New Vanguard II Artist Sandra Chevrier Featured on CBC Arts

Sandra Chevrier, whose latest body of work is on view at the Lancaster Museum of Art and History, was interviewed for a segment on the CBC this past summer. You can visit the CBC website for a short video on Chevrier and a look at this talented artist.

Chevrier’s solo exhibition “Cages and the Allure of Freedom” is on view now through December 30th at the Lancaster MOAH.



Once upon a time…” is the new anamorphic mural created by Leon Keer and Massina during Vibrations Urbaines Festival in Pessac, France. The 3D effect of the mural that is demonstrated in the video above is caused by a technique which is only visible from one viewpoint and utilizes the “Leon Keer” app to augment reality with the anamorphic art. When the painting is scanned with a smartphone or tablet, the painting comes to life with an AR feature created by Joost Spek from 3Dpicnic.

If you are not able to view the mural at the location you can also download the image and use it as the marker to start the 3d animation through the “Leon Keer” app.

Interview with Brooks Salzwedel for “Rut in the Soil” at Lancaster MOAH during “THE NEW VANGUARD II”

Brooks Salzwedel’s exhibition “Rut in the Soil” is on view now through December 30th at the Lancaster MOAH during “The New Vanguard II” 

Can you explain your creative approach when developing your installation/solo for the New Vanguard II?

In my most recent work, I present landscapes, some imagined, some inspired by our national parks, touched by man in various states. In many pieces I’ve enclosed the landscapes in a border of negative space by use of graphic shaped rectangular boxes mimicking a foundation, more specifically the borders we put on land; from national parks, city parks, backyards, gardens, to countries and states. By setting the scenes in these shapes it alters the seemingly limitless boundaries of nature and our behavior with it.

Within the pieces are moments that are personal to me, hidden within the trees and brush one will find oil rigs, fire pits, pills, rainbows, animals, palm trees, and other various images make the piece personal to my experiences and create a greater narrative when pieced together.

In 100 years from now, what do you think will be said about the New Contemporary art movement?

I think the current New Contemporary movement is thriving with so many different types of work and materials. It will be seen as a change in the relationship between artists and galleries, artists and other artists, galleries and other galleries, and collaborations. It will be a time of blurred lines between artists’ original work and people altering those works via social media and computer-generated imagery to create their own works. Technology is still relatively new in the art world, that seems to be shown a lot more in artists’ work as well.

What does it mean to you as an artist to have your work be shown at a museum?

To have a solo show in a museum has been one of my top goals since I was a young artist. I never thought it would happen at such an early stage of my career. I feel as though I am able to offer the world feelings they may not have felt before in a space that is made for the viewer to focus on the work and what it means rather than what it is or will be worth.

If your body of work had a signature cocktail or drink, what would it be made of and called?

It would have to be Oaky, strong, and dark. Maybe an Old Fashion. A dark, wood colored whiskey, with a cold cube in the center and it would need a small object, a stir stick in the shape of a nail to combat the natural taste and feel of the liquid.

Favorite part about Lancaster, or something you learned about Lancaster during your time there working on your install for the New Vanguard II?

It’s a surprisingly comfortable, easy drive from Los Angeles. It’s close enough for an easy afternoon and far enough that the museum is able to take risks on the exhibitions, have more fun. Also, the Blackbird Air Park is quite a treat.

There are a lot of amazing artists in the exhibition, and this question may be difficult to answer, but which artists in this show would you want to collaborate with on or steal an artsy secret/technique from that you want to use too?

I’m not much of a freehand painter, I’m meticulous and detailed and on quite a small scale compared to some other artists. I’d like to collaborate with one of the mural, graffiti artists, maybe Jeff Soto. Not only did we graduate Art Center within a couple of years together I’ve always had a connection to the work, the plants and weathered look in some of his work. I notice Soto has a few larger works, and murals, so the grand scale of his work would push my comfort level.

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Interview with Christopher Konecki for “Size Matters”

We’re thrilled to present new works by San Diego-based painter, muralist, and sculptor Christopher Konecki in our project room. The exhibition Size Matters is the artist’s first solo exhibition with the gallery and will showcase Konecki’s self-taught techniques experimenting with new materials to create mixed media sculptures. In anticipation of the exhibition, our interview with Christopher Konecki discusses his creative process, the piece that challenged him, and dream collaboration.

SH: For those that are not familiar with you and your work, can you give us a brief look at your artistic background and zodiac sign?

CK: Well if they are not familiar with my art then they are blowing it! Naw, just kidding. I am a self-taught artist out of San Diego. I began painting at a young age and learned how to scale my work up to murals a few years ago. I became fascinated representing architecture in new ways wanted to express my ideas in the third dimension. With the help of some mentors and endless experimentation, I learned how to build my ideas as miniature mixed-media sculptures. I love the versatility the media provides and the way that model making brings out the child in the audience. Now I get to travel and make art – which is awesome. Um, I think I’m a Libra?

SH: What was the inspiration behind this latest body of work?

CK: With, SIZE MATTERS, I wanted to display the current political and social climate through the lens of degrading Mid-Century Modern structures. I tried to capture the irony of the optimism of the American nuclear generation and the monuments they erected that are now faded crumbling remains.

SH: You’re a muralist and sculpture artists. How did you get into sculpture? What made you want to explore that medium? How do the different mediums inform each other?

CK: l have always tried to envision my paintings as sculptures. I just needed the physical skill and time to create them. I began building with simple forms and then added complexity as my skill level increased. Sometimes I will paint something I deem too difficult to build and while painting the piece will begin to unravel the 3d design. The murals inform the sculptures and vice versa.

SH: How do you capture ideas for pieces; do you have a sketchbook on hand or is it just a note to yourself in your phone?

CK: I use a lot of reference for my work. I never know what might inspire me – maybe a small detail on a corner or some sign somewhere. I get the idea down as fast as I can using whatever I have near. Usually, I have my ipad with me and can bust out a quick sketch.

SH: What excites you about your work / creative process?

CK: It is limitless. The extent of my imagination is the well in which I draw from. I’m not concerned with exact replication as a scale model maker. I try to display the world as I see it.

SH: What frustrates you about your work/ creative process?

CK: No one sees all the mistakes. Sometimes I will destroy or lose a small piece that I have put time into creating and have to start over.

SH: If your body of work inspired an ice cream flavor, what would it be called and what are the ingredients?

CK: Rusty Road- Like Rocky Road but with rusted metal flakes and some lead-based paint chips.

SH: Who is an artist; musician, director, any art form – who would be a dream collaboration for you and what would you create?

My dream collaboration would have been to create models for a Kubrick film. That guy was a genius so far ahead of his generation. That would have been a great honor for me.

SH: Is there a particular piece in this exhibition you feel really challenged you? If so, why and what makes you proud of this piece?

CK: “Smoke a Bowl” was the most interesting build by far. I wanted to make a piece that was about zoning out and smoking weed but not have it be typical ‘weed art.’ I need to find a balance between the Mid-Century signage and the practical fact that its a bong. I feel that the message is the primary focus of the piece and weed culture is secondary.

SH: Favorite way to celebrate the completion of a project/body of work?

CK: I love to travel and paint. Maybe a few days off where I don’t have to produce and can simply create for myself. However, I’m super busy and don’t see time off in my immediate future