With sincerity and depth, Ester reflects on her early life, the origins of her writing practice, and the painstaking process of bringing the book to life. Active across film, theatre, and performance art, Ester has been developing the ES series since 2010—a lyrical, long-form exploration of life, psyche, and emotional passage. The first volume was published in 2020.

The conversation also touches on her current exhibition at El Nido, Los Angeles: Ester Spitz and Pim Kops — Writings and Photography 1981–1983. We discuss the making of the exhibition and the conceptual challenges of pairing text and image to create multiple narratives.

Learn more: https://www.esterspitz.com

Bethan reflects on her journey as an artist who works across performance, theatre, and writing, weaving personal narrative with collective storytelling. She speaks about the river as a metaphor and as a lived, embodied presence—a place of memory, transformation, and healing. The dialogue traces how landscapes can hold and reveal stories, how performance can act as ritual, and how art becomes a conduit for navigating both joy and grief.

Throughout the conversation, Bethan and Victoria explore the ways art creates space for listening and renewal: how to let go into process, how to find beauty in vulnerability, and how to honor the unseen forces that guide us. From theatre’s capacity to mirror human experience to performance art’s ability to dissolve boundaries between self and environment, Bethan offers insight into practices that are at once deeply personal and universally resonant.

Let the River Heal You is not only a conversation about art—it is an invitation to slow down, to notice the flow around and within us, and to recognize creativity as a river that connects us all.

Bethan Dear first trained as a performer and later as a director. She also writes, creates devised theatre, is a workshop facilitator, storyteller, and clown. She's the artistic director of Jackdaw Theatre and is proud to identify as a woman. She believes deeply in equality for all and is passionate about using theatre for social justice and social change. She has worked professionally in theatre for over 15 years with companies such as Jagged Fence, Nabakov, High Tide, Tamasha, and Tangled Feet. Based in London for a decade, she made work at venues including BAC, Rich Mix, The Almeida, The Finborough, Oval House, and Tara Arts. She’s also been involved in an NT Connections project at the Southbank and attended the National Theatre Studio Directors Course, collaborating with remarkable artists like Maxine Peake, Michelle Terry, Anna Carteret, Katherine Parkinson, Olivia Vinall, among others. Her work has extended to international artists such as The Indian Ensemble, Abhishek Majumdar, Colleen Murphy, and Ben Ellis, and she’s worked extensively in youth theatre in the UK and abroad.

https://www.jackdawtheatre.com

Blending photography, mixed media, drawing, painting, and installation, Fire Talks is rooted in memory, history, and identity in the body. Donna’s work embraces the primal and sacred, engaging fire not simply as a medium, but as a teacher and collaborator. Her images are steeped in nature—earth, water, air, fire—each element playing a vital role in both process and symbolism. This is a ritual-based practice, born from intuition and a deep connection to the land.

Donna shares how her father cared for fallen trees after floods, tending the land with burn piles that inspired her own dialogue with fire. Unlike him, she uses fire not to clear, but to converse. “These gestures were about care, renewal, and making space,” she says. Donna honors the fire as a misunderstood force, much like her earlier work with snakes. Now, fire is part of her healing—of land, ancestry, and self.

Throughout the episode, we explore Donna’s process: intuitive assemblages that may take days to build and capture. Her generational farm—land her ancestors settled in the 1700s—carries trauma, as all land does. Her art witnesses and heals. Some images include her ghosted form, not as absence, but as transition—a dance with fire, body, and spirit, all observed by the trees and river.

Donna’s performance is solitary yet deeply witnessed by the natural world. She describes her preparation, offerings, and awareness of fire regulations. We talk about the power of gathering—selecting sticks, creating assemblages, listening to the land for what’s ready to burn. Her image “Facing McVey’s Ford” holds space for history, place, and the unseen, using fog and smoke instead of flame—an intuitive investigation.

We also move into her works on paper: marks made with charcoal from previous burns, fire-dipped paper, and drawn flames. Fire becomes language. Her drawings hold symbolic weight—snakes shapes for transformation, circles for calm and continuity, demarcations that speak of structure and history. Even the old wood she works with carries meaning, objects turned relics, reminders of existence.

And finally, Donna leaves us with this:

“Don’t be tamed – don’t let the powers that be try to tame the wildness within you.”

Let yourself be in tune with nature. Keep that young, playful self-alive. Fire is not only destruction—it is also renewal, a source of transformation.

This is a deeply contemplative conversation on art, nature, and the sacred. One not to miss.

The firehouse, where this series took shape, becomes a poignant metaphor for renewal. It was in this space that McKellar reclaimed not only his artistic vision but also a deeper understanding of himself. His paintings radiate honesty and sincerity, offering glimpses into the heart of an artist who deeply cares about life, strives for growth, and shares his stories with a generosity of spirit.

Co-curators Victoria Chapman and Stevie Kincheloe join Steven to discuss the genesis of this bold experiment. The artist provides a step-by-step account of his creative process and the emotional journey behind the series. He recalls the isolation as a necessary dismantling—a leap into the unknown. Steven opens up about exploring mixed media techniques, cutting himself off from the outside world, and the transformative artwork that emerged from the experience.

This episode delves into Steven's exploration of light and darkness, sharing the profound insights and "beautiful miracles" that arose along the way. A pivotal part of his journey involved consulting a tarot deck, where the recurring appearance of The Tower card guided his understanding of change and surrender to a higher power.

This is Part 1 of a two-part series.

https://www.elnidostudio.art/you-and-me-and-ego

Music by Stevie Kincheloe and Steven Dayvid McKellar

The exhibition showcases a diverse array of artists, including Ipshita Maitra from Mumbai; L. Mikelle Standbridge, Francesco Tori, Linda Zambolin, and Silvia Gaffurni from Milan; Tamara Reynolds from Nashville; Stevie Kincheloe, Greg Smith, and Alexandra Terlesky, Victoria Chapman from Los Angeles; and Melody Joy Overstreet from Santa Cruz. Together, they bring unique perspectives and depth to the dialogue.

Victoria and Stevie share their curatorial journey, discussing the thoughtful selection of artists and artworks, the intricate process of installation, and the experience of presenting the exhibition to the public. Featuring photography, poetry, and objects, Now and Now and Now delves into the essence of living in the "now," inviting viewers to connect with the present moment. The creative process behind each piece and the symbolic references embedded within reveal the unique significance of this group exhibition.

Tune in for an inspiring conversation as Victoria and Stevie candidly reflect on their collaborative approach to curating an exhibition that resonates on both personal and collective levels.

Music by Stevie Kincheloe and Steven David McKellar

Shane shares a fascinating glimpse into his personal history, blending reflective monologues with insights on artificial intelligence. We also explore his musical inspirations and how his art could be described through sound. Additionally, Shane discusses recent collaborations, including his work with AI programmer Jonah Lynch and pianist Anthony Cardella. He also touches on an early conversation with AI expert Radhika Dirk, who proposed creating a harmonic scale inspired by his synesthetic experiences.

Join us as we uncover the creative intersections of color, sound, and technology with this extraordinary artist.

Shane Guffogg is an American artist who examines humanity through the lens of past and present civilizations, viewing time as a thread that connects all people. His work creates a visual language informed by the spiritualism of abstraction and the realism of the old masters. While these two concepts are often seen as separate, Guffogg seamlessly fuses them into works that transcend time, offering insights into our identity in the 21st century. His work is included in the collections of prestigious institutions such as the Los Angeles County Museum of Art, the Hammer Museum in Los Angeles, the Nasher Museum of Art at Duke University, Fundación/Colección Jumex in Mexico City, The Imperial Museum of Fine Arts in St. Petersburg, The Gallery of the Museum Center in Baku, Laguna Art Museum, Long Beach Museum of Art, St. Patrick’s Cathedral in New York, Van Pelt-Dietrich Library at the University of Pennsylvania, and the Frederick R. Weisman Art Foundation in Los Angeles, among others. https://www.shaneguffogg.com

Music by Stevie Kincheloe and Steven Dayvid McKellar

Learn more visit: https://www.vcprojects.art/podcast-conversations-about-art

Ipshita shares captivating stories about her creative process, personal discoveries, and the challenges she encountered. She offers profound insights into her artistic journey, revealing how she navigates both internal and external exploration. Her account of healing and discovering “the forest of her dreams” is a testament to the transformative nature of her work. This conversation is a true treat, as Ipshita vividly describes her experiences in a sacred, living forest, leaving both the interviewer and listener in awe of her perspective.

Music by Stevie Kincheloe and Steven Dayvid McKellar

Learn more visit: https://www.vcprojects.art/podcast-conversations-about-art

French novelist, critic, and essayist Marcel Proust created the “Proust Questionnaire” to better understand an individual. The questionnaire is still used by interviewers today.

In this episode, Tessier interviews Guffogg. The questions are direct, and Guffogg’s answers are quite surprising. This method, also used by Proust, is often considered a form of confessional. Just as the listener is surprised by the answers, so is Guffogg. This is the nature of this fascinating questionnaire, from "What is your most treasured possession" and "Who are your heroes in real life" to the probing question: "How would you prefer to die?" This makes for a very entertaining episode.

Other individuals who have answered the 'confessional questioinaire' are Oscar Wilde, Karl Marx, Arthur Conan Doyle, Stéphane Mallarmé, and Paul Cézanne, to name a few. (Wikipedia)

Shane Guffogg is an American artist who examines humanity through the lens of past and present civilizations, viewing time as a thread that connects all people. His work creates a visual language informed by the spiritualism of abstraction and the realism of the old masters. While these two concepts are often seen as separate, Guffogg seamlessly fuses them into works that transcend time, offering insights into our identity in the 21st century. His work is included in the collections of prestigious institutions such as the Los Angeles County Museum of Art, the Hammer Museum in Los Angeles, the Nasher Museum of Art at Duke University, Fundación/Colección Jumex in Mexico City, The Imperial Museum of Fine Arts in St. Petersburg, The Gallery of the Museum Center in Baku, Laguna Art Museum, Long Beach Museum of Art, St. Patrick’s Cathedral in New York, Van Pelt-Dietrich Library at the University of Pennsylvania, and the Frederick R. Weisman Art Foundation in Los Angeles, among others. https://www.shaneguffogg.com

Thierry Tessier is an art historian, curator, lecturer, writer, and fashion expert. After studying at Christie's Education Paris in collaboration with Cambridge University, he worked for two years with fashion designer Paul Smith as a buyer for his private art collection. Upon returning to France, Tessier founded his own expertise company. In 2017, he co-founded Vanities Gallery, a Franco-Chinese art gallery focusing on artists from France and China. In addition to teaching art and fashion history, Tessier organizes various cultural events, including fashion shows, exhibitions, and lectures. https://www.vanitiesgallery.net

Music by Stevie Kincheloe and Steven Dayvid McKellar

Learn more visit: https://www.vcprojects.art/podcast-conversations-about-art

This engaging conversation showcases the passionate perspectives of both speakers. Guffogg emphasizes the strength in numbers within the Impressionist movement. The discussion broadens to the importance of artistic movements. The two also delve into the challenges and realities of an artist's life and survival. Tessier mentions Vincent Van Gogh, prompting Guffogg to share his insights.

There is a great deal of historical content shared that goes beyond Impressionism. Tessier asks very personal questions of Guffogg about his process of moving past Impressionism. The artist is very kind to share his deepest thoughts about his process and survival. This is a very generous talk where two individuals explore an intimate view of the artistic realm from the past to the present.

Shane Guffogg is an American artist who examines humanity through the lens of past and present civilizations, viewing time as a thread that connects all people. His work creates a visual language informed by the spiritualism of abstraction and the realism of the old masters. While these two concepts are often seen as separate, Guffogg seamlessly fuses them into works that transcend time, offering insights into our identity in the 21st century. His work is included in the collections of prestigious institutions such as the Los Angeles County Museum of Art, the Hammer Museum in Los Angeles, the Nasher Museum of Art at Duke University, Fundación/Colección Jumex in Mexico City, The Imperial Museum of Fine Arts in St. Petersburg, The Gallery of the Museum Center in Baku, Laguna Art Museum, Long Beach Museum of Art, St. Patrick’s Cathedral in New York, Van Pelt-Dietrich Library at the University of Pennsylvania, and the Frederick R. Weisman Art Foundation in Los Angeles, among others. https://www.shaneguffogg.com

Thierry Tessier is an art historian, curator, lecturer, writer, and fashion expert. After studying at Christie's Education Paris in collaboration with Cambridge University, he worked for two years with fashion designer Paul Smith as a buyer for his private art collection. Upon returning to France, Tessier founded his own expertise company. In 2017, he co-founded Vanities Gallery, a Franco-Chinese art gallery focusing on artists from France and China. In addition to teaching art and fashion history, Tessier organizes various cultural events, including fashion shows, exhibitions, and lectures. https://www.vanitiesgallery.net

Music by Stevie Kincheloe and Steven Dayvid McKellar

Learn more visit: https://www.vcprojects.art/podcast-conversations-about-art

Exploring Artistic Visions and Cultural Narratives

Welcome to this special series of talks featuring artist Shane Guffogg and curator Thierry Tessier. Tessier, an art historian and curator, engages in a detailed conversation with world-renowned artist Guffogg. They discuss art history, studio processes, and compare European and contemporary art, focusing on its history of appropriation. The dialogue also explores Guffogg’s perspective on his self-portraiture and includes questions about the future of art through AI. The conversation becomes personal as Guffogg delves into the subject of truth and art-making with a capital "A" and his 2003 Art Manifesto: Pharmaka. Join us as the American post-postmodernist painter explores the meaning of art with this French art professional, based in Paris.

Thierry Tessier is an art historian, curator, lecturer, writer, and fashion expert. After studying at Christie's Education Paris in collaboration with Cambridge University, he worked for two years with fashion designer Paul Smith as a buyer for his private art collection. Upon returning to France, Tessier founded his own expertise company. In 2017, he co-founded Vanities Gallery, a Franco-Chinese art gallery focusing on artists between France and China. In addition to teaching art, and fashion history, Tessier organizes various cultural events, including fashion shows, exhibitions, and lectures. https://www.vanitiesgallery.net

Shane Guffogg is an American artist who examines humanity through the lens of past and present civilizations, viewing time as a thread that connects all people. His work creates a visual language informed by the spiritualism of abstraction and the realism of the old masters. While these two concepts are often seen as separate, Guffogg seamlessly fuses them into works that transcend time, offering insights into our identity in the 21st century. His work is included in the collections of prestigious institutions such as the Los Angeles County Museum of Art, the Hammer Museum in Los Angeles, the Nasher Museum of Art at Duke University, Fundación/Colección Jumex in Mexico City, The Imperial Museum of Fine Arts in St. Petersburg, The Gallery of the Museum Center in Baku, Laguna Art Museum, Long Beach Museum of Art, St. Patrick’s Cathedral in New York, Van Pelt-Dietrich Library at the University of Pennsylvania, and the Frederick R. Weisman Art Foundation in Los Angeles, among others. https://www.shaneguffogg.com

Music by Stevie Kincheloe, and Steven David McKellar

Learn more visit: https://www.vcprojects.art/podcast-conversations-about-art

Exploring the installation's core components, we dissect the significance of written elements, receipts, photographs, video footage, and soundtracks, each contributing to the allure and triumph of the artwork. Join us in this engrossing discussion as Stevie and I navigate the complexities of human existence, immersing ourselves in the ebb and flow of creativity while embracing the authenticity of leaving things untouched, ultimately realizing the transformative power of truth.

Visit Stevie Kincheloe's art installation page here: https://www.vcprojects.art/my-self-being-my-self

About Stevie Kincheloe:

There is no divide between life and art for interdisciplinary artist and actor, Stevie Kincheloe. Her approach to creativity is more of a philosophy, a way of moving and being in the world. Stevie’s work in music, film, movement, writing, photography, and performance, are each an outpouring of a life lived in the pursuit of uncovering truth. “Each medium that draws me to itself, reveals more of that mysterious truth in the process. Expression is the teacher and I am the ever-growing student.” 

With projects and collaborations as a visual and performance artist, as a Meisner-trained actor, as a singer-songwriter, as a writer, and as a composer, Stevie certainly embodies the essence of “life is art and art is life.”

Born on the east coast and raised in middle America, Stevie is currently based in Los Angeles. Though, not making a habit of staying in one place for long, you will find her exploring the world the same way she explores new mediums, splitting her time between LA, Nashville, Paris, and South Africa, while collecting inspiration and collaborating in whatever land she finds herself.

Guffogg provides intricate insights into approximately half of the showcased works, responding thoughtfully to my inquiries regarding their genesis and contemporary significance. The conversation unveils the profound complexity of the artist's career and his artistic creations. Guffogg shares enlightening narratives about the evolution of his early works, which precede the iconic ribbon influences. He characterizes them as reflections predating language, with lines and dots serving as symbolic references. Throughout the discussion, Guffogg adeptly weaves through each artwork, offering captivating anecdotes.

Among the notable pieces discussed is one from Guffogg's pattern series, inspired by the drought and aptly titled "Aquas Prayer." The painting elicits a profound experience when viewed, adding another layer of depth to the exhibition's narrative.

Check out the exhibition page here: https://www.vcprojects.art/lines-dots-thoughts-before-language

Shane Guffogg is an American artist, that looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. Guffogg's visual language is informed by the spiritualism of abstraction and the realism of the old masters. Usually, these two ideas are usually seen as separate but for Guffogg, they fuse into transcendent works that become testaments to thoughts that inform us of who we are in the 21st century.  

Visit the artist's website here: https://www.shaneguffogg.com

We discuss Ipshita's "At Home, In Exile" series, captured in black and white photography. We also hear Ipshita's views on the artist's relationship with their practice, reaching the spiritual through the physical, being a vessel, influences, and philosophies, and further, pushing the medium - experimentation and play.

At Home, In Exile - Ipshita states:

"A deep silence penetrates this body of work that marks the artist's time in a self-willed form of exile. The everyday, marked by a transcendental quality transforms into a labyrinth, where one is drawn into the inner intimacy of memory, of a time lived, forgotten and evoked (again)

Creation assumes a multidimensionality, planes between real and imagined, manifest and un manifest collapse

A terrain of wilderness that exists within is unleashed It is ritualized by the aspect of coming 'home' Standing on known unknown ground

Within the wanderings buried archetypes explode ...

The unconscious recesses of the psyche, play out as narratives of mystery and magic. Time assumes a suspension devoid of the linearity of movement, sometimes a vibration-less state, sometimes fragile, and dear clutching at fragments of memory. In the abyss of isolation, the self becomes the observer and the observed.

Layers of the collective unconscious and the ego/personal unconscious come together in an almost Jungian synchronicity where one wonders within a repository of symbols trying to draw meaning from absurdity. Trying to draw form from ether, trying to erase, trying to reconstruct. The work encapsulates the passage from alienation to reconnaissance, the flowering of the consciousness through a certain remembrance / smaran of repetitive movement."

This is an enlightening talk. When I ask Ipshita about what she might share with her younger self or to those in the thick of creativity, she responded: "It's important to follow your gut or your intuition. And to take that journey into yourself; because that is where all the magic begins. Also, I would say, silence is a discipline -- but not too much. And to younger artists - some amount of silient times for your self -where you provide space to not think, or be overwhelmed or even bogged down. The more one dwells in that space the more things come to you. Finally, learn to be the vessel and the receiver, and to be present in the moment."

Listen in and hear Ipshita's story, she has so much to share.

In the first room, titled "Reach in the Silence," Guffogg aims to immerse the viewer in a spiritual experience, emphasizing his relationship with time and space. He describes his work as an imprint, a layered evidence of his existence.

The second room, showcasing "Neither Flesh nor Fleshless" paintings, delves into Eliot's exploration of dual ideas, a theme Guffogg believes embodies the essence of art. He contrasts art as an idea against its typical role as an illustration of ideas.

Guffogg's paintings are noted for their musical quality, evoking Gregorian Chant and prompting discussion of the artwork's spiritual and religious dimensions. The conversation delves into Guffogg's intuitive and layered creative process, revealing mysteries within his art.

Overall, the episode explores the profound connections between Guffogg's art, Eliot's poetry, and the rich tapestry of spirituality, inviting listeners to contemplate the intricate layers of meaning embedded in the artist's work.

About Shane Guffogg

“My work looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. My visual language is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but for me, they fuse to transcend, creating moments that become testaments to thoughts that inform us of who we are in the 21st century.”  - Shane Guffogg 

Biography 

Shane Guffogg was born in Los Angeles, California and raised on an exotic bird farm in the San Joaquin Valley. His interest in painting began at an early age and by his late teens, he traveled to Europe to see the works of Leonardo d Vinci, Rembrandt and Caravaggio in person, absorbing their techniques, and recognizing them not only as great artists, but alchemists. Upon his return from Europe, painting became his full-time obsession as he appropriated styles of artists from the past 500 years to learn and understand not only their techniques, but their reasons for translating their world through art. Guffogg received his B.F.A. from Cal Arts in 1986, and during his studies he interned in New York City. In 1989, Guffogg went to the Soviet Union on an international peace walk, which became the catalyst for the collapse of the Berlin wall. 

Guffogg relocated to Los Angeles, where he lived in Venice Beach and worked as a Studio Assistant to Ed Ruscha from 1989 until 1995. During his time in Venice Beach, he was immersed in the visual and verbal history of the LA Cool School. His work began to fuse the light and space movement of southern California with the techniques of Europe’s Old Masters, while also exploring acting for two years with the acclaimed acting teacher, Sandra Seacat. Sandra’s theories of the interior world of the subconscious and how it manifests in the conscious world became a third element that was added to his language of painting. 

The human form gave way to sweeping brushstrokes that are an extension of the artist’s physicality, but also serve as a visual bridge between the subconscious and consciousness. His work began to fuse the iconography of Ancient, Classical, Renaissance, Modern and Contemporary cultures, and the relationships among the various times and peoples. 

The resulting works contain their own language of sign and symbol through patterning and visual depth. They are the embodiment of human emotions while being informed by the unseen worlds of Quantum Physics. Guffogg is a multi-media disciplinarian, working in oil, watercolor, gouache, and pastel on paper, sculpture in marble and glass. His interest in the world of science has also led him to begin working with Augmented Reality and AI, where 

the audience can see his imagery not only in our 3-dimensional world, but beyond in what Guffogg refers to as the portal into 4th dimension, otherwise known as a Smart phone. A final element is sound, which plays an important role in Guffogg’s studio practice. Guffogg has what is known as synesthesia – he hears color. Guffogg is currently working with a pianist in Los Angeles to create a visual alphabet of musical chords that correspond to the colors he uses in his paintings. This collaboration will result in a musical score created by the painting. 

About the artwork: 

Guffogg primarily works in the time-honored tradition of oil painting, using the visual language of the past to create a new idiom of a personal calligraphy. The sizes and scope of Guffogg’s paintings range from intimate to monumental in size and scope. His oils typically have up to 100 layers of translucent colors that have been mixed with a glazing medium, creating the visual effect of the works being illuminated from within. 

Guffogg's language of light and color in the oil paintings have also manifested into glass with the shapes originated from the negative spaces within his paintings, creating a visual duality of male and female, organic and architectural shapes. The glass sculptures are created in Murano, tying his sculptural ideas to an ancient history of glass making. These shadows have also taken shape in Carrara marble.

COLLECTIONS: Guffogg’s work is in the collections of the Los Angeles County Museum of Art, Los Angeles, Hammer Museum, Los Angeles, Nasher Museum of Art at Duke University, Durham, Fundación/Colección Jumex, Mexico City, The Imperial Museum of Fine Arts, St. Petersburg, Russia, The Gallery of the Museum Center, Baku, Azerbaijan, Laguna Art Museum, Laguna Beach, Long Beach Museum of Art, Long Beach, St. Patrick’s Cathedral, New York, Van Pelt-Dietrich Library, University of Pennsylvania, Philadelphia, Frederick R. Weisman Art Foundation, Los Angeles and other public collections. 

“There was a sense that he [Sam] was completely unafraid – nothing was going to stop him, no person or thing. That appealed to me.” “Sam was instrumental in starting MOCA, and he started Crossroads, that school for the arts. He was using his success to influence the community, moving it more towards arts and education. That was a great thing to do. He aided the community here in Los Angeles.” “The couple of times I saw Sam, he was a very humble guy. These great blue eyes, full of fire and blue with an incredible presence and white hair.” “I remember shaking his hand and saying, wow, this is the guy.” “The thing about Sam’s paintings is you can see it’s all about spontaneous combustion.” “He was about being present and in the moment, that’s it – he was waiting for moments to appear in front of him, he is waiting for these beautiful accidental moments where he pushes the paint around that he doesn’t expect, and then, he is going to react to that. That is where his art lies, in that interaction between chaos and order.”

Guffogg’s stories are endless; he also mentions being face to face with Sam’s art collection in the studio and what that felt like, “This guy is out there collecting art or trading with other artists.” “I was always taking mental notes; you learn from these great artists …I  learned to trust my instincts. “Sam had an empire.” This is a tender and precious talk about Guffogg’s recollection of Sam's studio in Venice, CA.  It’s a fun talk!

Shane Guffogg is an American artist who looks through the lens of humanity at past and present civilizations and views time as threads that connect all people. His work is a visual language informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate, but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg, visit, www.shaneguffogg.com

The first film was made two years ago and the second film a few weeks ago. Both share the artists progress and state of mind at his central California ranch and art studio. We talk about how it all began and where he is today. From a former exotic bird farm (his families business) to planting 350 grapevines, 30 olive trees, various fruit trees, vegetable and herb garden and more. This is an insightful conversation about getting an idea, ruminating on it and letting it organically move forward. I ask Guffogg how he goes about his day, how his life differs from his Hollywood studio to his ranch studio and some of the thoughts he carries with him day after day. The artist reminds us to listen to our gut feeling and go with the flow.

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

I asked Stevie about the particulars for the upcoming series slated to start June 6, 2023. She genuinely answers all of my questions very passionately. This series comes from the heart. Join us on Tuesday, May 30th, for the introductory meet-up at 6:30 pm located at El Nido,1028 N. Western Avenue, Los Angeles, 90029

About The Living Artist:

A holistic and cyclical concept, threading together creativity, spirituality, psychology, and community, The Living Artist offers an intimate setting for a communal and transformative experience for the creator that desires to go deeper in their practice. 

Created by artists, for artists- or anyone desiring a deeper connection to their innate creativity. All creatives have grappled with stagnation brought on by blocks of fear and shame, BUT there is a path of clarity, empowerment, and ease on which the artist can live in harmony with their process, uncover their unique voice, and move through their blocks, learning to create from the powerful posture of wholeness and truth. 

Centering your practice around the process of becoming rather than the product of creating, The Living Artist lights the way back to the fulfillment, confidence, authenticity, and freedom found in a life of creative well-being. Offering the powerful, multi-modality live workshop series, enlightening and inspiring talks with matured artists and professionals, and nurturing space and community in which to grow and receive feedback, The Living Artist is the holistic approach to living a creative life. 

Live well. Create More

https://thelivingartist.art

After a debut solo show of his early paintings in Nashville, TN, Steven has been refining his process and deepening his relationship with the medium by exploring identity. Nooit Ge Dacht is his latest series of paintings, sketches, and pastels of everyday objects endowed with meaning regarding his personal journey of growth. Steven Dayvid McKellar: Nooit ge Dacht is displayed at El NIDO by VC Projects from April 21 – May 27^th, 2023.

This 60-minute talk is both sincere and intimate. We both meet on Zoom, myself in the exhibition space, contemplating Steven’s art and Steven's at his apartment in Highland Park. I ask questions about the hows and why’s of his artwork, his solo music career, and his studio practice. I gently nudge Steven to voice his deepest memories relative to his sense of self. The talk touches on creation, observation and Steven’s personal need to observe the world while recording his findings through the artmaking process, whether visual or sound art.

We also contemplate the ‘new era of art,’ venturing into self-awareness and liberation. Steven talks about how he prepares his mindscape, mentioning meditation and other structures that guide him. We both weigh our viewpoints and how art-making may evolve during this time of massive information. From my point of view, art is about feeling and documenting the world around you, sharing ideas, or asking questions. Steven talks about what art is for him. Towards the end, I ask Steven the traditional last question, “What would you tell your younger self? Steven’s answer is quite surprising, a hint, receiving, time passage, and entertaining comments about earthly success. Expect another podcast soon, as we had so much to talk about.

Steven Dayvid McKellar: Nooit ge Dacht, an exhibition of paintings, drawings, objects, and sound, on view at El Nido by VC Projects, Los Angeles, April 21 – May 27, 2023

Website for El Nido by VC Projects: www.vcprojects.art

Steven’s website: https://stevendayvidmckellar.com

However, during the event, the outcome was uniquely different. Each held a certain amount of rehearsal time, but long-lead lines were left for interpretation at the designated date. Gestura is a series of monthly performances encompassing sound, words, objects, movement, and artificial intelligence components. The series seeks to make visible the importance of gesture in play, gestura1 is a scenario contrived by KARNEJ with the help of dancer/interpreter Stevie Kincheloe. During gestura 1 and 1.2, both collaborated with movement-tracking body sensors, modular electronics, and A.I. text transcribers to create a spoken word piece consisting of triggered vocalized words/phrases. 

During this talk, we grapple with the facts, carefully examining each event's physical and psychological landscape. We listen carefully, honoring various perspectives and aspects of non-authorship. I tap into their flow, and what is revealed is an intriguing discussion exploring thing-hood, collective consciousness, and variables of existence and spirituality. I share the panic I felt within the space, as I didn't know where to go in my mind or what to perceive. I was glitching. I challenged them to understand my side of the experience as a spectator.

"The gestures of both participants and the curation/editing of the vocal recordings used are the sole content of the work while the flows of context ignited after that generate its form. The result is an oracular stream of implied meaningfulness, juxtapositions of narrative with flickering, glitching vocalizations. But what's important is not the result but the possibilities catalyzed by the process as a whole— gestura2 (03/30/23) will include the participation of those attending in its process and performance, making the series an interactive collaboration by way of the machine."

We are reminded KARNEJ is the origin point of various media instigations. In the past, these have taken the form and appearance of visual art, poetry, and sound/music in galleries and performance spaces in the U.S. (MX Gallery, Filosofi Arts, Interstate Projects, P.S. 1 and WFMU, Montez Press Radio in N.Y.) and abroad (performances in Centro de Cultura Digital, Centro Cultural de España in Mexico City and Berlin, Madrid, Barcelona and Vigo, Spain).

Also, KARNEJ is a dwelling. A something and somewhere resisting authorship through faith in personal and collective codes. It prioritizes communion between different modes through chance encounters where the experience of rupture can emerge. The gestura series continues on the third Thursday of every month in EL NIDO.

An interdisciplinary artist, Stevie Kincheloe, understands movement as a conversation between the physical and metaphysical planes. What began as a path to opening that notoriously elusive portal of inspiration, her movement meditations are becoming their own medium. A dismantling of the masks and false faces we show to the world, the intuitive moment is channeling the raw expression of the truth, moment to moment.

Visit the webpage to learn more: https://www.vcprojects.art/karnej-gestura1

Aya Metwalli (1988) is an Egyptian singer/songwriter, composer, and sound artist based in Beirut. She grew up in Cairo, where her father would play non-stop Oum Kalthoum songs on road trips to the beach. Her mother, known to have the most beautiful voice in the family, always sang at home and in gatherings with family and friends, and long before she was able to form her music taste, Aya was fed immense amounts of Arabic classic songs and melodies that now lie on a bed of velvet inside her subconscious mind.

Aya started fiddling with the upright piano they had at home around four. Soon after, she got her first solo singing gig on the preschool stage and continued practicing the piano and performing Arabic song repertoires throughout her school years. At seventeen, she bought her first guitar and self-learned the instrument while getting her bachelor’s degree in English literature. She posted cover songs on YouTube, slowly gathering a growing online fan base. Soon after, she wrote and composed her original songs on the acoustic guitar until she studied music production in 2014 in Cairo and stretched out her sound. She self-released her debut EP "Beitak," toward the end of 2016 and has been revamping her sound and developing her modus operandi since.

Described as “a musical enigma” by The Guardian and a musician who has "crafted a spellbinding brand of anti-pop" by Pitchfork, Aya uses analog synthesizers to produce gritty textures and strange, unsettling soundscapes. She sings heavily influenced by Arabic pop and classic melodies. She modulates her voice with electronics to delve even deeper into a world of eeriness, using heavy drones and drum machines to create a distorted, industrial body of sound crocheting noise with melody.

Over the past few years, she has performed solo live sets at Tectonics Festival in Greece, Norberg festival in Sweden, La Magnifique Avant-Garde in France, Irtijal Festival in Lebanon, played with the Lebanese free-rock powerhouse trio Calamita at the CTM festival and Die Akademie der Künste Berlin, been featured in Nicolas Jaar’s "sound- and light installation: Retaining the Energy, but Losing the Image" at Het HEM in the Netherlands, and ULTIMA Oslo Contemporary Music Festival in September 2022. Aya composed for and performed with the contemporary vocal ensemble Neue Vocalsolisten in the framework of the ECLAT Contemporary Music Festival Stuttgart in February 2021 -  2022. In 2023, she returned to the ECLAT festival to do a 40-minute improvised set with Tony Elieh and performed at Bern Jazz Festival Switzerland. 

At present, Aya is working on her debut LP album and is further exploring live performance, continuing to incorporate theatricality into her shows.

 We learn how the performance comes about and what it seeks - "a stream of implied meaningfulness" not contrived, instead hopefully raw output. 

 "The gestures of both participants and the curation/editing of the vocal recordings used are the sole content of the work while the flows of context ignited after that generate its form. The result is an oracular stream of implied meaningfulness, juxtapositions of narrative with flickering, glitching vocalizations. But what's important is not the result but the possibilities catalyzed by the process as a whole— gestura2 (03/16/23) will include the participation of those attending in its process and performance, making the series an interactive collaboration by way of the machine."

We uncover KARNEJ is the origin point of a variety of media instigations. In the past, these have taken the form and appearance of visual art, poetry, and sound/music in galleries and performance spaces in the U.S. (MX Gallery, Filosofi Arts, Interstate Projects, P.S. 1 and WFMU, Montez Press Radio in N.Y.) and abroad (performances in Centro de Cultura Digital, Centro Cultural de España in Mexico City and Berlin, Madrid, Barcelona and Vigo, Spain).

 Also, KARNEJ is a dwelling. A something and somewhere resisting authorship through faith in personal and collective codes. It prioritizes communion between different modes through chance encounters where the experience of rupture can emerge. The gestura series will continue on the third Thursday of every month in EL NIDO. 

 The conversation is fascinating as we unravel the instigation of this unique performance series. I also share my views about the necessity to witness various concepts of experimentation to more profound any individual's studio practice. Further, we explore elements of non-authorship and precisely what that means to this series. And of course, I ask KARNEJ the famous last question of what would you say to your younger self or rather "words of wisdom" to other individuals. The answer is surprising, as each of my guests always has interesting autographical comments that inform human existence to all creatives, regardless of what stage.  

https://www.vcprojects.art/karnej-gestura1

Our conversation also exposes Tony’s curated music program and possible parallels to Guffogg’s Xingu. The compositions by Janacek, Ravel, Scriabin, and Prokofiev, the Prokofiev Toccata; Tony will perform from a grand piano within the installation space! Guffogg also shares his sympatico with Tony, interpreting one another’s visual art to music. Reflecting on the Impressionist composers Tony has curated, I ask, Guffogg is this relative to Xingu, and what does impressionism means to him? Listen in as these fascinating stories unravel, hearing first-hand from Guffogg, the creative thinker, sharing developments in art and music collaborations. 

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate, but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg, visit, www.shaneguffogg.com

During our talk, Valentina shares her ‘investigations into texture,’ challenges during the pandemic, and the making of the 2022 “A Queer Anthology of Drums” record as well as the December 2022 “Permanent Draft” project, incorporating vocals, field recordings, percussion, a book that includes text, and photography. We also scratch the surface of Dada, Surrealism, and Art Brut influences. We end with my usual question, asking Valentina what she would tell her younger self or what I refer to as ‘words of wisdom.’ This sincere talk candidly explores Valentina’s process and career details. 

As a drummer, Valentina Magaletti moves effortlessly between the seemingly disparate worlds of alternative and mainstream music. She has played with artists such as Jandek, Pat Thomas, Deb Googe, Malcolm Mooney, Thurston Moore, Steve Beresford, Steve Shelley, Lafawndah, Mica Levi, Sampha, Kamasi Washington, and Nicolas Jaar, to name a few. In addition to collaborating with the gamelan Ensemble Nist-Nah and drummers Malcolm Catto, Julian Sartorius, and Charles Hayward, she has played with stalwarts of the experimental underground scene like Gnod’s Marlene Ribeiro, Wire’s Graham Lewis, and Thighpaulsandra (Coil). In 2017, Valentina participated in The Can Project, standing in for the late Jaki Liebezeit at London’s Barbican Centre.

Valentina’s compositional credits are just as elaborate: with Tom Relleen, she was one half of Tomaga, the critically acclaimed electronic duo; with Al Wootton, she creates irresistible claustrophobic dub as Holy Tongue; with Pino Montecalvo, under the Avvitagalli alias, Valentina improvises intricate sonic collages; alongside percussionist João Pais Filipe, as CZN, she constructs hallucinatory rhythmic worlds, which are as fragile as they are eternal.

Perhaps her most accessible project is Vanishing Twin, the trio with Cathy Lucas and Susumu Mukai, aka Zongamin, exploring spaces bridging jazz and psychedelia. In contrast, Better Corners – Valentina’s remote collaboration with Matthew Simms (Wire, Memorials) and Sarah Register (Kim Gordon Band) – utilizes an array of treated sound sources like prepared piano, flutes, and modular boxes to generate abrasive drone-laden soundscapes. Following the impulse to explore uncharted territories, Magaletti teamed up with production duo Raime. Christening the project Moin, the trio created Moot! for Nic Tasker’s AD 93 label in 2021.

As a solo artist, Valentina often investigates texture. Batterie Fragile (unjenesaisquoi, 2022) sees the percussionist play a ceramic drum kit conceived by Yves Chaudouët. Magaletti employs wire brushes, wooden reeds, and rubber beaters to summon unusual sonic characteristics from the porcelain. In a similar vein, A Queer Anthology of Drums (bié Records, 2022) – originally released on Cafe Oto’s Takuroku imprint – reflects on her queer identity, the ritualistic aspects of improvisation, and the oppressive realities of lockdown life by collaging together low-fi drones, field recordings, and modulated percussive objects. 

Upcoming projects include an album with Marta Salogni, due in 2023 on Permanent Draft (the new female-only editorial and label that Magaletti is starting with her partner), a collaborative release with Zongamin, and a duo with Laila Sakini.

Valentina Magaletti is based in London.

Website: https://valentinamagaletti.com

Within our talk, we learn about their partnership as well as their collaborative efforts that touch on aspects of entity/identity.

The artists reflect on what it means to exist within the moving landscape, searching for truth, surrendering, awakening, and honoring one’s own rite of passage. We also explore their studio practice, and how this type of performance informs other mediums Stevie and Steven work in. 

In the performance “Who Would I Be” interdisciplinary artists Stevie Kincheloe and Steven McKellar explore the role intimate Relationship plays in individual growth, refinement, and identity. 

“Several entities exist in Relationship— those of the individual and one cultivated through the communion of the individuals. Through the cause and effect of experiences, mirroring, the development of the inner world, each of these entities are in a continuous loop of expansion and creation.” 

Using organic elements and electronic equipment and instrumentation, along with poetry, this accumulative performance piece is manipulated, layered, and looped as each artist responds to their own truth and the truth of the other. The experience coalesces through one amplifier, giving voice to both Individual and Relationship, creating a new identity all its own.

“Intimate relationship is something we choose each day, each moment. It is something we are free to hold on to or free to let go of.” 

Connecting the artists as they move in a circular pattern while they create, is the delicate thread of choice. Each holds in their hand the symbolism of that choice and the power to let go of it. 

The Relationship becomes integral to the growth of the individual as the growth of the individual renews the relationship. This begs the question, “Who would I be” without this third entity or the Other that acts as the mirror for Self. “Am I becoming more myself or becoming something entirely new?”

BIOGRAPHIES

There is no divide between life and art for interdisciplinary artist, Stevie Kincheloe. Her approach to creativity is more of a philosophy, a way of moving and being in the world. Stevie’s work in music, film, movement, writing, photography, and performance, are each an outpouring of a life lived in the pursuit of uncovering truth. “Each medium that draws me to itself, reveals more of that mysterious truth in the process. Expression is the teacher, and I am the ever-growing student.” 

After filming her feature, ‘Under the Burning Sun’, collaborating with Shane Guffogg in,  ‘Translations of Being Through Sight and Sound’, participating in a month-long artist residency in Italy, where she worked on a multi-media performance piece with Soprano and Composer Shooka Afshar, scoring music for multiple films, and not to mention having her follow-up musical release to ‘Petals’ on deck, Stevie certainly embodies the essence of “life is art and art is life.” 

Born on the east coast and raised in middle America, Stevie is currently based in Los Angeles. Global pandemics aside, she does not make a habit of staying in one place for long. You will find her exploring the world the same way she explores her inner truth and new mediums, splitting her time between LA, Nashville, Paris, and South Africa while collecting inspiration and collaborating in whatever land she finds herself.

“The main thing is to start digging in and uncovering the truth of who you are. Leave no stone unturned. Most people are scared to do this, but if you want to be an artist or find your purpose, the whole truth is the only thing that’s worth your time. Be brutally honest with yourself and stare everything that scares you in the face…until you can love it.”

Steven McKellar is a musician, painter, and poet from Cape Town, South Africa. After a 20-year career in music, touring globally with his band, Civil Twilight, Steven began releasing his first solo records and returned to his roots in painting. As a child, he was trained in realism by his aunt and renowned South African artist Donna McKellar, before finding community and creative outlet through music and poetry.

In September 2022, Steven released ‘Nama,’ a textural and rhythmic exploration of his South African roots and identity. ‘Nama’ is a follow-up to two earlier musical releases, ‘Ethio,’ and ‘Belleville Demos’— soon to be reissued. 

After a debut solo show of his early paintings in Nashville, TN, Steven has been refining his process and deepening his relationship with the medium through the exploration of identity. ‘Just Passing Through,’ is his latest series of paintings, sketches, and pastels of everyday objects that are endowed with meaning on his journey of personal growth.  

The conversation is incredibly fascinating as we discuss a playlist featured at El NIDO by VC Projects art space, Hollywood. We talk about how her rich cultural history has informed her current art practice, steeped in experimental electronic sound, spirituality, and even a touch of what Aya says is a ‘demonic’ side. Listen in to hear Aya's inspiring story.

The tracks we discuss can be found from these online sources:

"Matkhafsh Menni" (Don’t be scared of me) https://ma3azef.bandcamp.com/track/matkhafsh-menni

"Splendor" (in progress work)

"Saturnus" (Spotify) https://open.spotify.com/track/5QB6G5kwF5JELFeptMaw6r?si=0887f00d69e34b9e

"100 Leyl" (nights) https://open.spotify.com/track/6pEzMzr1emIdNe5CyBzW8Z?si=7ede5c47bccc49f9

"Legure" (Spotify) https://open.spotify.com/track/2rwpYZqW1DBt4kGx233gFu?si=d8c7aba88f824aa9

Aya Metwalli (1988) is an Egyptian singer/songwriter, composer, and sound artist currently based in Beirut. She grew up in Cairo, where her father would play non-stop Oum Kalthoum songs on road trips to the beach, and her mother, known to have the most beautiful voice in the family, always sang at home and in gatherings with family and friends and long before she was able to form her own music taste, Aya was fed immense amounts of Arabic classic songs and melodies that now lie on a bed of velvet inside her subconscious mind.

Aya started fiddling with the upright piano they had at home around the age of four, and soon after, she got her first solo singing gig on the preschool stage and continued to practice the piano and perform Arabic song repertoires all throughout her school years. At the age of seventeen, she bought her first guitar and self-learned the instrument while she got her bachelor’s degree in English literature. She posted cover songs on YouTube, slowly gathering a growing online fan base, and soon after moved on to writing and composing her own original songs on the acoustic guitar until she studied music production in 2014 in Cairo and stretched out her sound. She self-released her debut EP, "Beitak," toward the end of 2016 and has been revamping her sound and developing her modus operandi.

Described as “a musical enigma” by The Guardian and a musician who has "crafted a spellbinding brand of anti-pop" by Pitchfork, Aya uses analog synthesizers to produce gritty textures and strange, unsettling soundscapes and she sings, heavily influenced by Arabic pop and classic melodies, modulating her voice with electronics to delve even deeper into a world of eeriness using heavy drones and drum machines to create a distorted, industrial body of sound crocheting noise with melody.

Over the past few years, she has performed solo live sets at Tectonics Festival in Greece, Norbergfestival in Sweden, La Magnifique Avant-Garde in France, Irtijal Festival in Lebanon, played with the Lebanese free-rock powerhouse trio Calamita at the CTM festival and Die Akademie der Künste Berlin, been featured in Nicolas Jaar’s "sound- and light installation: Retaining the Energy, but Losing the Image" at Het HEM in the Netherlands, and most recently composed for and performed with the contemporary vocal ensemble Neue Vocalsolisten in the framework of ECLAT Contemporary Music Festival Stuttgart in February 2021 and ULTIMA Oslo Contemporary Music Festival in September 2022.

Besides music, Aya also has a background in dance and has completed a three-year intensive contemporary dance training program at the Cairo Contemporary Dance Center from 2012 to 2015 in Egypt under the artistic direction of renowned Egyptian contemporary dancer and choreographer Karima Mansour. In 2019, she took part in the critically acclaimed Lebanese choreographer Ali Chahrour's theater creation "Layl/Night" as a dancer and singer. Between 2019 and 2022, the piece was performed on the stages of Ann Arbor University in Michigan, Bard College in New York, Zürcher Theater Spektakel in Zurich, Kunstfest in Weimar, Campania Teatro Festival in Napoli, and DañsFabrik in Brest.

At present, Aya is working on her debut LP album and is further exploring live performance, continuing to incorporate theatricality into her shows.

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate, but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

Visit the official exhibition page: https://www.vcprojects.art/collaboration-with-vramyan-and-guffogg

Visit Shane Guffogg's website: https://www.shaneguffogg.com

Stevie Kincheloe was born on the east coast, raised in middle America, and is currently based in Los Angeles, Kincheloe’s creative expression has been a slow and multi-disciplinary journey toward her truth. “Each medium that draws me to itself— songwriting, poetry, photography, sculpting, movement, acting, writing— reveals more of that mysterious truth in the process. Expression is a teacher and I am ever the student.” Her approach to creativity is more of a philosophy, a way of moving and being in the world, and her work is an outpouring of the experiences she has and the lessons she learns along the way.

Anthony Cardella studied with Barbara Hay growing up, a teacher following the Russian School of Rosa Levine. At this point, Anthony was already collaborating frequently, playing for local choirs, musicals, instrumentalists, and vocalists, all of this giving him a background in popular music and improvisation, in addition to his Classical training. He received his Bachelor's of Music from Lawrence University and Conservatory of Music. While at Lawrence, Anthony studied piano performance with Michael Mizrahi, a Yale educated teacher who studied with Claude Frank, and piano pedagogy with Mary Van De Loo. He worked on campus as a student teacher and piano tutor and, after graduating with honors, Anthony was offered multiple jobs at Lawrence - a staff collaborative piano position where he collaborated with vocalists and instrumentalists, and, also a teaching position at the Lawrence Academy of Music.

After working at his Alma Mater for a year, Anthony began studies at the Thornton School of Music at the University of Southern California in Los Angeles to receive his Master of Music degree. Anthony is currently working on his Doctorate at USC, studying with Stephen Pierce, and is also working as a teaching assistant - teaching private lessons to undergraduate students, as well as group courses - and as a staff pianist.

Learn more about Anthony at: anthonycardellapiano.com. 

The producer/director defines one of his media platforms, Hieronyvision, as a unique destination hub for independent movies, music, and art. We also learn about the “Garden” section of this platform, dedicated to the written word, and by joining Hieronyvision, one has a chance to become a Featured Member. Felix explains the incentive for this. We further begin to unravel how and why Felix created “Watch, Meet, Make” New Media Film School, which is online and free. There is so much to learn about Felix and his multifaceted world in film which not only features his work as an independent filmmaker, producer, and director, but also as a financier, and distributor. If you are into film, you will not want to miss this episode and learn about Felix and the necessities of filmmaking.

Learn more by visiting Felix’s hub’s

Hieronyvision: https://hieronyvision.com

Watch Meet Make: https://watchmeetmake.com

This discussion begins by Shooka Afshar sharing some basic opera history, and discussing some key elements of composing and singing. The event at El Nido features Shooka’s selections of arias and art songs that she performs. In addition, her program pays homage to legendary sopranos and celebrated composers, and speaks briefly about important research she has uncovered. What she shares in this talk is quite fascinating. We get a taste of what she may be sharing during the performance at El Nido touching on the life of Claude Debussy, and some of the women in his life that shaped his career. These stories are quite interesting. We also learn about English Soprano Florence Easton (1882-1955), and her incredible range and colorful life as an opera singer. This is a very sincere conversation with Shooka Afshar, I am always grateful to spend time learning about her world and the many facets of being a Quantum Soprano. 

Shooka Afshar, Iranian soprano, composer, and City of Boston Certified Artist, is an active recitalist in classical and Iranian repertoire. She received her Master’s Degree in Music in classical vocal performance and her Teaching Artist certificate in May 2014 from Longy School of Music. She made her operatic debut as the “Princess” in Dvorak’s opera The Cunning Peasant in its U.S. premiere produced by the Calliope Ensemble at the First Unitarian Church of Boston in February 2014. Some of her recent appearances include The Coded Birth at the Institute of Contemporary Arts Boston, Turn Me Into A Mannequin at NYU, and her new opera Women / Immigration / Fight or Flight, at the Museum of Fine Arts Boston in 2021. Shooka is going to expand her mixed-media opera at an artist residency near Milan, Villa Emma, in July 2022 and she’s planning to tour her opera nationally and internationally.

To learn more about Shooka Afshar The Quantum Soprano, visit her website at: www.shookaafshar.com

During this conversation, we learn that Guffogg sees color as sound and this informs his paintings. He explains, that he hears his paintings as much as he sees them. And when he sits down to play the piano, which he often does as another creative outlet, the sound he plays becomes for him a color, as in the act of painting, he listens to the colors and the movement of the brush. The artist shares that “painting is like peeling an onion” and as he gets deeper into the center of the onion, each layer is the center of his being and the memory banks of his mind. What you see in his painting is the deepest part of his memory. We also discuss the purity of sound without words, and how Guffogg reaches into his creative process. 

This is such a fascinating conversation. The artist continues to touch on what it means to be “human beings”, and brings up some very interesting thoughts about existence and how one might reach creativity. I interject here and there asking questions to learn more about his intellectual thought process. After all, it was Guffogg who came up with the title of the event at El Nido, “Translations of Being Through Sight and Sound.” For 40-plus-minutes we dissect just that, the intent of sound, the means to making marks, cave art, and the desire to capture the ‘eternal’ moment. Towards the end, we talk about “visual harmonies” and how Guffogg makes this happen in his artwork. 

Shane Guffogg is an American Artist that looks through the lens of humanity both past and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as seperate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts taht inform us of who we are in the 21st century.

To learn more about Shane Guffogg, visit: www.shaneguffogg.com

Exhibition website: https://www.vcprojects.art/slow-art-day-2022

Connect with the artists:

www.yuriboyko.com

https://www.instagram.com/den_kushnarov/

Vimeo: Denys Kushnarov

Women / Immigration / Fight or Flight is a mixed media opera based on Shooka Afshar’s true-life story, composed by Shooka Afshar. This opera depicts the challenges of women who had to immigrate to another country to follow their dreams, to be able have a normal life, and to fight for their basic rights. This is opera tells the story of Shooka Afshar's life who changed her circumstances from being ridiculed of wanting to be a singer, to a women who is now praised for her art and knowledge in the US. This opera has a universal message to all the women of the world who have been working hard to improve their lives and reach their dreams, in the midst of the most suppressed societies and lack of resources. Shooka Afshar’s first bachelor’s degree was in Physics, due to not being able to study arts and music academically. Moreover, to this day, women are not allowed to sing in public in front of men in Iran. In this mixed media opera, Shooka is sharing the strength of a woman who’s been receiving the message of “women shouldn’t be loud and laugh loud”, “women are not allowed to sing” and “womanhood is a shame”, and yet she decided not to be a victim of her circumstances. “I hope this opera inspires all the women who self-doubt and second guess themselves, and remind them the power of choice”, Shooka Afshar.

Shooka Afshar, Soprano, City of Boston Certified Artist, is a classical/opera singer from Iran, composer, flutist, pianist, and music entrepreneur. She finished her undergraduate and received her Master’s degree in Classical Vocal Performance at Longy School of Music in Boston in 2014. Shooka is an advocate for women’s rights, and her recent mixed media project is an opera based on her life story, portraying women who overcome extreme challenges to find out who they truly are and break free of society’s chains. She premiered her opera Women / Immigration / Fight or Flight at the Museum of Fine Arts Boston online in March 2021. She is currently planning to tour her opera nationally and also internationally, including a performance at Casa Regis, Italy in summer 2022. Shooka’s life story documentary will be released soon, created by Asma Khoshmher for the documentary department at Emerson College, Boston.   

For more information visit: www.vcprojects.art and the artist’s website: www.shookaafshar.com

This is an enlightening conversation not only about belonging but also about the concept of home. We could have talked for hours! We touch on how the series came about as well as the technical aspects of composing the shot. I ask, “Was this an intuitive process?” Rudenko’s answers reveal a great deal of depth.

Be/longing

Longing to belong or to simply be present, seen. What is longing? Defined as a “yearning desire” it leaves out both a nature of the object of that desire and the reasons behind it. The object of longing seems irrelevant and the yearning - directionless. We say: longing for home, for love, for acceptance, for recognition, for friendship. The concepts that through their platitude deceive you into familiarity but that in fact persist in their ambiguity. 

Susan Stewart in her book On Longing quotes the 1748’s Anson's Voyage Around the World: “Our native country, for which many of us by this time has begun to have great longings” and thus places the narrative of the “yearning desire” into the narrative of homesickness; and socially and colloquially the two experiences are still connected. 

For an immigrant, and I, myself, am one, defining home becomes a task of a lifetime. But for me, the longing for home started long before I left what now official documents call a “country of origin”. My being originated there, but what does it really mean? What non-severable ties did that event create in the process? Has it so happened that I am destined to long for home or rather for that sense of belonging with the unquenchable thirst of a traveler stranded on a raft in the middle of the shoreless ocean? How the relationship with a place is created to form a bond that would make one say “I belong here”? 

In this project, I am not so much as looking for answers to these questions but rather reflecting on them and the experiences that posed them. The angst of presence, of “being seen” is resolved through creating photographic self-portraits, that loop the “looking” and the “being looked at” in a perpetual echo while the act of photographing turns them into the evidence of presence. - Natasha Rudenko

Natasha Rudenko was born in Moscow and received honors in Photography from the British Higher School of Art and Design, She holds a Bachelor of Arts degree from State University – Higher School of Economics, Moscow, and a Master of Fine Arts in Photography at New York Film Academy, Los Angeles. Since 2013, Rudenko has been exhibiting her work in various group shows in New York, Los Angeles, Athens, Tempe, Moscow, and Budapest. Her work has been found in a number of annual publications of feminist and queer art, including Issues II and Femme Fatale Volume III Analog and Femme Fatale Volume IV Leafless. Rudenko is also an educator of Fine Art Photography at the New York Film Academy, Los Angeles, and UCLA Extension. She currently makes Los Angeles her home.

Visit: www.vcprojects.art to learn more about the exhibition. Visit the artist’s website at: www.natasharudenko.com

Throughout our talk, Gufffogg shares the significance of seeing “The Bay of Naples Paintings” on view at the incredibly historical and significant, Museo Ercolanese Reggia de Portici located in Naples.  Guffogg’s paintings are part of a larger group exhibition, “Inspirational: the Influence of Place” curated by Penna and also feature artwork by Kelly Berg, Laddie John Dill, Ned Evans, Justin Garcia, Miguel Osuna, and Todd Williamson. Guffogg’s historical paintings and the rest of the group exhibition will be on display from 10 December to 13 March 2022. Towards the middle of our discussion, Guffogg talks about his trip to the ancient city of Pompeii, and onward to the Amalfi Coast. We hear about the artist’s perceptions and inspirations during his amazing two-week journey, getting first-hand knowledge about the exhibition’s opening reception, meetings with public officials, and much more. We also discuss what it means to be an American artist greeted by the Italian public. Finally, we scratch the surface about a potential upcoming project that involves a Caravaggio painting. 

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

The curator assigned each of the 6 American artist, an American author who wrote about Naples. Guffogg was given the 19^th century historical romance author, James Fenimore Cooper, and the book, Gleanings of Italy. The artist took the following passages for his inspiration, 

“The Mediterranean, on the other hand, is unusually blue, and its bays and gulphs appear to have as deep a tint as the open sea.

The bay itself was asleep, with its bosom dotted with a thousand boats, and crafts of different sizes. The deathlike calm that pervaded everything was in exquisite accordance with the character of the entire view. The mountains were dreamy, the air was filled with drowsy repose, while the different objects of historical interest over which the eye rather lingered than glanced, gave the whole the semblance of a physical representation of things past, adorned and relieved by a glorious grouping of so much that is exquisite in the usages of the present.”

- James Fenimore Cooper

“Gleannings of Italy” (Naples, 1838)

In this discussion, Guffogg shares how he created his paintings and the developments that ensued. He further explores how he planned-out the beginning layers of each painting, which were devised from aspects of the I Ching, which was the bases for the patterns. Guffogg spent long periods of isolation in the studio working, which was a necessary task in order to paint in this systematic format. But as is Guffogg’s working style, he had some wiggle room for his intuition to respond to the continuously changing colors and shapes that came out of the countless layers of glazes. The industrious project took two-months and the significance of the conceptual blueprint set down the truth to the inherent outcome. The final composition that transpired from mind to heart, and hand to canvas is astounding. But this was not done without difficulty. Guffogg shares some of the tough stages he went through to complete the finished works. Towards the end of this discussion, I sarcastically ask, “Is painting dead?” Of course not! Guffogg reveals his testimony. Listen in, to hear first-hand what he has to say.

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

In viewing the first four paintings one gets a sense of the density of the heart cavity with all its depth and dimension. In the last two paintings, there is a shift, and the palette changes with a revelation of light. The artist mentions Turner, and how his use of light was an inspiration. This comment informs me to ask about Iceland and how it might feel living in little or much light at different times of the year. Our discussion is genuine. Towards the end, I had to ask, "Did your interviews with medical and spiritual professionals in the field of the heart alter your intuitive process to create these paintings?" The artist answers, "No, but they did inform me on some level." Listen in to learn more. 

Bjarni Sigurbjörnsson received his Bachelors and Masters of Fine Art at San Francisco Institute of the Art. After completing his degrees, he returned to Reykjavik to continue his career in art. The artist received a two-year stipend from the Icelandic Government for a sizeable site-specific land commission that combined painting and sculpture. In 2003, he took part in Los Angeles International Biennial, and the following year, he participated in the Pilsen International Biennial of Drawing. Over the past 25 years, Sigurbjörnsson has had numerous gallery and museums exhibitions in the U.S.A. and Europe.

Visit the artist's website: http://www.bjarnisig.com

Barbara Flood is a New Yorker through and through who modeled for Rudi Grenreich, and introduced the "Topless Bathing Suit". She was recently featured in the 2019 exhibition, Rudi Gernreich: "Fearless Fashion" at the Skirball Museum in Los Angeles. During the 1970's she was represented by Mannequin Modeling Agency in New York for runway modeling. Barbara has been featured in numerous films working with film director, Henry Jaglom's, in "Tracks" with Dennis Hopper, "A Safe Place" with Tuesday Weld, Jack Nicholson and Orsen Wells, and again with Wells, in the enchanting "Someone to Love", to name a few.

Stanely Dorfman has had many lives and some of which have shaped our cultural history of what we know today. For starters, Stanley was the original producer and director of the Top of the Pops in the ’60s at the BBC in London. In tandem, Stanley has also worked with, The Beatles, The Rolling Stones, James Taylor, The Who, Led Zepplin, Joni Mitchell, Frank Sinatra, Elton John, Ravi Shankar, Yoko Ono, Jimmy Hendrix, and Linda Ronstadt to name a few. Equally important, in terms of this discussion, is that Stanley started his life as a painter in the late 40’s at the École des Beaux-Arts in Paris. Whereas a young person, he was fortunate enough to meet and become friends with James Baldwin, Alberto Giacometti, Simone De Beauvoir, and Jean-Paul Sartre. This conversation was recorded at Guffogg’s Strathmore ranch, 2 ½ hours from Stanley’s home and studio in Hollywood, where he returned to painting some twenty years ago.

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

We further talk about aspects of Gilles Deleuze, “The Logic of Sensation” where the philosopher states: “There are two ways in which I can experience the viewing of a painting: One, is the abstract form which affects the head and brain. Second, in the “figure” which Cezanne labels the sensation. The sensation is the form which interacts “immediately upon the nervous system which is the flesh.” This influential text brings about a deeper conversation regarding Sigurbjörnsson’s current body of work related to the heart.  The artist shares his research and findings. 

Bjarni Sigurbjörnsson received his Bachelors and Masters of Fine Art at San Francisco Institute of the Art. After completing his degrees, he returned to Reykjavik to continue his career in art. During this time, the artist received a two-year stipend from, Icelandic Government for a sizeable site-specific land commission that combined painting and sculpture. In 2003, he took part in Los Angeles International Biennial, and the following year, he participated in the Pilsen International Biennial of Drawing. Over the past 25 years, Sigurbjörnsson has had numerous gallery and museums exhibitions in the U.S.A. and Europe.

Visit the artist's website: http://www.bjarnisig.com

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

The art of L. Mikelle Standbridge is a passionate endeavor, thoughtfully narrating personal stories about her subject’s embodiment. Varying in size and shape, her delicate one-of-a-kind pieces are derived from the reconfiguration of photographic prints, exploring a paper that the artist refers to as “pulpy, pierceable, stitchable, and flexible.” The work might have multiple layers or be hand-torn and stitched along the edges. It is not unusual to find works stacked on top of each other on a shelf or suspended with moving parts. All the while, these images are set within detailed backgrounds that explore intimacy, ensuring the connection between the subject and the maker. 

Standbridge says, "I am profoundly interested in Photography and this interest informs my subject matter and presentation choices. This series, Photo-Bodies, is in part dedicated to what has probably been photography’s most astounding characteristic and that is - in the form of portraiture or a "likeness"- having the uncanny, powerful potential of alluding to the non-visible, to an emanation (such as a personality, a soul, or an aura of a person). By photographing people, especially people who have undergone alterations to their bodies or whose lives are dominated by their appearance, my body of work hovers around the question of physicality (what it might reveal, what it might cover-up)."

Link to the exhibition: https://www.vcprojects.art/l-mikelle-standbridge-the-host-or-the-guest

Visit the artist's website: http://www.standbridge.net

There are multiple episodes for each artist which will gradually be released one by one. A few prequel episodes feature the host, Shane Guffogg, setting the groundwork for the look and feel of the show, introducing the audience to Guffogg’s art and perspective of living the life of an artist. The first series episode is with Laura Hipke, who shares the inspiration she gets from the photographs of August Sander and how she transforms his black and white portraits into her own narrative that further explores the human condition in her painting. 

The visuals of each episode are a feast for the eyes as Guffogg takes the viewer for studio and gallery visits that set the tone for insightful discussions about the impulse to create and the techniques that are used, giving this series a rare, behind the scenes look into our human need to express and communicate through art.

For more information on Shane Guffogg visit: https://www.shaneguffogg.com

I also learn about the inspiration behind his mysterious oil and water plexiglass paintings. 𝐒𝐢𝐠𝐮𝐫𝐛𝐣ö𝐫𝐧𝐬𝐬𝐨𝐧 says that he prefers to live within the process of his works over thinking about them. On growing up in Iceland, "I would say it's like an open wound or the skin of the earth, in a sense. Where you have all kinds of elemental forces very open here in Iceland." On embodiment and abstraction, I don't think he is painting the landscape around him. The artist says, "It has nothing to do with that, I sometimes have a problem with landscape paintings, but still [chuckles] I do-- it's the feeling of how you are-- you are the landscape that you are within."

Painting for 𝐒𝐢𝐠𝐮𝐫𝐛𝐣ö𝐫𝐧𝐬𝐬𝐨𝐧 is about spontaneity; it is an intuitive process. We comment on Kant's quote: "art-making – the interplay of free imagination and understanding." Join us for an in-depth conversation about art, studio life, Nordic mythology, and much more. 

𝐁𝐣𝐚𝐫𝐧𝐢 𝐒𝐢𝐠𝐮𝐫𝐛𝐣ö𝐫𝐧𝐬𝐬𝐨𝐧 received his Bachelors and Masters of Fine Art at San Francisco Institute of the Art. After completing his degrees, he returned to Reykjavik to continue his career in art. During this time, the artist received a two-year stipend from, Icelandic Government for a sizeable site-specific land commission that combined painting and sculpture. In 2003, he took part in Los Angeles International Biennial, and the following year, he participated in the Pilsen International Biennial of Drawing. Over the past 25 years, 𝐒𝐢𝐠𝐮𝐫𝐛𝐣ö𝐫𝐧𝐬𝐬𝐨𝐧 has had numerous gallery and museums exhibitions in the U.S.A. and Europe.

Visit the artist's website: http://www.bjarnisig.com

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century. https://www.shaneguffogg.com

Adam Gross and Shane Guffogg first met in 1996 when Gross was the director of the Kantor Gallery in West Hollywood. Since then, Gross has gone on to have an illustrious career in the art world as head of Contemporary Art Auctions at Butterfield & Butterfield, co-launched Pharmaka with Guffogg, Associate Director of Development at MOCA Los Angeles, Executive Director Art Platform–Los Angeles, Adjunct Professor Sotheby’s Art Institute, Director of The Lapis Press, before opening GrossArt at SPACE 1028. https://www.grossartla.com

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century. https://www.shaneguffogg.com

Shane Guffogg is an American artist that looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

David Mather - biography

As a trained art historian and intellectual historian (Ph.D., UC San Diego, 2011) with a fine art degree (BFA, UC Santa Cruz, 1994), Mather has explored a wide range of color theories and practices, and he has published widely in academic books and scholarly journals on aspects of color in modern art, particularly in his area of specialization Italian futurism. During his 2012–13 postdoctoral fellowship residency at the Getty Research Institute (during the annual scholar theme of "Color"), he developed and lectured on chromatic vitality in the works of early Italian futurist painters. As a college professor, Mather has taught and mentored undergraduate and graduate students on various topics relating to color, and, over the years, his writings have moved toward greater intellectual and creative engagement with some of the overlapping, interdisciplinary concerns revolving around color and its usage in the fields of art, science, and technology. He lives and works in Los Angeles.

Intro music excerpt from Jon Hassell, Dreamworld (Dance), 1988

At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only dance. I can only say, there we have been: but I cannot say where. And I cannot say, how long, for that is to place it in time. 

(Passage from, Quartet No 1 of 4 “Burn’t Norton” written in 1936, by T.S. Eliot)

Episode seven continues to explore Guffogg’s process of art-making based on the search for internal truth. There is also mention of the humanist philosopher, Marsilio Ficino’s, “De Amore, A Guide to Plato’s Symposium” (1484) and its inspiration. I make notes along the way questioning Guffogg, “What is spirituality?” This episode is a bit longer, as we move around the studio describing ‘still point’ paintings, their essences, and how Guffogg arrives at them. The artist announces, (metaphorically) that he dips his toes into the universe, in search of the bigger picture.

Shane Guffogg is an American artist that looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Music by April Aberdeen and Shane Guffogg

Special thanks to Greta Stromquist 

To see photos, visit our website: www.vcprojects.art

Shane Guffogg is an American artist that looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Music by April Aberdeen and Shane Guffogg

Special thanks to Greta Stromquist

See more images from this episode: www.vcprojects.art

Guffogg’s paintings play with the sentence that Stein so passionately defended during her lecture at Oxford University, where she said, “When the Romantics used the word “rose” they were referencing an actual rose that was red, which has inhabited English poetry for a hundred years!” In Stein’s case, she was referencing “that things are what they are.” She wanted to take the word away from the laws of identity by stating the first rose was about the name of a person, the second rose a nod to the flower and the third rose referenced a concept. This was the beginning of the universal debate. Guffogg, recalled while at Cal Arts, there was a similar controversy in the air about the conceptual landscape for creating art. After rereading Stein’s poetry, an inner dialogue came about – the artist has proposed the question to his viewer by way of his paintings, prompting the audience to reconsider Stein’s poem and contemplate the essence of how we consider identity through language – is a rose a rose? Regardless of this discussion, the paintings reveal a frozen moment, depicted the delicacy and fragility of life through line, color, and lyrical shapes, all distinct parts of Guffogg's silent poems. The paintings also unveil what could be deciphered like a musical score that illuminates the human need for expression. This moment shines through their refined beauty, turning within to recall their own inner wisdom nature provides us.

Shane Guffogg is an American artist who looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Music by April Aberdeen and Shane Guffogg

Special thanks to Greta Stromquist

See more images from this episode: www.vcprojects.art

Shane Guffogg is an American artist that looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Instagram: @shaneguffogg

Music by April Aberdeen and Shane Guffogg

https://open.spotify.com/artist/3R8jH2oLdOBoJ8iLUOorg3?si=J5NB-RBTSRKX0Jf8f5IEKw

Shane Guffogg is an American artist that looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Instagram: @shaneguffogg

Music by April Aberdeen and Shane Guffogg

https://open.spotify.com/artist/3R8jH2oLdOBoJ8iLUOorg3?si=J5NB-RBTSRKX0Jf8f5IEKw

Shane Guffogg is an American artist that looks through the lens of humanity at civilizations, both past, and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21^st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Instagram: @shaneguffogg

Music by April Aberdeen and Shane Guffogg

https://open.spotify.com/artist/3R8jH2oLdOBoJ8iLUOorg3?si=J5NB-RBTSRKX0Jf8f5IEKw

Guffogg is an American artist who looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. His work is a visual language that is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but Guffogg fuses them seamlessly into works that transcend and become testaments to thoughts that inform us of who we are in the 21st century.

To learn more about Shane Guffogg visit, www.shaneguffogg.com

Intstagram: @shaneguffogg

Music by April Aberdeen and Shane Guffogg

https://open.spotify.com/artist/3R8jH2oLdOBoJ8iLUOorg3?si=J5NB-RBTSRKX0Jf8f5IEKw