Local Art Residency - Niraj Shah

LC: Please tell us about your composition of "Journey" and what you hope our community walks away with after spending some time with it.

Well first, these were initially digital artworks, which you can still get on museum quality giclee canvas prints from my website, but when the opportunity came to display artwork at Local Coffee, thank you again, Kevin, I wanted to do something special, so I added clay to the artworks and painted the clay in acrylic, making them all 1 of a kind.

But back to your question on the inspiration behind the artworks themselves. During Covid, I went through a rough time and there was nowhere else to turn for answers but within. This is when I got into self-care, such as meditation, breathwork, and journaling. These things allowed me to calm my mind, self-reflect, and connect deeper to myself, providing me with clarity and helping me grow through that period.

And I realized growing through it was a journey. I also realized this "journey" can be related to other obstacles or hardships in one's life that you need to grow through.

The 1st piece in the collection, “The Sun Will Rise Another Day”, is about having the strength to let go of people and/or circumstances not serving you. For example, it's hard to let go of someone you miss, and this can hold you back from moving forward. So what I want people to walk away with when they look at this artwork, is to realize they have the strength to let go of anything emotionally, mentally, or physically if it's holding them back. I want them to open up to the self-love they need to stay true to who they are and know that they are enough.

Leave the mess in the sunset.

The Sun Will Rise Another Day

Continuing the journey, the 2nd artwork, “Ponder”, represents the self-reflection and examination we should all do after we've "left the mess in the sunset". Where do you go from here? Which direction? I think these are questions we should be asking every once in a while in our lives, not necessarily when something bad has happened, but just to make sure your life is going in a direction that is aligned with your self-fulfillment.

Socrates said, "An unexamined life isn't a life worth living".

I agree.

If you're not examining your life, i.e., self-reflecting, then you may be going in the wrong direction from where you want your life to be.

I think the pandemic really made people self-reflect on the direction of their lives, and hence the "Great Resignation". People quit their jobs because of wage stagnation, lack of benefits and career advancement, bad work environment, job dissatisfaction, etc. People realized their values and their jobs didn’t align with their self-worth.

No matter what your situation is in life, what I want people to come away with after viewing Ponder is that self-reflection is always a good practice to have.

Because when you look inwards, asking yourself questions like, 'What do I value?, Am I being valued?', you get to know yourself deeper.

And when you do, you are more confident in your choices and clearer on what direction you want to go.

Ponder

The 3rd artwork in the journey, “Rise” (where the sun is rising), is about getting up, facing your self-doubt and fears, and moving forward once you’ve examined things such as your values and purpose. It’s one thing to make decisions in your head, but it doesn’t mean much if you don’t take action. I’m sure we’ve all been there where fear has held us back from taking action. For example, maybe you wanted to leave a job but the fear of the unknown and starting somewhere new kept you from taking action. Or the fear of rejection kept you from asking out a girl and a potentially beautiful relationship.

With this artwork, Rise, I want people to walk away feeling the inner strength that they have to face their self-doubt and fears and take action to start on a path toward the life they want.

Rise up and trust yourself.

Rise

Artwork 4, “Gap”, is about staying in the space between your thoughts and cultivating inner peace. This way, you can have the resilience to keep moving on even when negative thoughts discourage you from continuing to move forward on your journey or your monkey mind is distracting you from staying on track. 

Deepak Chopra says "The knowing secret is in the gap between every thought, every sensation, every perception, every sound, every breath, every image, every experience…So, in the gap is infinite creativity, infinite possibilities, and pure joy." 

Wayne Dyer said about the gap, “…it’s a space that allows us to build, create, imagine, and manifest all that we’re capable of creating with those thoughts.”

So the person in my artwork is in the gap, in the silence, combating negative thoughts that naturally arise within us, distracting us from moving forward. But also while in the gap, creative ideas are flowing in. And symbolically in the artwork, whatever is out beyond the arches is infinite possibilities and pure joy that can be attained.

I want this artwork to remind people to try to get in the gap throughout their day and stay in the silence whenever they feel overwhelmed. Also, go in the gap when you need to come up with creative solutions. Lastly, I want people to feel calm and know that there are infinite possibilities for joy out there.

Gap

“Sit and Sip” is the 5th and last part of the series, "Journey".

We’ve gone from leaving the “mess” in the sunset, pondering our life to make sure we live in alignment with what fulfills us, rising up in the face of self-doubt and fears and moving forward, dealing with negative thoughts and overwhelm that set us back, and now we are here.

Sitting and reflecting once again.

I believe self-reflection is an important thing to do for self-care, self-development, and happiness.

And happiness is not a destination but a life-long "journey".

This is because we are living a dynamic life; we will have different ups and different downs of varying degrees throughout. Happiness isn’t a sustained state.

Introspection to understand our emotions, mental state, and how we are affected by other people’s energy, words, and behavior, is important in understanding who we are, such as our triggers, fears, and strength.

When we know who we are, we’ll have boundaries and values that will keep us in check, and we’ll be more likely to know what we want in life, making it a more rewarding and happy one.

Apart from whatever this artwork evokes in someone, every now and then I would like them to look at the legs of the person and ask themselves, ‘Is this person disappearing or reappearing?’.

I’m not suggesting either answer is right or wrong, but if one answer makes them feel down, then I would ask them to dig deeper and ask themselves why they are feeling that currently.

If their answer makes them feel good, then hopefully they are in a state of mind where they can handle others and themselves, and stay on track to self-fulfillment.

So, sit back, introspect, stay in check, and have a drink, whatever that drink may be.

And sink into the stitch of your being.

Sit and Sip

LC: I’m always interested in people’s upbringings. Where did you grow up, how did you make your way to Montclair, NJ and how did this shape you into the artist today?

I grew up in Passaic, NJ until 5th grade, then we moved to Wayne, NJ. A few years after college, most of my friends were getting married or in serious relationships and buying places. I was still in Wayne but looking for a more lively place to live for a single guy, so I moved to Williamsburg in Brooklyn. That didn’t last long since I was still working in NJ and it just wasn’t convenient. One of my friends suggested moving to Montclair. She had lived here and said it was a fun town. So I moved to Montclair. This was about 15 years ago I think, and Montclair has only been growing in terms of restaurants, shops, bars…just the entire scene. Definitely a great move!

I only started seriously getting into art a couple of years ago when I started my e-commerce shop, and Montclair is the perfect town to start. This is because we have so many events where an artist can have a booth and display, sell, and gain exposure. Events like Jazz and Pride fests where we have thousands of people attending, and Diwali and Lunar New Year events being held in conjunction with AAPI and the Montclair Art Museum. Further, having so many restaurants, shops, and coffee shops here, artists have more places to showcase their artworks. I’ve had my art at La Rocca, still have some art at Charmed Beading Studio, some clothes at The WellNest, and now of course at Local Coffee.

Montclair has helped shape me into the artist I am today by giving me the confidence and proof that my art is something people would love to hang on their walls and wear (I also have my art on eco-friendly clothes). With this assurance, I can truly say that I’m an artist, which I’ve always felt I was, and keep creating!

LC: I read a bit about your background on your site and saw your artistic side started in your youth, writing about your feelings at an early age which turned into poetry and eventually art. Many young people don’t have the self-awareness to read and listen to their emotions, and even less find positive outlets for their emotions. Did you have guidance from anyone before you started writing poetry at a young age? And can you tell me more about some of the main events or people in your life that helped push you to express yourself through the arts?

No, I didn’t have any guidance, I don’t even think anyone knew really that I wrote poetry until college. And there wasn’t any self-awareness that made me think that writing out my emotions would help me. I just did it, I don’t know why. And it took the form of poetry because I liked rhyming, alliteration, and trying to be clever with wordplay.

What pushed me to express myself through poetry when I was younger was heartache, loneliness, and not feeling worthy. It was an outlet, which I didn’t even realize was an outlet till later in life.

During my 30s, I didn’t write much poetry except for the prompts that were given by the poetry group I was in. I think they are some of my best poems, and it’s great to know that I can write poems about things that aren’t personal to me. I haven’t written much recently since I’ve been busy with the business, and I’m making more time to create artworks I can express myself through and offer more chances to serve my audience if it resonates with them. The artworks vary in what they evoke. It could be calmness, inquisitiveness, romance, lust, to energy.

LC: Your creative expressions span many different formats, from digital, oil/acrylic, poetry, and even augmented reality. Can you provide more insight on how you like to use each one of these mediums for your work?

I like to use digital because it’s the fastest and sometimes most accurate way to get out what’s in my head. Also, with digital art, I can make customizations faster for customers who like a particular artwork but want to personalize it. Lastly, it’s easier to upload the file to my manufacturer so they can put it on apparel, shoes, water bottles, etc. With an oil/acrylic painting, I would have to take a picture of the artwork and then do a lot of post-editing to make sure it resembles the actual artwork.

I love oil because of the way it spreads and blends, but the brushes are hard to clean and the fumes can be too much, so I don’t do oil anymore. This is why I moved to acrylic. Once I have a big art studio space and someone to clean the brushes, I’ll do more oil paintings haha.

I also do acrylic because I like to challenge myself and see if I can paint what’s in my head. And, sometimes I just can’t accomplish what I want digitally, so I paint in acrylic. 

As for poetry, well I think that’s what I’m best at. With poetry, I can express loneliness, outrage, love, hope, inquisitiveness, etc. I like to use poetry as a way to connect with others; my poetry can help people understand me better, it can make them feel less alone knowing someone else has felt the certain way they’re feeling, or people can also use my poetry to express their feelings when they can’t find the words.

I decided to do augmented reality when my friend showed me Poke Mon Go augmented reality when it came out. Immediately, I thought I have to use this for poetry and art. AR was new then in terms of its use on smartphones, and I’d never seen it used for poetry or art. I always wanted my art to be interactive and AR was the perfect thing. It brings a new dimension to the art world for the viewer, making it more immersive.

LC: Where do you get your inspiration for your work and do you have a process for beginning a new piece of work?

My inspiration can come in various ways. It can come from watching something emotional on tv, from songs, from a dream, from social injustices, from sensing what someone is feeling, and from experiences in life as is the inspiration for the artworks in the Journey series.

My process for beginning a piece of work starts with being in the right vibrational frequency. I need to feel it. I may have the idea in my head for a while, but if I’m not in the right frame of mind and energetic frequency, it’s just not going to come out right. The same goes for continuing a piece that I don’t finish in one sitting, and I never finish in one sitting. So sometimes a piece can sit there for months until I’m in the right vibrational frequency I need to be to continue. Once I’m mentally and energetically ready, then I need to get into a flow state. Listening to music that evokes feelings helps me get into a flow state. And if I’m creating during the afternoon, then I’ll have some wine, but if it’s the morning, then it will be espresso.

LC: What is your drink of choice at a coffee shop?

My drink of choice at a coffee shop is black coffee. If the coffee shop has good beans, that’s all I need. And I ask for the lightest roast because I’m pretty sure the lighter the roast the more caffeine. And if it’s hot outside, then it will be an iced black coffee!

To explore more of Niraj’s work please visit:

https://www.nirajshah.me

https://www.instagram.com/niraj.shah22/

Local Art Residency - Scott Sorrentino

LC: Scott, we're thrilled to have your work up at the shop as we have been in touch for some time now and there's a certain sense of satisfaction seeing it all come together. Please tell us about this work that you created for the shop and what you hope our community walks away with after spending some time with it.

SS: Robert, thank you immensely. It’s rare an artist gets an opportunity to create a site-specific work - where you know you have an audience. And where folks who may not usually seek out art, but love good coffee, will see it.  I like to dream that they are my target audience… and yes, my painting is THE one that opens their minds to the fine tradition of painting forever! 

The painting is about one who struggles with irrelevance. How one is, or, why one is, obsessed with being/becoming irrelevant or relevant for that matter. Relevant or irrelevant to what, of course, is ‘fill in the blank’. The poem is mainly about a friend of mine and i growing up artists in NY. in the eighties and nineties - it may also express his fear of irrelevance.

The painting and the poem titled the same in the throes of irrelevance, i thought  to be an amusing title/image; i like the large swaying, movements that move the eye around.

These 2 ideas that we brought together at the end for the presentation at Local. The poem of the same title references lyrics from different bands that i’m currently listening to. Each line from a different song. I always love lyrics and poetry. Have you found the excerpt of the e.e. cummings poem in the piece - an excerpt from i carry your heart with me. There’s also another poem by me…called the camel. There’s a lot going on in there - I enjoyed getting into details once I had the main drawing down.

I intended to create the sense of movement.  Something of a dance move is at times what is needed for effect of the mark. The mark is very important - it comes first - before design. Design emerges naturally as you feel/plan, or not plan;) your marks. The painting in the throes is mainly comprised of marks - reactions to a previous mark in the design of the entire composition. So, it’s a lot of …make a mark…step away … come back and react to the previous mark. Choosing my materials is the space between doing and not doing something on the canvas.

The Local wall is beautiful with nothing on it so i wanted to keep that integrity - scattering pictures salon style was never an option. The intention is to create a lyrical sense of movement to complement the everyday goings on at Local Coffee.

In general, I like large paintings that can fill up a room, create an atmosphere, a presence - Cy Twomblys’ Peonies/Blossom series comes to mind. Or installations by the likes of Judy Pfaff or Jonathan Borofsky - a sort of entertainment quality.

What i hope the community can take away is a tricky question. I’m not typically an idealist so there is no right answer. Perhaps I’d like the community to walk away feeling like there was something different about the experience outside of the great coffee and friendly atmosphere. Ask themselves a question about the experience, get an impression of the experience. 

I wanted to give the community a small taste of an artist who has struggled with his imagery for over 40 years of painting. Forever unlearning, experimenting and painting like a kid again. It’s the activity of making art that’s most rewarding. In my case, through impulsive/reactionary marks, movements, pushing and pulling paint until stepping away. So, a painting is never really complete, never finished.

LC: You are a multimedia artist in that you are also a musician having played in the band BencH. What was it about your childhood that allowed you to pursue such rich, expressive opportunities?

SS: I believe we have innate tendencies toward things we love to do. I’m always drawn to music and art - yes, all kinds, no judgement. I owe every ounce of my childhood growth as an artist to my mom. Making art and music was always encouraged at our Brooklyn apartment. At about age 7 I’d raid her trimmings drawer (she was an apparel trimmings designer) and doodled and glued things like beads, buttons and ribbons onto looseleaf paper, eventually evolving to oaktag. By age 14 i had permission to have a 4-piece drum set in my high school bedroom on the 6th floor of a building in Brooklyn.

By age 16 i was playing Shine on you crazy Diamond with a keyboard and bass player in that same room!  So, encouragement to be oneself is a good start for a kid. All i wanted to do was to get home from school and into my kid cave to make art and music. And that’s just what i did. I would take the Daily News and make collages out of the headlines and photos and stick them on the wall and scrawl away. On my high school bedroom walls hung my artwork and those huge posters of rock bands that you bought at Spencer gifts - taped up with fluorescent orange and green masking tape and black light bulbs!  Irrelevant indeed.

BencH was an attempt at a street-core, industrial noise art band. 3 people grew up in a band together for 14 years so what you learn is relationship. Musically especially - we were an experimental, noise jam band - heavily influenced by Missing Foundation, Einstürzende Neubauten, Throbbing Gristle, Butthole Surfers, etc.

If you like experimental rock/jazz/industrial noise you might like to venture - find us here:

https://soundcloud.com/tom-t-hall-1

https://soundcloud.com/tom-t-hall-1/popular-tracks

https://www.youtube.com/user/benchresinvideos

LC: We talked a bit about the East Village in NYC. While I was more situated in Greenwich Village and Little Italy, the East Village always fascinated me with its 'we don't really give a fuck what you think attitude'. Some of my childhood's most memorable events happened there. Tell us what the East Village meant and means to you.

SS: The artists and musicians had to think like that - it was a self-fulfilling prophecy - failure was success… we fail over here in the east village - that’s why no one likes us and that’s ok! It was naturally transgressive. It was living art and well done at that. Remember Nick Zedd and Tommy Turner from the cinema du transgression? They were two that had that attitude you speak of but being artists they gave us what they knew how to give at the time. So it was very rock and roll.

Art and Music coincided, cohabitated - it was wonderful.

LC: You've transitioned your life to New Jersey and it's quite a swing from your childhood in Brooklyn and impressionable years in NYC. It took me a while to really accept not living in NYC anymore. (I still dont think I'm over it) How have you made the transition and maintain your core?

SS: For me, the core is maintained by knowing that it exists and most importantly, respected. That it needs food and attention just like a living being - creativity in nature.

Without art and music i am imprisoned. Honor thyself.

As far as the transition? I had built a house in upstate NY while in the band BencH - at first it was a rustic 1 room cabin with an outhouse. It soon became a house on 13 acres with an art studio and 16 track recording studio. So, I already made up my mind that the city was not where I will always be. I had all my toys in one place, it was heaven.

LC: What are you working on now and what can we expect to see from you in the near future?

SS: I’m working on a house in upstate NJ and just about completed the art studio. I have several ideas for another polyptych that is in sketch phase. It will be different than the Throes - they always are. Picture making always seem to get to where it need be.. most times without the throes of anything! 

Thanks again Robert! and look forward to another go at that great, rust-colored wall @Local.

LC: What is your favorite coffee or tea beverage?

SS: Cappuccino molto caldo per favore!



Reach out directly to Scott for any inquiries @ 973.873.4258

Local Art Residency - Chris Manobianco

LC: Thank you so much for allowing us to share your propagation stations here at Local! In six years, this is the first work of its kind and we're so happy to have them. Let's start at the beginning of this journey as such an interesting story. How did you begin working in this space?

Chris: No, thank you!! It has definitely been a slow progression into woodworking, but picking up steam over the last couple years. I’ve always loved working with my hands and building things since I was young. The quarantines over the past few years gave me some extra time to become more comfortable with wood, and the tools, to begin experimenting building some things!

 

LC: Please tell us how working in this medium has made you feel as I have to believe that the transformation from raw materials to a beautifully finished product is an extremely cathartic process.

Chris: It certainly is! It’s amazing to see the wood go from a very rough material, to a silky smooth and very solid feeling end product. Each step cleans up the rough edges, creates more definition in the piece, and brings out the natural beauty of the wood. It is also a very tactile hobby, each species has its own weight, grain, and smell as you work on it, really immersing you into the craft. After a long day of staring at a screen, it’s quite relaxing to bring something to life.

 

LC: Tell us about the types of woods that you seek out and are there any particular favorites? 

Chris: I am still very new to this and exploring the world of hardwoods, but the most prevalent ones in my current work are Maple, Mahogany, Cherry, Paduak, and Purpleheart. Out of those Paduak (the bright orang-ish/red one) is my favorite. There is something about the vibrance contrasting your typical browns of many other woods that always catches my eye. With that being said I love shopping at the wood supplier and seeing what new types I can try. The latest round of propagation stations will include a species called Wormy Maple, which has a really unique pattern.

 

LC: Perhaps a funny question but what has been the most interesting cutting or plant that has made its way into one of the stations?

Chris: A true staple in most of my propagation stations is the Pothos, featured on the walls in the coffee shop today! That being said one of the more exciting plants is definitely a Monstera Deliciosa plant (also known as a swiss cheese plant), with broad, bright green leaves and large fenestrations! I absolutely LOVE seeing the creativity of what everyone else puts in them, so shoot me a message on Instagram with your best décor!

 

LC: You included a philanthropic cause in this exhibition. Why is this important to you?

Chris: The root and name behind the company comes from my Mini Australian Shepherd, Evie, who I adopted about 8 years ago from a truly horrible shelter in the south. Since then I’ve always tried to be a big advocate for both pet adoption and animal sanctuaries in general. Having a hobby that allows me to both enjoy building new things and give back to charities is truly a win win!

 

LC: As a fellow canine enthusiast, I love that your heart is in this place as well. Tell us about Evie :)

Chris: I touched on this a little above, but Evie is one of the most unique dogs you’ll ever meet. Her experiences before I adopted her continue to impact her to this day so she is definitely not an average dog. She loves long walks, and carrying around her stuffed toys to show off to the neighborhood, and drinking water (weird, I know)!

 

LC: What is your favorite coffee or tea beverage?

Chris: While tea is always a morning staple, I have been slowly increasing my coffee intake over the years. While I’m still in the minor leagues (hello lattes <3), I am slowly becoming a more adventurous drinker! I will continue to work my way through the Local Coffee Menu in the coming months!

See more from Chris on his Instagram Page here

Local Art Residency - Fiona Chinkan

LC: Thank you so much for sharing your work here at the shop! What a wonderful reception thus far! Tell us why you chose them for the shop?

Thank you for the opportunity to share my work with the Local Coffee Montclair community - I really appreciate it! 

I chose these particular works because of the time of year! When New Year's rolls around, many of us are thinking of goals, resolutions or ways to challenge ourselves. On January 1st 2019, I decided to challenge myself creatively by taking on the "100 Day Project", where I would do one drawing a day for 100 days in a row. I managed to complete my goal and exhibit all 100 works together in a solo show later that year (Image here: http://www.fionac.nyc/100-day-project). Now 2 years later, I have less than 50 still available in my shop, but thought it would be fun to showcase the project together again.

LC: What do you hope viewers take away from this showing?
I hope by seeing this, it may inspire others to take on their own creative challenge this year!

LC: You mentioned the 100 day project in association with these works. Tell us more about this -

I became familiar with it through seeing fellow artists online participating through the hashtag #The100DayProject. While some folks draw and paint, other people do gardening or other hobbies they want to invest more time into. There are also several artistic challenges out there, such as "March Meet the Maker" or "Inktober", but they involve everyone working from the same "prompts" for a month. Something about creating my own personal boundaries for 100 days was appealing. I also had stacks of leftover color-aid paper that I thought would go to good use for this type of project. For anyone interested in doing their own project, you can see more on the official website here: https://www.the100dayproject.org/ 

LC: In reading your bio, I smiled at the notion of the 'shoot from the hip' style as I can often find this approach incredibly difficult to accomplish. Even when we hung your work, we were relatively loose and fast in the composition - and it worked out so well! Tell me about this approach especially as you work in a medium where people will review your work.

My personal approach to artwork is to have a dialogue with each piece I create. If I were to plan every brushstroke ahead of time, I don't believe it would be as interesting of a conversation. As an abstract artist, I'm able to really invest myself into a work and explore my emotions on a deeper level when I leave room to react to the surface as I build layer upon layer. There is something exciting about starting a new work with an idea in my head, but then seeing the unknown unfold as I let the moment lead me. There is a constant push and pull between being in control and letting chaos rule, which I enjoy. Even with the installation, I like a level of flexibility. I can plan everything inch by inch, but I may miss an opportunity that comes up in the present if I'm too attached to a plan. Being in the present in the moment and being open to possibilities is what excites me about the creative process.

I saw James Victore speak many years ago and he said something that has stuck with me. He asked the audience, "what is the most important part of business?" People replied with "money", "productivity", "efficiency", etc. He replied, "No. The most important part is play." As adults, we spend so much time in schedules and having every aspect of our lives planned, that we forget to "play". Even with creating artwork, some artists forget to "play". I like to leave myself open to "play" in my creative process.

LC: In our conversation, we discovered that we shared a bit of history together having worked at the same fashion company. How has working in a creative based industry such as fashion served or frustrated your gifts as an artist? 

Working as an graphic designer/art director has most definitely influenced my work. From my mark-making style, which developed out of my obsession with lettering, to the paper I work on, which is recycled from photoshoot backdrops. My choices with color, composition and even how I display my work are all influenced by my time in the fashion industry. With that said, it is also easy to burn yourself out creatively when working full-time in a creative role. I was spending my little free-time trying to harness any creative energy left to produce works for art fairs, gallery exhibits, etc. When I had a photoshoot call time of 8am, but was up at 5am to paint before going into work, I knew I was burning the candle at both ends. Thus I made the leap to be an artist full-time and this will be my 5th year of doing so.

LC: What is your favorite coffee or tea beverage?

I enjoy a latte, whether it's normal or a fun flavor like matcha. Hot or cold depending on the weather. Latte art or no art. Latte's just feel like a fun indulgence :)


Learn more about Fiona here

Local Art Residency - Norman Rosenblum

LC: Tell us a bit about these photos, where were these taken, what objective(s) did you have in mind when you set out to capture this environment?

The photographs in this exhibition which I call “Remains,” were all made July 10, 2021, on a visit to a friend who lives on Yankee Lake in the Catskills. I was kayaking around an island in the middle of the lake, originally looking to photograph a pair of young eagles that nested in a tree on the island. I was unable to get anything satisfyingbecause the eagles were always hidden behind branches. I reluctantly gave up and continued to kayak around the island where I spotted the driftwood that is the subject of these photographs. The shapes, reflections, light, and color immediately appealed to me, and I spent quite a bit of time there with a paddle in one hand and my camera in the other.

LC: I notice a few variations on a similar image. What was the thought of sharing a couple of different looks of a similar view?

From the beginning I wanted to show these photographs as a single moment of time. The scene, which was totally unexpected, suddenly appeared to me as a complete lost world—one that was decaying as well as supporting new growth. I found myself intensely inhabiting this wonderful graveyard of sorts. I let the kayak drift as slowly as possible, as the viewpoint would change even if I thought the kayak was not moving. In this intensely sensual world of sun, water, shapes, colors, and reflections I became completely focused on trying to make photographs that showed what I was feeling. Hopefully these 14 photographs do that. You are correct that there are variations of a scene, and images seen from various perspectives. To me, that helps engage a viewer to not only see but to be drawn in. There is no one “meaning” I attach to this exhibit; rather, I hope to invite the viewer into a meditative experience.

LC: What is your favorite aspect of capturing nature scenes?

In both the natural world as well as urban landscapes, I am inspired to find new meanings. I try to interpret the social and aesthetic realms of human experience.

LC: Tough question (maybe) but do you have a favorite camera and why?

For Digital- Nikon 6, and for film-Nikon Fm2n.

LC: What is your favorite coffee or tea beverage?

A cortado with a plain croissant to dip. Of course, at Local Coffee!

Lastly, what’s the best URL to direct our followers if they would like to connect further?

www.normanrosenblum.com

Instagram: norro99

Local Art Residency - Scot Surbeck

LC: Tell us a bit with respect to this exhibition as compared to the previous exhibits from back in March 2019 and September 2020.

The current exhibition has a somewhat similar layout as the 2019 show (below)

But it is quite different from the 2020 show (below).

Current show (below)

SS: The current exhibit has a good balance between the photos and the surrounding space. The photos are complicated and dense and therefore invite contemplation. The spacing allows viewing without distraction from adjacent photos, yet keeps the photos close enough to be seen from a distance as a coherent group.

LC: I can’t help noticing that, and opinion only, the images seem more personal, more raw than previous…almost peeling back a layer of your subject and allowing us the viewer a closer connection to the the actual person. Does this thought seem accurate?

SS: There is a developing looseness and ambiguity in my work that I like. I don't have an emotional agenda when I shoot but I like to find images, through my camera, that interest me and others. Every viewer will interpret those images differently.

LC: There’s an image of a construction worker’s arm in the foreground of a kind of ubiquitous NYC construction area that is very powerful. I have to ask if you were aiming to capture that particular shot after assessing the scene or simply caught by lucky chance.

SS: I was looking through my view finder at the construction worker in the background when the worker in the foreground suddenly thrust his arm out. I took the picture.

LC: Of this collection, which image stands out most to you and why?

SS: They all make me happy, individually and as a group.

LC:. I’m already looking forward to your next collection. Anything planned that you can hint to?

SS: A year is a long time. I'm looking forward to it as well :)

See more of Scot’s work here: www.scotsurbeck.com

Local Art Residency - Raphaela Neihausen

Robert: Raphaela! So happy to have your work up at the shop. Because you’re an OG local LOCAL - our team decided that each would ask a question of you for the Local blog.

My pleasure!

Robert: I feel like we discussed this opportunity a good time ago and here we are. How do you feel sharing a bit of yourself with our community here at your local shop? 

So true - I signed up to do this on a complete whim around two years ago and then poof, time flew by and the date was suddenly here. When I was curating exhibit images, I leaned into shots that were very much my personal view of the immediate neighborhood around us. Pictures that someone else might not have taken, or would have taken differently. I loved the idea of sharing these small moments with my friends and neighbors who walk through the same streets (and lineup in the same LOCAL line! ). 

Lucy: Your lifework is multimedia, with a particular focus in film  - how do these images connect back to your film heritage?

Whether film or photography, I’m always a sucker for beautiful lighting and visuals that allude to a story beyond the obvious. How we frame the world is how we see the world and I frequently obsess over visuals – both in photography and film.  For those curious about my filmmaking history, they can check out the short doc Joe’s Violin (free to view online!) and Miss GULAG (available via iTunes).

 

Lucy: Are the tomatoes from your garden?

Very much so! Gardening has always been a favorite hobby and my backyard fruits & veggies became a popular subject during this pandemic. On a sidenote: this tomato image reminds me of an abacus and I love reimagining traditional objects with modern spins. 

Adele: These photos are such a beautiful look into our Montclair community. If possible, what is your favorite aspect of our town?

Beyond the incredible people, and of course my local coffee shop, I love how the trees and flowers bloom in weekly waves during spring. How each home is painted differently.  The gorgeous parks and annual film festival (full disclosure: I’m its founding executive director, so might be a bit biased).  The way each season completely transforms the landscape around us, supplying us with a new palette of colors.

 Brenna: What do you hope people feel after spending time with your work?

I hope people feel some warmth, curiosity, and joy. 

Max: Did you pick your color scheme intentionally or are you generally attracted to objects that vibrant, bright and lively?

The latter – I am generally drawn to vibrant, bright and lively colors (as frequently reflected in my photos and wardrobe).

Sam: You mentioned that all of these photos were taken just a few blocks from Local? Was this intentional? Is there a narrative that carries through all of them?

When curating this exhibit, I intentionally selected a majority of photos that Local customers might recognize from their everyday surroundings. These are the small details that we often miss in our daily rush. The guiding principle is that you don’t need a fancy camera, tripod, or any professional tools to notice and capture a bit of beauty. A phone with a camera and willingness to look is enough.

Lastly, what is your favorite coffee shop drink?  :)

I’m a vanilla latte girl, although every now and then I’ll mix it up with a cortado or a flat white.

See more of Raphaela’s work on Instagram @raphaeladailyphoto and @raphaelaneihausen

Local Art Residency - MHS Senior, Max Myers

LC: Let’s start with some background. How did you get into photography and develop to the level of ability you have today? 

MM: Back in 2016 I started to get into drones, an up and coming trend that persists today. I started off with the smaller toy drones, learning as I crashed them. Eventually over the course of around a year I saved up and got a great prosumer DJI drone. On the drone was a high quality camera that I subsequently used to capture the first of my many photographs and videos. I firmly believe that having the ability to position a camera at any angle and height in the sky directly assisted my eye as a photographer today. I’ve been through four upgrades of cameras and lenses to get to where I am today, and I owe the level of ability I’ve developed to persistence, practice, and trial and error. I am proud of where I am today, being self taught, but I still have a lot of room to grow. 

LC: Your photographs capture a variety of subjects and scenes in a wide range of styles. How do you decide the what, when, and how of your pictures? 

MM: I definitely don’t have a central theme in this show, as I practice so many different styles and types of photography. I like to have some variety in my life, and my art exemplifies that. However with many of my projects, the process starts with an idea. Let's take the photograph of the Aston Martin in Chinatown as an example. That car is called the Dragon 88, and was created for the Chinese market. Only 88 of them were ever made, and the one I photographed is the only one in the United States. I thought it would be fitting to take it into Chinatown, an area I’ve always imagined photographing a car in. We traveled there with the car and captured it under the Chinese lanterns strung across the streets. It involved a long shutter speed and shining a light over the car to illuminate its deep maroon paint. I am very happy with how that photoshoot came out. 

LC: Clearly your life has included a fair bit of traveling. What are some places you’ve visited and do any stand out as favorites? 

MM: I’ve been extremely lucky to travel around the United States and to Europe. I spend a lot of time in Arizona, because I have family there. I have also visited Miami, Wisconsin, Tennessee, Yellowstone, and many more places. In Europe I’ve been to Paris, Venice, Florence, Rome, Lisbon, and Barcelona. I really enjoy traveling, as it allows for an amazing new array of scenery and sights to photograph. Venice was my absolute favorite, and I was able to take my drone up there to photograph the Grand Canal, leading to one of my favorite photos of all time, which is in this show. 

LC: Can you tell us more about your service trip to the Dominican Republic, where some of these photos were taken? 

MM: I was able to go on a mission trip with my church to the Dominican Republic, where myself and a group were given the amazing opportunity to work with and assist a group of disabled orphans. Among the 50 or so children there, only 3 or so could even walk. The majority were strapped to wheel chairs, perhaps indefinitely. I still remember walking down the stairs and seeing them for the first time. I walked back up the same stairs for the last time at the end of my mission trip as a changed person, with a very new perspective on life. I was lucky to be able to document the experiences of me and my peers through my camera, and captured some moments of pure emotion that I think would be impossible to emulate in any other circumstance. The trip left a lasting effect on me, and I’ve decided to donate a portion of the proceeds from selling my photographs to the Mustard Seed Communities foundation which oversees the disabled children in the orphanage. They need it now more than ever as for the past few years they haven’t had their regular donations, of both money and supplies because Covid prevented travel to the orphanage. 

LC: What do you feel is your relationship to the stories being played out in your pictures? Are you preserving an existing narrative for memory or creating a new story within the image? 

MM: I feel as though the stories I tell in my photographs are created by myself, based on the way I have the subject positioned, combined with the lighting, editing, and many camera settings I hand pick. I feel as though I am creating a new story within the image. For example when shooting cars, most new photographers would merely capture the vehicle. I choose a scene and try to capture the car within the scene to tell a story. 

LC: For fellow photographers coming into the shop, what sorts of cameras do you use, and do you have a preferred go-to? 

MM: I’ve been through four upgrades of cameras since starting. I started with a Lumix G7, a great affordable camera for beginners. I moved to the Sony A7ii, which I highly recommend for mid range beginners. Then onto the Sony A7iii, which helped me delve more into videography, and now I’m using the Sony A7iv as my main camera and the Sony A6300 as a secondary. The A7iv is an excellent camera with 33 megapixels and many great video features, and will be my go-to for a while. 

LC: What’s your favorite coffee or tea beverage? 

MM: My girlfriend has been a huge factor in developing my love for the Chai tea latte, which is now my go-to whenever I’m out.

Visit Max’s website here: maxvuz.com

Local Art Residency - William Bullard

LC: What a treat to have your work shared here at Local! So much to cover here but let's start with your relationship to Montclair, NJ. Please tell us how you are connected to this town.

WB: During the summer of 1976, I drove across the country interviewing at every independent high school that still needed an English teacher for the fall.  The last interview was at MKA, and I was the last thing between the English chair and his vacation, so I got the job.  My wife and I moved to a railroad flat above the ice cream store in Upper Montclair, and I started my first teaching job.  Two years later I remember that I couldn’t believe they were actually paying me to teach…I was having so much fun.  In 1978 we moved into a cottage on Central Ave owned by the school, which we later bought from them.  In 1983 and 1986 our kids, Nick and Zoe, were born.  In 1991, we moved to San Francisco so I could try my hand as the academic dean of a school there, but Montclair was always my “origin story,” and I never felt so woven into the full life of a community as I did there.  And I never found brighter, harder working, more joyful, whole, and fully alive students as I knew at MKA during those 15 years.  To get to see a group of them again 35 years later – brighter than ever and still full of beans – was so cool.  Thank you.

LC: I had the pleasure of seeing you reconnect with some of your students from some time ago. It made me smile and got me thinking about reconnecting with some of my childhood teachers and mentors. How has this role (of teacher) allowed you to become an excellent communicator in your current (photographer) craft?

WB: I don’t think I have anything more profound to say about photography than most photographers, but just as teaching helped me overcome my natural introversion, it also gave me some ability and confidence to connect to strangers, to be interested in and respect their presence, and see in a moment the potential for a story…all important qualities for street photography.

LC: Alrighty then...let's get right to it. I listen to my clients talk about your photographs and I laugh at the wild swing of characterizations. What were you REALLY going for when setting out to capture these moments in time?  

WB: I enjoy working in art museums because they provide ready-made some of the crucial elements for all street photography:  a “set” or dramatic stage that provides geometry, lighting, and, of course, compelling props and people who are absorbed, mindful, unself-conscious, often dressed for the occasion, and naturally arranged in tableaux.  Sometimes the compelling picture is purely formal – abstract arrangements of color and form that, once framed by the camera, hold the eye.  “Alexander Calder at the Whitney” is a good example of a time when I saw such a potential and waited until the woman in white turned to reveal that phenomenal Gallic profile.  Other times, the juxtaposition between the viewer and the work of art allows for a suggestive, psychological portrait.  “Brancusi at the Guggenheim” is one of many examples when I returned time and time again to a work of art waiting for the right person to appear in exactly the right relationship to that iconic sculpture.  And sometimes, though more rarely, a kind of dialogue occurs in which the viewer and the work of art appear to interrogate each other, in which the painting or sculpture appears to move or speak in response to the viewer.  “Ferrucci’s Caesar at the Met” or “Michelangelo’s Brutus at the Met” are the most dramatic examples in which that mutual interrogation occurs across cultures and millenia, but I see that happening in the Mukherjee, Medicis, and Picasso portraits as well.

LC: Your exhibition here at Local, 'Pictures at an Exhibition', encouraged me to revisit several Street Photography masters. I agree with your summation that the photo allows us to 'witness story after story unfold that can only be revealed in 1/250th of a second and bound within a 2:3 aspect ratio.' Looking back at images from Arthur Fellig (Weegee) and Saul Leiter who really nailed that raw NYC of yesteryear - I also think there's a bit of  'someone else out there understands me' as these images are so very personal. Do you ever feel like you've perhaps gone in and ultimately allowed someone permission to express something they couldn't have otherwise?

WB: In general, I find that street photography, and particularly these images, do not reveal a story as much as they create one.  So they may offer an illusion of self-expression, but it’s a fiction, entirely invented by the power of the frame, which creates its own context, and the invisible-to-the-eye momentary expression of the subject.  The man next to Louise Bourgeois’s creature was not, as it appears, shocked by the threatening shape looming behind him; indeed, I have no idea what prompted his fleeting look of horror, but it was perfect for the story that the frame of that picture tells, the frame which conveniently eliminates all the other visitors and thrusts him into a relationship with the sculpture that he’s not even looking at.

LC: You are lucky in that you are able to share your work across different venues. What are the types of things you learn from having the same work in different spaces?

WB: It’s rare, actually, for me to have this kind of opportunity to engage in a dialogue with an audience, but I’d say I’ve learned more by photographing in different venues than by exhibiting in different forums.  Occasionally, I’ll get into conversation with a curator or editor about the work, but then it’s usually a matter of selecting and sequencing photographs.  I have learned that folks often believe that the scenes have to have been staged or posed.  Or, at least, that the subjects knew that I was photographing them.  Those kind of questions seem to speak to the success of the illusion I just mentioned, that the images seem intimate and personal, that they seem to get inside a relationship or reveal a mind.  In fact, the subjects rarely know, if ever, that I’ve made a photograph, and I’ve never posed or set up a picture.  Occasionally, I’ve been tempted to ask, but that would defeat the purpose and certainly result in weak image.  One of the strategic advantages of photographing in museums is that I’m just another visitor with a camera, so it’s pretty easy to stay inconspicuous, to be the observer who does not influence what he’s observing.  Different exhibits inspire different general responses from visitors.  For example, the Michelangelo drawing show at the Met in 2018 seemed to pull in a lot of “slow art” sensibilities – visitors who would study a work for 20 or 30 minutes and be completely transported.  On many occasions I was able to get within a foot or two to make a portrait.  Others seem to provoke “mirroring,” visitors who take on a stance or posture reflecting a figure in the work of art.  In that case, I will compose the image ahead of time and wait (or “fish” in street photo lingo) for a visitor to complete the photograph.  But overall the failure rate is very high.  If I emerge from two hours at an exhibit with one image that I eventually print, I count the day as a huge success.

LC: Tough question (maybe) but do you have a favorite camera and why? 

WB: Actually, it is an easy question.  All of my recent museum work is made with Leica Q2, either the regular model or the new monochrome version.  It is a light, nimble, silent, inconspicuous camera with a fast, fixed 28mm lens, pretty good autofocus, and excellent resolution at high ISO values – so it’s very good in the dim light of most museums.  I do very little post-processing and print on smooth baryta paper because I want the prints to look like classic silver photographs.  The harder choice for me is between B&W and color, and with the monochrome camera, I often have to make that choice before I go into a show.  By experience and taste, I am a B&W photographer and mostly agree with Ariana, your previous artist, that color is often a distraction and conceals more than it shows, especially in street photography.  I have photographed frequently in Cuba – really the color capital of the world – and always process that work in B&W, which focuses my eye on the geometry of the streets and on the character of the people.  And yet with the museum work, where the color in paintings is so critically important to the experience of the artwork, the juxtapositions I’m seeking are often strengthened by working in color.

LC: What's your favorite coffee or tea beverage?

WB: Small cappuccino, regular milk (just a little, please).

Learn more about Bill by visiting his website here

Local Art Residency: Ariana Gavriilidis

LOCAL: Ariana! So happy to have your work up at the shop. How do you feel sharing a bit of yourself at the shop through your photography?

ARIANA: Hey Local Coffee! Thank you for allowing me to show my artwork, as I’m lucky to be among the talented artists before me. Over the last year, I started showing this collection of black and white photo series titled Europe in Black and White around different cafes and coffee shops in New Jersey and Upstate NY. I feel it should have gotten easier with each show, yet it is still nerve-racking! I am always nervous about how others will react or what they might think about my style of photography. However, I am thankful to exhibit my photographs and not only get feedback on how I can improve as an artist, but connect with people on their travels. As a result, I connected with loyal patrons of Local Coffee about traveling, their favorite style of photography, and most of all, their go-to coffee orders! 

LOCAL: Tell us a bit about these photographs. When, Where and Why?

ARIANA: Europe in Black and White captures moments from when I traveled in the summer of 2019 and the winter of 2017. This collection pertains to the countries of Ireland, the United Kingdom such as England, Scotland, and other countries such as Amsterdam and Norway. I've been lucky to travel and take these photographs around Europe, either on solo trips or traveling with close friends and family. I love traveling to new places and experiencing new cultures and bringing my camera along is no exception.   

I shoot my pictures in black and white as I believe it forces the viewer to focus on the image while adding color, in my opinion, can complicate and distract from what is right in front of them. Photographs in black and white exhibit the simplicity of the world, and can reveal that we’re much more similar than we are different. In addition, I’ve always been a fan of timeless black and white films, such as Casablanca, Notorious, and The Maltese Falcon. If the movie stars Humphrey Bogart or Cary Grant, I’ve seen it. My style and taste does not always resonate with everyone, but I believe there is something timeless with photographs taken in black and white that brings me back to a past life where we were not obsessed with editing an image to perfection.

LOCAL: You're still young and have been able to travel to many places many of us are still dreaming about. Tell us how you've been able to prioritize travel in your life -

ARIANA: For as long as I can remember, I had the travel bug. I will never turn down an adventure or the opportunity to go somewhere new. With my father being Greek and moving to America at 27-years-old, I got the chance to fly and visit my dads' side of the family from a young age. I knew traveling to Europe as a family was a privilege that not many kids my age had the opportunity to go. Once I knew places such as Athens, Mykonos, and Crete existed, I wanted to experience more of not just what Europe had to offer but the rest of America and the world. Being the youngest sibling, I traveled with my mother and sisters across the county for soccer tournaments or to see college campuses. Traveling has been a way of life. When COVID hit, I did not know if I could travel again. As much as I love New Jersey, there is so much more of the world to see. I learned that to grow not only as an artist but as a person, we need to step outside of our comfort zone and be open to new experiences. Additionally, it helps that my mother also loves to explore and travel, so I always have a travel buddy.   

 LOCAL: Was there one place that stood out where you felt super-connected to the environment?

ARIANA: One place that stood out to me when traveling in the summer of 2019 was the country of Ireland, especially the Irish countryside. I saw well-known cities such as Dublin, Galway, Cork, and Killarney and got the chance to explore Northern Ireland and tour Belfast, and crossed the National Trust Carrick-a-Rede bridge in Ballintoy. If you haven't seen it, you have to look it up! It is a wooden bridge that leads you to a remote island. I surprised myself by crossing the bridge. In addition, visiting The Cliffs of Moher, which are sea cliffs located at the southwest edge of Ireland that look out to the Atlantic Ocean, was a surreal experience. It’s breathtaking being on the edge of the world. Not only is Ireland's vast green landscape and the rolling hills unbelievably beautiful, but the people are friendly and welcoming. Growing up in North Jersey, I'm familiar with heading to Upstate NY and seeing a remote landscape, but Ireland's extensive history and open space needs to be experienced by all. 

 LOCAL: Is there a special location OR geographic environment that you have on your roadmap?

ARIANA: I’ve always said that before turning 30, I wanted to complete a road trip out west and explore the landscapes of Montana, Wyoming, Idaho, and Utah and visit either Glacier National Park or Yellowstone National Park. There are so many places in America that I have yet to tour. I would pick mountain ranges and forest landscapes any day compared to a beach setting. I’ve never been a person that chooses an island or a pool vacation to relax and unwind. Back in 2018, I climbed to the top of St Mary’s Glacier in Colorado, which at the peak is around 11,000 ft above sea level. I remember feeling small amongst these gigantic pine trees, and there wasn’t a feeling quite like it. It reminded me how important it is to look past what’s right in front of us and look at the bigger picture. I have three years left to fulfill this goal and now that I work remotely, I’m hoping to accomplish this vacation sooner rather than later as it has never been easier to work while traveling.

LOCAL: For our fellow photophiles out there, what type of camera(s) are in your arsenal and do you have a 'go-to' camera for special moments?

ARIANA: That is a difficult question! In total, I own ten cameras as some cameras I inherited from relatives and other cameras I purchased. Although the camera I can never leave the house without, besides the camera on my iPhone, is my Nikon FM 10, which is a manual 35mm. This camera I used for the Europe in Black and White series. It’s been with me everywhere and my most prized possession. I seem to be a brand loyalist to Nikon. It was the first camera I purchased back in middle school when I started adventuring into photography. My parents bought me a Nikon CoolPix L24 Digital Camera, in the color red, and Nikon has been my go-to ever since. The rest is history. 

 

If I somehow forget to carry my Nikon FM 10, I like to have either my Nikon DSLR handy, a Fujifilm color 35mm disposable camera or an Instax Mini 9 in my bag for some fun quick shots with friends. I love the feeling of sending in the camera in order to see the photographs.    

 LOCAL:  What's your favorite coffee or tea beverage?

ARIANA: Personally, it depends on the season. In the winter, I love chai with soy milk, and in the summer, it is either an iced coffee with soy milk or an iced tea with some honey. The honey I buy is from Local Coffee! Over the last year, I've been on a honey hunt for the best honey in New Jersey, and the Raw Honey available to purchase here goes with me everywhere!   

To learn more about Ariana and follow-along through her many journeys: https://linktr.ee/ag_curate