist as a grow old. I'm really simply painting because I have always wanted to but also always found a reason not to until now. I’m just doing it.

LC: Tell us about this work you chose to share -

JA: Right now, I have a total of what I think of as four collections of work. The first, are in a minimalism style and fall into the Gerhard Ricther area (people say). I love these but some may I think they are too simple. Surprisingly these are ones I get the most purchase requests for on Instagram. I haven’t been able to part with them yet. Next, is the plaid series. These are the most fun to paint and look pretty cool in person but I didn’t think they are complex enough. The third, are leaning into cubism. I don’t have enough of them for a collection plus I just sold one of these yesterday so I have even less now. The forth, Linear Motion, is what I selected to exhibit because they are what I’ve been experimenting with most lately. I think they capture where I’m at with my painting at the moment. A combination of all of the other collection trying to fit into one space and be seen.

LC: I can tell you how much I appreciate it as it just seems so timely right this very moment. There is so much going on right now...so many distractions..so many directions but it is ultimately up to each of us to make sense of all of it. Also, these paths/lines can be quite chaotic but if you step back and breathe, they can also be quite beautiful based on your interpretation. I've gotten more comfortable with this concept as of late. In my best Wendy Williams voice, how you doin' (through all of this)?

JA: I think the painting capture how I’m doing. The lines are stationary yet there is a lot motion.

LC: Alrighty then...I know you are quite busy so I'll save the rest of my questions for when I see you next. But before you go, critical inquiry - what is your favorite coffee or tea beverage?

JA: Black coffee in the US. Black tea in Iran.

Learn more about Janette here and find her on Instagram @janetteafsharian.art

Local Art Residency - Ann Kraus

We're so grateful to share your work here at the shop. What a beautiful canvas as we move into the holiday season. Tell us a bit about Random Daydreams. 

I am very excited to be exhibiting my work at your location and am thrilled it has received such a warm reception.  Pulling together the mono prints for Random Daydreams has been a wonderful experience.  They are a departure from my  acrylic paintings of clouds and sky-scapes that are more subjective and planned.  While approaching my landscape painting I normally have an idea of what I would like to portray.  On the other hand, my abstract prints are an extension of thoughts and feelings that are transient and done spontaneously.  So the art produced is very similar to unconstructed musing (daydreams?) without a specific destination. They can be summarized as intuitive and open to interpretation by the viewer. 

 How did you land on this particular layout and shape? 

 The shape of my prints are dictated by the size of the gel plates I use. I have a variety of sizes and overlap the colors and textures to create depth and perspective.  I also use acrylic paint designed for this purpose and vary the opaqueness and transparency to create a mood that is colorful and vibrant.  But again, there is no preconceived planning and the shapes and colors speak for themselves. So there are no “wrong answers” as to what they represent.  

I am always curious about the artist's journey so tell us, how did you arrive at this particular work at this point in your life?

My artistic journey has spanned many years.  My mother was a painter back in the 1920’s and I was always encouraged to express myself in drawing and painting.  I still have a number of her paintings and her spirit is alive in the work.  I have come to believe that listening to your inner voice will be manifest in your work.  And while the body of my work is now sky scapes and clouds, the abstract mono prints are the result of that inward turn and interior focus.   

You participate in quite a bit of gallery work as well as supporting our town's 'Studio Montclair'. What does it mean for you to support this active community?

Studio Montclair is a marvelous local group and the organization is well regarded in the art world.  Prior to the pandemic, I volunteered as a gallery sitter at the Upper Montclair location and always enjoyed the relaxed and welcoming environment featuring vibrant local artwork. The town is so lucky to have this organization here. 

Of course Montclair has always been a haven for artists dating back to the late 1800’s where a “colony” of artists could be found here.  Probably the most famous was George Inness but there were a number of world renowned artists including painters, sculptors, stained glass artists and engravers.  So maybe there is something in the air that just invites a creative cohort and nurtures those who express themselves through art.

We're hopefully coming out of a terrible time for humanity as the Pandemic 'seems' to be on the retreat - curious how this time has affected the way you think about your craft.

I think the pandemic has presented a unique opportunity for those living through this turmoil to use it as a springboard for creating work.  In the early part of the period, I found myself working through the fear and anxiety by producing artwork such as “The Apex” which was in a recent Studio Montclair show and subsequently included in an article published by The Local newspaper. My memory of that time was being glued to the daily television reports and listening to the number of positive cases and deaths in our area. Then I would retreat to my studio and pour that energy into my paintings. 

But with the vaccine, a brighter stage of optimism bloomed and my paintings changed to reflect that environment.  A good example is the present show where the colors and vibrancy are harbingers of good times ahead. What a wonderful way to celebrate a bright future!  

What's next on your artistic journey?

I’ve recently returned to The Art Student’s League when they reopened after the worst of the pandemic.  Painting clouds and impressionistic landscapes continue to interest me and I will continue to refine my style.  I study with a splendid instructor Ronnie Landfield who is considered one of the best painters in America.  His style is lyrical abstraction, but the color field painting and use of light is unique and I have benefited greatly by his observations.   

 Additionally being in a group setting with other painters is always a treat as you get to critique and exchange ideas. In fact, during one of those interactions I learned there was actually an international  “Cloud Appreciation Society” out of the UK with 50,000 active members.  Needless to say, I then joined and my work has been featured on their website given the subject matter. So you just never know what these interactions will produce. 

 I am also a member of Pleiades Gallery of Contemporary Art in the Chelsea Art District in NYC.  I enjoy the collegial and collaborative atmosphere of this small gallery and look forward to another solo show in the near future. So life as an artist should be neither static nor isolating, but always evolving and engaging.  I guess that’s my approach to my artistic pursuits and life in general. Be joyful and positive!! 

What's your favorite coffee or tea beverage?

Oh, without a doubt, @TayTea Wild Woman tea is my favorite!! 

Sales of Ann’s work displayed @ Local Coffee will graciously benefit the Montclair Animal Shelter.

Learn more about Ann through her website @ Annkrausstudio.com