Have you ever wondered how some art is made and what the influence were? Sometimes, if more often than not, it can be environmental!
This month we are sharing a recent podcast on just that. Through the years, I have had many studios, and each space has brought about a certain meaning as to the flow of how and why the work is created. My studio on Western Avenue (where I have been creating for almost 30 years), has had many reincarnations and interpretations of what a painting can be. The non-stop energy from the sidewalk and street, accompanied by ongoing sirens, punctuated by the once-an-hour helicopters thundering overhead, seeps into the studio and daily art practice. It is truly fascinating how the environment comes into play and what it gives birth to on paper, canvas, or even in the foundry in Murano, Italy.
Prior to Western Ave, I had a studio in Venice beach. This was in 1990 before it was gentrified and became uber hip. Then, I never knew if my little Toyota pickup would still be parked out front each morning. The Venice studio was large, and my paintings also began to grow in size and scope.
In the late 90s, I rented a large space in Downtown Los Angeles, and true to form, my paintings became even larger. Each day when I arrived my car was immediately surrounded by drug dealers, prostitutes and homeless people, all wanting my time and attention. Getting through the front door of the building was a challenge that always left me slightly rattled. To get back to my creative place, I would start my day off by pacing around the 1500 square foot open space, saying out loud everything that I was thinking until I was empty of thoughts. Then, I would begin a watercolor for the series that became tilted, Crossings. It was during this 3-year period that the complex pattern paintings began, resulting in the series titled Cannac, which is a Mayan word that means, energy cannot exist without form nor form without energy.
In 2002, I packed up that studio and moved back into the studio on Western, and this shift changed my work, first in size and in the complexity of the patterns.
Also, another part of this discussion explores my state of mind that is created in Central California, where I have a studio and ranch that is sandwiched between thousands of acres of farmland. This contrast to LA city life is the truest meaning of dichotomy.
I am also sharing different photos of each studio
LISTEN TO THE PODCAST HERE: https://open.spotify.com/episode/0p2Cs7T4EcMVMZ6f2Jx4t
In this episode, my guest, Shane Guffogg, and I talk about the influence of Los Angeles, and his Central California ranch, and how it affects his art. We learn about how he adapts to each studio and the environment and how this feeds his passion for his art-making process.
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
“Conversations about Art”
VC Projects (Victoria Chapman), producer of art-based curatorial projects shares, “Conversations About Art” with Los Angeles-based international artist, Shane Guffogg. The pair weave interesting discussions about Guffogg’s studio practice and other topics centered around art and the intellect.
My Hollywood home with (left) “Amor Fati” and (right) “Sapere Aude” paintings