Outside art magazine issue zero
Issue zero is here! Digital version is available for free and can be downloaded. Print version will be available on Feb 3, 2019.
Featured Artist – Matthew Clarke
Acrylic on linen
122 x 94 cm
Acrylic on canvas
130 x 205 cm
Acrylic on canvas
190cm x 110cm
acrylic on canvas
122cm x 91cm
I grew up in an Art home with a Photographer Father, an Elementary School Art Teacher Mother, and Artistic Sister and Brother. Art was always a huge part of my life so going to the Art school where my parents met was probably meant to be. I studied Illustration at Philadelphia College of Art (when it was called that) and then got side tracked in Advertising when I graduated.
I grew up in an Art home with a Photographer Father, an Elementary School Art Teacher Mother, and Artistic Sister and Brother. Art was always a huge part of my life so going to the Art school where my parents met was probably meant to be. I studied Illustration at Philadelphia College of Art (when it was called that) and then got side tracked in Advertising when I graduated.
While I was in college and a few years after I exhibited my Soft-Sculpture in Galleries in Phila, New York, New Jersey, and Baltimore. Was published in the books “Outstanding American Illustrators” and “3-Dimensional Illustration” and magazines “Print Magazine” and “Baltimore Magazine”.
A weird sequence of events landed me in Tattooing for the past 16 years, with my own Tattoo Shop/Art Playground for last 7 of them.
I love Tattooing but the Sculptor in me couldn’t be denied and I started sculpting again with skulls – I love taking skulls and assembling them with manmade objects that are old and discarded, but still beautiful in their own way. It’s like putting together a puzzle of shapes and textures – and giving new life to the dead and discarded.
I’ve been told what to do with my talents most of my life, and it has definitely influenced my art – this is my own personal artistic voice – my sanity – my passion.
Mixed Media
24″x32″x12″
Mixed Media
68″x24″x24″
Mixed Media
28″x28″x11″
Mixed Media
67″x12″x15″
My creative process is based on working intuitively from feelings, memories and my imagination. I usually work in a series which can lead me into extensive exploration of an idea and form. Form is an essential element in my work. My secondary focus is to develop different types of surfaces that will enhance and support the form. I can’t say enough about color. In many ways, color is the most important part of every piece I make. The dance begins as soon as I start brushing the glazes onto bone dry terra-cotta. The clay draws the slips and glazes in, sometimes making a particular sound; I like that. I layer the slips and glazes until I achieve a result which is emotionally satisfying to me. The use of color is more emotional than logical. Although my figures are pared-down minimalist in outside appearance, I mean for them to have complicated and subtle inner lives. For me, they carry the heavy weight of emotional fragility. They are simultaneously grotesque, beautiful, repulsive and mesmerizing. The figures I create, some creepy and dark, are not to be found on the street, but rather in one’s imagination or dreams creating an alternate universe. My use of wagons, carts, wheels, boats and chairs place the figure in or on an object to transport them to another place.
My creative process is based on working intuitively from feelings, memories and my imagination. I usually work in a series which can lead me into extensive exploration of an idea and form. Form is an essential element in my work. My secondary focus is to develop different types of surfaces that will enhance and support the form. I can’t say enough about color. In many ways, color is the most important part of every piece I make. The dance begins as soon as I start brushing the glazes onto bone dry terra-cotta. The clay draws the slips and glazes in, sometimes making a particular sound; I like that. I layer the slips and glazes until I achieve a result which is emotionally satisfying to me. The use of color is more emotional than logical. Although my figures are pared-down minimalist in outside appearance, I mean for them to have complicated and subtle inner lives. For me, they carry the heavy weight of emotional fragility. They are simultaneously grotesque, beautiful, repulsive and mesmerizing. The figures I create, some creepy and dark, are not to be found on the street, but rather in one’s imagination or dreams creating an alternate universe. My use of wagons, carts, wheels, boats and chairs place the figure in or on an object to transport them to another place.
Medium
Ceramic
Size
7.5″h x 8″w x 4.25″d
Medium
Ceramic
Size
14.25″h x 15.5″w x 4.5″d
Medium
Ceramic
Size
14.5″h x 8.5″w x 11.5″d
Medium
Ceramic
Size
17.25″h x 6.5″w x 15.5″d
Featured Artist – Elizabeth Hermann
Grafting and merging are boring. They happen in nature. Collisions are interesting. Explosions don’t happen so often in nature—they require a particularly human capability for catastrophe. E started broken, continues hungrily, and pursues art content relentlessly. E encourages explosions. E’s agenda considers art’s democratic potential, the intrinsic overarching umbrella nature of the medium, collaboration and writing as imperative components in the process, and graphic design’s trend toward the fine arts in the post-print interdisciplinary environment. E wants your discarded bits, the castoff trash of restless purchasing power. Artists regularly claim technologies that are no longer commercially viable, but E also repurposes cultural elements and physical junk. This includes cardboard boxes and entire carnivals. Instead of justifying how these themes fit together, E argues they cannot without some fire. As famed thinker Franz Ferdinand queried, “What’s wrong with a little destruction?” E’s sandbox includes Adobe Illustrator, Potassium Ferricyanide, and civil disobedience. E’s work spans succulents, melted plastic, and guerrilla projection. Instead of justifying how these coexist, E breaks the one off in the other. And yes, then adds fire.
Baby Bud
Sculpture
6″ x 5″ x 1′
Flaccid Gun (aka: Dicknozzle)
Scuplture
5″ x 3.5″ x 1″
Purslane
Sculpture
7″ x 6″ x 11″
Superman
Photography
12″ x 12″
Born and raised in New York City, Jay’s early art creations were greatly influenced by comic book artists such as John Romita, Steve Ditko, and Jim Steranko. During the late 70’s and early 80’s, Jay tried unsuccessfully to join the artistic ranks of both Marvel and DC comics. By 1982, he had become discouraged with the comic book style art that he had been doing, and proceeded to drastically change his style of art. This was the year that he plunged headlong into Pen & Ink Pointillism. Over the next few years, Jay was able to display his art in shows all throughout NYC, Long Island, and Connecticut, and became a member of various art groups such as: The Huntington Township Art League, The Long Island Black Artist Association, and The Harlem StreetGallery. Jay has since abandoned the Pen & Ink Pointillism style (Too costly and time consuming) and now focuses on creating art utilizing Colored Pencils and Ink. He currently resides in Elkridge, MD. with his two daughters, Taja and Kassandria.
Featured Artist
Jay Thomas II – Elkridge, MD
Instagram
Born and raised in New York City, Jay’s early art creations were greatly influenced by comic book artists such as John Romita, Steve Ditko, and Jim Steranko. During the late 70’s and early 80’s, Jay tried unsuccessfully to join the artistic ranks of both Marvel and DC comics. By 1982, he had become discouraged with the comic book style art that he had been doing, and proceeded to drastically change his style of art. This was the year that he plunged headlong into Pen & Ink Pointillism. Over the next few years, Jay was able to display his art in shows all throughout NYC, Long Island, and Connecticut, and became a member of various art groups such as: The Huntington Township Art League, The Long Island Black Artist Association, and The Harlem StreetGallery. Jay has since abandoned the Pen & Ink Pointillism style (Too costly and time consuming) and now focuses on creating art utilizing Colored Pencils and Ink. He currently resides in Elkridge, MD. with his two daughters, Taja and Kassandria.
“See”
Medium
Prismacolor Pencil art on bristol paper
Size
14×17
“Gestating Opinion Fountain”
Medium
Prismacolor Pencil art on bristol paper
Size
16×20
“Critters In The Sky”
Medium
Prismacolor Pencil art on bristol paper
Size
16×20
“Fractured Fragments”
Medium
Prismacolor Pencil art on bristol paper
Size
16×20
Gale Rothstein’s art practice has always been about ‘putting together the pieces’-as a child it was not unusual for her to take apart one thing to make another. Creating assemblage/collage sculptures provides her with unlimited opportunities for choice of materials through her penchant for collecting vintage objects, the harvested innards of discarded and broken appliances and hardware, and the amazing things found on the street.
Gale Rothstein’s art practice has always been about ‘putting together the pieces’-as a child it was not unusual for her to take apart one thing to make another. Creating assemblage/collage sculptures provides her with unlimited opportunities for choice of materials through her penchant for collecting vintage objects, the harvested innards of discarded and broken appliances and hardware, and the amazing things found on the street. Through the creation of her assemblage environments, the parameters of context are wide open; she creates fantasy worlds that incorporate references to Dada and Surrealism, historical content, and through juxtaposition of contrasting elements, prompt the viewer to question relationships to scale, location, and relativity. “Where are we? Who is here with us? How big or small are we? Are we awake or dreaming?” As we enter and journey through a crumbling amusement park, abandoned bathroom consumed by nature, or bedroom that is situated simultaneously inside a room and on an Italian piazza, the visitor is challenged to reevaluate one’s sense of time, place, and orientation. Her titles are also part of the creative process; identifying the work with compelling names further add to the mystique and are an essential finishing touch.
The artist dedicates her work to the memory of her father Milton Rothstein, a jack of all trades and one of the original recyclers and re-purposers, decades before it was a trend. She inherited his vintage collection of parts, and incorporates many of his objects into her assemblages, further supporting the historical and personal foundation of the work.
Outsider Art Magazine – Art from the Outside, is now accepting art submissions for our inaugural issue zero.
Outsider Art Magazine 