Hi Dom!
I'm from Los Angeles, California.
Night God , 2020, graphite on paper, 11h x 8.5w in. Avatar, 2020, oil on panel, 30h x 19w in. (top)
What artists are you currently looking at or inspired by?
I've been looking at Ingri and Edgar d'Aulaire's Book of Norse Myths and Book of Greek Myths, both which I've had since early childhood. Recently, I've been noticing some connections between the work I currently make and the images and stories that held power for me during my formative years. The illustrations in the Book of Norse Myths are especially wild and earthy, super mystical and epic. I also collect images of the art on the covers of science fiction novels. I've recently been inspired by Tim Brawner, Jessica Hang, Suellen Rocca (RIP), Peter Doig, Janiva Ellis, Kira Scirbin, Maren Karlson, Mika Rottenberg, Brooke Hsu, Asma, Hermann Hendrich, Sara Anstis, Robyn O'Neill, and Vija Celmins, to name a few. I'm helplessly drawn to figurative work, and also to those who are capable of creating a world equal parts confusing, insular and potent, with their own unique, subtle language and enamorment. Especially those whose works can quickly alternate between the dark and the light. All of those listed above tend to do this.
Are there any occurrences in the art world that you are currently eyeing?
I've been very into artist-run exhibitions which I've mostly been able to see through the internet, especially shows put up by Dark Zone, Prairie, In Lieu, From the Desk of Lucy Bull, Gern, and a bunch more which are escaping me at the moment. There is a cool moment right now of collaboration which transcends physical distance and (at least in some cases) popularity which seems to be made possible by the internet. The internet also makes way for offsite exhibitions, where the archival documentation of a curated exhibition is what exists as the show. Anyone can see it and it's automatically more about the work than it is about social dynamics, big money and who knows who. Offsite shows are about the work and the way it can transform inside of a somewhat unknowable space. The work takes on a life of its own and the human touch can be more or less obvious than otherwise.
In fact. I recently had my first solo show, with Garthim, which is a "wondering
project space" run by Justin Ortiz. :)
Here's the link: http://garthim.biz/DewdropToadstoolHopscotch.html
and here's some press on it: https://tzvetnik.online/article/dewdrop-toadstool- hopscotch-by-isabelle-adams-at-garthim-mattheissen-state-park
What is your favorite art material and why?
I really enjoy drawing with non-photo blue lead and HB graphite. The blue can feel at once heavy and ephemeral, and it's a lead which is primarily used for a preliminary step for something grander, as in blueprints and underneath graphic illustrations. It's called non-photo blue lead because it's a specific shade of turquoise blue that doesn't show up when put through a copier or photographed by a Graphic Arts Camera, so it's literally meant to be invisible. I use it as the only color in a lot of my drawings and its softness brings me a really nice joy and satisfaction.
Spellcheck, 2020, graphite on paper, 11h x 7w in. Jenny’s Gate, 2020, non-photo blue lead on paper 9h x 12w in. (top)
Who has been your favorite professor at SAIC?
Peter O'Leary is one of the best teachers I've ever had. I've taken two of his classes, both of which have influenced my thinking in a big way. Keiler Roberts was also incredible, and Jessica Campbell, Christa Donner, Gladys Nutt, Erin Washington, Sam Jaffe, Frank Piatek, all of my current Advanced Painting professors... There are a lot of brilliant professors at SAIC.
Do you have an Instagram page you would like us to share?
Yes. Images of my work can be found here: @isa__________belle
How has the transition to a home studio affected your practice?
It's definitely different from having full access to a woodshop and my own studio, easel, wallspace, cabinet, etc. but it's luckily been pretty manageable. I've been staying here in Los Angeles with my family and partner, and my parents run a music and performance venue which has been completely shut down since lockdown began. My partner (who I shared a studio with while in Chicago) and I have been coming here Monday through Wednesday from 10-5, so we've both been getting a lot done. I've mostly stuck to drawing and knitting because many of my supplies for oil painting remain on campus, so everything is a lot more lowkey.
Have you been able to maintain a fruitful practice in a new innovative way?
Yes! There's been a lot of anxiety about our various futures around here, so sometimes it's a little harder to have the energy to maintain my practice, but I'm definitely still working.
How long have you been in Advanced Painting?
I've done advanced painting for one summer session and for this current semester.
What has been your favorite part of being in Advanced Painting?
Having a place where I can leave my work and spend a lot of focused time getting work done. Also, getting to see the work of the other students. Having breakthrough conversations with professors.
Has your work changed a lot through your time in Advanced Painting?
Definitely.
Wonderful, thank you!
Have a good one!
Isabelle