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“Dinner with an Artist” featuring Monika Steiner

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY’s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table. There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Monika Steiner. ANNE REED GALLERY is thrilled to announce our representation of Monika. We invited her to our virtual table to answer a few questions about her background, her work and the paintings in her first solo exhibition, The Timeless, at ANNE REED GALLERY.

Monika Steiner: Released I, Oil on Wood

Monika Steiner: Released I, Oil on Wood

ARG: Let’s start by discussing the recent focus of your work: spheres, which we see in The Timeless exhibition. We know from your artist statement that you have always been interested in metaphysics and are fascinated by the sphere because of its “elegance and efficiency”. Can you explain how this fascination began and its ongoing role in your work?

MS: My curiosity with circular shapes began early.  In Egypt I saw firsthand the sun god “Ra” depicted with a circle over his head. Almost every culture or religion, in one form or another, used the circle as a spiritual symbol of unity, wholeness and enlightenment.  I became fascinated by how such a simple shape can express as powerful of a concept as one’s mystical sense of oneness.

After a series of paintings of two dimensional circles I started to render them as spheres.  The sphere encloses the greatest amount of volume yet uses the least amount of surface area.  Nature uses this form to structure everything from the sub atomic world all the way up to the shape of planets.  We subconsciously resonate with something powerful in the face of that kind of mathematical perfection.

On a technical level, it challenges me to draw, freehand, perfect circles.  Arranging the sizes and colors of the spheres and integrating them into a non-static background is hard, but when I get it right, the pieces have a balance and harmony of composition that invokes this sense of wholeness and unity, properties of the shape itself I wanted to communicate.

ARG: Can you speak more the  “ultimate intention” of your abstract work? Image

MS: My ultimate intention with my abstract oil paintings is that the art would give viewers some access to their own perception process– feeling something they can’t explain because they can’t label it like a realistic image.  It’s like the painting opens up a space between where its surface ends and the viewer’s mind gyrations begin.

ARG: We’re intrigued by the titles of your paintings. Can you tell us about how you decide on each title and its significance? For instance, we’re interested in the genesis of Released I and Released II, the two most recent paintings in your exhibition?

MS: I generally title my paintings before beginning them and I am thinking of a feeling or an idea that I want to express abstractly.  For example, Released I&II are about emotional release and in the end that concept is clear in each painting in that one sphere that is far less integrated with its surroundings compared to the others.  But that wasn’t a result of conscious design, more just thoughts and feelings influencing the process and the unconscious mind solving the representational problem.

ARG: We found a short Youtube video in which you discuss your painting technique of layering. In it, you state, “More layers make a richer painting.” Can you tell us more about your layering process and how this technique allows you to achieve your vision? We’re curious if you start with a specific vision or if you allow the painting to evolve as new layers inform you?

Image

Monika Steiner: Cascade, Oil on Wood

 MS: I carefully plan compositions before I start. The placement in the sphere paintings is hard to change later, so I sketch it out first in charcoal. With the sphere shapes it is very important that everything stays in balance throughout the process otherwise the whole piece in the end feels “off”.  Besides the composition, I have to balance the light and dark tones of each sphere and integrate them with the background.  I paint the lightest colors first; those warm tones penetrate through the additional layers of paint and make the piece glow in the end. Even a one-toned piece, bluish grey for instance, can be warmed up with an initial layer of light yellow tint underneath. Those first layers are hardly visible in the end but are essential to chromatically harmonize the painting.

By layering glazes on top of each other I can achieve a nice radiance and the transparency of the drips can be seen if you look at an individual sphere close up. All those layers are very subtle but make the piece much richer.

ARG: We noticed that you have created sculpture in the past. Do you continue to work in this medium?

MS: Yes, I still do bronze sculptures, although, my main focus has always been painting.
My approach to sculpture is conceptual like the paintings, using emotions or concepts to create abstract shapes that are unique and timeless. With bronze I am using the ancient lost wax process, still done the same way today, so the ageless quality of the process is always with you – but so is the labor intensive work of it – modeling the piece first in wax, making a shell, melting the wax out of the shell, pouring the bronze in, destroying the shell, sandblasting, chasing and finally adding a patina. It still fascinates me every time I see the red hot molten bronze being poured into its shell where it will transform itself back into a solid that will outlive us all.

Monika Steiner: Pendulums, Bronze

Monika Steiner: Pendulums, Bronze

ARG: You were born in Switzerland. When did you come to this country and has your “multi-cultural” experiences affected your work?

MS: I came to the USA in 2000 and I do believe that my multicultural background and my travels throughout the world have affected my work. My jewelry making background influenced my sculpture; having to adapt to a new culture and going through a life transition made me realize how painting can be a creative channel to go deeper within myself. I know it has also helped to have inherited a Swiss work ethic.

ARG: Now you live in the Bay Area and recently had a baby. Where do you paint and how do you balance motherhood with your commitment to being an artist?

MS: I am lucky that my painting studio is at my home and that I have a nanny two days a week. It is definitely a challenge time wise to balance motherhood and being a professional artist but I am very dedicated to my work, which has always been my passion. I worked very hard to get where I am now as an artist. I treasure every minute with my daughter and I am trying to be as present as I can with our time together yet I found that having both, work and motherhood, helps me learn to balance my life.

ARG: We have found that many artists have been interested in art since they were children. Did you have any early childhood experiences that sparked your interest in art or mentors that affected the direction of your work?

Monika Steiner, Far Away, Oil on Wood

Monika Steiner, Far Away, Oil on Wood

MS: I always loved art, but growing up on a small farm village where art was considered a hobby, not a “real profession”, was challenging. I became a teacher there instead of an artist but I always did creative things on the side – pottery, jewelry making, drawing, painting, etc. It was only when I came to the USA and couldn’t work as a teacher that I realized it was finally my chance to pursue my passion and study art. One of my teachers at SSU definitely influenced me and sparked my interest in abstract art. His encouragement made me believe I could pursue this career.

Cy Twombly: Scattered Blossoms (SmithsonianMag.com)

Cy Twombly: Scattered Blossoms (SmithsonianMag.com)

ARG: And now, do you have contemporary or historical role models who continue to inspire you?

MS: There are some artists that I feel an immediate connection to: subtle things like Cy Twombly’s or Jay Kelly’s very minimal pieces. I find it intriguing and especially challenging to create quiet, almost, “silent”, pieces of art. Less “loud” in the sense of color and form is a direction I feel myself headed.

ARG: We raise our glass to you and to your latest beautiful exhibition with ANNE REED GALLERY. Although we’ve many more questions for you, perhaps we should end this conversation by asking if there is there anything else you’d like to say either about your work or anything else.

MS: Thank you so much! These were very thoughtful questions. I can’t think of anything else, just that I feel honored to be represented by your beautiful gallery.

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“Dinner with an Artist” featuring Inez Storer

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY’s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table. There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Inez Storer as we talk about her current exhibition: Summer Pastimes.

ARG: What early influences sparked your interest in art and becoming an artist? inez-storer photo

My father was an artist and art director of many well-known films. Being around his creative energy greatly influenced me. I always knew I was an artist. I have a vivid first memory from when I was 3 years old of creating a “site specific work” in a sandbox. Later, I was the go-to kid for all the posters in school. I also always went “outside the lines” on the handouts given out during the Friday Art Lesson that only lasted a HALF HOUR!

ARG: Do you have any contemporary or historical role models who inspire you?

My eye roams everywhere – Matisse, Rauschenberg, Giotto, DADA, Surrealism. I find myself often attracted to work that doesn’t always make sense in the real world.

FoundTheCave

Found the Cave by Inez Storer

ARG: Your use of found imagery is one of the defining elements of your work. When did you start working with mixed media and what determines your selections of material?

I had a life of interruptions with a large family so creating collage/assemblage works was a way of dropping what I was doing and being able to pick up where I left off by merely looking at the scraps left on the table.

I also have a bit of a criminal past! One day my 9-year-old son came home with some very interesting things and, after I bribed him one dollar, he led me to “the burned down house” down the street.  It was incredible! Items left there dated back as late as1856: journals, objects, photos, books, every thing had “history” written all over it. One day I was caught and that was the end of my criminal object hunting activities and the beginning of collage!

ARG: Your paintings are all very narrative, often with multiple stories. We’re very curious about how you determine the subject of your paintings?

The first mark, or matrix, I make on the surface of a work is oftentimes my instinctual way of beginning the process. It may change (and most often does) as I go along but, it is definitely that first mark or marks that determine the way to proceed.

 ARG: Your work seems to beg us to dig deeper into this narrative. In your statement you mention that you often leave “written clues” in your paintings. Can you give us an example of a written clue in Summer Pastimes and where you might want that to lead us?

Balance, Relax by Inez Storer

Balance, Relax by Inez Storer

I really don’t set out to give “clues” but just hope that the viewer will take the adventure to new heights. Verisimilitude!

 ARG: We feel that all the elements in each painting relate in some way. Do you have an intention directed to the viewer?

I hope that the work isn’t always “of the same flavor”! It is through my process that I want to explore various ways of telling stories as I am a storyteller by nature.

I sometimes create a series, and other times, there is a wild card piece. I really do not believe in planning things out to the nth degree. What comes creatively is always the surprise and I like to be surprised and have that “AHA!” moment.

ARG: We understand you’re a wonderful teacher. What do you do to inspire your students? What advice would you offer other aspiring artists?

I have always told my art students, “art chose you, not the other way around.” They really do not have choice except to figure out how to support their “habit” and to keep on doing it as much as is possible. I think I still am on the right track as I just gave a lecture to students (and other art people) at Santa Clara University. Afterwards students came up to me and thanked me for giving them that advice and information. They were grateful to hear it.

Jump Up, work on paper, by Inez Storer

Jump Up, work on paper, by Inez Storer

ARG: You mentioned that your parents are European. Where are they from and has being first generation American influenced you and your art career?

They were both from Germany and, yes, indeed they influenced me. They kept many secrets about their lives before they came to the U.S. and I was always trying to find out more about that life. My mother was Jewish but only admitted it just before she died. I learned that we have over 30 relatives and some lived only fifteen minutes from where I grew up. THAT WAS A SECRET! But my mother did not want anyone to know she was Jewish so she never mentioned it. Life was complicated for me since I never knew much about my own history growing up. A lot of my art making came out of this experience.

ARG: Besides having European parents, you are married to Andrew Romanoff, also an artist and whose great-grandfather was Tsar Alexander III and is the great nephew of Tsar Nicholas II. Has being married to someone with so much familial history influenced your work?

"The Boy Who Would be Tsar" by Andrew Romanoff chronicles his magical childhood through the use of miniature Shrinky-Dink drawings.

“The Boy Who Would be Tsar” by Andrew Romanoff chronicles his magical childhood through the use of miniature Shrinky-Dink drawings.

It has had a big influence on my work in terms of the historical observations. It has been/is a constant source of ideas that may or may not come to fruition. Many a painting has come out of this relationship. It’s ongoing, like turning to the next page in my studio practice.

ARG: We raise our glass to you and to your latest wonderful exhibition with ANNE REED GALLERY. Although we’ve many more questions for you, perhaps we should end this conversation by asking if there is there anything else you would like to say, either about your work or perhaps something totally unrelated.

I want to say that your online style is a very interesting way to go about introducing artists across the globe and one that should/and will have a life of its own! Thanks!

Inez Storer, Inverness, California

ARG: Thanks, Inez. We’ve so enjoyed sharing a conversation over a “virtual dinner” with you and look forward to more time with you in the future.  Cheers!

The late curator and museum director, Henry Hopkins, claimed that “George Geyer’s sculpture toys with the mind.” We hope that this incredible sculpture ignites the fire in your mind and spirit to have a great weekend!

ART FOCUS George Geyer1

Harold Feinstein Accepts Book Award

Coney Island Teenagers, 1949

Coney Island Teenagers, 1949

ANNE REED GALLERY artist, Harold Feinstein, accepts the prestigious PDN (Photo District News magazine) award for Best Photo Book 2013 this week in NYC. We want to take this opportunity both congratulate Feinstein and acknowledge his incredible presence in the photography world for the last 60+ years.

Harold Portrait-ARG Harold Feinstein: A Retrospective (Nazerali Press), is the first career-spanning monograph of Feinstein’s work and was funded by the public using a Kickstarter campaign. The campaign was endorsed by The New York Times, NPR, and American Photo and it exceeded its goals in just 30 days! It is an honor to be chosen by PDN’s panel of notable art directors, photographers, and editors for this award. In addition, the book  received the Photo-Eye Best Book of 2012.

Feinstein, a member of the socially conscience Photo League group, was a distinct presence in what is often referred to as the “New York School of Photography.”  From historic NYC’s store fronts, to Coney Island’s smiling teenagers, to the Korean War’s troops – you are bound to recognize at least one of his iconic black and white images. His work has been featured in the Jewish Museum, the Muse d’Art Moderne in Paris, and the George Eastman House, among others, and 55 of his floral prints are installed in a performing arts center at Stanford University.

Window Washer, Harold Feinstein

Window Washer, 1974

We feel grateful to be included in Feinstein’s gallery representation. Currently, ANNE REED GALLERY is exhibiting selected images from Feinstein’s Coney Island portfolio which can be viewed here: Coney Island. We welcome any questions you may have about any of Feinstein’s work.

Harold Feinstien, Magnolia

Magnolia

“Dinner with an Artist” featuring Tom Chambers

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY’s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table.

Lucca Luna, Photomontage

Lucca Luna, Photomontage, Archival Digital Print (Click for more information).

There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Tom Chambers to discuss his current exhibition: Illumination.

ARG: When did you first begin taking photographs and when did you start working with digital equipment? What was your work like prior to digital cameras and computers?

TC: I was hit with the travel bug early on. In the 1970’s I hitchhiked across the country and through the Canadian Rockies where I took photos of landscapes and wildlife with a 35mm Yashica camera. Later I attended Ringling School of Art where I majored in graphic design and minored in photography. In the early 1990’s I began using Photoshop software as a graphic designer, which gave me the opportunity to see the possibilities for artistic expression.  Since then I have been having fun making photomontages.

TomPhotoARG: Are there artists or other photographers who have influenced your work?

TC: When I first began creating photomontages using Photoshop, Mexican photographers who used magic realism had a huge impact on my images. Manuel Bravo, whose images convey a sense of the unexpected and irony, has been a source of inspiration as were the stark black and white images by his student, Graciela Iturbide, who explores the relationship between man and nature. I was drawn to Mexico which led me to create a series inspired by the Mexican ex votos, paintings of miracles made possible by the saints.

ARG: Did your upbringing on a farm in Amish country, Pennsylvania affect your work in any way? We’d enjoy hearing a little about how your early experiences might have influenced your work or directed your vision.

TC: Growing up on a farm in Lancaster, PA forged my connection with the out-of-doors. My family shared with me a respect for nature through daily living on a working farm with crops and livestock.  As kids, we used our imagination playing games in the fields and woods, rather than structured games and activities.

Autumn Moorage

Autumn Moorage, Photomontage, Archival Digital Print (Click for more information)

I was deeply influenced by my grandparents. They also lived on the family farm, yet their livelihood was painting and illustration. When my grandmother was able to corral me, she taught me to draw and paint, and gave me great encouragement to experiment in art. My grandfather, influenced by his acquaintance with NC Wyeth, introduced me to the art created by the different members of the Wyeth family. In particular, I was most influenced by Andrew Wyeth, son of NC, who incorporates a sense of emotionality into his landscapes. I hope that my photomontages also evoke an emotional response.

ARG: It appears that various series originate from or are inspired by a specific geographic location. What draws you to a region initially?

TC: I am inspired artistically by travel which allows exposure to art, literature, music, food, traditions and religion. I tend to select places where I can immerse myself in many different aspects of a culture. I am not one who likes to stay within the confines of a resort. The Ex Votos and Dreaming in Reverse series were influenced by repeated travel in Mexico, whereas the Illumination series was influenced by several trips to Italy.

ARG: In your statement you say your work is intended to “invoke a mood” in the viewer. What “mood” did you intend to invoke in the Illumination Series? Can you talk a little about the narrative that runs through this series?

TC: I was struck as I traveled through Italy by the stunning beauty of light and shadow. In particular, Tuscany and Venice spoke to me. In my photomontage work I attempt to replicate the sense of wonder I felt. Each image tells a story that ultimately is left to interpretation by the viewer.

Chambers walk_on_the_wild_side

Walk on the Wild Side, Photomontage, Archival Digital Print (Click for more information).

ARG: Your images appear to be saturated with rich, warm colors. How does color influence your choice of subject to photograph and include in your photomontages?

TC: I think that those warm colors invite the viewer to connect with the image by drawing the viewer into the image. When people describe my images they typically first mention my use of color.

ARG: Many of your images have an ethereal quality and all are very narrative. Do you envision the narrative prior to taking your photographs or does this happen only after you have the background photograph?

It really happens both ways. When I have an idea for a series, I make thumbnail sketches of ideas. Then, I will shoot separately the landscape and the different elements. Typically each image is a composite of five to ten elements. In some cases, I find a background or an object that inspires an idea for a photomontage.

ARG: What camera(s) do you use? We’d also be interested in finding out more about your library of images and your process in creating each new work.

TC: I use a Nikon D800 for shooting. I love the flexibility that the camera offers me. Not too big and bulky, I can drag it with me on vacations.  Using that camera and a small variety of high-quality lenses enables me to print large, sometimes up to 50 inches.

Maritime Sentry (from Marwari: Indigenous Spirits Series)

Maritime Sentry (from Marwari: Indigenous Spirits Series)

Even though I have folders of thousands of images, I really don’t keep a library of images as a source for creating photomontage. As I am developing a photomontage, I enjoy shooting what I consider the perfect shot for what I imagine will be the final product. Only occasionally, will I return to a shot which I have taken previously that might fit a current project.

ARG: We’re sure you have other places you’d like to photograph and other series in mind for the future. Is there anything you can tell us about where you might go next and your vision for the next series?

TC: Currently, I am completing some additional photomontages for each of my six series. I have some ideas percolating for a totally new series, but have not settled on a particular direction. While travel provides inspiration for my work, I don’t have any new plans for a series about a particular location.

ARG: We raise our glass to you and to your latest wonderful exhibition with ANNE REED GALLERY. Although we’ve many more questions for you, perhaps we should end this conversation by asking if there is there anything else you would like to say, either about your work or perhaps something totally unrelated.

TC: I thought that you might be interested in knowing that Modernbook Editions published a book of my work, “Entropic Kingdom”, in 2012.  The book contains highlights from my first 5 series, but this series “Illumination” was created after the book was published.

Thank you for showing my work at the Anne Reed Gallery.  I particularly appreciate your support for my work.

ARG: Thanks, Tom. We’ve so enjoyed sharing a conversation over a “virtual dinner” with you and we so look forward to more time with you in the future. It is an honor to exhibit your work. Congratulations on Illumination, a beautiful series. Cheers!

“Dinner with an Artist” featuring Alex Zecca

zecca collage radius18

ALEX ZECCA: Collage Radius #18, Ink on Paper (click for more information)

“Dinner with an Artist” was inspired by the many dinners ANNE REED GALLERY‘s owner, Barbi Reed, has had the pleasure of enjoying with gallery artists over the years. It was during these dinners that the conversation twisted and turned to the delight of all sitting around the table. There was no more perfect way to relax and enjoy the camaraderie of artist, collectors, and staff after the intensity of curating, preparing for, and installing an exhibition. Today, we invite you to this virtual dinner table conversation with Alex Zecca to discuss his current exhibition: Collage Radii.

Zecca portrait

ARG: Do you remember any experiences in your childhood that sparked your interest in art? Were you drawing straight lines early on? 

AZ:  In the mid 70’s my mother became a film student at San Francisco Art Institute, so from that point on, I grew up in and around the wonderful and crazy extended art communities that created.

Carols Villa, an artist and teach, has been a lifelong mentor and inspiration for my early decisions and understanding about a career dedicated to a studio practice in visual art.

Zecca collage radius 12

Collage Radius #12, Ink on Paper (click for more information)

And yes, the silly irony is, I drew with basically the same tools even when I was 8.

ARG: When we see thousands of lines forming patterns, we know the piece is yours. When and how did you decide to focus entirely on lines? How has the work evolved over the years?

AZ: After years of adding more and more elaborate processes to my oil paintings, I needed drastic simplifying. Also, the solvents, pigments, and alkyds were undoubtedly killing me slowly. So, almost 10 years ago I had a turning point, and knew I was ready for the deconstruction of my process. It had to be simple, direct, and sincere.

I wanted immediacy as well as a good platform for mixing color, which had always been the main focus of my work. As it turns out, the answer for me was the action of drawing a straight line from edge to edge. It is completely fulfilling, meditative, and focusing. For me, this wonderfully simple mark, has it all!

Now after years, a million or so straight lines, and adding a little registration with some Zecca handssimple math to this process, the work has evolved into the moiré dimension in a way I could have never imagined. But it is still built upon the same simple principle of repeated action.

ARG: We’re mesmerized by the thousands of lines and the sensation we feel when we view your paintings, drawings, and collage pieces up close and at a distance. You mention that your work is an “exercise in precision and focus”. What are your specific challenges as you express yourself?

 AZ: The specific challenges in making these drawings are typical: don’t screw it up, or spill coffee on it – which I’ve gotten really good at… But being focused and mindful of my body position is the real exercise. The drawing action is a Tai Chi-like, whole body movement. The only way I can make such work is to be very aware of the mechanics of my drawing action. Have good form, balance and posture, and most importantly, shake it out, and stretch it out, a lot.

ARG: We can’t imagine how much patience it must take to create these pieces. Can you tell us about your process? Do you envision the completed work prior to picking up your pens?

 AZ: The drawings are multiple overlaid radii sequences. In other words, I draw a line to each registration point covering the field with one color, reregister the ruler, change color, and repeat. Over and over until I get saturation and  a new and unpredictable moiré pattern. I have some idea of how it will turn out but slight adjustments to the pattern of the fixed ruler’s placement have a huge affect on the moirés outcome. As much as I may try to control or anticipate the result, the discovery and surprise of the finished piece is the whole deal!

ARG: Do you ever create anything entirely different from these linear works? Are you ever tempted to make a “squiggle”?

Zecca KidsAZ:  I love squiggles and scribbles and all that loose, fun stuff, too – I’ve got kids. I Just never mixed that with the real serious business of drawing straight lines.

ARG: How did this body of work, “Collage Radii,” evolve? The collages emit a wonderful sense of freedom, almost as if controlled chaos was introduced to allow a different dimension to emerge.

 AZ: They grew out of more compulsive processes. Namely cutting my drawings in to long triangle strips, thousands of them, with the intention of assembling these radius pieces. This collage work was my attempt at loose and dynamic.

Collage Radius #3, Ink on Paper

Collage Radius #3, Ink on Paper (Click for more information)

ARG: Can you tell us a little bit about where your studio space is located and how you work? Also, do you work in silence or do you have background music playing?

Zecca DogAZ: I have a small studio in my beautiful backyard. Which is a wonderful place to be, but mostly makes both the work and my family readily accessible. My two 80+ lb Ridgebacks and I enjoy listening to Giants baseball games on the radio, PBS, and the Howard Stern Show. Music too, we like the heavy stuff, loud! Rarely a silent moment, but it all helps me focus, and laugh, and cry.

 ARG: You have spent a good portion of your life in San Francisco. Has the city or its environs had an influence on your work?

 AZ:  I’m not sure in what way SF has influenced my work, but a lifetime here has made me so connected to, and totally dependent on, the city. Just like the way so many Manhattanites can’t function off the island. It’s a bit like that. And of course, I’m also jaded and bitter…

ARG: Funny how that happens. Here’s one for fun: If you could meet two artists (current or historical), who would they be and what would you ask them?

AZ: I’d talk anything technical with Gerhard Richter, and have a drink and smoke with Francis Bacon.

Zecca collage radius 11

Collage Radius #11, Ink on Paper (Click for more information)

ARG: Great choices! We toast you and your latest wonderful exhibition with ANNE REED GALLERY. Is there anything you would like our guests to know about you or your work before this dinner conversation ends?

AZ: Nothing more… I toast you back. And thank you for your thoughtful questions. I’m always so grateful for inquiry and conversation about my work, so thanks for that.

ARG: Thank you Alex, we look forward to many more discussions with you!