“So that’s why I went into abstract – I can paint my emotions”

The sun was shining and the sky was an uninterrupted blue as I drove to do an interview with a local abstract artist in Victoria, BC. After a brief chat, we soon settled on a futon couch, enjoying the ambiance and warmth of a recently-lit woodstove. From parting with children and the effects of cold coffee, to giving birth and the up-side of napping in class, the conversation began to unfold as I delved deeper into the inner-workings of the artist known as Lailo.

LAAH: Tell us a little about yourself and how you got started as an artist.

LAILO: I come from Belize and I came to Canada on a foreign student program. But my language skills were terrible, so I had to go to high school for a year and a half. I was in Lloydminster, Saskatchewan, and there was this young lady who sat behind me in class. I would tend to fall asleep and she would slap me behind the head and wake me up. Today she’s my wife! I’ve been painting for about 5 years now. I enjoy it, that’s the fun part. I’m constantly re-inventing myself, I never wanted to retire and have nothing to do. I’ve always wanted to know what I was capable of and how good I could be at something, so it didn’t matter what I did, I always strived to be the best I could.

The first few paintings I did, I threw in the fireplace because I knew they were crap. [laughs] Probably around the tenth one, I kept. I put it on the wall, and every year I’d put a new one on the wall to see if I was progressing. I’m self-taught, so that can be an issue. I’m always looking at what other artists are doing. The internet’s a great thing, because we can watch videos and watch how they’re doing things – their perspective, their use of color, brush strokes or any kind of technique. Then you can play with incorporating things without copying.

LAAH: What made you choose abstract?

LAILO: I can look at landscapes, and I enjoy them, but I can see them everyday outside. I didn’t want to replicate that anymore. I started doing that, but I found it wasn’t fulfilling for me, because I wanted to come from a different point of view. So that’s why I went into abstract – I can paint my emotions.

LAAH: Do you have preferred mediums?

LAILO: I love watercolor. It’s not something that’s really marketable though, and I do have to pay for my hobby. The art has to pay for itself. So I do watercolors periodically, just for my pleasure. And I love oils, but I don’t have a ventilated space to do oils, so I can only do them in the summer. So in the winter, when I do most of my painting, it’s acrylic. Most of what I do is drip, pour, splash or spin art.

LAAH: Do you paint from beginning to end or do you paint in stages?

LAILO: I paint from beginning to end, because I don’t want to lose that feeling, so while I have that feeling and that mental vision of what I want to paint, I have to continue. If I stop and come back to it later, it won’t be the same. So it has to be all done at once.

LAAH: How do you know when a piece is finished?

LAILO: Good question! [laughs] You look at it and the emotion is gone. And so, it’s finished. Yeah, once that mental image is gone, then it’s finished.

LAAH: It’s like giving birth!

LAILO: Probably, I’ve never experienced that! I think it might be too late for both of us! [laughs] Well, actually, I think there’s a line in my bio on my website that says that each piece of my art is like one of my children, and some of them are harder to part with than others. And there are a few that I’ll never part with while I’m alive.

LAAH: Where does your inspiration come from?

LAILO: Every night I go into my workshop/studio, which is very small and cramped. I close the window and turn the lights on. I don’t look outside. And whatever happens in my little brain, which is very limited at times [laughs], I will paint. It’s…it’s almost a spiritual thing, because you’re painting from your feelings, it’s what you feel. I hardly ever paint what I see – I paint what I can’t see.

LAAH: On your website, you mention you don’t need people to see your art in the same way you do. In fact, when people are choosing a piece to purchase, you invite them to choose one that reflects their own interpretation and meaning, and that speaks to their soul and their inner emotions. Tell us about that.

LAILO: Yeah, and that’s a hard thing, because if you show your art in a gallery, they want you to title it. So, by titling it, I’m telling you what to think, and I don’t want to do that. You have to appreciate it for yourself, interpret it for yourself, if it’s abstract. It’s supposed to stir an emotion in you, whether it’s happiness or sadness or whatever you see in it, so you can title it yourself. So basically I just number my pieces. If I’m forced into it, I just go to a book of baby names and choose one! [laughs]

LAAH: What has given you the most joy in doing what you do?

LAILO: The solitude…yeah. You can be at one with yourself, with no outside influences. That’s why I paint at night and close the curtains, you know. I turn a light on, and it’s just me and my paint. Oh, and I forgot, my cat and my dog. They’re in there! [laughs]

LAAH: How do you feel your work has evolved over the years?

LAILO: It’s probably just growth. Yeah, learning more – about art, about the use of color, the different textures that are available, the different chemical compositions of paint, how they apply to each other. You’ll go to an art gallery and you’ll see a piece of art and think, man, I wish I could do something like that. So you’ll go home and you’ll endeavor to try to do something like it and see where it leads.

LAAH: Who are your favorite artists?

LAILO: El Greco is probably my favorite. Mostly because of his use of color. And Pro Hart, an Australian artist, I’m really intrigued by his work. And again, because of his use of color. Color speaks to me.

LAAH: If you could pick a favorite piece, which one would it be?

LAILO: My favorite is always the last piece I’ve done, because I still have the emotional contact with that piece. So, I mean, I look at other ones and can say I really like that, but I don’t have that emotional contact with it.

LAAH: Do you have a favorite color?

LAILO: Um…I would have to say no, because we go back to that emotion thing. I have a whole collection of colors and I have a vision. So I’ll choose the colors to match that vision. Sometimes they’ll be very bright and cheerful, sometimes they’ll get a little dark. There’s an example over there of one that got a little bit dark. [points to painting on the wall] Obviously something upset me that day, and it wouldn’t have been anything profound, it’s just that you have that moment where, gee, my coffee’s cold, you know…and ahhh, I’ll put black on this! [laughs]

LAAH: How would you describe that piece to a blind person?

LAILO: Hmmm…never thought of that. I don’t know, I’m going to have to think that one through, because I’ve never given that much thought.

LAAH: Sounds like we may have to do a follow-up interview! [laughter]

LAAH: Any advice for young artists?

LAILO: Just don’t lose your imagination. That’s probably the most precious thing we could ever have. If you can’t imagine it, you can’t do it.

LAAH: Are you involved in any shows or upcoming events?

LAILO: Yeah, there’s a studio tour coming up June 9th & 10th called the ArtSea Spring Studio Tour, I’ll be a part of that again this year. So you’ll see some of my art at the McTavish Academy of Art and then the rest at my studio, Dragonfly Studio.

LAAH: What celebrity do you most often get mistaken for?

LAILO: The one pushing a shopping cart downtown!

Thank you for your time and your candor, Lailo, I enjoyed the opportunity to learn about what you do and the process behind it…and thank you again for bringing an extra latté with you!

Here are a few more of Lailo’s paintings:

Photo Credits
Photos are © Lailo

1. Your movie Hyena Road had its World Premier at TIFF. What inspired you to produce this film?

It started with a trip to Afghanistan as a group of people visiting the troops.  I was utterly mesmerized by the experience, in particular because the war zone seemed to bear no relationship to what I had been told by government or media.  Although I had no intention to ever make another war film (because they are horribly complex and difficult to finance) I thought I should at least return and photograph what I could, since we were beginning to talk about pulling out of combat operations.  I returned about a year later with a camera team and we spent a couple of weeks outside the wire at a Forward Operating Base, pointing our cameras at everything and anything — artillery strikes, chopper runs, mounted convoys, foot patrols, etc.  It was during that trip, in conversations with soldiers of every rank and specialty that I started to assemble the anecdotes that would eventually form the basis of the script.  All the events and characters (including the Afghan characters) are based on the people I met and the stories I was told during that trip.  The only thing I really did as a writer was to assemble the events and characters into a coherent narrative, one that makes for an exciting evening in the cinema and hopefully provokes discussion and curiosity about our long mission with ISAF (International Security Assistance Force).

Warrant Officer Ryan Sanders (Rossif Sutherland), The Cleaner (Nabil Elouahabi) and
Captain Pete Mitchell (Paul Gross) discussing an upcoming military operation.

 2. What segments of the film where shot in Afghanistan, Manitoba and Jordan?

The footage from the actual war zone that we captured in Afghanistan is sprinkled throughout the film, intercut with footage we shot in both Jordan and Manitoba.  We shot for 3 weeks at Canadian Forces Base Shilo, Manitoba and one night at 17 Wing in Winnipeg (air force base).  We shot the balance of the exteriors in Jordan, based out of Aqaba.
 

3. What impact did the geography of Afghanistan have on you personally and how do you think it impacted the Canadian soldiers out on combat and humanitarian missions?

The geography of Afghanistan is staggeringly beautiful to my eye, rivaling anything in say the American southwest.  There was something about the paradox of a stunning landscape ripped apart by 30 years of constant warfare that was heartbreaking.  I think for most soldiers in the CAF (Canadian Armed Forces), however, they saw the landscape as a work space, their area of operations and although perhaps beautiful it was also potentially lethal, since death could arrive from the most seemingly benign source. A clod of earth could conceal an IED (improvised explosive device).  I think the pervasive dust and the punishing heat (regularly 50 degrees Celsius during the summer months) also took its toll.  I only had the briefest taste of the stress and tension of being in that environment but can extrapolate to how one would feel at the end of a seven or eight month rotation and can imagine how exhausted a soldier or NGO worker would be when the tour concluded.

Canadian Armed Forces (CAF) soldiers on foot patrol.

4. Did the geography of any of the locations you filmed have an impact (logistics, inspiration, etc.) on filming the movie?

Geography always has an impact on filming, although we do our best to limit the challenge when we’re choosing locations.  Jordan was settled on as the country where we could duplicate Kandahar and brought with it all sorts of logistical challenges.  Notably, we were shipping all manner of military grade items into one of the world’s most turbulent neighbourhoods — black powder, functioning assault rifles, detonation cord, etc.  All of this took an enormous amount of effort to clear through customs, airline manifest, etc.  Jordan itself was a joy to film in but some of the locations — on the sides of mountains, for instance — took a great deal of planning to ensure efficiency and above all safety.

The Ghost (Niamatullah Arghandabi) and Capt. Pete Mitchell.

5. From the moral soul-searching of the kidnapping of Afghan children scenes, to the quiet moments on Kandahar Air Base and the heart pounding ambush sequences, what insight did you want to provide to Canadian viewers on Canada’s combat mission in Afghanistan, and why is that important?

One of our prime directives was to ensure that we were authentic and accurate in our treatment of what the atmosphere of the war zone was and the protocols of how we prosecuted the mission.  Given the response of veterans of the conflict, I think we can say with a good degree of confidence that we were successful in that goal.  The film captures the chaotic, brutal poetry of the conflict.  The structure of the script incorporates three main plots:  the ‘kinetic’ war (shooting and killing); the ‘non-kinetic’ war (what we might call Hearts and Minds); and the Afghans who were our partners.  I would like to hope that we have captured the fluid nature of this modern war, one in which there appears to be no fixed moral compass and presents the soldier with an almost impossibly opaque and complex environment.  This might be characterized as ‘post-modern’ warfare, one that bears little relationship to the relatively simple moral conflict of, say, the Second World War.

W.O. Sanders, Capt. Pete Mitchell and CAF Rifleman (Kamiran Aldeo) escaping a Taliban ambush.

6. Throughout the movie you use quotes from Alexander The Great, whose armies fought in Afghanistan, which seem to imply that outside militaries may for a while hold the ground in Afghanistan but in the end they all withdraw. Is this the lesson that you want viewers to leave with?

I’m not sure I was trying to say that ground cannot be held.  Their is an oft repeated maxim that Afghanistan has never been conquered which is not exactly true.  It has been conquered but perhaps never held.  But for most armies that have marched in there (in recorded history starting with Alexander) Afghanistan was not a goal — it was a means to a different goal, the route they had to take.  The difference with ISAF is that the coalition was not attempting to ‘conquer’ the land and great efforts were taken to minimize the footprint on the local population — we did not live in Kandahar City as the US did in Saigon for example.  We were truly attempting to work in partnership with those Afghans (the majority of the population) to assist them in creating a coherent country, one that could withstand the predations of the insurgent and neighbouring countries.  Whether or not the mission was successful is for time to determine.  And, as the Afghans would say, ‘Inshallah it was worth it’.

Master Corporal Travis Davidson (Allan Hawco) at a Forward Operating Base.

Watch the HYENA ROAD Trailer

Photo Credits

All photos by Elevation Pictures – All Rights Reserved

Vancouver Adaptive Snow Sports (VASS) runs skiing and snowboarding programs for persons with a disability at Grouse, Seymour and Cypress Mountains, making the mountain experience accessible to all. We have been offering programs at Grouse Mountain since 1974 and our president , Anne Bethune , embodies the magic that we call VASS. We welcome students of all ages and disabilities and utilize adaptive equipment and/or specialized teaching techniques with specially trained instructors to maximize a person’s independence on the snow. VASS offers programs from beginner to advanced, which include snowboarding, sit-ski, stand-up skiing and advanced adaptive ski racing. We are always looking for volunteers, on and off snow, it is a great way to contribute to your community and help others, while having fun. VASS is a registered non-profit society, operated by a dedicated group of volunteers, which includes an active Board of Directors, program coordinators, instructors and administrators.

Website: www.vass.ca                   Follow: Facebook | Twitter | YouTube

LAAH: What exactly is it that you do?

AB: I am volunteer President of the amazing organization Vancouver Adaptive Snow Sports. We provide skiing and snowboarding for people with disabilities on Vancouver’s North Shore Mountains.

I am passionate about what we do because we truly make a difference in peoples’ lives – the lives of both our students and volunteers on and off the mountain. My personal involvement ranges from teaching on the mountain, mentoring of our instructors, maintaining community partnerships and leading our Board of Directors. I’ve been doing this for 28 years.

Anne Bethune with her amazing team

LAAH: Why do you do it and what is the motivation or passion that keeps you going?

AB: VASS is the perfect blend of my love for skiing, teaching and my work as an Occupational Therapist. I am passionate about helping people of all abilities achieve their best in life and VASS combines these two areas of strength, skill and passion for me. I love the ‘VASS Magic’ that happens up on the mountain. People get to experience the skills and thrills of skiing/boarding who wouldn’t otherwise get to do so! What excites me most is the shifts that happen in peoples’ lives off the mountain as a result of their experience with VASS. I could write a book about the many many stories I have been part of. That is what drives me – these amazing and real life stories that have been impacted by our efforts. My motivation and passion is rooted in the extraordinary people I meet through VASS, the real life stories, the bonds that are formed from this shared experience and the lasting beautiful friendships.

A VASS racer at a Tyee race

LAAH: Do you feel that what you have done so far has made a difference? If so, can you explain how?

AB: I know that the work VASS does as an organization makes a difference to our community. Skiing/boarding is simply our vehicle – it is the magic that spins out into peoples lives that results in increased self confidence, quality family time, skill development, friendships, fulfillment of dreams, fun and freedom in life and more. We also increase awareness and education to our local community about disability.

My personal sharing of my knowledge and skills has been such a true joy to give where others truly benefit. It has been rewarding seeing instructors grow their own confidence, leadership and skills as a result of our close mentorship. Off the hill, some of my greatest learning and satisfaction has come from growing into my own learning and leadership of how to run a non-profit organization. It has been hugely satisfying to grow a successful organization by pulling together a strong collaboration of outstanding people (who are 99% volunteers) contributing their time and skills.

VASS sit skiers

LAAH: Who are your allies and supporters in this enterprise?

AB: Our VASS Community – students, families, volunteers, community partners – our local mountains – Grouse Mountain in particular has been truly an outstanding partner, service groups like Rotary, ski shops, local businesses, media personalities, our sponsors (TELUS Community Fund, YVR, Battery World) and more.

Anne with some happy children.

LAAH: Do you have plans to grow your involvement, to expand the scope of your project? If so, can you elaborate on these plans?

AB: We are continually growing our strategic plan to better serve the needs of our community. We have recently created a new staff position – Community Relations Manager. We are also focused on many initiatives behind the scenes to increase the number of lessons we can deliver, our volunteer recruitment/retention, instructor training/mentoring and more.

A VASS sit skier

LAAH: Like anything in life worth working for there must be difficulties and struggles too. Can you share with us what have been your greatest challenges?

AB: Our greatest challenge as an organization is having enough volunteer instructors to meet the demand for what we do and letting our community know about what we do.

A three tracker at the VASS Cup

LAAH: How can people help you?

AB: People can help us by:

• Come volunteer with us!
• Donate to our organization at www.vass.ca
• Participate in one or more of our major events each year – VASS Cup Mar 5th at Grouse Mountain, Just Singing Around Fundraiser December 2 at the Vancouver Rowing Club, VASS Movie Night – Oct 22 at Capilano U
• Share their skills with us in whatever capacity on or off the hill – fundraising, website, communications, event management etc
• Share this interview with your friends!

Listen to Anne speak about how VASS
is making a difference and getting people out to play!

Learn about the VASS Cup

The Life As A Human team thanks Anne Bethune and VASS for the amazing work they are doing and for giving us this interview. If you know Anne or anyone at VASS, please leave them a comment. We know they would love to hear from you!

Photo Credits

All Photos Are © Corinne Risler

Dust of His Feet © Ron Hallam

LAAH: What exactly is it that you do?

As an Artist I endeavour to create and then stimulate via my work. My medium of choice is Photography and the aim is get the viewer to see what I see, feel what I feel and interact and engage with the images and thoughts behind them. However, at this point I am desiring that my work can be a difference maker in the on going relief efforts for the marginalized in the world.

LAAH: When did you start?

I started in earnest 5 years ago. The initiative to work with Cause Canada came to me only several months back and was a result of some introspection, a great deal of conviction, and some observation of the on going development of a material world view in the “West“. Having been a regular contributor to their efforts, providing images for the Annual Gala Benefit – which is a Fund raiser – and a regular attendee at the Gala – the contrast between a periodical “‘donation” by myself and others versus the constant daily need of the marginalized drove me to the idea of using my work to help raise funds and that urging evolved into the Cause Gallery just 5 months ago.

LAAH:  Why do you do it and what is the motivation or passion that keeps you going?

I got involved because – I am constantly amazed at the beauty, complexity, synchronicity and intricacy of the Natural World. That I am so fortunate to experience this with relative ease and comfort, is augmented by the understanding that many in this world never get to see or enjoy the things I get to see and do – while some are so impoverished getting a meal is their wonder!  This is not meant to induce guilt for others but – in knowing that we ( the “First” World) are so very fortunate, I am convicted and endeavour to use my photography as a tool to both aid and address the issues for those in need by partnering ,in effect ,with Cause Canada, an NGO dedicated to Assistance and Relief for the marginalized.

Low Water & Alpine Glow on Rundle © Ron Hallam

LAAH: Do you feel that what you have done so far has made a difference? If so, can you explain how?

This is a favourite topic! First, the question of “making a difference”. One need not burden oneself (or keep the expectation or assumption) of the image of “making a difference” in large or remarkable efforts, ( ie. Mother Theresa). But, one can and should help make a difference . The West ( North America – Europe, the U.S. and Canada) were once thought to be Christian in world view and philosophy. While that is significantly dwindling , those that espouse Christian values best address the call to Tithing (which has at its heart relief and assistance for the marginalized) and understand that “doing” means as much as “believing” ( faith and deeds) as we are so abundantly well off in comparison. Yet, statistically we ( the Christian community) give less than 2% of 2% of our abundance. And even 2% would yield enough to significantly ease the suffering of the less fortunate. And yes, I do feel it has made a difference. There are folks who have purchased images based on the Cause Gallery and the funding initiative to direct a portion of their purchase to poverty relief! (Any amount is a “difference maker”). In actuality it is those funds are the actual difference maker – I and the images are merely the conduit.

LAAH: Who are your allies and supporters in this enterprise?

My main ally is the aforementioned NGO – Cause Canada, with whom I have partnered to raise funds and get those funds directed to those who are marginalized in our world! Who are my supporters – anyone and everyone who decides to participate in funding ANY relief effort and specifically the efforts of Cause Canada. ( IE. Maternal Health, providing small animals, planting gardens, planting trees, clean water etc.) That means that any reader, any person, anywhere in the ‘West” can and hopefully , will be allies and supporters. One person at a time, changing views and making a difference .

LAAH: Do you have plans to grow your involvement, to expand the scope of your project? If so, can you elaborate on these plans?

I do hope that in the near future I will be able to accompany the Cause Directors on some of their relief work trips. In sitting down and discussing this idea I was stricken by the thought and comment made re: taking images of the marginalized “we don’t want poverty porn , as it were, but, to show the dignity and pursuit of life by the people we serve”. That impacted me and has me preparing in my minds eye -so that I can capture that statement in images once I go – “dignity and pursuit of life”. See what they see, and maybe – feel what they feel?

Castle Mtn. from Panorama Ridge © Ron Hallam

LAAH: Like anything in life worth working for there must be difficulties and struggles too. Can you share with us what have been your greatest challenges?

It is a continual struggle for all Relief Agencies to raise funds. In the economic and political climate we are experiencing – giving is dwindling. So, it is my aim to “tweek” the heart and eyes of folks who visit my website in search of prints to allow me to direct a portion of their purchase to relief and not just to their comfort. Yet, to do this without being preachy but being engaging.

LAAH: How can people help you?

Simply ponder the difference you CAN make, if you focus on the abundance of your provision and the singular (and remarkable) change you can effect by re-thinking your purchases and the direction and use of one’s disposable funds .

Image Credits

All Images Are © Ron Hallam

Ron Hallam Artist Bio

Ron Hallam

I live in Banff,Alberta Canada – a National Park, World Heritage Site and fortunately my home! And what an opportunity this affords one. My creative outlet being Landscape Photography , makes Banff a veritable , never ending source of subject matter. Thank you for browsing my website, and, I hope you will find some images that “catch your eye” and “grab your emotions”.

Being in the midst of this place I get to go out and capture the incredible mixture of light and natural environment subject matter this place provides. I readily admit I am spoiled, with Banff National Park as my back yard, I just leave my house and walk, ski or ride into this wilderness in barely minutes! The wonders of this place, from a simple day’s walk to extended trips, provide a Landscape Photographer a never ending, always intriguing and deeply engaging array of subject matter, light , mood and moments to create , then express and hopefully engage the viewer with that moment captured “from an infinity of other possible sights”. ( John Berger, Art Critic and Poet)

“When we make a photograph, be it a Landscape, Portrait, or a photograph of a sport, in a sense we are opening a window onto a small section of the world.” (Tony Bridge-Photographer and Writer)  I hope to take you on a walk around the Park visually, and, it is my hope that you’ll be moved to say – “I’d like to go see that someday”.  Delight yourself with having some of the photos presented here on your wall – until someday arrives! By the way Gita is an acronym – God is The Artist!

Website:  GitaPhotos.com

Follow Ron Hallam on:  Facebook

LAAH: What exactly is it that you do?

Project Village Bracelets is a company that is being launched very soon and our mission is to employ and empower underprivileged women in Toronto, Canada through the production and sales of our trendy bracelets. Our goal is to break the cycle of dependence and create life lasting change. By employing these women we give them a job that pays well, but the bonus is they will have access to empowerment programs, will be with positive influences in a positive environment, and if they choose they can work from home to be with their families and also continue working day jobs if they have previous employment. We will help them reach their personal and socioeconomic goals.

LAAH: When did you start?

We will be launching our Indiegogo Campaign very soon and are so excited to share our bracelets with the world and show how making socially conscious and forward thinking purchases can make a world of change in peoples lives. Stay tuned…

LAAH: Why do you do it and what is the motivation or passion that keeps you going?

We believe that to create real sustainable change you need to empower. Charitable or government handouts just perpetuate the cycle of dependence and don’t allow for real change to occur. We want to really shake things up and prove that our model makes an impact and then after we have had success in Toronto, we hope to launch in other cities to continue to empower underprivileged women. We believe that strong women, should help strengthen other women and that extends to all people. We should help lift each other up instead of putting each other down.

LAAH: Who are your allies and supporters in this enterprise?

So far we have a wonderful support system that is going to really help us make an impact. PACT Urban Peace Program and the Jean Augustine Center for Young Women’s Empowerment have taken us under their wing and have given us access to their programs, coaches and facilities. We are thrilled!

LAAH: Like anything in life worth working for there must be difficulties and struggles too. Can you share with us what have been your greatest challenges?

Lets be honest, starting any company is scary, but starting a company that needs sales to support your giving model … EVEN SCARIER!  So we need to depend on our supporters, to help this mission come to fruition.  By supporting, sharing and talking about Project Village, they are giving more chances for us to reach more women in need and continue to support the ones that join us early on.

LAAH: How can people help you?

People can help by liking and following us on social media and subscribing to our website mailing list. By doing so they will be the first to know when we launch our campaign and exactly how they can support us on our mission. A simple start to making a difference.

“We are trying to establish our online community because after all, it takes a village.  So please join the movement and subscribe at ProjectVillage.ca !  Thank you so much in advance”

Photo Credits

All Photos Are © Project Village & “”Enzee Creative“

Guest Author Bio – Anna Gala

Anna Gala is the founder of Project Village Bracelets and dedicated to making a difference.  She has been involved with various charitable foundations for more then a decade, and decided she wanted to make an impact in her own way.  Working for TOMS Shoes for 4 years has served as a great education in giving models and the retail industry and she can now fine tune her mission to be as impactful as possible.  Her mottos are “Strong women should help strengthen other women” & “Being kind is always in fashion”

Website: Project Village

Follow: Facebook | Twitter 

LAAH: What exactly is it that you do?

I am an Artist Inspired by Africa. I visit African conservation projects to sketch people & wildlife and learn about conservation issues, then I incorporate these issues into my studio paintings and make a donation from every sale to the relevant conservation project.

LAAH: When did you start?

I lived in Zimbabwe and Botswana from 1994 – 2002 and that is where I began painting and sketching, but my involvement with conservation projects began in 2007 when I was awarded an Artists For Conservation Flag Expedition grant. I spent 6 weeks at the Painted Dog Conservation (PDC) project in Zimbabwe, tracking and sketching highly endangered African wild dogs, and found this completely different to my usual bush trips where I aim to spend as much time as possible away from other people.  PDC has close links to local communities and I learned a huge amount about the issues faced by the community, the project and the dogs. It was a turning point for me both personally and artistically, and I was inspired to start creating a body of conservation-themed paintings. I continue to support PDC but wanted to repeat the experience with another project in a different part of Africa, so I proposed a similar project to the African People & Wildlife Fund (APW) in Tanzania. I recently completed a series of visits to APW, resulting in a traveling exhibition and numerous field sketches which are now available for sale as originals and limited edition reproductions, with a percentage of the sale prices going back to the project.

Alison Nicholls Sketching in Tanzania – Photo by African People & Wildlife Fund/Deirdre Leowinata

LAAH: Why do you do it and what is the motivation or passion that keeps you going?

My motivation is to learn more about the vast, diverse, complex, fascinating continent of Africa. I began with an interest in wildlife and wild places and a very typical ‘western’ view that conservation involves the protection of species and habitat. My involvement with conservation projects has taught me that conservation is as much about people as it is about wildlife. Conflict between people & wildlife over natural resources is rising all over the world and Africa is no exception. In places where people see few benefits and many disadvantages from living with wildlife, that wildlife stands little hope of surviving. By supporting conservation projects which work to improve living standards for people, there is also hope that species and habitat can thrive. This learning experience also changed my art and now I am pleased to incorporate both people, wildlife and conservation issues into my work.

LAAH: Can you explain how your work so far has made a difference?

I donate a percentage to African conservation projects from the sale of every painting, field sketch and limited edition reproduction. So far my donations have exceeded US$25,000. I also raise awareness of the work of conservation projects by lecturing, blogging & teaching. My art gives me a platform, so I use my exhibitions and lectures to show my sketches & studio paintings combined with information about conservation organizations and their work in the field. I aim to show the complexity of conservation issues and hope that people will leave my exhibitions with a deeper understanding of some of these issues. Initially I thought my audience would be primarily in the USA & Europe but recently I have found ways to bring my work to communities in Africa too, which makes the experience even more valuable.

Elephant! Acrylic, Studio Painting, 24×30” © Alison Nicholls

This year I held an exhibit in the northern Tanzanian community of Loibor Siret, with the help of the African People & Wildlife Fund. I have visited the area 3 times to sketch and teach drawing classes for local schools. During my latest visit I helped students as they stenciled classroom walls with letters, numbers and animals. The end wall of the school was also painted with the name of the school, the outline of Tanzania containing the colors of the flag, and the lion symbol of the wildlife club. After the painting was complete, we hung an exhibition of my art and the drawings of the students. I provided laminated copies of field sketches I had created on previous visits, and we held a contest to give these pieces away to the students. I also displayed poster-sized images of my studio paintings and gave detailed explanations to the students about how and why I paint. One of the pieces is called Elephant! (or Tembo! in KiSwahili) and it shows the contrasting opinions often held about elephants by tourists and rural-dwelling Africans. Tourists usually view relaxed elephants from a vehicle, inside a national park, whereas rural-dwelling Africans are usually on foot when they encounter more aggressive and destructive elephants. This painting gives both African and non-African audiences a glimpse into the viewpoint of other people and it has been great to see the positive reactions of audiences on different continents. As with all my work, a significant percentage of the sale proceeds will be donated, in this case to the African People & Wildlife Fund.

In addition to the donations to conservation, I also hope my art has made a difference to the lives of the people who hang it in their homes and offices!

LAAH: Who are your allies and supporters in this enterprise?

I wonder if I can answer this without sounding like I’m making an acceptance speech!

My allies and supporters are people. People who are interested in art and an artist. This includes the people who visit my exhibits, come to my lectures and purchase my work. It includes the people who allow me to sketch their daily lives and the numerous people who peer over my shoulder while I’m sketching to see what I am doing. It includes the directors and staff of the conservation projects who allow me to visit them in the field and ask endless questions about their work. It includes my family and friends, many of whom now know far more about African conservation than they ever expected, or hoped. And it includes my husband who is my biggest supporter (and titles many of my paintings). Without all these people, my ability to make a difference would be nil, and my life would not be what it is today.

LAAH: Do you have plans to grow your involvement, to expand the scope of your project? If so, can you elaborate on these plans?

I have so many plans to expand the scope of my work that I will never manage to achieve them all. I would like to learn about new conservation challenges in different parts of Africa; revisit the projects I currently work with; expand the reach of my work to new audiences through video, film, print and e-books; collaborate with other artists on larger scale projects; and spend even more time sketching in Africa. As soon as cloning becomes standard practice, I’m going to need at least 6 of myself!

LAAH: Like anything in life worth working for there must be difficulties and struggles too. Can you share with us what have been your greatest challenges?

When I began to sketch in the field, I found this incredibly challenging. It requires an excellent knowledge of your materials, plenty of time and, crucially, confidence. But now, after several years of field sketching around people and animals, I find field sketching easier than studio painting because my subject is right there in front of me. Confidence is no longer a problem – the more people looking over my shoulder, the better I sketch!

Shimmer & Shukas Field Sketch, Tanzania © Alison Nicholls

Finding an audience for my work has taken years of hard work, constant exhibitions & time spent on publicity. Luckily, I enjoy all this. But sometimes I feel it would be easy to spend the entire week on the computer and no time in the studio. Finding the balance is tough but necessary.

There are numerous difficulties and struggles in just being an artist. When my art is going well, I am cavorting on top of the world. When it is going badly, I am stumbling around under the weight of the world. But even on the worst of days I know how fortunate I am to be working as an artist.

LAAH: How can people help you and help African conservation projects?

You can help by donating to projects who work to conserve wildlife and habitat in conjunction with supporting local communities. Learn about the complex issues involved before you donate, to make sure you are supporting projects that create beneficial, long-term results. Painted Dog Conservation & the African People & Wildlife Fund are 2 great projects to consider.

If you enjoy my art you can also join my mailing list, follow me on social media, visit my exhibitions or lectures, tell friends and family about my work and, of course, purchase artwork. You can be assured that I will make a donation from every sale to a conservation project working to help people & wildlife in Africa.

See more of Alison’s work in this video:  Alison Nicholls: Art Inspired by Africa

Image Credits

All Images Are © Alison Nicholls & Deirdre Leowinata

Alison Nicholls Artist Bio

Alison Nicholls is a member of Artists For Conservation, the Society of Animal Artists, the Explorers Club, the Salmagundi Club and a member of the Creative Board of Pencils For Africa. She lived in Botswana & Zimbabwe for a number of years and returns annually to sketch in the field and lead Sketching Safaris for Africa Geographic Magazine. Her Conservation Sketching Expeditions allow her to work closely with African conservation projects, visit them in the field, learn about their work and sketch on site. On return to the studio she creates a traveling exhibition and lecture series to raise awareness and funds for the conservation project. Alison is English by birth but has traveled widely and currently resides in Port Chester, New York, with her husband Nigel.

Website:  Nicholls Wildlife Art

Blog:  Alison Nicholls: Art Inspired by Africa

Follow Alison Nicholls on:  Facebook 

Janet and Blake Vanderhoof, Photo by Lora Schraft, Gilroy Dispatch, permission to use granted by the Gilroy Dispatch

In his 1918 painting Interior with a Violin (Room at Hôtel Beau-Rivage), Matisse captured light by painting in black. The black works in the painting, doesn’t jump out at us, because in the composition Matisse created a harmony and balance through simplified forms. In other words, the viewer experiences light as a subtle, indirect force that is delicately balanced within the scene.

Look closely at the paintings by Janet Vanderhoof and one experiences light in the contrast of bright colors, particularly red. Light radiates thinly through her cityscapes. Allow your eyes to linger and you discover how the light shifts, moving among the pedestrians in a crosswalk, reflecting and refracting through the streets of Chinatown, or is held in the petals of flowers.

Twitter Followers, oil on linen by Janet Vanderhoof

In Janet’s paintings, as in Matisse’s and Edward Hopper’s work, there is an absence of unnecessary elements. The viewer’s eyes are free to roam. As the eyes travel over the canvas, a careful viewer will experience how the bright colors create a dichotomy that animates the scene. In part, this animation comes from the physical movements of the people in the environment of the cityscapes. As in Hopper’s works, there is a psychological tension that animates Janet’s paintings of people going about the routines of daily life. That tension is rooted in their solitariness, the divides of self-constructed barriers that separate people. Look carefully at the figures held in suspended animation moving through the crosswalk in “Twitter Followers”. They are closed off from one another even as they share a common path. There is another element weaving through Janet’s paintings as subtle as the light she captures. This is her faith. Examine closely her painting “The Empty Chair, for example. There is a sense of community, participation in, if not a common meal, a communion of sorts. Her faith is also articulated by the warmth of the colors she has elected to work with.

Whether we are looking at a cityscape or a landscape, Janet’s paintings invite the viewer to compose stories with her. It is the story that interests her. Those stories are as essential as the aesthetic construction in her paintings. They are as essential as the movement of light.

Q: There is an interesting story that you have told about how your father met your mother in France. Would you mind repeating that here?

A: At a very young age I always had a story to tell that I would repeat as if it was a script in a movie. This story started before I was born and included this event of how my father met my mother. It always delighted me to tell others. I found it so romantic and wonderful. My father was in the Army and had been stationed in Italy during WWII. Prior to his return to the US, he furloughed in Paris. My father was immediately attracted to my mother when she exited the Metro in front of the Opera in Paris. Although, he tried to get her attention and desired to have a cup of coffee with her, she was not amused. Even after being rejected he followed her to her apartment as she refused to communicate with him. Since she only spoke French and my father only spoke a few words of the language, this was easily done. On returning home, she closed the door behind him only to find him waiting, as she left her apartment with her sister. Luckily, my aunt instantly liked my father and talked my mother into letting him go to the café with them. One thing led to another and my mother ended up falling in love with my father and three months later they were married in Paris. My father had to return home without her, while my mother took the next government ship with other War Brides to meet him. She left her family in France and became a US citizen. I loved this story; it reminds me of a movie. I believed everyone should have a story and I was fortunate to have this one. I would wonder what the chances were that my father wouldn’t have met my mother and I wouldn’t have been born. It taught me there is a certain amount of fate in life, a predetermined destiny.

Empty Chair, oll on vellum by Janet Vanderhoof

Q: Because your father was in the military, you moved around a great deal. How did those years influence you creatively? Were either of your parents artistically inclined?

A I was born in Frankfurt, Germany, where my father had been stationed for a year. We returned to Fort Monmouth, New Jersey to live until I was three. The next move I believe made an impact on my creativity. We had moved to Adak, Alaska to live for the next two years. My father was in the Army Signal Corp. I believe he was stationed there to listen to the Russian airwaves. Adak is an island on the furthest end of the Aleutian Islands. I remember my father meeting us as we got off the battleship, seeing large chunks of ice floating in the water and my father in a fur-trimmed parka, ready to take us to our Quonset hut in his jeep. As you can see I have strong visual memories and again I found it very romantic. For the next two years I was totally immersed in nature. It is there where I feel my love of nature is found in my current paintings as well as the love of open space although they had no trees. Upon my return to California, I remember falling in love with trees, especially the oaks and eucalyptus and my desire to paint them.

I do believe that I had a lot of life experiences that were very visual and not common to most children at this young age. It made me worldly and enhanced my visual life and tastes.

My mother’s brother was an artist and my sister as well is talented in drawing skills. As for my mother, she was able to sew or knit anything and my father loved photography. I would watch my father develop photos in his makeshift studio in the kitchen. He had quite an eye.

Q: Your father passed away when you were nine years old. That is a difficult age to lose a parent. How do you think that changed you and affected your role as both a parent and your pursuit of a career as an artist?

A: Yes, it was very difficult. In 1960 my father had just come back from Vietnam. He had been stationed in Saigon to set up communications for the upcoming war. I had been without him for a year. I could see that being in Vietnam had changed him. Even at a young age I could sense the stress and pain that occurred from being there. It ended up being too much for his heart. Three months after his return he died of a massive heart attack at 40 years old. I had the shock of seeing my father die. Prior to my father dying I felt very secure and confident. After I felt like the rug had been pulled from underneath me. Everything I knew to be as true was no longer true. I was forced to be an adult at nine years old. I became a problem solver, independent and resourceful, since my mother had to go back to work and I was left alone most of the time to take care of myself. I was taught to become a survivor like my mother and my choices of my career and desires were always based on being able to take care of myself as well as provide for myself, thus art took a back burner. It was only later after I had my children that I was able to pursue art. As far as how it affected my parenting, I made sure I was always there for my children. I believe parenting is so important and that your children should be well provided for emotionally, physically and mentally. It was paramount that my children discover their own dreams and to know that they can do anything they put their minds to.

Q: Based on your experience, what advice do you have for those who find themselves deterred from their desire to be creatively expressive because of family or other difficult circumstances?

A: I wish I had used my creative expression to heal after my father died. Even if you are not using this creative expression as a career, it needs to be expressed. In fact, I realize that not expressing it can cause all sorts of problems physically or emotionally. If you have the gift it needs to be shared. By not expressing this gift, you will continue to find frustration. It currently has helped me through very difficult times.

Q: Your mother’s experience during the Second World War was, to use your words, “survival orientated.” How has that influenced your art in terms of expressing yourself and marketing your work?

A: Now there is a positive and a negative to being survival oriented. The negative is that I may take fewer risks with my art. I push myself to take chances and explore different avenues instead of taking the safe route with my creativity, which isn’t always easy. I know that it can be my downfall. The positive side is I am goal oriented in productivity and focused on marketing my art. I treat creating art as a business, not a hobby. I avoid the stereotypical view of the “starving artist”; I have been taught the practicality of money.

Q: What brought you to art? To put this in another way, who or what inspired you to express yourself creatively?

A: My sister would always draw; her art resembled Matisse and Picasso’s style. I found it fascinating and inspired me to draw, as well. She is quite talented. At school, drawing and art always came naturally to me. I do remember most of my peers felt I was an artist before I did. They would often nominate me to do the murals for the prom and school events.

Q: Though you refer to your work as “Modern Impressionism,” Fauvism is your primary influence. Among this group, whom Louis Vauxcelles referred to as the Fauves (“wild beasts”), we find Henri Matisse, André Derain, Maurice de Vlaminck, Kees van Dongen. Their use of color is bold and dramatic. There is an expressive value to their strokes. Was it their high keyed colors and the quality of their brush strokes, besides the scenes they captured, or something more that attracted you to their work? Do you recall your first visit to a museum or art gallery?

A: I was certainly attracted to their use of color, since color is my first love. But I was also attracted to the emotions created by using the color expressionistically. I never felt a need to use local color in my paintings. The Fauves reinforced this belief of painting how the object made you feel, not what it actually was. I admired the Fauves strong sense of design and powerful compositions of which I always strive for.

The most memorable and exciting visit to an art museum was at the Galerie nationale du Jeu de Paume in Paris. I was in my early twenties. The museum housed important Impressionist works now housed in the Musee d’Orsay. The art spoke to me and immediately satisfied my sensibilities of taste in art, which now carries over into my work today.

Gauguin In Hanalei, acrylic on canvas by Janet Vanderhoof

Q: You were also influenced by the School of Color and Light and the German Expressionists. Do you recall the first time you saw the work that came out of these schools and your response to paintings by these artists?

A: I was first attracted to the mud heads inspired by Hawthorne’s teachings. He would send his group of students to the beach and have them paint a figure backlit. They were only allowed to use a large trowel to create the painting, forcing them to be loose. I loved the raw large shapes using the correct color to represent the exact value. Their choice of color was based on the relationships created from one color next to each other, creating the key and atmosphere of the day. I had taken some plein air classes with Camille Przewodek. Although, I do not prefer plein air painting, practicing this method has helped me create light and atmosphere in my studio paintings.

I first remember seeing the German Expressionists, The Blue Rider group, in books I found at the library when I started on my journey to become an artist. Their paintings had a tendency to be moody and somber. Also, their use of color was symbolic, each color representing a mood or instrument. I loved their spontaneity with the desire to express how they feel being their main focus.

Q: You have written, “Learning the rules of good composition is important, but in the end you must make a decision for yourself.” Who were the art teachers that influenced your creative development?

A: I had no interest in taking the academic route to studying art, although I read many books on my own about the artists I love. I already had a degree in Speech Pathology. My desire was to learn from the best and actively be learning the craft. In the beginning I did attend a local junior college, taking all their classes available, except sculpture. It was a great way to study the basics of color, design, drawing and painting. At the same time I was also taking private lessons for two years with Diane Wallace, who is local to the area. She is an excellent teacher in regards to color and composition. I then studied painting and life drawing with George de Groat in Carmel, California for two years. George taught me more about the body in one lesson than I could learn in two years at college.

Color became very important to me and I wanted to enhance this aspect of my work. Mike Linstrom was pivotal in my increased knowledge of color, and color composition. Since I also love to paint bright colors, he also taught me the importance of neutrals. Mike also introduced me to Camille Przewodek who was from the School of Color and Light. In addition, I have taken workshops with Charles Movalli, Charles Sovek and many others. I had some wonderful teachers of which I highly regard and welcome their influences.

Q: On your website you have a quote from the caricaturist Al Hirshfield. “Artists are just children who refuse to put down their crayons.” In your art, what is the role of a “childlike” openness to life, a willingness to explore and be imaginative?

A: I have never wanted to draw or paint realistically. Might as well take a photo. I am always open to creating in new ways and looking at things differently. I will continue to explore and discover new ways of expressing myself. I always allow a certain amount of play in my creating that is restrained with knowledge and the ability to make rules that are broken work.

No One’s Home, acrylic on canvas by Janet Vanderhoof

Q: Your paintings reveal a diversity of interests and topics. It is as if you are taking those who view your art on an emotional life journey. Most artists limit the scope of subjects and interest. You give yourself wide latitude. To what do you attribute this diversity?

A: From day one I told myself that in order for me to grow, I must learn how to use a variety of pallets and subject matter. I tend to do a series when painting, focusing on one subject. In doing that I have grown in many ways. Submersing myself in a variety of subjects and color has enabled me to be a better artist. I guess I want to be able to paint anything and not be limited by lack of knowledge.

Q: You have written, “I have painted many series from horses, flowers, people, still life, etc., but I do believe that I will always be known for my color.” Experimentation is an essential aspect of discovery. Having fallen in love with color before kindergarten, when your mother gave you a box of crayons, you have said that color is “the emotional force behind all my paintings.” How did that gift of crayons shape your sensibility of and to color, shape, line and contrast? How important does experimentation with color remain to your creative process?

A: Color is the emotional life force in my painting. Frankly, as I have said before, if I didn’t have color, I would have no need to be an artist. Color is like music; it involves an endless amount of notes that can be arranged in a limitless amount of ways. I explore a variety of pallets with my sole intention to wow the viewer. I love hearing I have never seen these colors together before. Colors have personalities like humans, and I am fascinated by these relationships created in an environment. I remember this exploration first started with a box of 64 color Crayola crayons, which included colors such as magenta, apricot, burnt sienna. It was the beginning of my ability to mix and match colors that had similar names to some of the paint colors used today. Crayola was the only brand I would use. Even then I was concerned with the quality of my materials.

Q: In Jacques Rivière’s essay, Present Tendencies in Painting, he observed that the cubists’ painters were asking questions about what must be put in place of lighting and perspective. When you are painting, do you find yourself thinking along those lines, say of “renouncing light” or even adding light to capture the essence and permanence of the person or object you are painting?

A: Yes, sometimes I use light as a light source and others times I use light as a compositional component. In the end what is always more important to me is the composition and the impact the light creates. You can always make up a reason why the light is a certain way.

Q: Faith and spirituality are important aspects of your life. In one of your essays you stated, “Remember what are your intentions? Is it to be right or righteous or is it to have love as the outcome? Let that be your barometer. Is your intention of love? Is it selfish or selfless? When you hear yourself say, what about me, you miss the mark.” How do these questions guide your creative expression as a painter, a poet and a writer? Is painting a form of spiritual exercise for you? Can it be compared to Saint Ignatius or other spiritual meditative exercises?

A: Faith and spirituality are very important to me. In fact, it was my spiritual journey that began my quest to become an artist. I always begin my paintings with an inspiration and I do believe they come from a higher place. There are moments when I create that feels as if I am channeling an energy that is beyond my own. I become the watcher. I totally lose myself. I lose the concept of time. I find myself in another dimension that allows for all possibilities. This happens at times when I am open to the spirit and less attached to the outcome as well as relinquishing control. I find myself in that space of receiving and co-creating. This doesn’t happen every time, but ideally this is the most desirable. I hope the viewer can feel this intention and also find it very healing when viewing my art.

Q: How has having a child with Down syndrome influenced your creativity?

A: In imperfection there can be so much beauty. Blake has allowed me to be imperfect and be all right with it. He has made me realize there is no such thing as perfection and gives me permission to be fearless when creating. After having Blake I realized that I needed to follow my dreams and not be afraid to do so. I needed this courage, especially since I started to become an artist at such a late age.

Q: There is a great deal of psychology in Edward Hopper’s work, just as there is in your own. And like Hopper, you seem disinterested in the symbolic effects, expressing what you perceive in a direct and uncomplicated manner. You keep the loneliness and isolation, the absence of communication and communion, the psychological tension right on the surface of your work just as Hopper did. In other words, there is an absence of symbolism, but a wealth of meaning. The difference between your work and Hopper’s is that in your work there is a possibility for that isolation to be broken, more of a sense of a communal experience. There is an introspective element to your work, but there is an extrovert’s hope rooted in your faith. And your faith is finding expression in the colors you use that express warmth. Would you agree with this assessment? Are you challenging the viewer’s perception of her or himself in the environment you paint?

A: Yes, there is a “possibility for that isolation to be broken”. I am always looking for hope in the painting as well as compassion. My colors also express that hope through their brightness. I take great care when developing the composition. I do like to eliminate anything that is frivolous or doesn’t lend to the composition. By doing this I feel my work is honest and upfront. Hopefully, I challenge the viewer to see beauty in unlikely subject matter and by simplifying my work it forces them to connect to the subject. There is nothing better than to have the viewer step into the painting, not in a realistic way but a psychological way, whether it brings up a memory or an awareness. The less elements to distract the viewer the better, plus I believe it gives the painting a more dramatic impact.

Q: Your painting “The Empty Chair” seems to invoke Hopper’s 1942 painting “Nighthawks.” Unlike Hopper, your cityscapes often raise a sense, if not the possibility of community and human interaction, rather than isolation. There is also a sense of movement rather than inertia. In part this sense of connectedness between people is due to your use of color, which tends to be vibrant. How much of an influence was Hopper on your development?

A: Well I do feel in most of my cityscapes there is always a sense of being alone in a crowd. So often in real life, we can be ignored and unseen no matter what we are doing. I am also interested in the story of each individual I paint and how they juxtapose each other in a crowd. Questions such as “What are they thinking?” “Where are they going?” or “What is their story?” come to mind when I am painting. Just as characters in a book are written and come to life, I feel my characters also have a life of their own. My trees in my landscapes are like people as well with their own stories to tell. I have been told often that my work resembles Hopper’s. I love his work, but never intended my work to be like his. I guess we are kindred spirits.

Not Kiki’s Market, acrylic on canvas by Janet Vanderhoof

Q: In your painting “It’s Not Kiki’s Market, II” there is a lot of color and contrast that captures shopping in Chinatown. In “Twitter Followers,” the movement is stiff, the subjects are marching, they seem almost unconscious to their environment. They move in solitary absorption. When you create these paintings, how immersed do you allow your senses to be to enter into a scene prior to and during the painting process? Are you emotionally responding to the nature of the moment?

A: I don’t separate myself from the person. I am a very empathetic person in nature. I become one with the people I paint as well as I want to hear what they have to say, even when most people wouldn’t listen. And it is for that reason I paint the common person. Emotion is an integral part of my paintings. I always respond emotionally to the painting as I paint in reaction to the subject, action and most of all color.

Q:: What is your preferred method of working; plein air or in the studio working from either photographs or sketches you have made of scenes for a possible painting?

A: I’m a studio painter. I do not enjoy painting plein air. I do enjoy manipulating the scene from photographs that I take. I do take the photographs with the intention of a certain subject or composition. I take many photos and combine and subtract from the photos as well as change the color pallet and lighting. The photograph is the jump off point but it isn’t copied. Usually the process starts in my mind of which I tend to paint the painting in my mind many times before I start. I have to build up the feeling and the intention first. It’s as if I am practicing choreography for a musical. Then when I am ready, the energy explodes and flies on the canvas. Then the painting tells me what it wants to be.

Q: What is the purpose of art?

A: For me the purpose of art is to express beauty, to heal, to take the viewer on a journey of exploration and discovery and to experience the sublime.

Q: It seems that today, with the proliferation of B.F.A. and M.F.A. programs that the emphasis falls on learning techniques of art; reducing art to a commodity, rather than a deeper expression of one’s own voice in interpreting the world around us. Picasso has observed that “The purpose of art is washing the dust of daily life off our souls.” If you were afforded the opportunity to address a convention of artist students, their families, what would you say to them?

A: Well I do believe you hit on something when mentioning expressing your own voice. In an ideal world it is desirable to explore your own voice. I would say that don’t let the academic aspect of the craft influence you to the point where your paintings don’t become identifiable as your own. You can be influenced, but as soon as your paintings become a replica of someone else’s you have lost the point of creating. Just as you are an original so is your ability to have a voice that is unique to all other artists. It is only in that uniqueness that you will truly discover the ultimate in creating. Our job is to be the poet, the preacher, to enhance the vibration of the world by our creations.

Image Credits

Twitter Followers, Empty Chair,  Gauguin In Hanalei © Janet Vanderhoof – All Rights Reserved
Janet and Blake Vanderhoof, Photo by Lora Schraft, Gilroy Dispatch, permission to use granted by the Gilroy Dispatch

See more of Janet Vanderhoof’s art at her website janetvanderhoof.com

Geraldine Simmons donates personal works of art to assist and support several animal welfare and environmental groups and also initiated “Riding for Rangas” a biennual charity bike ride that raises funds and awareness for Orangutans and Friends of the National Parks Foundation (FNPF), based in Indonesia.

FNPF is a local non-profit organization working to preserve Indonesia’s wildlife and habitats. The philosophy of FNPF is that we are all connected. They take a holistic, balanced and comprehensive approach that recognizes the inter-relatedness of human beings, animals and the environment.

FNPF has won numerous awards from AusAid, the Department of Environment, Water, Heritage and the Arts, and the Australian Consulate in Indonesia. It has been supported by the Humane Society International Australia since 2000.

LAAH: What exactly is it that you do?

GS:  I am the founder and organizer of the “Riding for Rangas” charity bike ride that raises funds and awareness for FNPF, a NGO based in Indonesia that protects local wildlife and habitat while helping local communities.

LAAH: When did you start?

GS: It all started after I returned from a trip to the Tanjung Putting National park in Borneo where FNPF carry out their valuable conservation work. I saw firsthand the destruction caused by the planting of palm oil plantations that threaten local plant and animal species, especially orangutans. This motivated me to turn my passion for cycling into an annual fund-raiser event.

LAAH: Why do you do it and what is the motivation or passion that keeps you going?

GS: I do it because I love to. My passion for endangered species motivates me to raise the awareness of their fragile habitat and how threatened these creatures really are. It’s soul destroying seeing the habitats of these magnificent creatures being wiped out as a result on the one hand of human greed and on the other, ignorance at the damage that is being done.

As a wildlife artist and activist I’m urging everyone to not only avoid products with palm oil, but also to more importantly support the relentless and challenging work of the FNPF.

Ridng for Rangas charity bike ride raising funds and awareness for FNPF

LAAH: Do you feel that what you have done so far has made a difference? If so, can you explain how?

GS: It’s been a very gradual process, a ‘work in progress’ so to speak. I’m sure the more people that hear about FNPF and what they do the more that can be done to support them. It’s great to be in publications such as this as I’m sure there are people reading this now who have heard of the plight of endangered species and would like to learn more. I have sold a few artworks and donated my artwork to make t-shirts for FNPF as well and I will continue to do so.

The “Riding for Rangas” charity bike ride has raised several thousands of dollars since its inception in 2009 but many more dollars need to be raised as well as awareness.

Riding for Rangas team L – R: Anne Wilkes, Tom Bodor, Nicola Bodor, Phill Gilbert, Jane Waldron, Geri Roggiero AKA Simmons, Peter Robertson and Ben Cebuliak

LAAH: Who are your allies and supporters in this enterprise?

GV:  Firstly, I am in awe of the commitment, passion and tenacity of “Bayu” or Drh N. Bayu Wirayudha (FNPF‘s CEO and Founder) and the staff of FNPF who soldier on day after day, despite how large or small the challenges may be.  It amazes me how FNPF grew from the action of a few passionate vets to what it is today.GS:   One of those vets is Dr. Ross Perry – a renowned bird specialist and friend who put me in touch with. Bayu invited me to visit the park after hearing from Dr. Ross Perry and viewing my wildlife art online..

Dr. Ross Perry assisted as support crew in the very first ride and suggested I turn this into an on-going event. I am so glad he made that suggestion.  “Riding for Rangas” charity bike ride is now a biennual event and plans are already being made for 2015!

I have always had a great team of cyclists helping me including Ben Cebuliak, Ron Krueger and Peter Robertson. Ben has visited FNPF himself and has been my top fundraiser so far. Ron has helped with media releases and Peter has helped with the printing of t-shirts and caps to help promote our ride. My husband David Roggiero has been wonderful in helping to plan the ride as well as supporting my idea in the first place.

LAAH: Do you have plans to grow your involvement, to expand the scope of your project? If so, can you elaborate on these plans?

GV:  Yes I would like to grow this event by encouraging more cyclists to take part and getting more like-minded people involved.

LAAH: Like anything in life worth working for there must be difficulties and struggles too. Can you share with us what have been your greatest challenges?

GV:  I guess the biggest challenge has been getting people to believe in this cause and support it. I have had so many knock backs with unreturned calls and emails from organizations that I thought would support FNPF but this won’t stop me from trying.

It’s disheartening when people and organizations see anything that is animal or environment related as not very important or worth raising the money for.  I think it’s more to do with lack of awareness though so it’s a matter of continuing to run events such as this to affect peoples’ way of thinking.

My other challenge is that even if I were to include more than 11 cyclists it would mean that I would have to apply for permits, adding extra costs to the event.

Orangutan in Tanjung Puting National Park

LAAH: How can people help you?

GV:  I encourage people to travel to FNPF and see for themselves the work that FNPF do. They can volunteer or support the organization by going on one of FNPF’s Eco Tours that also supports the local community. I am sure it would be a trip that they will remember for years to come. Information is available at the FNPF website and donations can be made too. I believe we can all make a difference no matter how large or small. It’s just a matter of putting words or ideas into action as well as having awareness – awareness of how we consume and live.

The Life As A Human team thanks Geraldine Simmons, Dr. Ross Perry, Bayu and the “Riding for Rangas” team for the amazing work they are doing to bring awareness to how palm oil plantations are threatening Borneo’s Tanjung Putting National park’s plant and animal species, especially orangutans.  

If orangutans inspire or have touched your life in any way we know they would love to hear from you!  Contact them firsthand with feedback and queries at:  Geraldines Wildlife Art  or follow the progress at Geraldine’s Facebook & Twitter accounts.

 “Riding for Rangas” charity bike ride is now a biennual event and plans are already being made for 2015! 

Photo Credits

All Photos Are © Friends of the National Parks Foundation

Friends of National Parks Foundation

During his travels to Bangladesh, Faizel Kathrada recognized the inhumane conditions under which workers in the manufacturing sector lived. Being the remarkable man that he is, he decided to do something about it, especially if he was going to receive any work done by these workers.

In having developed a way to improve the conditions of the workers involved with his operations, he decided to create a foundation with like-minded individuals and their companies. Together, they would join forces to influence the current conditions for all workers in every stage of the manufacturing, distribution and sales processes. And that is what they do through the Freedom Factory Foundation.

Faizel Kathrada (right) watches as small trucks arrive from various sources with goods destined for Refugees in Syria.

Our friend Jose Albis  introduced us to Faizel Kathrada and the work of the Freedom Factory Foundation. Needless to say, both have common goals in ‘making a dent in the universe’ and supporting the development of the world towards ‘more goodness’.

Website: Freedom Factory                               Follow: Facebook | Twitter | YouTube

LAAH: What exactly is it that you do?

FK: My name is Faizel Kathrada, and I’m the founder of the Freedom Factory Foundation, a Canadian non-profit that supports factories that are socially compliant, respectful of their employees and give back dignity and value to them. Our network of associates focus on choosing these companies with the intention of making sure we are giving back in every step of the process, from the manufacturing of garments to the point of sale.

LAAH: When did you start?

FK: It has been an evolution over several years. During my travels to Bangladesh, I noticed the inhumane conditions of the workers in factories and thought that something must be done.

Faizel leading collaborators in filling up containers

LAAH: Why do you do it and what is the motivation or passion that keeps you going?

FK: Well, we do it because we care. After seeing the conditions of destitute, I truly could not sleep at night knowing that I could make a difference but don’t. This got the wheels grinding and now Freedom Factory Foundation is a reality. I visit the Al-Ihsan Womens Social Development Center and school on a yearly basis, and seeing the fruits of what EVERYONE has been contributing to is pure motivation.

LAAH: Do you feel that what you have done so far has made a difference? If so, can you explain how?

FK: Definitely so, girls from the poorest of humanity are getting a second chance because of our work, that is priceless!

The first Freedom Factory container of 2014 – From Surrey to Syria

LAAH: Who are your allies and supporters in this enterprise?

FK: Everyday folks are our allies; people who care and have a sense of conscience. We also work with NGOs such a Human Concern International who have contributed beyond belief.

LAAH: Do you have plans to grow your involvement, to expand the scope of your project? If so, can you elaborate on these plans?

FK: Definitely! This year we started a campaign to help the refugees of Syria. We shipped out a 40 foot container with winter/spring clothing that will clothe approximately 10,000 people. We have also sent out urgently needed medical aid for the Syrian refugees inside and outside of Syria. We will continue to support this cause. We are also planning on increasing the number of grades we offer at Al-Ihasan school.

LAAH: Like anything in life worth working for there must be difficulties and struggles too. Can you share with us what have been your greatest challenges?

FK: Politics is the greatest challenge. There are too many instances when we try delivering aid to those that need it, politics get involved … and aid is delayed.

LAAH: How can people help you?

FK: The best way is through financial donations that will continue to not only maintain the programs we have in place, but also to grow and expand our horizons. If anyone is unable to make financial contributions, please remember us in prayers and thoughts.

Our current Indiegogo campaign From Surrey to Syria allows for small contributions that will go a very long way in impacting the lives of those who need it the most. All donations will get a tax-deductible receipt.

After this campaign is over, donations can be made through our website Freedom Factory.

Please Watch: Syrian Refugees Support – Surrey to Syria

The Life As A Human team thanks Faizel Kathrada and the Freedom Factory Foundation for the great work they are doing and for giving us this interview. Also, thank you to for introducing us to them! If you know them, or if their work has touched your life or inspired you in some way, please leave them a comment.

We know they would love to hear from you! And be sure to visit their website: Freedom Factory

Photo Credits

All Photos by Freedom Factory – All Rights Reserved

The health of the body contributes to the health of the brain.

He learned to snowboard at the age of 60 (living in Florida, he had never skied before) and at the age of 72 he’s currently learning to fly an airplane.

Stephen Jepson says the secrets to staying vibrant and strong are hidden in the activities that we used to do as children.

The 72-year-old has written a book, Never Leave the Playground, in his mission to show people it’s never too late to improve their balance, energy and health.

Nevin Thompson interviewed Stephen Jepson for Life as a Human following his return from a Lego conference in Denmark. Jepson had been invited to talk about how play helps create new brain cells and nerve redundancies and “neuroplasticity.”

Why did you create Never Leave the Playground?

I wanted to help people create and maintain lifestyle that fosters healthy brain growth throughout their lives.

Why? Because sedentary life is death.

Stephen, how are you keeping busy?
 
I’m going to be 73 soon, and I’m learning to juggle with three clubs standing on a bongo board. A bongo board is a little piece of wood with a roller underneath. Standing on a roller board compounds the complexity of learning to juggle.

Have you always been active?

I was then turned loose on the world when I was five years old, growing up in Iowa after the war. My parents learned they could not confine me without being cruel to me… unless they actually locked me in a closet. I always scaled whatever barricades they created to keep me in the playpen or the sandbox.

So, my father gave me a wristwatch when I was five and gave me one rule: be home by six o’clock, in time for dinner.

Some people might think you’re superhuman?

No I’m not.

Think about it: when did we humans begin to become hunter-gatherers? Nearly two million years ago.

When did we quit being hunter gatherers? Only 11,000 years ago, when humans developed agriculture.

So, for this huge amount of time in our history, humans evolved to be hunter-gatherers.

What does this mean?

All that time we were barefoot. We were very careful where we placed our feet. How many times will a child, barefoot out in the garden, accidentally step on and get stung by a honey bee?

Probably only once.

And this means when we’re barefoot we tend to pay attention to the terrain – our feet will be put through a tremendous range of flexibility and motion.

Walking barefoot was, in many ways, good for our body and good for our brain.

Nowadays, we wear shoes and typically walk on flat surfaces. Walking in shoes is like having sex with gloves on!

It still seems slightly unusual for a 72-year-old to take up juggling.

Once again, when I was eight years old, my father took me to see Ringling Brothers circus. I had never seen the circus before. Out comes a clown, and he began to juggle.

“I can do that,” I said to myself. And now, in my seventies, I teach juggling.

Out comes another clown, this time riding on a unicycle.

“I can do that too,” I said to myself. And now, in my seventies, I teach people how to ride a unicycle.

Next I saw somebody do tightrope watching.

“I can do that,” I said to myself, and that’s something else I teach others to do now, too.

Of course, I then saw someone throwing knives at the circus, and now I can throw knives too.

I made a list of all these different activities I thought I could do, and over the course of my life I have proceeded to tick them all off, one by one.

And now you’re using your energy and curiosity to inspire others.

I want to help people create a lifestyle that is going to create and maintain healthy brain growth throughout their lives.

I focus on physical learning so people can continue to do physical activities in later life and maintain high quality of life as they age.

And since not everyone may be as active as I am (yet), I take difficult physical things and break them down into easy steps. When I teach adults to “play” I generally use simple games, some of which I have invented myself and others that have been around for ages.

Keeping active fosters brain development – complex activity like games keeps our brain and mind healthy.

So by playing, we will have longer, richer lives?

Absolutely.

Every medical study says the one thing that keeps us healthy and mentally and physically active as we get older is to keep doing physical activity.

Learning new physical activities keeps us not only fit, but also enhances neuroplasticity to keep our minds sharp. Many of us start sitting on our asses when we enter college, and it’s killing us.

For nearly two million years, we use to have to constantly move as hunter-gatherers to get enough food, to keep us healthy. Now we no longer have to move. Food is all around us.

But we still have to move to be healthy and remain vital. Basically, we should never leave the playground.

How do you help with that?

I’ve created games that help foster neuroplasticity.

If you have stroke or other condition that affects your brain, neuroplasticity can help you recover more quickly. Your body has already created “backup” circuits.

What is neuroplasticity?

Neuroplasticity is creation of extra or surplus neural pathways and cognitive reserve.

Plasticity, or neuroplasticity, describes how experiences reorganize neural pathways in the brain. Long lasting functional changes in the brain occur when we learn new things or memorize new information.

I do this for myself with the little games I have come up with.

How does this work exactly?

The physical health of the body contributes to the physical health of the brain. Every movement we make is routed through the brain, and the experts say this means the brain is always changing.

Every physical movement we make, especially if it’s some sort of new physical activity, changes the brain.

What kinds of games do you recommend to foster neuroplasticity?

You don’t have to juggle or throw knives. You can sit a chair and pick up marbles with your toes. Or try using your less dominant hand or foot – typically your left one – to do the same thing.

I constantly start out with things that are new that are a little challenging and also fun to do that people can master over time, much like children behave on the playground.

So, at the age of 72 I have taught myself to play jacks again. I jump rope. I use the monkey bars. I never leave the playground, and this approach is keeping me mentally and physically healthy.

If you look in the dictionary, there is a huge number of different definitions of the word “play.” That means there lots of ways to think of play and how play helps us “be human.”

If you can do only one thing for your health make it to be physically active. Movement makes us smarter.

Learn more about Stephen Jepson at Never Leave the Playground. 

Photo Credits

Photos Courtesy Of Stephen Jepson – All Rights Reserved

Guest Author Bio

Nevin Thompson
Nevin Thompson is a marketing writer in Victoria BC . He frequently writes about healthcare issues on behalf of HealthcareVictoria.com

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