Anne Kelly (00:12):
Hey friends, welcome to Art in the Raw Conversations with creative people. Tonight I’m excited to introduce you to Sculptor Layered Holin. If you’re a regular here, it’s great to see you. And if this is your first time watching, long story short, I have been in love with art and music pretty much as long as I can remember. I’ve now been working in the professional gallery world for about 16 years and I started Art in LA Raw about halfway through 2020 to keep people inspired. If you see value in that, consider subscribing and telling like-minded friends. If you’d like to know a little bit more about me, tonight’s guest or the show, take a look at the description below. Thanks for joining us tonight. It looks like you’re in your studio.
Speaker 2 (00:58):
I am in my studio in Santa Fe, Tyler Road neighborhood.
Anne Kelly (01:02):
There’s a lot of amazing artist studios in that area. That’s
Speaker 2 (01:07):
A secret. Don’t anybody tell anybody.
Anne Kelly (01:09):
As I understand it, you have done foundry work for other well-known artists. You have been making your own work now you’re represented by a number of galleries. Canyon Road, another one in Martha and Taos.
Speaker 2 (01:23):
I’ve been an artist since my mid-teens. I was really lucky where I went to school, Inman, Montana. At the time arts were very valued and I somehow managed to have a schedule of four art classes, banded and English my last two years of high school. So I was gonna be an artist. There wasn’t really much doubt at that point cuz math and science weren’t really working and my mentor in high school recommended I meet and study under his teacher in Santa Barbara, uh, little college in Montecito outside of Santa Barbara, California. So I went and studied under him. Then went back to Bozeman after a year two down in Santa Barbara and didn’t really have a big plan in my early twenties and a high school art teacher bought into a foundry and asked if I wanted to to work in it. We knew I was still making on my own and asked if I wanted to work in a foundry and I was like, yeah, sure. What foundry? I’m still doing foundry work. I’m self-employed, work for Dwight Hackett Art Foundry, about a block from here over on industrial where the makerspace is now. It is my first job in Santa Fe and worked for some really top-notch artists there. Cheeky Smith Luna and he’s a local Susan Rothenberg, his wife Juan Nos, some really great blue tip artists. I got to see how they work and I got to produce their work doing wax work for castings. And my work is about casting the bronze work refers to the casting process
Anne Kelly (02:54):
And you work in a number of different processes.
Speaker 2 (02:57):
I’m drawing my work in a 3D drawing program. I took some classes out at the community college in CAD and the rca, very expensive programs and I’m using SketchUp, which is a whole lot cheaper until I needed all the bells and whistles. So yeah, I’m drawing on the computer and some of it I’m 3D printing or having it 3D printed. I fabricated in steel primarily, occasionally bronze. I have my drawings in a cab program and send all my dimensions to choice of reliance steel and they cut all my carts. My recent piece that I’m finishing up now is 137
Anne Kelly (03:37):
Part. Oh wow. And then you weld them together? Yes. 137 parts you would’ve drawn.
Speaker 2 (03:43):
Yeah, I do all the drawing in the digital program these days. I think I have some pencils somewhere too. I used to do these things, rulers and and protractors and encompasses, but it’s really hard to get very small and the more complicated I get it’s I need to be a little tighter. As I’ve gotten more complicated, my style has changed as well.
Anne Kelly (04:04):
Sure. The digital versus analog conversation tends to come up frequently. But I think it’s interesting in that with mediums like photography, that’s a more obvious thing, digital photography versus film. But I don’t feel like a lot of people are thinking about that as often when they’re looking at other mediums. A lot of those tools have become pretty predominant. But I don’t know that the, the general public thinks about that.
Speaker 2 (04:31):
It’s hard to get galleries to show this stuff. The digitals 3D printed stuff I’ve made molds and use those to do small bronzes and those are good, but it’s galleries are hesitant to show the 3D prints cuz it’s not really an established media.
Anne Kelly (04:47):
It’s interesting that you say that cuz I wanna say 15, 20 years ago that’s where photography was with digital and now people expect digital prints and if they see something’s printed using an analog process, not to say that’s infused but they need an explanation right behind it. And I know a lot of photographers that for years galleries wouldn’t touch their digital works. That’s still the situation with sculpture,
Speaker 2 (05:13):
At least in the sculpture world that I’m in. I’m also doing jewelry and some of that is 3D printed in metal.
Anne Kelly (05:20):
I was looking at that and that was another thing I found intriguing is that your work sometimes exists in monumental size but then you also have smaller desk sized pieces but than jewelry as well.
Speaker 2 (05:34):
I’d have something that visually, aesthetically, I think it’ll work at absolutely any scale and jewelry is one.
Anne Kelly (05:40):
So I would imagine utilizing the digital tools makes that a little more possible
Speaker 2 (05:45):
Word. Some of it was just absolutely impossible without the printing. It is chest fy print. Let grab one. Yeah please. Here’s some examples now that’s Chas from ay print. So printed in wax and then cast and lost wax process from a print and this piece that’s printed in steel,
Anne Kelly (06:06):
So the other one was printed in wax and then cast. But that one’s just printed in straight steel. That’s wild.
Speaker 2 (06:11):
Yeah. How’s that in Bos? I don’t know. But products for sure. They use a powdered steel, it’s like an inkjet printer. Like lay a thin layer of the powdered steel out and then print one layer, then lay another thin layer of powdered steel over it. And then after the thing is printed, it’s got that binder in there so the binder is replaced, making the piece fully metal. Completely metal. Now that’s the part I don’t understand.
Anne Kelly (06:39):
Speaker 2 (06:40):
Yeah, I’m really loving that technology.
Anne Kelly (06:42):
I wanted to show you something. My buddy Edward Bateman who’s a photographer, he also teaches at the University of Utah. He makes these 3D rabbits with the medium format camera. And I recently learned the University of Utah was one of the origin places for 3D digital printing. The whole teapot model can’t claim to be an expert but I
Speaker 2 (07:05):
Am not an expert at all. But I can draw on pieces that can be printed
Anne Kelly (07:09):
But it’s worth looking up.
Speaker 2 (07:11):
Asked my first piece of jewelry when I was in high school or it’s not for in to work in that scale. But yeah, now I have quite a few pieces in that tiny scale and but before that I was pretty much just four to six inches was as small as I’d made anything and 12 by 12 feet as about as big as I’d made anything as big enough for now.
Anne Kelly (07:34):
For now you say right?
Speaker 2 (07:36):
Yeah. It’s hard to move wide load.
Anne Kelly (07:38):
Going back to the digital analog thing, one of my pet peeves is there’s this weird thought process where people think anything digital but the tool is somehow responsible for the creation of the image. And you use a hammer to build a house but the hammer didn’t come up with the design for the house.
Speaker 2 (07:57):
Yeah, that’s a funny one cuz they look at the prints as if the machine did everything and I just somehow transmitted magically from my brain to this machine rather than actually making the piece. But I’m using my hand to do it.
Anne Kelly (08:14):
Right. But if you could just magically send that information to the machine from your brain, that would be kind of cool too. Right? They’ve
Speaker 2 (08:22):
Been better. Yeah.
Anne Kelly (08:22):
You just imagine it and
Speaker 2 (08:24):
The way it is, it’s gotta be pretty tight and kind of perfect and it’s not really my style. So if I could just transmit it mine to machine, I could have a more of the human features if you will feel
Anne Kelly (08:37):
Like that’s coming next. I found a videod from the reporter from a show that you had had in a gallery that was an old grocery store.
Speaker 2 (08:45):
Yeah. My friends Josh and Melissa uh, put on these shows. They’re realtors faces that were for sale largely and they used them to showcase art and have live music. It was, it was pretty cool. And at the time I didn’t have a gallery so it was a nice way to get shown. Creative way to get shown.
Anne Kelly (09:05):
You’re showing in a few different galleries.
Speaker 2 (09:07):
I’m in a Tierra Mar at 2 25 Canyon here in Santa Fe and then Pine House that’s on the main drag there and Esperanza Projects in Marfa. Jennifer Esperanza, the photographer that used to live in Santa Fe for ages has a shop down in Marfa where she shows my work and and it
Anne Kelly (09:27):
Stuff. That’s cool. I didn’t know that she, she’s one of those names in Santa Fe that even if you don’t know her, you know of her. And I hadn’t heard about her in a while but I thought maybe it was just the, the pandemic. She’s
Speaker 2 (09:38):
Got a shop right on the main street there. It’s a classic building. City hall
Anne Kelly (09:43):
Always wanted to go. I don’t know why I have not been yet. Well
Speaker 2 (09:46):
There’s not a lot
Anne Kelly (09:47):
There. No, but it has a strangely large art scene for a town that is small. Yeah,
Speaker 2 (09:52):
It’s all about the art. Tiny little town. They like the rusty steel down there. So I like them.
Anne Kelly (09:58):
In this day and age, I think it’s easier for artists to be self represented. However, as you know there are administratives and shipping and tasks and a lot of other things you have to tackle. So that trade off is having more time to actually work on the art.
Speaker 2 (10:16):
There’s a lot of tools available for me to market myself, but that’s mostly over my head and pay grade. So
Anne Kelly (10:24):
You wanna make the art? I do not answer the emails.
Speaker 2 (10:27):
That’s all I wanna do. I did talk to someone that’s interested in buying work or future developments. They came to me and that would be wonderful prospect in the
Anne Kelly (10:37):
Future. Teacher developments?
Speaker 2 (10:39):
Yeah, like home developments.
Anne Kelly (10:41):
Okay. Okay. You do have a lot of pieces that are public projects.
Speaker 2 (10:46):
I had a few pieces in public. I’ve got a couple pieces in Bozeman, Montana and there’s one out at Darra Village. There’s one further up Canyon, the convention center for a while. So yeah. Work well in public places. Going
Anne Kelly (11:01):
Back to the gallery thing, not everybody’s comfortable in galleries so when you’re able to have public art projects it opens up the work to a larger demographic. A
Speaker 2 (11:12):
Lot of people I don’t expect to like my work like it and people I might wish did don’t. Interesting to me to see who relates to my work.
Anne Kelly (11:23):
Have you ever just hung out on the corner by a public piece and watched people? Yeah.
Speaker 2 (11:29):
Yeah. It’s for, I went to pick a piece up in Bozeman a couple years ago bringing down here for gallery here. I went to get, and there’s a little family there and the kid was inside the piece. I was happy to see the interaction. That’s cool. Through the parents wouldn’t have let him climb in it had they known the artist
Anne Kelly (11:44):
<laugh>, some of your pieces are bronze and solid form and some of ’em feel more like a line drawing.
Speaker 2 (11:51):
The larger pieces, they’re plate steel plate ponds on some of them. And then yeah, I do the, the line drawing with rod dealer, bronzes rod and can make a a very spacious piece with very little material. Interesting thing about them. But they need to be in the right context kind of disappear. They’ll have the mass that the other pieces do.
Anne Kelly (12:15):
Right. So the one that kid was hanging out inside of
Speaker 2 (12:19):
That was the bele solid. The OID piece. Look a single geometric solid with a hole through it.
Anne Kelly (12:25):
Mm-hmm <affirmative>. Okay.
Speaker 2 (12:26):
Not an actual Touro, but it’s Weedle Say that 10 times.
Anne Kelly (12:30):
I was gonna say, I don’t even know that’s a word I’ve heard before, but I like it.
Speaker 2 (12:34):
I might have made it up.
Anne Kelly (12:34):
Yeah, that that works too. And I definitely couldn’t say it 10 times. You had the advantage of working for some well-known artists, I would imagine when you went about trying to find a gallery to represent you, you had a little bit of information from being around those people. Do you have any advice how to pursue that? I
Speaker 2 (12:54):
Don’t think I’ve ever gotten into a gallery I tried to get into.
Anne Kelly (12:58):
But they found you somewhere. You made yourself known, right? Yeah. It wouldn’t have happened if you were hiding.
Speaker 2 (13:05):
I did have a body of work that people had seen somehow through the foundry or word of mouth. Largely like when I got my foundry job, my old art teacher knew I was still making sculpture. So it was a good choice for that. I just keep making stuff and I have run into galleries that like it and that’s important. I’ve been in wrong galleries before.
Anne Kelly (13:32):
I would agree if people running the gallery aren’t a hundred percent behind your work, it’s a waste of everybody’s time. So do you have any shows coming up
Speaker 2 (13:41):
At this point? I’m not really show oriented. Mm-hmm <affirmative>, I’m just kind of plugging away one piece at a time. My last show is in 2013 I did 13 bronzes for that show. It’s pretty darn expensive to put something like that together.
Anne Kelly (13:57):
Oh yeah, definitely.
Speaker 2 (13:59):
So I haven’t really pursued a one man show. You
Anne Kelly (14:02):
Often have works outside your Canyon Road Gallery as you enter and
Speaker 2 (14:07):
They hopefully will take this new piece as well and put it out in front of the gallery. That’s usually just one at a time. That show that I did in 2013. It was a series, a single plane based on the golden ratio and then repeated with equal Adderall triangles at each end. So it’s a repetition of a plane or three planes and repeat those three planes three times. I get one shape, repeat it four times, I get another shape, repeat it five times. I get another shape and then I repeat those shapes to make other shapes sometimes to repeat those shapes. To make other shapes.
Anne Kelly (14:44):
You were talking about not being great at math and science, but science is a big inspiration in the work now you
Speaker 2 (14:52):
Are correct. I’m technically uneducated. I’ve got high school and a little bit of college, well seven or eight years of college, but no degrees. It’s a different angle. I don’t really know math, but I’m using these mathematical formulas to create my work and I’m using scientific ideas, fractal work and biomimicry as basses.
Anne Kelly (15:17):
When we hopped on Zoom, you were playing a musical instrument. I interrupted that.
Speaker 2 (15:21):
That’s my new little grit. Gin Rickey guitar. Ooh,
Anne Kelly (15:25):
Can we see that?
Speaker 2 (15:26):
And that fun.
Anne Kelly (15:27):
That is. That’s beautiful. Cool.
Speaker 2 (15:29):
Yeah. Electric. I just got a couple months ago. I have a few guitars. Six I guess
Anne Kelly (15:36):
Collecting them a
Speaker 2 (15:37):
Little bit. Yeah. I can’t seem to get rid of more than one at a time and then I get another one to replace it. So it’s a kind of a losing battle. It’s a great pleasure of mine to be able to sit around and play guitar with my friends.
Anne Kelly (15:50):
How long have you been playing music?
Speaker 2 (15:52):
I had the mandatory piano lessons when I was a kid, seven to 10. And then started playing trombone cuz I got hit in the mouth of the baseball and I couldn’t become a great jazz player like I had planned as my teeth were broken. No, no. Limited to what I could do. So I took up trombone and played that through high school and college. And then I took up guitar largely because I cleaned trombone. Just carrying it around. Hitchhiking up and down the west coast wasn’t making any sense. Wasn’t something you just sit down and play on a park bench. More mobile. It is lighter. Yeah. It’s hard to sing and play trombone. Yeah. You can’t accompany yourself
Anne Kelly (16:35):
So you’re more likely to pick up the guitar and bring it to the park or wherever. Do you feel like the music influences the sculpture or vice versa?
Speaker 2 (16:43):
I don’t see really a relationship, but I love to play and I don’t like to go places without a guitar and the art is just something I have to do. I think about shapes when I am not making them. It’s a different relationship. I play with some really great musicians. We jam on Fridays, we’ve performed out a little bit. Terry Deers and Eric Chappelle, John Car, Ramon Lobato. We mostly just jam. Playing out is very pleasurable, but it’s stressful for me. Singing and playing in front of people. It’s terrifying.
Anne Kelly (17:21):
So you’re not necessarily the musician playing in the dark by yourself, you’re jamming with other people. But the the joy is more the The jamming aspect. Yeah.
Speaker 2 (17:32):
In the dark by myself as well.
Anne Kelly (17:34):
Okay. And that’s just a different experience when you’re making sculpture, do you listen to music while you’re doing that or is that more of a quiet practice? I
Speaker 2 (17:44):
Used to be a really big listener and I had to have music on all the time. And now I go through periods. I don’t have music on constantly anymore. I’m enjoying silence a lot. Last couple of years. Maybe it’s the covid, I can drive all day on a road trip without anything on the radio, which I find interesting because I usually couldn’t do a thing without having music on. But I guess I, I did a couple pieces in the past that were musically related. I did a series of airbrushed work on nylon organ de transparent cloth layered lights behind. I got into representing musical scales with the spiral. An octa with one rotation, another octave with bigger rotation doubling its radius with each octave. And that was fun drawing different scales. The shape of a scale, musical scale, well like a chromatic scale, 13 notes a regular spiral that doubles its radius in one rotation. But if you wanna draw a major scale instead of a chromatic scale, then you’ve only got eight notes. So you’re skipping some of those and makes a different spiral shape.
Anne Kelly (19:00):
Love all of those influences.
Speaker 2 (19:03):
Yeah, me too. You’ve got frequencies that can sort of translate into different matter and into sound and light for that matter. It’s all frequency. They all relate.
Anne Kelly (19:15):
It’s all connected.
Speaker 2 (19:16):
I didn’t get high before this,
Anne Kelly (19:18):
So when you bring up light, I am curious about your various mediums, the massive metal pieces versus the three printed transparent materials. As someone making those things. I would imagine just the experiences different. They all feel cohesive, like the same artist, but they have their own
Speaker 2 (19:39):
Feel. I can make one shape in three different materials. They’ll have very different feel or three different sizes. I like these little pieces and when I make ’em huge, they’re just a very different relationship to the shape. These shapes you could hold in your hand and then the same shape maybe stand next to the dwarfed by
Anne Kelly (20:04):
Right. You climb inside of it. Yeah. Is there anything super cool in the studio that we should see?
Speaker 2 (20:11):
Can I show you my new piece?
Anne Kelly (20:12):
I would love to see the new piece. You’ve lived a lot of different places. You were born in Korea, you lived in Bozeman and in Santa Fe. I would just imagine all of those places left a little influence on your work. I
Speaker 2 (20:27):
Lived in Southern California as well. You in Santa Barbara, a year in San Diego. And that’s kind of where I got into this spiral shape. Mm-hmm. To go either in or out the shape that describes motion. So I was very much influenced in Southern California, hanging around the beach,
Anne Kelly (20:46):
Use some surfing.
Speaker 2 (20:47):
I cut my ass handed to me.
Anne Kelly (20:49):
But you were around the, the culture of it
Speaker 2 (20:51):
Was and, uh, different plant life and uh, ocean life in Southern California was definitely influential. Then I moved to LA in 84 and worked for Frank Gear, making his sculpture and worked for Robert Graham making his sculpture. And all these artists influenced me, if not in necessarily a traceable way that I can say, oh yeah, I stole that shape. It’s from trained Urie more in a way of working like Robert Graham. He produced these big pieces for the 84 Olympics and, and did in addition of the original size, maybe four feet and then did a hundred miniatures. That was just interesting to see how different artists produce their work and also can make a living.
Anne Kelly (21:40):
That’s always the question, right? Yeah.
Speaker 2 (21:42):
It’s a pretty big deal. I’m very lucky to make my living in art when I was in high school, that’s why I dedicated all my time to art. I thought you get into a gallery, you’ve got it made
Anne Kelly (21:52):
And now you know there’s, there’s a lot more to it than that.
Speaker 2 (21:55):
Yeah, it’s, it’s a struggle and it’s these artists that I’ve worked for, it’s a struggle for them. You need 10 people to help produce your work. You still gotta pay them. And the bills get bigger when you’re work gets bigger and more popular. But I, I don’t have those problems right now. It’s great for me to be able to produce other people’s work and make money at it. And it frees me to do whatever I want for my work. I don’t have to be concerned about what’s gonna sell. Never worried about if this will sell, it’s, this is what I make. I hope it sells
Anne Kelly (22:28):
Great. I think that’s actually pretty inhibiting in that if you’re making a piece and your main focus is this gonna sell,
Speaker 2 (22:35):
It doesn’t help your creativity. Artists get stuck in making what sells. It’s understandable, but it’s kind of a little bit stifling in my mind. People have said, oh, you’re an artist, can you make me a cowboy or whatever. Right. I wanna know. I, I can’t, I won’t. I, it’s not what I do.
Anne Kelly (22:54):
Speaker 2 (22:55):
Although I, my first foundry job was in Montana and we did cowboys and Indians in wildlife. That was the work that was being done. But it wasn’t my
Anne Kelly (23:03):
Saleable subject in Montana.
Speaker 2 (23:05):
Maybe the only saleable subjects in Montana at that time anyway, cowboys and Indians and wildlife. Now if you hit all three in one piece, there’s some money to be made.
Anne Kelly (23:15):
You’re, you’re selling that the next day, right?
Speaker 2 (23:18):
Yeah. I have thought about a side career as a western artist cause I do have that experience as well. But it’s a lot of work. Those little pieces aren’t that easy.
Anne Kelly (23:28):
Is there any other piece of Montana that we see in your work? I know Bozeman is a great ski snowboard town.
Speaker 2 (23:36):
Don’t get me started on Bozeman, Montana. Nine months of winter and three months of bad skiing.
Anne Kelly (23:41):
They almost moved there for that reason. But Santa Fe still has me. Oh.
Speaker 2 (23:45):
They get snow here every once in a while. And the ski hill is the same distance from town.
Anne Kelly (23:51):
Bridger bowl. Right.
Speaker 2 (23:52):
Bridger bowl. That’s where I learned to ski when I was 12. Broke my leg.
Anne Kelly (23:56):
Ooh. Well it’s an awesome little mountain. Yeah,
Speaker 2 (23:58):
It’s great. Big sky is not bad either.
Anne Kelly (24:01):
Maybe there’s a little snow in some of your sculptures.
Speaker 2 (24:03):
Maybe ice crystals and the patterns on the windshield. You know, 2D work is little like that. You can see these pieces behind me. Those are airbrushed.
Anne Kelly (24:13):
Oh yes. The the green and bluish pieces on the side. So yeah, so they’re digital works, but they’re also airbrushed.
Speaker 2 (24:19):
Well these were earlier so they’re just airbrushed. Oh, okay. The original leg of that green piece was drawn in 1991 by a friend of mine as I looked over his shoulder. 91 digital drawing was pretty simple. Hadn’t gotten very far, but a friend helped me with this and I drew one leg and then made that piece with one leg of that. I printed it and reprinted
Anne Kelly (24:47):
It. So if you could travel anywhere tomorrow, you had a plane ticket, maybe you could even teleport. Is there somewhere you would wanna go that you would want to influence your
Speaker 2 (24:57):
Art? I was in Madagascar for a month a few years ago. Friend of mine lived there for several years and it was the most different place I’ve ever been to. Wonderful beaches and jungles and lemurs and balbo trees and representational work is not really what I do. But I have a piece called Balbao uses the thigh golden ratio dimensions, create a tree shape. We like to continue to be influenced by Madagascar. Wonderful turn tree.
Anne Kelly (25:30):
I have never been and I would love to go one day.
Speaker 2 (25:33):
It’s mind blowing. Really incredible, wonderful music.
Anne Kelly (25:36):
I would imagine that. And what year has you moved to Santa Fe?
Speaker 2 (25:41):
Anne Kelly (25:43):
So since you’ve been here since 1987, Sheri Red and Green, do you have a favorite between the red and the green?
Speaker 2 (25:49):
You know, I don’t, the longer I live here, the more I like red, but green is kind of the staple. I like Christmas. Don’t have a favorite between the two.
Anne Kelly (25:59):
Maybe depends a little bit on the restaurant you’re at.
Speaker 2 (26:02):
Yeah. Who’s got a really good Ava? Maria’s has a good autobi, uh, Del Charro or Za as a great green chili stew.
Anne Kelly (26:11):
But you’re not opposed to the Christmas.
Speaker 2 (26:13):
Oh no, I order a lot of Christmas.
Anne Kelly (26:15):
So if you weren’t just traveling and you had a time travel ticket, do you know where you would pick?
Speaker 2 (26:23):
I think I’d like to go back to 1963, maybe a little earlier, but let’s go back to when I was born. 58.
Anne Kelly (26:32):
A particular place.
Speaker 2 (26:34):
San Francisco. I think the next few years would be really fun.
Anne Kelly (26:37):
San Francisco is kind of a magical place and I, I would’ve definitely loved to have seen it at that as well.
Speaker 2 (26:44):
Nicks and then the hippies.
Anne Kelly (26:46):
If you were gonna travel into the future.
Speaker 2 (26:47):
Well that’s a good question. That’s the hard one. I’m a little unsure. You gotta be really careful cuz some places aren’t looking that good.
Anne Kelly (26:55):
Maybe there’s some sort of digital technology that exists in art making that doesn’t exist yet. Another tool for your palette.
Speaker 2 (27:04):
Oh yeah. I would like to go where that tool is. I went to this show down in Albuquerque, not change the subject too much, but new tools. Leah Anderson has a show at Electric Playhouse. It’s all interactive stuff. They’ve taken her more or less two-dimensional images and made them look three-dimensional dimensional and projected ’em on the screens and made them interactive. So they’ll run away from you or they’ll follow you or, it’s a really fun show. But new digital tools in art, pretty interesting. And manipulating the images to make them 3D looking 3D to interactive. Very cool. New developments in art.
Anne Kelly (27:45):
Is that something you’re open to? I’ve
Speaker 2 (27:47):
Already gone down that digital rabbit hole somewhat, and I’m not really a computer guy. I draw with a computer.
Anne Kelly (27:54):
Speaker 2 (27:55):
Which makes me seem like a computer guy, but I don’t know computer language. But I would love to get into more technologies, newer technologies and can, in my mind, I can see how some different things could be accomplished that I’ve been trying to achieve in a way for years. And I’ve gotten into a very solid way of expressing myself using light sound time. Pretty good stuff.
Anne Kelly (28:19):
I think there’s a lot of interesting opportunities. Being open in new tools is a good thing. Maybe this sounds really out there, but a lot of the projected work feels more like music to me in that it’s more temporal. Right.
Speaker 2 (28:33):
Yeah. It’s more a time related piece. Interesting point.
Anne Kelly (28:37):
Yeah, I like it. It’s been super fun talking and thanks for having us in your studio this evening.
Speaker 2 (28:43):
Thanks for coming by.
Anne Kelly (28:45):
Thanks for watching Art in the raw conversations with creative people. If you found this conversation inspiring, please tell like-minded friends, like, comment, subscribe, ring the little bell, check out the links below. And have a good night y’all.
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