The SNAPSHOT editorial in Beautiful Bizarre Magazine is a much loved regular feature, in which we ask 6 artists the same 4 questions. In the March 2018 Issue 20, these were the SNAPSHOT questions:
- Art is a visual language, what are you hoping to communicate to the viewer through your work?
- You have a very distinctive style, what drew you to working with this medium?
- Did you do any formal study in the arts? Did you find it helpful or a hindrance?
- Who is your biggest Art Throb and why?
We feel that the artists responses provide such a valuable insight for our community of artists that we wanted to share one SNAPSHOT Question & Answer from each issue with you, going forward. The March 2018 Issue 20 print issue is sold out, however you can still download the digital magazine via our webstore to read more. To ensure you never miss an issue again, you can also subscribe to Beautiful Bizarre Magazine, and have each issue sent straight to your door each quarter.
Excerpt from Issue 20 // March 2018 SNAPSHOT editorial: Artists Jessica Dalva, Jessica So Ren Tang, Jessica Joslin, Jason Chen, Zoe Keller and Anna Tsvell respond to the below SNAPSHOT question:
Art is a visual language, what are you hoping to communicate to the viewer through your work?
“Most of my work is intended to capture a short moment of a story, sometimes just representing a phrase or thought, or a fleeting feeling. Often, I have trouble articulating how I feel, and the work I make expresses those feelings more accurately than I would be able to by bumbling through saying things out loud. Most of my pieces have little stories behind them that never really get revealed, and I have an internal log of symbols I use for different people or concepts.”
“When I start planning for a new piece, I refer to a quote by Austin Kleon, author of Steal Like an Artist, where he writes, “draw the art you want to see, […] – do the work you want to see done.” I hope that my work encourages others to do the same and make the work they wish to see in the world. Even with a tedious medium like embroidery, I strive to create work that I enjoy making.”
“In the moment that a hawk dives out of the sky to grasp its prey, there is a sense of something unlocking, the cycles of life being unveiled. My work involves collecting the remnants of death and refashioning them into a semblance of life, capturing something that is perhaps between worlds. The second lives of these creatures are a celebration of their first incarnation and also a talisman for mourning their loss. They are my love letters to the animal kingdom, in all of its beauty and ferocity.”
“The work I make is largely for me to explore my own insecurities and my disposition. I do not expect my viewers to understand how I feel when I, myself, have conflicted feelings. It’s not a message I can verbalise but a feeling I hope to relate. However, I believe art is subjective and there should always be room for an open dialogue. I value all thoughts toward my work. As long as my viewers are talking, thinking – even hating it – my work has done what was intended.”
“For my larger, mural-sized work, I spend a full month in research mode before I begin drawing. The information that I gather from scientific journals, books and newspapers allows me to weave complex visual narratives about at-risk species and the wild places they inhabit. I hope that my drawings can contribute in a positive way to a larger conversation about global biodiversity loss. We are living during the sixth mass extinction, and I feel a moral obligation to help draw attention to what we stand to lose.”
“My works are about another reality where there is none of the glossy cult of beauty that is so prevalent in ours, where there is no need to smile constantly just to show others that you are happy. My works are about the beauty of sadness – and long, long necks! I don’t want to put any deep philosophical meaning in my paintings; I just want to show another point of view on modern portraiture, one from my own surrealistic style.”