Tere Petrovich is a resident of Delaware County. She is a member of The Artist’s Guild of Delaware County, Chinese Brush Painting and Calligraphers Society and of the Manufacturing Jewelers and Suppliers of America.

A Bachelor of Science Degree in Art Education followed by a Master of Education Degree concentrating in Jewelry and Weaving led this artist in many venues. Designing jewelry and having the distinction of a Master Model Maker in the Philadelphia jewelry industry is only one facet of this artist’s accomplishments.

The artist’s formal fine arts training was followed by a distinguished career in the jewelry trade that include: The Famous “Jewelers Row” of Philadelphia, various “custom design” Jewelry stores, the Franklin Mint, Q.V.C. Studio Park, Diamonique (division of Q.V.C.), and FreeLance with various notable Designers. This experience has culminated with the ‘Designs by Tere’ collection.

What is the Inspiration behind your art?
The birth of my collection happened with a series of events. I had the opportunity to take Chinese brush painting classes. While taking the courses with their concentration on nature and the study of its details I wanted to try this approach in the 3-D medium of jewelry, which I had worked in for years. I had always loved the sculptural element of my profession, making something very soft in appearance from something as hard as metal. With a renewed zest for nature and the added balance of the Chinese brush painting as research and a calming inspiration a new facet of jewelry emerged.

How do you describe your visual style?
I find my style in a creative interpretation of nature. Using pearls, unique stones and beads I have added an accent to the sculptural designs. I also add some unexpected whimsy and fun to the collection with movable elements touches of color and a variety of ways to in wear the piece as a pin, pendant or as an enhancer to pearls and your favorite beads.

What medium do you prefer to work in?
As you see I have two loves the sculptural style of my jewelry and the fluidity of the Chinese brush painting. I really like to work in both sometimes in conjunction drawing inspiration and ideas from each of them.

What are you currently working on?
I have just finished a series of new pieces in jewelry. A wonderful Butterfly. Goldfish, Frog with moving legs, some flowers a Spider mum, Tulip pearls in pins and pendants are some new additions to the line. Having worked on Jewelry for the last few months, development of a Jewelry piece takes some time, I am anxious to do some painting. Taking your focus from inches to the broad strokes of a brush exercises the mind and opens up your creative juices in both directions.

What are your future plans?
I am quite excited about an up coming show at Tyme Gallery featuring Jewelry and Chinese Brush painting for November of 2011. This combination will showcase my two loves in a very unusual way featuring nature and our attempts to capture it in time.

Where is your work to be found?
At The Tyme Gallery and I’m happy to say it is part of their permanent collection.

Tyme Gallery once again is presenting an eclectic range of award winning artists with “4 Visions”. This exhibition includes work by Mildred E. Becker, Joy C. Fine, Marilyn E. Lavins and Bernice Paul.

Mildred E.Becker, grew up in New York City, where she studied art at a special high school for the arts. She worked as a commercial artist before receiving degrees from New York University and Hunter College. Becker, has taught art in the public schools for many years. She has won many awards for her artwork two of which are in the International Museum of Electrographic Art in Spain. As a member of I.S.C.A. [an international art organization] her work was included in portfolios and sold to museum and university libraries, including the Museum of Modern Art, the Smithsonian, the Tate Gallery and others.

Becker, works in various media. Color, is an important factor in her work. She is concerned about the environment [both natural and political ]. She completed a series of paintings on both of these subjects. Presently she is president of MCGOPA [ Montgomery County Guild of Professional Artists ]. Locally, her work may be found in collections at Delaware County Community College and Rosemont College.

Joy C. Fine is a native of Philadelphia. She received a Bachelor of Fine Arts (BFA) with a major in illustration, from the Philadelphia College of Art (presently the University of the Arts). She also attended Moore College of Art and Design.

Fine worked for 10 years as a television artist and as a freelance designer and illustrator in advertising. She has been a docent at the Philadelphia Museum of Art since 1986 where she leads tours in the European, Medieval and Asian galleries. Fine has also conducted tours for large-scale exhibitions such as Cezanne, Delacroix, Fabrics and Fashion: Ten Years of Acquisitions, the Walter F. Annenberg Collection, Michelangelo/Rodin, Black and White: The Julien Levy Collection, Van Gogh: Face to Face, Dali, The Art of Lee Miller, Henri Matisse and Modern Art on the French Riviera. Some of her juried exhibitions include Juried exhibitions include Phillips Mill, New Hope and Riverrun Gallery and Lambertville, NJ.

According to Fine, “Inspiration comes from old photographs, magazines and places I’ve visited (and loved). The paintings represented in this exhibition are personal statements, as the subjects evoke emotion in me. I believe a painting is a collaborative effort between the painter and the medium. The vagaries of watercolor spark my imagination, allowing me to “go with the flow”, capturing the subject’s flavor by combining naturalistic and abstract imagery. I work several paintings at the same time, returning to each one, seeing things anew. Acrylics, gouache, and mixed media provide a chance for new discoveries.”

After and before receiving her BFA from Tyler School of Art, Temple University, Marilyn E. Lavins continued her education at Moore College of Art and Design, The Barnes Foundation, Pennsylvania Academy of Fine Arts and the Fleisher Art Memorial. Her awards while too numerous to list include; The DaVinci Art Gallery (John Cederstrom) awarded her Water Meter painting a gold medal. At the Chilton Publishing Co. in Radnor, Richard Chew gave Lavin’s Boathouse Row a Grumbacher Award. Also, at Chilton in Radnor the Philadelphia Batik received a Special Award and review by Bill Ternay. Her Batik is hanging in the hotel rooms at the Embassy Suites Hotel on the Parkway in Philadelphia and a hand colored Batik serigraph is hanging at the Philadelphia Four Seasons on the Parkway in Philadelphia. And the William Penn Foundation has her Italian Market serigraph in their front office.

Her published work as with most of her accomplishments which are clearly too numerous to mention include “Art First” Cover for the catalog at the University Medical Center at Princeton (Rose of Sharon),’06 and “Blue Angels, San Francisco Bay” International Library of Photography 2000. Lavins is not only an exhibiting artist, exhibiting in the Greater Philadelphia Metropolitan Area, Washington DC and San Francisco, she is also a teacher. She has taught at University Museum Mobile Guide (U. of PA), Young Peoples Art Workshop, Moore College of Art and has been a jewelry instructor at The Main Line Art Center.

Her experiences and expressions of art are vast and varied, according to Lavins.

Award-winning artist Bernice Paul has been expressing herself through her art from the time she was a young girl growing up in Russia to the present. She loves to experiment with different media including oil paints, watercolors, printing inks, clay, silk, pastels, and metal.

“Although I enjoy working in a range of materials, I keep coming back to oils because of the physicality of the paint itself. I enjoy applying layers of paint as planes of color to make abstractions of the natural world, whether as landscapes, still-lifes, or portraits.”

Paul attended the Pennsylvania Academy of Fine Arts, Fleisher Art Memorial, and the Barnes Foundation. She has received numerous awards from the Plastic Club, The Philadelphia Sketch Club, The Main Line Center for the Arts, and The Upper Merion Cultural Center.

“4 Visions,” a collection of eclecticism and color. The artwork is on sale and exhibit from May 14th through June 8th. Tyme Gallery is located at 17 W. Eagle Road in Havertown. For additional information about the exhibition, or for directions, call 610-853-1215 or check out their web site at www.tymegallery.com.

Personal projects, Part 4 — 6:21 AM

At 6:16 I started the audio and video capture. All of my attention was focused on a glowing framework of steel supporting the shuttle parked twelve miles away. I waited for launch. At 6:21, a spark on the horizon quickly grew into a miniature sun and the shuttle rose above the launch pad. About nine minutes later, the shuttle was a tiny shining dot high above that soon disappeared. Orbit was reached and the launch attempt was successful.

A smoky mass of vapor trails swirled above the launch pad and the sun began to rise. The crowds started to leave and I photographed the sky. By dawn, the vapor trails formed clouds and started to glow. Noctilucent Clouds (the Latin term for night-shining) were above us and alive with color entertaining the few of us that remained. The launch itself was amazing but what was happening overhead inspired awe.

I broke camp and by noon was back at the hotel in Orlando. Once there, I crashed until late afternoon. I needed to recover from the 30-hour sleepless session that involved a lot of caffeine. I awoke a few hours later to begin the archiving process by copying the captured imagery and audio onto three hard drives. All that was left to do was begin the 1200-mile ride home.

I left Florida with imagery and sounds of an experience that marked the end of an era. It was now my job to tell the story of the 131^st launch as I witnessed it. I would tell my version by creating blog posts like these, researching the publishing market looking for openings where I could sell this imagery and eventually create a self-promo video of the experience that’s now in post production.

Last week: Titusville

John Welsh is a freelance photographer in Philadelphia and a vice president for ASMP Philadelphia. His current project, photographing the Delaware River in its entirety, is his latest challenge.

Personal projects, Part 3 — Titusville

I left Philadelphia on March 31st, traveled at a leisurely pace and planned to arrive in Florida after three days of driving. On Day One I toured the Goddard Space Flight Center in Maryland. By evening, I was visiting friends at Fort Bragg in North Carolina and had beers with Special Forces paratroopers. On Day Two I drove to Savannah, Georgia. In town, I found The Sentient Bean, an earthy, hippy café, where I chatted with an artist who once worked with crews in Florida filming shuttle launches. That evening at the hotel bar, I spoke with a Czech/American businessman who told me the story of witnessing his first launch. If my plan didn’t succeed, I now had a Plan B. I may be able to dig up enough stories from others who experienced launches. Their accounts could provide contrast if my attempt was unsuccessful.

On April 2^nd I arrived in Titusville. It’s a tiny town on Florida’s Space Coast and according to my online research there were great views of the launch complex 12 miles out. I scouted a few locations and found a grassy patch of land along the Indian River on Route 1. It provided a direct view of the launch pad and would be a perfect place to camp. Next I headed to the outskirts of Orlando, about 25 miles away and checked in at the hotel. The hotel manager told me about her first time seeing a launch. She witnessed the Challenger tragedy and will never go back to see another attempt.

The next day, I toured Kennedy Space Center in the afternoon then drove back to Titusville. Big RV’s were already arriving along the river’s prime spaces. I realized I needed to reserve my spot a day earlier than expected. I quickly drove back to the hotel, packed all of my gear then went on a frantic Walmart shopping spree to prepare for perhaps a few extra days of urban camping. I couldn’t afford to lose the prime location I found.

After raiding Walmart, I drove back to Titusville and arrived at the viewing site before nightfall. I set up my tent (which I found out wasn’t permitted until 24 hours before launch) and had a perfect view of the launch pad. Soon, I was joined by what would become my first set of neighbors. A family from North Carolina arrived in a pickup truck towing a camper. I was happy to have company.

The next morning, the day before launch, I reconfigured my hastily set up campsite so it was photography friendly while others began to arrive. By mid-morning, the best spots were occupied. My decision to arrive early was sound. Not only did I reserve a great location, I could work on my shooting plan and camera configuration during the daylight hours.

I moved my car a few feet closer to the river’s edge, rearranged my tent so its door faced the launch pad and marked out an area with the bamboo I found in Walmart’s garden section that I carved into stakes. I roped off my workshop and attached glow sticks to each stake and tripod so people (including myself) wouldn’t trip over my equipment in the darkness.

As dusk approached so did the crowds. I chose to skip sleep. It was better to pull an all-nighter rather than be groggy and sluggish after only a few hours sleep. And how could I possibly sleep? In less than 12 hours I hoped to be witnessing something for which I had created an elaborate plan. I spent the evening checking and rechecking my cameras several times. By midnight, I cracked the lightsticks. My work area had a festive glow that matched the vibe throughout the camp. It was Woodstock for Space People.

When I was online researching all things shuttled related, I signed up for text messaging from Spaceflightnow.com. Their messages update subscribers with changes in launch status and general news about the space program. Now that the launch attempt was only hours away, each time I had a new message I feared its content. After all of this preparation the words appearing on my screen could announce a lengthy delay or cancelled launch.

Messages from the morning of launch:

3:28 AM
Weather conditions currently “no go” for launch. Low clouds rolling in.

3:35 AM
Countdown continuing on schedule and the weather is “go” for launch again.

5:15 AM
Weather remains “go” for space shuttle Discovery’s launch at 6:21 AM.

5:53 AM
The Air Force controlled Eastern Range now working a technical problem in Discovery’s countdown.

5:57 AM
The Range resolved the issue and is now “go” for launch of shuttle Discovery at 6:21 AM.

The anticipation of each message I received reminded me of the same feeling of dread when expecting the inevitable phone call — one that starts with the words We Need to Talk. But my relationship with the shuttle was healthy. With less than a half hour remaining, I still had the blind optimism I brought to Florida. I was here and it was going to happen, it had to…

Next week: 6:21 AM
Last week: The Plan

John Welsh is a freelance photographer in Philadelphia and a vice president for ASMP Philadelphia. His current project, photographing the Delaware River in its entirety, is his latest challenge.

Personal projects, Part 2 — The Plan

Now that I had my mission, photographing the April 5^th launch of Space Shuttle Discovery, I developed The Plan by asking myself a few important questions.

How do I go about photographing a launch? I had photographed lots of sports, so action, motion and tricky lighting were friendly territory. Is a press area accessible to freelancers? If I couldn’t gain press access, where is a good location for public viewing? How many cameras should I use and what types of shots do I want? What types of shots are even possible? What if the launch didn’t go off as scheduled, how many days could I spend waiting? What was traffic like during a launch day and how early would I have to arrive? Since this was an early morning launch, would I have to set up in the darkness? What if I had to wait a few days, could I camp (legally) and how would I secure my equipment?

The answers only led to more questions. It reminded me of the opening lines in the forward of Traveling Souls. Pico Iyer writes, “Every journey is a question of sorts, and the best journeys for me are the ones in which every answer opens onto deeper and more searching questions.” Hopefully this would be one of my best journeys.

After going over the possible scenarios and conditions I could find myself in, I was overloaded with information.  Maybe I should I travel light, use one camera and experience the launch as a spectator rather than a photographer?

That thought was brief and the choice was clear. I would pack as many cameras and tripods I could handle. I would drive to Florida and adapt to whatever challenges I would find.

I planned to shoot with 3 still cameras. A Nikon D300s would be my primary hand held camera fitted with a 200-500mm lens. Camera two, a Nikon D3, fitted with a 60mm lens would be on a tripod and set to shoot a vertical sequence. It would be linked to my hand held camera with a radio remote control — each shot with the hand held camera would trigger an exposure on the tripod-mounted camera. Camera three, a Nikon D2X, would also be tripod mounted and set for a time exposure.

Creating video is also part of my future, so I thought of how I wanted to capture the launch. The Nikon D300s also shoots HD video, but it was my primary camera so I wouldn’t be able to take advantage of its dual role. Instead, I decided on a Panasonic pro HD camera for the wide shot and I would push my JVC consumer video camera to the limits of its digital zoom.

Audio is an extremely important part of producing video. The primary recording would take place directly in the Panasonic camera fitted with a shotgun mic. As a backup, I needed a second source to record the launch. A mic stand rigged with a Zoom digital recorder and a stereo mic would be a good solution.

The Plan was coming together. I would simultaneously run 3 still cameras, 2 video cameras and the audio recorder. All were set for different exposures, shooting concepts or technical specs. This effort would be focused, both literally and figuratively, on a tiny dot on the horizon — launch pad 39A, which was across the Indian River and 12 miles from Titusville. I would have to finalize these settings in the early morning darkness. This made The Plan’s execution daunting.

I figured it would be the toughest shoot in 23 years I have been a photographer. The pressure to produce was great, but it also fueled the motivation to succeed. That is, if the launch even happened. There was a 10-minute launch window for Discovery. Its trajectory needed to match that of the passing International Space Station. Discovery’s mission was to supply the ISS with spare parts and retrieve scientific experiments. If a stray rain shower moved in or cloud hovered for those 10 crucial minutes, the launch could be delayed until the next day. Or if there was even the slightest technical problem with the STS (NASA’s shuttle program is called the Space Transportation System), the launch could be delayed. My own window for witnessing the launch was three days. If the launch wasn’t a go by then, I would head home. I needed to return for important client work.

This photographic effort could be wasted for lots of reasons. Most of them were out of my control. The odds of succeeding on my first try to witness and photograph a launch seemed tiny. But for me, that was precisely the reason to attempt it. The worse the odds, the better the payoff. The launch will happen. I needed to see it. I needed to photograph it.

Next week: Titusville
Last week: Finding Ideas

John Welsh is a freelance photographer in Philadelphia and a vice president for ASMP Philadelphia. His current project, photographing the Delaware River in its entirety, is his latest challenge.

Personal projects, Part 1 — Finding ideas

“Photograph what’s important to you.” It was advice given to me by a veteran photographer (thank you David Wells) in my early days as a professional. We were discussing photo ideas before I would travel for an entire summer in the high latitudes of Scandinavia. I didn’t have solid ideas for photo stories during the trip. I was committed to the experience of travel and my escape from small town photojournalism was most important. But the advice, the idea of being open to photograph whatever I found, was solid.

The images I created that summer, in Denmark, Norway and Sweden, were quite different from what I worked on during the early 90’s. I was locked into a format of covering baseball games, holiday parades and community happenings for a small town newspaper. At times it was rewarding, but it also was a creative albatross. News photography should be alive and breathing, not created to fit a format.

In Scandinavia, I had spent over a week in the arctic. I photographed and hiked in the permanent summer light around Norway’s Lofoten Islands. I photographed the play of shadows and sun Stockholm’s Old City. My last days were spent roaming the streets of Copenhagen photographing people. Soon, after adding the new images to my portfolio, I gained several new clients. The new photographs sold my vision and I was sold on the concept of personal work.

Since then, I made sure to explore ideas as often as I could. Not all would develop into complete projects, which was frustrating at first, but I learned that the process of exploring ideas was just as important as the results.

Persistence is also a key to success in creating new projects. I always explore ideas to a very deep level and once I find a groove, I work at an exhausting pace. Another factor was confidence. As I completed new projects, my confidence also grew. Whoever coined the phrase Success Breeds Success, was right on.

In 2001, I had a shot at what would become my first long-term project. On a whim, I traveled to Iceland in the winter darkness. I became fascinated by Iceland and returned in the spring to find amazing landscapes and began a several year project documenting the island. After several exhibits in the U.S. and Canada, I had new identity as a landscape photographer. It was puzzling since I considered myself a photojournalist. But I accepted the new persona and used it to advantage.

Soon enough, I was photographing people again. First, a short project about Philadelphia fire performers, then a series on women’s sports . I revisited the subject of fire — a very tricky series of close-up images of burning flowers.

I’m always asked how I think of these ideas. I can’t answer that question. I don’t really know how and why these ideas appear. I guess it’s something in my subconscious, something that keeps me from the deep sleep I really need, that sends me in these directions.

In March 2010, an online news story pointed me to NASA and the Space Shuttle. In autumn, the shuttle would be retired after 30 years of service. I had always appreciated the space program and as a kid was somewhat of a space geek. I remember creating presentations in elementary school on the comet Kohoutek, which did a celestial drive-by in the mid 70’s. In third grade, I even built a solar eclipse viewer (though my efforts were for naught as the clouds that day blocked the show.) These days, with the exception of watching occasional Sci-Fi (my only thoughts of space), I was out of touch with NASA and its projects.

I started thinking about when I visited the Kennedy Space Center as a kid in the 70’s. I imagined what it could be like to witness a launch. And to entertain myself, I surfed to NASA’s website. There were 4 launches remaining. The next was in early April and only a few weeks away. The others were in May, July and September and were traditionally  busy times for my freelance business.

Could I make it to Florida and get really lucky and see a launch? I had to at least entertain the idea. A window of time when I was traditionally slow (Easter weekend) opened up and I started the What if I went to Florida to see a launch? process of planning. What had been an errant daydream, was now a mission. I was determined to see a launch, and also photograph one.

Next week: The Plan

John Welsh is a freelance photographer in Philadelphia and a vice president for ASMP Philadelphia. His current project, photographing the Delaware River in its entirety, is his latest challenge.

Side Arts welcomes our first guest blogger, Jonathan Slingluff! Jonathan is the founder and co-owner of Slingluff Gallery in Fishtown.

An interview with pro skateboarder, artist, and friend of The Slingluff Gallery, Jason Adams. Jason will be having a solo show at the gallery here in September of this year.

Jonathan K. Slingluff: So, Jason, when did you get started with art, or is it something that has always been there for you?

Jason Adams: Ahhhh, no, well…. I always liked taking art classes in school, or any applied art classes whether it was wood shop or ceramics or whatever. Plus I always tried to draw when I was a kid, and I even tried to get into oil painting when I was like seven or eight. But I never showed any natural ability and would always end up frustrated. I guess I was always attracted to creative-minded things like making zines, trying to take skate photos. Nothing really clicked. Except for skateboarding. I was obsessed with skateboarding starting just before I turned 13. So fast forward bit. 1992 I turn pro for skateboarding. Find myself sponsored by Santa Monica Airlines. S.M.A. was owned by N.H.S. that does saSantarCruz skateboardrds and blah blah blah….Any ways…. They had a really cool art department. I would hang out with those dudes all the time and shoot the shit — talk about graphic ideas and what not. I remember wanting to be one of those dudes more than wanting to be a pro skater. But I could barely draw a stick figure… Wasn’t gonna happen…ha ha ha…. So fast forward again. 2001 I hurt my ankle…I have no clothing sponsor. I decide I’m going to start making t-shirts and have a concept for a brand. It’s called Six Gun. My influences are punk rock record imagery mixed with westerny-country-musicy-show poster thing…hatch showprint to be specific. I start cutting and pasting, Xeroxing and cutting stencils of western fonts to piece these ideas together. It was the Rancid logo with the skull dotting the “i” that got me into cutting stencils, and here I am now…. Oh yeah, I started attempting “paintings” about five to six years ago. I know, a bit long-winded. Sorry…. I’m sure I forgot a bunch of shit, too — uugh!

JKS: That’s a lot of fast forwarding, but it seems that your art and your skateboarding go hand-in-hand these days. It’s awesome that you have found a nice balance between the two. Do you feel that you would be able to do the one without the other?

JA: Umm … It’s good to have a balance of creative things to do. Keeps me from burning out. I always knew skateboarding was a creative activity. But now I realize it even more. When I started painting in my garage, I would trip out how much time I would be putting into it and not even craving going skating like I use to. That’s when I realized skateboarding was filling that creative void all those years.

JKS: Where do you pull your inspiration from with both?

JA: I think both activities share the same inspiration. But I think it’s more like medication. I started skating as a way to escape all the shit that drove me nuts as a kid. I felt freedom when I skated; I could actually focus on something. Then I ended up supporting a family from skateboarding, which brought on all new kinds of stresses. Art became my new escape. I now feel freedom in art. It’s really the only thing that calms me down and that I can actually focus on for now. But skateboarding is coming back for me. It’s all starting to balance out, which I’m really happy about. So it’s the search for a sense of freedom that motivates me to do anything…. Well, that and the bills need to get paid.

JKS: It seems that you have a lot going on with your art. That must feel great! I know that right now you have stuff going on in Colorado , Japan , and here in Philadelphia. What’s next?

JA: Who knows? I wish was more of a planner. I just want to keep going. Keep climbing up the ladder. Get through this fucking economy bullshit. Figure out a way to keep paying the mortgage. Try not to fully turn into Al Bundy.

JKS: Well I hope not to see you in a ladies shoe store anytime soon, Jason.

More info about The Slingluff Gallery here: www.slingluffgallery.com, and come back next Tuesday for Part 1 from John Welsh, photographer and Webmaster for the Philadelphia chapter of the American Society of Media Photographers.

Side Arts welcomes our first guest blogger, Jonathan Slingluff! Jonathan is the founder and co-owner of Slingluff Gallery in Fishtown.

This is a three part interview with three different artist for a three person show for The Slingluff Gallery that opens on April 3rd. The last artist is Shawn Whisenant (Ako). Ako is a San Fransisco based artist who has been doing a lot of commercial work for skateboard companies and shoe companies over the last past few years.

Jks. What inspired you when to get into art?

Ako. My arts inspired by life ,skateboarding, San Fransisco, my friends, the struggle, love, family, hate, passion, weed, writing on stuff, trains.

Jks. Do you still find inspiration in this?

Ako. Yes I still have the same passion for making art as I did when I started. Every time I create I find out something new and am still excited about making art.

Jks. Any other shows coming up that you would like to let the views know about?

Ako. I have a installation at Old Crow gallery in Oakland, Ca I’m painting with my friend Jeff meadows opening april 9th and a solo show at Dwntwn skate Shop here in SF coming up in June and a installation At hive gallery in Los Angeles in June too! There’s other shows but I forget?

Jks. Anything else that you would like to add?

Ako. Thank you to everyone at Slingluff Gallery, Jeff Meadows, 48 Blocks, Terry At Culture Skate, Dwntwn skate Supply, Osiris Shoes, Vans and everyone who supports my art and skateboarding!

More info about The Slingluff Gallery here: www.slingluffgallery.com, and come back next Tuesday for Part 4.

Side Arts welcomes our first guest blogger, Jonathan Slingluff! Jonathan is the founder and co-owner of Slingluff Gallery in Fishtown.

This is a three part interview with three different artist for a three person show for The Slingluff Gallery that opens on April 3rd. The second interview is with Michal C. Hsiung.

Jks. So lets get started with letting the viewers know a little bit more about yourself, your work, where your from, anything that you would like to share really.

Mch. My name is Michael C. Hsiung. I was once the Red Robin mascot, a refrigerator re-stocker, background investigator, special aide assistant, teacher’s assistant, preschool assistant, proofreader, telemarketer (for 3 weeks) and a grant writer’s assistant. I assisted a lot. I was born in Chinatown, Los Angeles at the French Hospital. I graduated with a English degree and am now a full time artist.

I mainly do black and white drawings featuring mystical and magical creatures, but lately it’s been hairy fat men and animals. My work addresses gender roles/gender assignment given to mermen, the fragility of unicorn/panda dynamics, domestic violence between centaurs and unitaurs and the underlying threads of violence and danger that underpin all other-worldly societies. I also contribute to various art blogs and this keeps me out of trouble.

Jks. What inspired you when you first got into art?

Mch. Early on I was inspired by Dungeons & Dragons, mythology, and comics – all that stuff boys (nerds) get into, right? Later when I started drawing and showing, I was inspired by my friends and especially those friends who were artists, like my sister Pearl Hsiung and my friend Mike Stilkey. They really encouraged me to draw and most importantly to have fun drawing. I watched and learned from them. I should watch and learn more though.

Jks. Do you still find inspiration in this?

Mch. I still find them extremely inspirational. To see how they’ve developed, where they’ve gotten too, and the artwork they’ve created is truly inspirational. I mean seriously you gotta see their stuff.

Jks. Any other shows coming up that you would like to let the views know about?

Mch. I do have my first solo show coming up . . sometime around June 2011 at this gallery. . . oh wait, it’s The Slingluff Gallery. I’m very excited and scared.

Jks. Anything else that you would like to add?

Mch. I really like to thank all friends and family. I know that’s pretty boring and standard, but they all contribute to my insanity. Also, thanks to The Human Pyramids Artist Collective for providing new inspiration!! So many rad artists and all so awesome.

More info about The Slingluff Gallery here: www.slingluffgallery.com, and come back next Tuesday for Part 3.

Side Arts welcomes our first guest blogger, Jonathan Slingluff! Jonathan is the founder and co-owner of Slingluff Gallery in Fishtown.

This is a three part interview with three different artist for a three person show for The Slingluff Gallery that opens on April 3rd. The first interview is with Philadelphia based artist, Dan Eells.

Jks. So lets get started with letting the viewers know a little bit more about yourself, your work, where your from, anything that you would like to share really.

De. My name is Dan Eells. I’m from South Philadelphia, born and raised. I graduated from Temple University (Tyler School of Art) in 2007 with a Bachelor Degree in Fine Art. My work is pretty diverse. I like using multiple mediums, but recently I’ve been focusing on working with watercolors. You may find most of my pieces have some sense of humor in them. That pretty much sums it up.

Jks. What inspired you when you first got into art?

De. Inspiration came to me as far back as I can remember. In grade school and high school I found myself drawing in my notebooks, a lot. As the years passed, the more I would draw the better I got. It soon became something I did everyday. Before I knew it I had decided that there was nothing else I would rather do for the rest of my life.

Jks. Do you still find inspiration in this?

De. I find inspiration in every art piece I do to carry through the next. I constantly find new ways to improve my techniques, but at the same time staying true to my unique style.

Jks. Any other shows coming up that you would like to let the views know about?

De. Not in the immediate future.

Jks. Anything else that you would like to add?

De. I would like to thank Mike Maxwell for helping me out as well as you, Jonathan, for giving me a chance.

More info about The Slingluff Gallery here: www.slingluffgallery.com, and come back next Tuesday for Part 2.