Wednesday, May 1, 2013

An Interview with Artist and Philanthropist, Danny Simmons

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Artist Danny Simmons

Each artist’s legacy is defined by his or her own life philosophies and achievements. Some make a pronounced impact on the world because of their art, but others see beyond their own work, and choose to give back for a more substantial purpose. Altruism is at the core of Daniel Simmons creative legacy, because it not only nourishes the people, but it also feeds his soul. This need to care, give, and serve is an innate quality that was nurtured by his loving family.

The artist at work

Daniel Simmons was born in Jamaica, Queens in August of 1953. He is the eldest brother of executive Russell Simmons and rapper Joseph Simmons (Rev Run of Run DMC). His father Daniel Simmons Sr. was professor of black history and an active participant in the Civil Right’s movement, while his mother, Evelyn Simmons was teacher who created art in her spare time.

Simmons says that he can remember creating from a very young age with the support of his mother who brought him art supplies and taught him how to paint. Like most artistically inclined kids, as he grew, he drew comic book characters to feed his creative urge. At age 12, however, he says girls and other teenage concerns distracted him, and art took a backseat in his life.

He attended Benjamin Cardoza High School in Queens, N.Y., but was not creating consistently during those times. After high school he enrolled in college at Lincoln University in Pennsylvania. He stayed there for two years, eventually returning to Queens so that he could attend New York University (NYU) to study social work. During his studies, he started to take art classes and began, “enjoying doing art again.” Although he enjoyed creating art, he didn’t enjoy the formal art classes so he decided to venture out on his own as an artist. Simmons received a degree in social work from NYU, and began working in his field right after graduation. He had also continued creating art, and was doing both for a time. He eventually grew tired of social work, and delved fully into his art.

As a child, Simmons remembers working with his father during the civil rights movement. He watched his father give back to the community and promote change by helping children and adults. It appears that Simmons learned much from his father’s kind behavior and his willingness to help people be better, because he chose to become a social worker. Simmons upbringing, his innate care and concern for the people, and his community fed his need to give back using the medium that he was most passionate about, art.

In 1995, he established Rush Philanthropic Arts Foundation with his brother Russell Simmons. Initially, the project was born out of a need for him to secure more exhibitions for himself. Soon, he began to see that there weren’t many galleries supporting black artists, women, and artists of color, so he decided to change the direction of the project. It grew from a small idea into a successful nonprofit organization. With the support of his brothers, they organized a fundraiser, and raised nearly a quarter of a million dollars for the organization. The monies helped to fund the gallery, and support the children and artists of color that he was passionate about giving opportunity to.

Simmons describes his early works as “figurative abstracts,” and compares them to the works of Picasso. He painted for years while trying to find his creative voice, but it wasn’t until his early thirties that he found that voice. He says of his work during that time, “I was creating for myself, and not what I was emulating from other artists.”

As a lover of art, and specifically works that have strong African influence, Simmons knew that his work needed to reflect some of those same elements. He realized that many of the artists that he admired and studied, like Picasso, took ideas from the same African influences, and created their work around that. Simmons says he wanted to create more spiritual work, so he began to look past the literal, and attempted to find a more divine purpose in his work.

“My art is really about the spirit and how to connect with the spirit,” he says of his large contemporary abstracts. He says that he hasn’t delved back into figurative work, but often times he thinks about it. For him it is more important to speak his truth through his work, and he finds it much easier to express that truth through his non-representational pieces.

Simmons says that as an artist, he too has faced many challenges, and has faced difficulty finding shows and selling work. He also says that one of the biggest challenges he faced was the need to continue to grow as an artist, and not stay in the same place. He says he still deals with trials daily, and calls the journey a consistent “hustle.”

Simmons encourages emerging artists to not give up. He feels that artists should continue to focus on their work no matter what. “Sometimes you have to work part time and paint part time. There are all types of challenges that come up, but being an artist is more of a spiritual pursuit than an economic pursuit,” he opines.

Daniel Simmons is also an avid collector of art, and a full supporter of artists. His work has been widely collected, and hangs in the collection of many prestigious organizations. He serves on many boards, and he continues to create opportunities for emerging artists of color so that they have an opportunity to find their creative voices. His large expressionist abstracts continue to inspire us all to find the spirit within.

“The satisfaction that one gets out of being a creative far outweighs anything that I can think of in life.”

–Danny Simmons, 2013

___________________________________

“Because of the hype many artists pursue fame and fortune, but true artists pursue the work, so it’s important to remain true to who we are.”

–Danny Simmons, 2013

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

An Interview with artist Rochelle Johnson

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Artist Rochelle Johnson

Rochelle Johnson was born in Denver, Colorado in 1964. She was adopted at only one month old, and was raised with her three other adopted siblings. From a young age, Johnson appreciated art, and in middle school she began drawing from magazines. It wasn’t until high school, however, that she felt the urge to fully delve into her art. A friend who lived not far from her family home became one of her first mentors by teaching her some of the techniques that he had learned.

Irises © Rochelle Johnson

One to Grow On © Rochelle Johnson

Johnson also spent time perusing the artist booths at the Denver Art Fair and talking to artists about their creative journeys. These conversations with artists, and the mentorship she received inspired Johnson to go to school for art. After high school, she enrolled in the University of Fayetteville in Arkansas. She didn't stay there for long. Her dislike for Arkansas, and her drive to create brought her to the Rocky Mount College of Art in Denver, CO, where she graduated with a degree in Graphic Design.

"D" Train © Rochelle Johnson

Evening Elegance © Rochelle Johnson

Her degree in graphic design was a practical one, but in her heart she still wanted to pursue her art. Upon her graduation from art school, she moved to Seattle, Washington. For Johnson, moving away from Denver gave her a fresh start. She began working in a law office full time, and worked as a freelance designer on a part-time basis. Although she was making money, Johnson still wasn’t fulfilling her urge to create the way that she wanted to. After 8 years in Seattle, Johnson moved back to Denver. With her focus now stronger than ever, she decided to enroll in the Arts Students League of Denver, where she met her mentor, artist Ron Hicks. Hicks not only showed her how to work with oils, he gave her a new appreciation for the stories behind the work. With his support, she decided to embark on a fulltime career as an artist.

Primordial Spring © Rochelle Johnson

Room for Two © Rochelle Johnson

After 5 years of painting professionally, Johnson says that she has just recently found her creative voice—an all too important part of every artist’s journey. She says that like Jacob Lawrence, she wants to paint imagery that represents the everyday life of people—from the urban areas to the suburbs. She finds it more interesting than still life, landscapes and non-representational work. “ Every painting needs to have a figure in it,” she states, but she also made the observation that some of her paintings are inadvertently taking on an abstract form even with the figure. She loves using oil, and describes the medium as “sensual.”

Keith © Rochelle Johnson

The Last Smoke © Rochelle Johnson

Johnson says that the fact that she was adopted also had an impact on her subject choices. For a time (although she was surrounded by a loving family), she dealt with loneliness, and understandably wanted to find her birth parents. Her art not only helped her deal with those feelings, but it also reminded her that she had a full and wonderful life with her family.

Space Between © Rochelle Johnson

She has faced some challenges on her new creative journey, and is working to build a solid customer base in Denver and throughout the country. She is working to break through color and gender barriers so that her work can be seen and appreciated wholly, and without bias.

Summer Nights © Rochelle Johnson

Boating © Rochelle Johnson

Rochelle Johnson is an artist on the rise, and one to collect and watch. To learn more about the artist, and to see more of her work, visit her website at www.rochellejohnsonstudio.com.

“Follow your heart and follow your passion and let it lead you.”

-Rochelle Johnson

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

An Interview with Muralist and Artist, Ammar Nsoroma

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Artist Ammar Nsoroma

When I was 18 years old, I walked into the studio of Ammar Nsoroma. From the moment I walked in, my mouth fell open. I had never been in an artist’s studio, and I was in awe of all of the great works strewn about. Nsoroma was very shy and introverted, but he was talkative about his works. I sat and listened to his ideas and concepts and his goals for his future work. I was immediately intrigued, and although I wasn’t painting at that time, his creations lit a fire in my soul.

"Eshu/Elegba"
From The 7 African Powers Series
mixed media
(acrylic paint & collage)
2011

I would see him around town drawing people at festivals, and at age 19 I sat for my first pastel portrait. When he finished the drawing, I looked at it fascinated. “ How do you see these colors?” I asked him. The drawings had greens and reds and purples in the skin, and before him, I had never seen such things. Nsoroma looked at me, and with a soft voice he gestured towards the pastel painting, “You just see it!” he muttered. I laughed, and for years, I wondered what he meant. Those words left me searching for color, and because he told me that they were there, I began to allow myself to “see.” Nsoroma unwittingly became one of my first creative mentors.

"Shango"
From The 7 African Powers Series
mixed media
(acrylic paint & collage)
2011

."Oshun"
From The 7 African Powers Series
mixed media
(acrylic paint & collage)
2011

Ammar Nsoroma (born Kevin Tate) was born in Milwaukee, WI in June of 1967. He was the middle child with 3 older brothers and 2 younger sisters. An inspired child, he began creating at age 3, and with the support of his older brother who was an artist, he nurtured his gift. Like many children, Nsoroma drew comics to bide his time. By the time he reached high school, he was already a skilled young artist.

"Conceive, Speak & Manifest"
From The Franklin Square Mural Series
acrylic paint on mdo board
2011

At Milwaukee High School of the Arts in Milwaukee, WI, Nsoroma excelled in his art classes, and it was there that he first learned about murals, and a local muralist named Reynaldo Hernandez. At age 16, he and some of his classmates completed their first mural. He went on to win several art awards in school, and eventually won a scholarship to Milwaukee Institute of Art and Design (MIAD). Upon his graduation, Nsoroma started studying at MIAD—he only stayed for two semesters. Nsoroma said that as one of only 4 African-American students, he felt lost and isolated. He left school in 1989, subsequently loosing his scholarship. In 1990 he began to pursue his art fulltime. He traveled to New York to sell his work, and started painting murals around Milwaukee while working with the Inner City Arts Council.

Ammar Nsoroma at work

In 1991, Nsoroma decided to go back to school, and he applied and was accepted to The Art Institute of Chicago. He stayed there for 1 year. Nsoroma said that the environment was more interesting for him because he met artists from all over the world. Although he was learning, he had grown a bit tired of school, and wanted change. He went back to Milwaukee and delved deeply into his work. He began working on more murals around the city, and participating in local festivals.

Ammar Nsoroma at work

His murals became some of his most important work, and he created murals in Milwaukee, Chicago, L.A. and Washington D.C. Nsoroma’s murals were included in the book, Walls of Heritage, Walls of Pride: African American Murals. The book features a collection of 200 murals over three decades of African American art.

"The Resurrection of Watts"
acrylic paint on cinder block
Los Angeles
2002

Nsoroma’s works are imagined and inspired creations. He says that he is very inspired by various works of art and photographs, but most importantly he wants to create work that is meaningful to him. Life, spiritually, politics, and culture, are all recurring themes in his work. He says that the journey of being an artist has been challenging, and suggests that newcomers surround themselves with people that are honest and supportive. He also thinks that artists should venture outside of what they know and “paint what inspires you and excites you.”

"Khepera & the Rebirth of Africa"
mixed media on masonite
((acrylic paint, oil pastel & colored sand)
2008

Nsoroma says that it’s important for other African Americans to support the arts by purchasing art. He believes it's important to our history and growth, particularly because many of the works have deep emotional meaning. “Artist’s have the ability to take things and show them from a new perspective.” says Nsoroma. He feels that this gift is very important because it can captivate people in a unique way.

Nsoroma’s murals are outstanding, mesmerizing, and bursting with vibrant color, especially cast against the bleak landscape of urban Milwaukee. They are an inspiration to many people throughout the city, and were definitely an inspiration to me when I lived in Milwaukee. His current series of paintings focus on the African Orishas, and his visual interpretation of them.

"Yemonya in Life Giving Waters"
mixed media on masonite
((acrylic paint, oil pastel & colored sand)
2006

“Look at other people’s work, but don’t copy…try to find you.”

-Ammar Nsoroma

"Ogun" From The 7 African Powers Series
mixed media
(acrylic paint & collage)
2011
“Be as original as you can be.”-Ammar Nsoroma

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

The Renaissance Man | An Interview with artist Maurice Evans

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Artist Maurice Evans in his studio

The Renaissance Man—a fitting name for a man whose creativity is not limited to just one medium. His love for creative diversity, and his patience to master them all sets Maurice Evans apart from many of the artists I have had the pleasure of meeting. His studio induces inspiration whether or not you create. As I sat to talk to him, Evans (never one to be idle) sketched out his ideas and thoughts in a notebook on the table. He lives by the premise, “Create art for arts sake,” and that allows him to be the spontaneous and comprehensive artist that he is.

Maurice Evans at work in his studio

Maurice Evans was born in Smyrna, TN to a father who was a military man, and a mother who was a teacher. Because his father was in the military, they moved around quite a bit, eventually settling in Georgia. At a young age, Evans was aware of his love for the arts, in particular the drawings in comic books. He began collecting them regularly, and found himself frustrated when they began covering the books with plastic. For him, that took away the joy of seeing the images inside before purchasing the them.

He thoroughly enjoyed art, but his first true love was music. Evans' father was a drummer, and a singer in a gospel choir, and at an early age he introduced him to great musicians like Al Green, Chaka Khan, and Marvin Gay. The music touched the young, shy Evans, and he wanted to learn more about how to make it himself. He helped his father breakdown his instruments, and when he was four, he began taking guitar lessons from one of his father’s military companions. Evans remembers the lessons being a very important part of his creative growth, and he was devastated when they ended. Evans says that he began to draw more because it was more accessible to him than creating the music he so loved. He attempted to join to band, while in school, in order to fill the musical void that he felt was missing, but he didn’t make it. That, in addition to his parents divorce, caused a devastating shift in his life, and art took precedence over music.

Maurice Evans attended Griffin High School in Griffin, GA. In high school, he was a talented art student, and it was there that he first began gaining recognition for his talent. His mother was a teacher, and she supported his creativity by allowing him to design her classroom boards each year. Toward the end of his high school years Evans made a decision not to go to the military like his father, and he also decided that he didn’t want to attend a four-year college. He decided to apply to art school, and in 1986 he was accepted to the Art Institute of Atlanta where he studied Fashion Illustration. Evans says that he chose that major because he wanted to do actual painting and drawing, as opposed to spending a lot of time on the computer.

During his studies at the Art Institute, Evans met designer Patrick Kelly while on a field trip with his class. Kelly was a premier African American designer in his time. Evans patience paid off that day as he waited for the designer after his show. Kelly (seeing his portfolio) offered to take him under his wing and mentor him. He told him to come to New York immediately after his graduation. Elated, Evans shared the news with his family. Right before his graduation, he found out that Patrick Kelly had passed away. Evans was devastated, but undeterred. He went on to graduate from the Art Institute with honors.

After college, he worked odd jobs, even delving back into music for a time. It was always apart of his life, but he wanted to see if he could become a producer full time. Although, that option didn’t work for Evans, his love for music stayed with him. Eventually, he took a position as a medical illustrator and worked the position for about a year until he was laid off.

Evans says that even early in life he recognized that people came into his life to help, “put him on his path.” There were moments in his life where he stopped creating, and a classmate or someone that he would meet along his journey would encourage him to continue. Many of the people who encouraged him are no longer artists, so he feels that he got better, not because he was the best, but simply because he continued.

Evans was working odd jobs again, when one day his college friend, Grace Kisa, told him about an open position at her job. She worked with a company called, Graphic Du Jour, creating unique paintings on demand. He landed the job and worked with the company for three years. He says of his time there, “ It opened me up to a new way of looking at art—a way to create art like a brand.” His relationship with Graphic Du Jour dissolved after three years and he ended up taking a job with a smaller company doing the same thing. That relationship also dissipated because he didn’t like being, “controlled,” or feeling like a “machine.” That quest for freedom prompted Evans to pursue his own creative goals and in 1994 he applied and got into the juried Black Arts Festival in Atlanta. With the help of his mother and friends, Evans had a successful exhibition, and was able to make enough money to buy a booth at the New York Art Expo. It was there that he met new clients and collectors and from there his work began to take off. Soon, he was exhibiting his work in galleries, and people were paying attention to his pieces nationally and internationally.

Evans says that he had found his creative style right before the Black Arts Festival. His stylized images with their elongated necks and arms expressed movement and color in a unique way. He had always painted still life, landscapes, and abstract art, but he had developed a new style that people latched on to. His love for music drove him to create a series called, “The Colour of Jazz.” Collectors began to gravitate towards that work, so he focused on creating more of those pieces. His love for music made him pay attention to details that many artists would overlook, like the musician’s hands and the movements they made as they played their instruments.

His paintings captured the essence of a music that crossed color barriers, and he used his mesmerizing palette to highlight the feeling and mood that the music evoked. His color palette—organic and African in its roots—is a very recognizable and respected part of his work. Evans says of his color choices, “Its natural for me to do colorful stuff, it’s a conscious effort to do something not so colorful.”

While experimenting and creating what he calls, “Art for arts sake,” Evans came upon of new way to express his ideas. He wanted to experiment with different ways of travelling so he created a series entitled, “Flying without Wings.” This series focused on the idea that there is more than one way to reach your destination in life—more than one way to travel.

Many artists and creative colleagues found the work intriguing, but some of his client base were confounded—they felt uncomfortable with the nudity and imagery, and had grown used to his previous musical pieces—an issue that Evans encountered a lot with the conservative black collectors. But Evans felt trapped by his previous art, and he really wanted to move past that work and evolve, so he continued to create the work that moved him most. For Evans, his transition and growth was less about monetary gain, but more about challenging himself to do something new and different. “You have to find the courage to go down a path that others tell you not to go down.”

Another of Evans fascinating skills lies in his gift for photography. Evans began taking pictures while in college because he wanted to shoot his own references for his paintings. It was during that time that he happened upon a model that helped him develop his own style of photography. Her open personality and willingness to shoot anywhere gave Evans the leeway to explore his imagination. She would soon become his photographic muse as he created unique art through his lens.

Evans felt that what he was doing was unique, but the gift of a book called, "Soul," from Grace Kisa showed Evans that someone else was already shooting in a similar way. He was inspired to take his images to the next level by integrating his art with his photography. He created mixed media works using his photography, and garnered a lot of positive attention for the work. His current series with Grace Kisa fuses her styling and design techniques with his photography and art. This new series, which is Afro Futuristic in nature, explores the black nude female image in a classically modern way.

A filmmaker as well, Evans has also worked on movies, documentaries and music videos. Evans is a prolific and comprehensive artist, mastering all of the mediums that he attempts with an adept hand. A Renaissance Man in his own right, Evans continues to create a vast legacy for himself in the creative world.

He leaves some insight:

On finding your own voice:

“Be careful when you like other artists. We all like other artists…the tricky part is learning from them and letting it inspire you. It’s important to tap into who you are as an artist then no one else can do what you do.”

“Finding a style is like finding your signature…we all learn how to write a’s and b’s, but your signature is your own. It takes time to develop…it takes work and effort to get it."

On buying art:

“[Many artists] have paid the price to get where they are, and that’s why the work costs so much because you are paying for a piece of that artist, and that is one of a kind."

“People should think about how art makes them feel, and buy based on that.”

On being an artist:

“Art can impact the lives of people on a visceral level. Sometimes the work may not affect you as much as it does the viewer.”

“It’s important to create for you, if people get it they do, if not, oh well.”

“ The only thing we have in life is art and love.”

-Maurice Evans

To learn more about this artist, please visit his website at www.mauriceevans.com.

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