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 - 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 - Janette Afsharian

LC: Janette, we first connected more than a year ago when the concept of showing your work at Local was first discussed. What I remember from that call is that we were on the phone for more than an hour (which is a rarity these days) and it was the most honest and enjoyable conversation I had in a long time. You have this pure form of communicating that both made me laugh but also made me feel better about some of my own thoughts. Have you always been this forthcoming in your dialogue?

JA: We totally clicked. Our phone conversation was great. But seeing you in action at Local it’s pretty obvious you have a talent for making people feel comfortable. It may be one of those, “it ain't me, it’s you” type of things. However, you are right that I’m pretty candid. I have a tendency to lead with letting people know I’m not on 100% footing on many things. I’ve been joking around lately saying that in a job interview when asked what are some of my weaknesses I’d say, “I’m wrong a lot of time.” Thankfully, I’m self-employeed. Also, I’m super cool until I totally panic. I like to tell people I’m the person that you’ll have to shake and slap a few times when things get in a high stress situation. Even though I like to lead with my mess, at times, I do have my crap together (sort of) but I like to connect with people on the interesting and funny stuff... the struggle that’s where I relate.

LC: I love this approach because I can tell immediately when either a person, a brand OR anything else for that matter tries to be or do something that they do not have the experience or right to express. Think this is part of the beauty of growing up in NYC... most of us can immediately sense authenticity or lack of it. How did your childhood and/or formidable years contribute to you being so real?

JA: That is 100% why when I moved to New York City 25+ years ago, I knew I had found home. I grew up with two cultures that strongly believe in manners over truth. The Iranian culture (my dad) and Texans (my mom) have may subtle mannerism which always left me wondering what was the truth. In New York if they like you knew it, if they wanted you to get the fuck out of the way, you knew it. I loved it!

LC: OK so I was setting you up with questions number 1 + 2...tell me how this honesty translates into your craft and expressing yourself in your art?

JA: Honestly, I have no idea. I think I’m trying to work out something in all these lines but I’m not sure. I paint in my attic listening to music. It’s meditative for the most but part but I do get frustrated at times because I can’t draw a perfect cat or deer or something like that but then I just move back on to my abstract line drawings. I try to balance the colors and find depth and balance as I draw each line with yard sticks. I try to perfect some things and destroy others as a progress. I think about my family, friends, kids, my past, crazy times, marketing art, and grand ideas of being an artist as a grow old. I'm really simply painting because I have always wanted to but also always found a reason not to until now. I’m just doing it.

LC: Tell us about this work you chose to share -

JA: Right now, I have a total of what I think of as four collections of work. The first, are in a minimalism style and fall into the Gerhard Ricther area (people say). I love these but some may I think they are too simple. Surprisingly these are ones I get the most purchase requests for on Instagram. I haven’t been able to part with them yet. Next, is the plaid series. These are the most fun to paint and look pretty cool in person but I didn’t think they are complex enough. The third, are leaning into cubism. I don’t have enough of them for a collection plus I just sold one of these yesterday so I have even less now. The forth, Linear Motion, is what I selected to exhibit because they are what I’ve been experimenting with most lately. I think they capture where I’m at with my painting at the moment. A combination of all of the other collection trying to fit into one space and be seen.

LC: I can tell you how much I appreciate it as it just seems so timely right this very moment. There is so much going on right now...so many distractions..so many directions but it is ultimately up to each of us to make sense of all of it. Also, these paths/lines can be quite chaotic but if you step back and breathe, they can also be quite beautiful based on your interpretation. I've gotten more comfortable with this concept as of late. In my best Wendy Williams voice, how you doin' (through all of this)?

JA: I think the painting capture how I’m doing. The lines are stationary yet there is a lot motion.

LC: Alrighty then...I know you are quite busy so I'll save the rest of my questions for when I see you next. But before you go, critical inquiry - what is your favorite coffee or tea beverage?

JA: Black coffee in the US. Black tea in Iran.

Learn more about Janette here and find her on Instagram @janetteafsharian.art

Local Art Residency - Ann Kraus

We're so grateful to share your work here at the shop. What a beautiful canvas as we move into the holiday season. Tell us a bit about Random Daydreams. 

I am very excited to be exhibiting my work at your location and am thrilled it has received such a warm reception.  Pulling together the mono prints for Random Daydreams has been a wonderful experience.  They are a departure from my  acrylic paintings of clouds and sky-scapes that are more subjective and planned.  While approaching my landscape painting I normally have an idea of what I would like to portray.  On the other hand, my abstract prints are an extension of thoughts and feelings that are transient and done spontaneously.  So the art produced is very similar to unconstructed musing (daydreams?) without a specific destination. They can be summarized as intuitive and open to interpretation by the viewer. 

 How did you land on this particular layout and shape? 

 The shape of my prints are dictated by the size of the gel plates I use. I have a variety of sizes and overlap the colors and textures to create depth and perspective.  I also use acrylic paint designed for this purpose and vary the opaqueness and transparency to create a mood that is colorful and vibrant.  But again, there is no preconceived planning and the shapes and colors speak for themselves. So there are no “wrong answers” as to what they represent.  

I am always curious about the artist's journey so tell us, how did you arrive at this particular work at this point in your life?

My artistic journey has spanned many years.  My mother was a painter back in the 1920’s and I was always encouraged to express myself in drawing and painting.  I still have a number of her paintings and her spirit is alive in the work.  I have come to believe that listening to your inner voice will be manifest in your work.  And while the body of my work is now sky scapes and clouds, the abstract mono prints are the result of that inward turn and interior focus.   

You participate in quite a bit of gallery work as well as supporting our town's 'Studio Montclair'. What does it mean for you to support this active community?

Studio Montclair is a marvelous local group and the organization is well regarded in the art world.  Prior to the pandemic, I volunteered as a gallery sitter at the Upper Montclair location and always enjoyed the relaxed and welcoming environment featuring vibrant local artwork. The town is so lucky to have this organization here. 

Of course Montclair has always been a haven for artists dating back to the late 1800’s where a “colony” of artists could be found here.  Probably the most famous was George Inness but there were a number of world renowned artists including painters, sculptors, stained glass artists and engravers.  So maybe there is something in the air that just invites a creative cohort and nurtures those who express themselves through art.

We're hopefully coming out of a terrible time for humanity as the Pandemic 'seems' to be on the retreat - curious how this time has affected the way you think about your craft.

I think the pandemic has presented a unique opportunity for those living through this turmoil to use it as a springboard for creating work.  In the early part of the period, I found myself working through the fear and anxiety by producing artwork such as “The Apex” which was in a recent Studio Montclair show and subsequently included in an article published by The Local newspaper. My memory of that time was being glued to the daily television reports and listening to the number of positive cases and deaths in our area. Then I would retreat to my studio and pour that energy into my paintings. 

But with the vaccine, a brighter stage of optimism bloomed and my paintings changed to reflect that environment.  A good example is the present show where the colors and vibrancy are harbingers of good times ahead. What a wonderful way to celebrate a bright future!  

What's next on your artistic journey?

I’ve recently returned to The Art Student’s League when they reopened after the worst of the pandemic.  Painting clouds and impressionistic landscapes continue to interest me and I will continue to refine my style.  I study with a splendid instructor Ronnie Landfield who is considered one of the best painters in America.  His style is lyrical abstraction, but the color field painting and use of light is unique and I have benefited greatly by his observations.   

 Additionally being in a group setting with other painters is always a treat as you get to critique and exchange ideas. In fact, during one of those interactions I learned there was actually an international  “Cloud Appreciation Society” out of the UK with 50,000 active members.  Needless to say, I then joined and my work has been featured on their website given the subject matter. So you just never know what these interactions will produce. 

 I am also a member of Pleiades Gallery of Contemporary Art in the Chelsea Art District in NYC.  I enjoy the collegial and collaborative atmosphere of this small gallery and look forward to another solo show in the near future. So life as an artist should be neither static nor isolating, but always evolving and engaging.  I guess that’s my approach to my artistic pursuits and life in general. Be joyful and positive!! 

What's your favorite coffee or tea beverage?

Oh, without a doubt, @TayTea Wild Woman tea is my favorite!! 

Sales of Ann’s work displayed @ Local Coffee will graciously benefit the Montclair Animal Shelter.

Learn more about Ann through her website @ Annkrausstudio.com

Local Artist Residency - Lindsey Wilderotter

Lindsey! So happy to have your work up at the shop. I feel like we discussed this opportunity a good time ago and here we are. How do you feel sharing a bit of yourself at the shop through your photography?

I am so happy to have my work up at Local! I remember reaching out last year and you telling me that the next available time would be Fall 2021 and it felt like it was going to be forever away but now we are finally here and it feels great. It truly feels amazing to have something that I created displayed and shared with your shop. When I have walked into Local to grab a coffee, I have seen so many beautiful artists' work hung up on that wall and it feels really cool to have that be me for this month. Photography has been such an outlet for me and I love telling stories or evoking emotion through my photographs so I am really excited to have some of those be shown to the local community.

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

These photos are from a few different places but mostly the timeframe is between fall and early wintertime. The first section of my photos are some of my favorite fall photos from local spots around New Jersey. Fall is my absolute favorite time of the year. I love to watch the leaves change and the world around us come to life with color. It is truly so beautiful and I love to capture this time of year through my lens. Most of the fall photos displayed are from Verona Park and South Mountain Reservation. The second section is more of my travel photos from both Scotland and Canada. I went to Scotland a few years ago with some friends and was so taken aback by it’s beauty that I literally had my camera in my hand every second I could. And it was the same in Banff, Canada. That place was truly special, there were mountains everywhere I looked and it really took my breath away. The third section is a combination of both travel but also adding in some more colorful lighting. A theme that I wanted to show through this display was not only the travel/landscape side, but also in a few of my photos I love to capture reflections. Especially with the changing of the seasons, I tend to do a lot of reflecting on where I have been, what I have seen and where I want to continue to go. These photos remind me how grateful I am to have stood where I have but also tells me how much more there is to see.

I ask this question of most of our photographers - how do you feel about the discipline now that we all have a camera in our pocket and take a gazillion pictures each day vs. purposely setting out to capture some specific image or topic?

It is really interesting how easy it is for people to just whip out their phones and take a picture of literally anything at any time. There are times I find myself reaching for my phone just to take a quick snapshot of the sky that looks cool and I usually kick myself for not having my real camera to get a better shot. It is crazy how well iPhones and smartphones can take a photo, sometimes it is hard to tell the difference between a real camera and a phone which to be honest makes me a little sad because I just love digital and film cameras so much. But I definitely still set time aside to go out with my camera, to go to different places with the purpose of getting some good shots of either something particular or just walking around a certain area for a few hours and seeing what I can find.

Before the pandemic, one of my favorite things was going into NYC and just walking all around Central Park, down to Bryant Park, and through the Flatiron district with my camera at my eyes the whole time, taking it all in and clicking away. I loved that, going in at different seasons and seeing the city change through my lens was so cool.

The composition on these images are really special. How do you set out to frame your photos? Do you perform a good amount of editing post capture?

I try not to edit my photos too much, I try to capture them in a way that shows what I am trying to tell. I always want to show a real version of what I see when I put the camera back down. However, there are some that I have edited a bit darker or to have more of a “moody” effect which I have been loving. I love to get a different shot, something more unique that I feel is my own. When I am out shooting, I try to look at things more artistically and see how I can capture the scene in a way that people may not always see when they first look out, but also something that draws people in. It is a little hard to explain but I am always trying to get that unique shot, through the trees or by getting down on my knees from a different angle. I love to still show the beauty that I see but maybe in a way that is original, if that makes sense.

These images represent a good amount of travel. Was there one place that stood out where you felt super-connected to the environment?

I think one of my favorite places that I traveled to was Scotland, where a few of these photos are from. It was such a breathtaking and amazing place to be and I feel so grateful that I was able to see it in person. I spent a few days in the city of Edinburgh but the majority of the trip was exploring the Highlands and smaller country towns of Scotland. It was really so cool to see the landscapes of this beautiful place and the wildlife. I was able to see horses on the farms we passed by and the infamous highland cows. The highland cows are gorgeous and during the trip we actually pulled over on the side of the road where we saw some eating some grass and just watched them. One of my favorite things about traveling is to be fully immersed in the culture and environment of where I am, and it was so easy to do in Scotland, with it’s stunning landscape, friendly people, and unique wildlife. I definitely plan to go back there.

What camera/ cameras do you use in your discipline?

I use a Canon Rebel T6s. I got it for Christmas a few years ago and it truly has changed my life.

What's your favorite coffee or tea beverage?

Oh my favorite question! To be honest, it does change with the weather and when I am looking for something warm, I always go with a mocha latte with oat milk but if it is a nice summer day I am for sure grabbing a cold brew with oat milk :)

See more of Lindsey’s work here

Local Artist Residency - Helen Greenberg

Thank you so much for sharing your work with us here at Local! It seems like your work has immediately struck a chord with our community as we're noticing customers are getting really up-close to the work and asking lots of questions.

Some of the questions revolve around the texture of the work. How did you discover and select this particular type of paper and paint?

I have been a traditional watercolor painter for many years.  This particular work was inspired by the Asian papers that my daughter Linda brought home from one of her trips. This began my journey into abstract work. All of my family travel and bring me interesting papers and I purchase them in art stores.  

You mentioned that you created this work during the darker days of COVID this past year. Did you set out on a path to communicate a particular theme OR did you just see where the day took you?

I have no end in mind when I begin a painting.  I am interested in color, shapes and texture. 

This isn't your first rodeo :) as you've been painting for some time. How and where did you get started and what was the turning point for your particular lens in this discipline?

I usually start with a loose watercolor under painting and from there I tear and apply the papers in layers until I am happy with the result.  For me, this is very meditative.  I love watching what evolves. 

We have so many aspiring water colorists that visit the shop. What advice would you share that will help them find their own particular style?

I can suggest they keep experimenting…keep open minded and try to be free.  You never know what can happen and that’s the fun of it. Hope this answers your questions and thanks again.  I am pleased that people are interested in the work.

See more about Helen here: Helen Greenberg Video Short

Local Artist Residency - Ling Chen

Let's get right to it! Please tell us about the dark, seedy, underbelly of the world of watercolors!

Can’t tell ya because I kinda live under a rock (yes, in the world of watercolors as well). I am rather ignorant of the bubbly local art scenes and am really bad at remembering names. Thanks to the Internet, I got to admire the wonderful works of the watercolorists from around the world  and to drool over their work virtually. For me, the best watercolor is fluid, spontaneous, and captures the mood and atmosphere without spelling out every detail. Water and pigments interacting with the help of gravity can do wonders.

So you're saying that WYSIWYG? I have to believe that there's more in that image than a beautiful representation of a person, place or thing?

Luckily what you get is more than what you see sometimes, although I cannot claim credit for that. When people look at the sketches of Local Coffee, they’re reminded of the cappuccino and the amazing owner who-shall-not-be-named. And people reacted warmly to my sketch of American Royal Hardware because they just love that place. I captured the moments and places as I see it, and viewers enrich it with their own fond memories. 

OK, I tease you because you have this wonderful sense of humor and your work is obviously beautiful and moving AND everyone loves it. How did you get started?

Whew! I’d be devastated if you had neglected to notice or praise my wonderful sense of humor. 

I learned how to draw in middle school. In an after-school drawing club I became really good at cross hatching while drawing still life with graphic pencils. Fast forward 30 years, I started to draw again since my life was overwhelmed with work and kids. I did Saturday classes for a few months and attended a few weeklong watercolor workshops. It was a surprise that I improved quickly. I took on sketching because that’s something I can squeeze during the little free time I had - waiting at the airport during work trips, or hanging out at the playground with kids. The type of city sketches you see here actually started in May 2018.  A  friend of mine and I attended our first Jersey City Artist and Makers Fair where I had a total of 3 sketches of Jersey City downtown. A couple of prints were sold and people asked for more. And that started my journey documenting my neighborhood. The more I sketched, the more to sketch to capture the changing face of the places.  

Perhaps a silly question but how did you get SO good? I mean, c'mon - this work is masterful.

I wish I could agree with you, but I appreciate you believing so. Drawing from direct observations on location helps, I believe. It forces you to capture what you see and how you feel instead of every little detail that a photograph captures. Showing how people interact with a place brings a piece to life. 

I had the pleasure of meeting your 84 year old mom who is adorable and has quite a bit of spunk. How influential was mom in your life and while developing your craft?

My daughter recently commented on how strong grandma was rolling the dough when she demonstrated how to make scallion pancakes, unimpressed with the wimpy attempts by the youngsters. She used to run an editorial department in a rolling stock (trains, that is) research institute publishing periodicals and books. And she dedicated her entire self taking care of the family. She hand-made dumplings, noodles, sewed clothes, knitted sweaters, and made hats and shoes - not as a hobby but often as a necessity. After she retired, she took on Chinese painting and shocked all of us with her art talents. But then she readily gave that up and came to take care of her grandkids - my babies could win the cleanest bottoms contest and the fervor in feeding her grandchildren is unmatched. I have half of her talents and a quarter of her drive. I taunt my kids that my mother is better than their mother.

I noted how fast you are when creating each of these works. Was that a need based skill OR was there another reason you are so expeditious?

Yes and yes. It certainly started as need-based. I was sketching while watching my kids at the playground, and as any parents have well practiced, I was prepared to jump into action at any time. I also really like to capture the moments, such as music performance on stage, and those moments are fleeting. Some of the work I personally like most are those created within 5 minutes.

Aside from your Local storefront watercolor being your favorite (obv), what comes in as a close second for your favorite work (Montclair or otherwise)?

You forgot I have two sketches of Local, that make my two favorite works. Of Local.

I like Dem Two Hands. I like the color and felt I captured the spirit of that beautiful place. 

I also like a few sketches of murals - Jersey City has plenty of them. It’s like picture-in-picture.  

This question is for my sister, an aspiring watercolor enthusiast - what tips can you offer someone seeking to up their approach to this discipline?

First, learn from the best, I mean, the very best, even from the beginning. My first watercolor workshop was with David Taylor, a watercolor master from Australia. I was such a newbie that I was identifying basic colors such as Ultramarine Blue and Raw Ciena in the evening after day 1 of the workshop. By the end of the week, I produced some of the best work among the workshop attendees, partially because I didn’t need to unlearn anything. Joseph Zbukvic, another Australian artist, is an absolute master in watercolor. He has an amazing process that makes painting landscapes seem effortless. I also learnt from Eudes Correia, a Brazillian artist in Portugal. I love how he paints people. 

Second, do what feels natural to you. I learned how to paint watercolor from those masters mentioned above, but I sketch in my own style. I use a calligraphy pen filled with permanent ink to sketch first, and use watercolor on top of it. Scribbling the lines feels natural to me.

Learn more about Ling Chen here