Friday, December 14, 2012

The Globalist | An Interview with artist Grace Kisa

:::Renaissance Woman::: 10:27 AM 1 comment Edit

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Grace: a virtue coming from God. Her name alone conjures thoughts of kindness, morality and a general disposition of humility and love. Grace Kisa embodies all of those characteristics, but she is also a warrior—not a loud one, but a quiet warrior, one whose strength of purpose and vast imaginative capacity goes far beyond what many of us can even conceptualize.

Born in Nairobi, Kenya to loving parents, Kisa, the oldest of three girls, grew up in a global community. Her father, an economist, worked various jobs that allowed for Kisa and her family to live a very cultured and unique lifestyle. She grew up surrounded by Westerners, East Indians, and various other cultures. She was interested in art from a very young age, and she vividly recalls her uncles paintings hanging on the walls of her home in Kenya. As an inquisitive child, Kisa relished in her art classes at school, and carried her love for art home where her mother provided her with the tools to develop her work.

The Power of Folk Story © Grace Kisa

At age 8, she moved to Ethiopia with her family. There she studied at an American school, and was able to learn some of the ways of American culture. While in Ethiopia, Kisa experienced a creative awakening. At the young age of 10 she recognized the distinct imagery of Ethiopian art, and their unique use of seemingly traditional iconography. The Ethiopians placed images of themselves in positions of royalty, and power, even creating their images of Jesus with brown skin and coiled hair. After two years in Ethiopia, Kisa and family moved to the United States, eventually settling in McLean, Virginia.

Nonconformist © Grace Kisa

Kisa grew up in a close-knit community with people from all over the world. Her high school represented a unique segment of America, as many of the parents of the students worked in government positions in Washington D.C. Although she lived what she calls, “a very sheltered,” and guided life, she felt freedom through creating. Her parents supported her creativity, so when she decided that she wanted to go to art school they obliged. She was accepted to the Art Institute of Atlanta, and had begun to prepare for her move to Atlanta, when her father got another position, and had to move to Botswana. For Kisa this move would be different. She was entering adulthood, and was moving into her own dreams. She spent a few months in Botswana while her family got settled, and then moved back to America in time to begin living in the dorms at the Art Institute of Atlanta.

Dusk © Grace Kisa

Her first time on her own—away from her family in a new a different part of the country—could have been a shock, but she was lucky enough to have a roommate who shared a very similar background with her. Being from Cameroon, and moving to an international community in the Maryland area, her friend had many similar stories to share with her. The two of them connected, and were able to move through Atlanta’s metropolitan landscape together. For Kisa, living in Atlanta was very different—the culture and lifestyle was ironically very foreign to her, and though she was shy, she had to learn to adapt as she had often done in her life.

Lakeside © Grace Kisa

She majored in Advertising Design, and delved deeply into her studies. She worked for a sportswear company producing graphics while she studied and was able to get real world experience for her major. When she graduated she was in search of a job like most young college graduates. She took a job in retail for a time until she landed a job working for a production company called Graphic Du Jour. The position called for her to create original reproductions on a daily basis. She recalled emphatically, “I painted 8 hours a day…I loved it…I didn’t want to wash the paint off of my hands!”

Rose Duo © Grace Kisa

One day her employers (who were in search of new employees) asked her to tell some of her friends about the position. The only one that responded was artist Maurice Evans. She had met Evans during her college orientation, and had seen his work throughout the school. The company hired Evans for the position and they began working together. They were both in their early twenties and they both enjoyed their position with Graphic Du Jour.

Iris © Grace Kisa

Kisa says that she learned a lot working at such a fast pace, and creating paintings on demand. The position helped to sharpen her creative skills for her own personal work. After 3 years of working with Graphic Du Jour honing her creative skills, Kisa left the downsizing company. She would eventually come to work with another publishing company who offered her similar work, Arts by Todd. Eventually Evans would join her there as well. With the assistance of Arts by Todd, she and Maurice traveled to the New York Art Expo to sell their work. Her experience with her new employer would soon dissipate, as she decided that she did not want to bind herself or her creativity into a contract. She decided to delve head first into her personal work, and pursue her artistic dreams full time. She participated in her first group show at age 25, and at age 26 she had a solo exhibition where she sold her first painting for $2500.

Always & Forever © Grace Kisa

Regarding Beauty. The Way Home. The Messenger
© Grace Kisa

Kisa says that she is moved to create things that push her creative boundaries. As a photographer, painter, sculptor, designer, stylist and make-up artist, she is driven to produce imagery inspired by the avant-garde. Her recent sculpture projects were inspired by a photography series that she is working on with Maurice Evans called, “The New Africans.” The series, which focuses on portraying Africans in a futuristic manner, was styled by Kisa. Many of the unique materials that she used for the styling in the photoshoot are used in her sculptures. She also uses cut wood, and wood burning techniques to create these one of a kind pieces. She has been working on her sculptures for ten years, and has been moving forward with style and technique. She says of her art, “my work is not grounded in today.”

Genesis of a Dream. Enduring Legacy
© Grace Kisa

Her works transcends all races. She says that her work is not just black and white, it encompasses the human experience, and as a black woman she creates art from her own personal experience.

Hybrid Traveller © Grace Kisa

Kettle Belle © Grace Kisa

Kisa’s work can be soft and subtle or eclectically vibrant and edgy. She allows her self to create from an authentic place pulling herself in and out of different realms in her mind. Grace Kisa is an amazing human being with a beautiful spirit. Her art simply reflects the depths of her personality.

To learn more about Grace Kisa please Google her.

You can also find specific images here :
http://www.justlookin.com/bios/gKisa.htm and at
http://www.stuartmcclean.com/the-gallery/

She leaves encouraging words for emerging artists:

“Stay true to yourself…just paint and don’t try to find a style…your work will evolve.”

All images are © copyrighted by the artist unless otherwise noted. Images cannot be reproduced without permission of the artist.

A Posthumous Interview with Jennifer Lewis aka Louie Pepperstorm

:::Renaissance Woman::: 3:15 AM 4 comments Edit

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Sometimes in life we encounter people who impact our lives simply because of their essence—those that can affect change in the world, not only by using their gifts, but also by being caring and kind to all those they meet. Jennifer “Pepperstorm” Lewis was such an individual. Her boundless energy, generosity, and talent surpassed borders and boundaries, and her infectious personality and kind disposition touched the lives of many.

We connected through the internet as artists with Caribbean lineage, and a flair for the distinctive—it was as if we were kindred creative souls. Although I never met her, I could clearly sense her energy through the emails that we shared. She appeared to be a person of peace, authenticity and kindness.

Jennifer Lewis, aka Louie Pepperstorm was born in Britain in June of 1966 to parents from St. Vincent and the Grenadines (SVG). As the youngest of three sisters, she was exceedingly creative, and forward thinking. Her mother, Mrs. Daisy Lewis encouraged Jennifer to draw and paint from a young age. By her teenage years she was selling hand painted t-shirts and had started her own business. Soon she would go on to pursue a higher education in art.

In addition to receiving an advanced degree in art, Jennifer went on to graduate from Central St. Martins College of Art and Design in London U.K. in 1997 with a degree in Jewelry Design. Jennifer Lewis worked in the U.K. as a commercial artist where, amongst other things, she worked on music videos designing sets and styling the models and musicians. She would eventually come to work with the popular music group Soul to Soul, designing for them and enhancing their performance outfits and sets with her creative genius, while they traveled the world.

By using a variety of mediums, Jennifer was able to create magical and ethereal works of art that seemed otherworldly. Many of her paintings were influenced by her connection to her native island of St. Vincent, but one could also say that her influences came from the many places that she traveled throughout the Caribbean, Africa, Europe, Australia, and Asia. In particular, Lewis felt a strong connection to Africa, and it was very clear in her powerful imagery of people of color.

Lewis’ work captured the spirit of a people in a magical way. In addition to painting, she created sculpture, pottery and hand-made jewelry. She was also an educator who participated in workshops, and assisted her community on a regular basis. Jennifer was an active woman filled with vitality and passion. With her vivacious use of color and her fantastical jewelry, with their fascinating sculptural effects, Lewis’ work simply illuminated the range of her creative skills.

"Jennifer was more like an older sister to me, she always encouraged and helped me pursue my interest’s and to be confident." -Denai

Jennifer, who had recently moved back to St. Vincent and the Grenadines to care for her parents, had taken up work as an educator working with artists and students around the island. Her vast creative experience and world travel was welcomed and appreciated by all on the island. Her works have been exhibited widely throughout the U.K., and has touched the lives of people throughout the world.

On June 15^th 2012, Jennifer Lewis celebrated her 46^th birthday. She had just secured her own work space in St. Vincent, and her family in the U.K. had just packed up her belongings and shipped what her sister calls, “her whole life,” to SVG.

On Sunday night, June 17, 2012 at 3:00 am, Jennifer awoke to the sound of the dog barking. Perplexed, she walked down the stairs, and opened the window to check on him. Robbers attempting to break into her home shot her in the chest, killing her.

Her loving family is still reeling from the death of Jennifer. Family, friends, associates, and those that she touched with her spirit are all shocked and saddened by the unexpected death of such a talented and amazingly kind person.

The perpetrators have been arrested and are currently facing trial—we pray for a swift punishment for these criminals so that Jennifer’s family can begin to heal.

I want to thank her sister Hazelanne, and her nephew Denai, for taking time during this difficult circumstance to communicate with us here at Cultured Artists™, and for allowing us to write about Jennifer. She was an amazing person that meant a lot to many people, and although my experience communicating with her was minimal—I felt a strong connection to her and her work.We will continue praying for the healing of her family during this difficult time.

“Jen was full of life and was tolerant of others and was excited about what she was planning to do. She had an inner peace about her and she was always encouraging and had patience with people.”

--Hazelanne Lewis

Jennifer Lewis aka Louie Pepperstorm’s work will truly live on. She has created an amazing legacy by creating astounding work for herself and for the community. Please continue to support her by visiting her website at:

www.pepperstorm.co.uk

www.pepperstorm.blogspot.com

Sources-

The Vincentian and Jennifer Lewis' family

All images are © copyrighted by the artist unless otherwise noted. Images cannot be reproduced without permission of the artist.

The Innovator | An Interview with Photographer James C. Lewis

:::Renaissance Woman::: 1:53 AM 8 comments Edit

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James C. Lewis in his studio

When walking into James C. Lewis’ home studio one can be easily captivated by the creative energy that emanates from his meticulously maintained space. His studio holds props and clothing from times past to present day—which he uses to create attention-grabbing photo narratives. I was most fascinated by the many photo albums that were neatly placed about. It was clear that his love and appreciation for photography started long ago—and the pictures, which are historical artifacts themselves—told amazing stories about his life and his family.

Great Great Grandmother Alice Hall with her children & grandchildren (circa 1913) in Statesboro,GA

James C. Lewis' Great Great Great Uncle Judson Lyons

In a small town called Statesboro in GA, Lewis was born into a rich and well-preserved heritage, where stories were readily passed down from one generation to the next, and history was kept sound through images. Half of Lewis’ lineage can be traced directly back to Nigeria, and he retains the knowledge that a part of his ancestry were never slaves, but came to America by choice.

James C. Lewis at work in his studio

His great grandmother’s aunt, Jeane Hall Catlidge (b.1849) however, worked as a slave and was separated from her family at a young age. She was 16 years old when the slaves were emancipated. She told her stories to her family until her death at age 115 in 1964. Although his family (like many African Americans) faced many trials, there were also triumphs. One of the most prominent people in his family was his mother’s great granduncle, the Honorable Judson Whitlocke Lyons. He was one of America’s highest-ranking African American government leaders and was one of only four African Americans to sign US currency, an immeasurable accomplishment for any African American living during those times. Coming from such a varied and noteworthy background, it seems that Lewis was destined to leave his mark on the world.

Lewis began drawing at age two. His mother noticed that he had a knack for it when he began drawing pictures in the books around the house. She eventually bought him a sketchbook so that he could redirect his artistic energy, and from there he began to develop his creative skills. He continued to draw through his young years, and at age ten he received his first camera. His father was an avid photographer, and enjoyed it as a hobby. He says of his first Polaroid camera, “With only 10 exposures, you really have to think about what you are going to shoot.” By age 13 he received what he called his first, “real camera.” He remembers seeing it at a yard sale in San Francisco, and being enamored with it. The old woman who was selling it saw his joy and interest, and decided to give it to him. She told him that maybe one day he would become a photographer. Unbeknownst to her, he was already on his way.

In high school he was admitted into a magnet art program, and he began taking more formal art classes, in addition to photography. He won his first art award from the American Press Association for a political cartoon that he created while in his junior year of high school, and that encouraged him to consider art as an optional degree in college. His mother was very supportive of his creative goals, but his father questioned his plans. In order to appease to them both, while finding his own path, he decided to pursue a degree in Visual Communications and Graphic Design because he wanted financial stability, and he felt that photography alone would not allow him that opportunity. Lewis graduated from the Art Institute of Atlanta in 1998.

While working as a Graphic Designer, Lewis photographed weddings, and family events on the side. He thoroughly enjoyed photography, and wanted to challenge himself even more, so in 2007, he joined a website called Model Mayhem. It was on that website that he was able to meet new models, and his creative inspiration began to manifest. By 2008, Lewis, along with millions of other Americans, saw their jobs disappearing, and soon he found himself laid off. Placed in an unstable situation, it didn’t take long before he realized that he could turn to his photography full time. Lewis established his company Noire 3000(N3K) in 2008, and transitioned full time into his photography.

Lewis’ business has grown exponentially over the last five years, with models flying in from all over the country to work with him. He is fast becoming one of the most sought after photographers in the South. Many of the models that come to shoot with him come for the same reason—his innovative creative style. He shoots models from all backgrounds for business and commercial purposes, but his niche is his creative photography—which he uses to tell fascinating stories or deal with political and emotional issues.

Lewis says that what he shoots, and how he shoots sometimes happens organically, and he often, “feeds off of the energy of the models.” He says that 75% of an image is based on having the right model and lighting. When he creates, he wants viewers to be shocked enough to ask questions, because for him, dialogue about the topics are important. Although Lewis works with models of all races, many of his photos features African Americans in positions of strength and power. “ I am driven to enlighten the younger generation about who we really are as black people…and depict us the way we should be portrayed.”

His current series, which he calls, Yoruba African Deities, features his interpretations of the African Orishas from the Ifa religion of Nigeria. His choice to create this series may have been a subconscious homage to his Nigerian heritage, but his true goal was to tell the story of the Orishas who inspired much of the Greek mythology that we have come to know. This series is a powerful and enlightening series that features astoundingly beautiful imagery of Africans and African Americans.

Lewis has worked on several series, some dealing with politics and others dealing with sexuality. His photographic series, Naked Black Justice, features a compilation of images and videos of African Americans with words and slogans written on their bodies. These words deal with the many stereotypes that African Americans face simply because of their skin color. The videos show a more in depth and personal experience with the models chosen for the series. They show an emotional and captivating view of life through the eyes of others.

Another series—Androgyny with a Twist—discusses sexuality and individuality. Lewis plays with society’s perception of what is perceived to be normal in order to evoke emotion and dialogue.

For Lewis, being a photographer is a challenging yet highly rewarding career. Although he loves his craft, he often feels that others take for granted the amount of time and effort that he puts into his photography. He says the worst insult that one could ever give a photographer is telling them that they have a good camera, and he equates it to telling an artist that they have good brushes. Lewis shoots and edits his own work because he wants to produce his art from, “conception to completion.”

James C. Lewis is an ingenious creative who is refining his skill by breaking the rules, and setting new standards. He truly is an innovator who trusts his instincts and dances to the beat of his own drum, and others are truly taking notice.