Date of Birth:
December 9, 1982.

Single, married, partner?
Happily married.

Do you have any pets?
Nope. The last pet I had was given away by my parents when I was in 6th grade. That was a difficult time in my life, no doubt. Nowadays we move around too much to have one. One day though I hope to have a dog again.

You're a Texas native. Can you tell us what it was like growing up in the Southwest?
I was actually born in the deep south in Mississippi, survived a hurricane there as a baby, then moved to Louisiana where I was an outdoors kid in the extreme (but not in a hunting-deer kind of way, just climbing trees and riding bikes and stuff), then moved to Texas in the 3rd grade. Texas has it's own thing going on down there in the south. It's kind of a bridge between the true southwest of New Mexico and the true deep south in Louisiana. The town in Texas that I lived in while I was growing up was named Sugarland, a suburb to the southwest of Houston. It was a fairly typical suburb, except that my neighborhood was built right next to low security prison property which consisted mostly of acres and acres of farmland. This made for fun trespassing opportunities and the occasional excitement when a prisoner would escape and try and hide in the neighborhood. There was a good mix in Sugarland, ethnically speaking. The winters are easy there and the summers are hot as hell with lots of mosquitos and roaches. I liked growing up there. We lived near the Brazos river on the edge of town so there was a lot of wilderness to explore as a kid. I found a shipwreck on the riverbottom once when it hadn't rained in a long time and the water receded. I loved being outside (still do). West Texas is one of my favorite places on earth. My family would take vacations to the Big Bend area once a year and it's captivated me ever since. Somehow I avoided the southern accent altogether. I was recently talking to a woman in Seattle who thought I was from California. She said I have a west coast accent. I like that.



You recently packed up and left Austin to go on a semi-permanent cross-country road trip. Can you tell us about your travels and why you decided to pack up and leave your home?
We decided to travel for the challenge and adventure as well as the opportunity to work on WWOOF farms and to explore new directions. At the time I also felt a strong need to simplify and traveling seemed to be a good way to nurture that kind of mindset. So we planned for a few months leading up to it, sold most of our stuff in garage sales in Austin, and hit the road. We decided to camp a lot, both to save money and because we enjoy camping. The original inspiration for the whole trip was a camping trip we took to California the year before. We camped at Lake Tahoe and Big Sur and had an amazing time. During our big trip we worked on a few farms, spent a month and a half in Brooklyn, saw a lot of the country, met some wonderful people. We had our ups and downs but it was all a worthwhile experience. We were shooting for one year but we ended up settling down in Portland after 6 months.

Can you talk about what WWOOF is, and why you were drawn to that organization and the farming lifestyle?
WWOOF stands for World Wide Opportunities on Organic Farms. It's an organization that exists to pair up volunteers with organic farms that want the help. You become a member for a small yearly fee, they give you access to their farm database, you contact a farm that looks interesting and work out the details from there. Most places will give you room and board for several hours of work per day, not all though. Both of our experiences were great: we WWOOFed in Orlando and in Pittsburgh and I wish we would have done more of it but it didn't work out. Most farms' volunteer capacity would fill up long in advance and it was hard for us to plan that far ahead. We were drawn to this because one day we'd like to grow our own food, and so were interested to experience a little slice of life on a small organic farm and learn a little bit in the process. We definitely have a ton more to learn, but it was a good feet wetting experience.

Were you able to create any work while on the road?
I created some pieces in Brooklyn and I was able to take photos throughout the trip. Other than that, no; not so much because I couldn't - although it was more difficult on the road due to supply issues and space in my car - but I just think my thoughts were elsewhere at the time. I was kind of stepping back and evaluating things, not worrying about output.



What is your opinion of the people and places of the USA, now that you've had a broad exposure?
There's a lot out there. We were driving across northern Vermont on little back roads and I was struck by that little pocket of the country that I'd never thought about, yet there are people doing their thing in these classic looking little towns and there have been for years. I imagine there are unique pockets like that all throughout the country that are out of the way and have their own traditions and history. I saw a lot of homogenous stuff too. You have Starbucks, Target, McDonalds, Wal-Mart etc. almost everywhere. But there's a lot more underneath all of that. And it's not too hard to get away from that stuff, if you want to, by getting off the main interstate system.

In general I have to say I prefer the western parts of the country to the eastern parts. Once you hit the Dakotas things start to open up and get wild and beautiful. And I think it carries over into the attitude of the people. There is an atmosphere of possibility and ruggedness. The east coast is also very densely populated and I prefer some wide open space.

Why did you settle on Portland, OR? How do you like it living in the Pacific Northwest?
We'd heard good things about Portland so we wanted to try it out and see for ourselves. All in all it's a great city. And I love the northwest in general. This winter was hard, I kind of shut down there for a bit, but when the sun comes out my batterries quickly recharge.

Do you think you will stay there, or do you have plans to keep traveling?
We really have no idea. We've toyed around with traveling overseas as well as with staying put.. not sure.. even if we do stay in the USA we might move to a different city at some point in the near future.



How do you feel about the concept of "home"?
I feel like I don't really have one right now in the classic sense. My parents moved away from where they lived when I grew up and Kayla and I have moved around quite a bit. But it doesn't bother me. I'm happy to be where I am. I hope to recreate that sense of home again one day though.

You do graphic design as well as art. Is there a difference between the mediums in your eyes? How do you balance the two?
It doesn't always manifest itself in this way, but I like to think of graphic design as being a craft with a foundation in tradition that uses methods, typefaces and images to convey information with style and effectiveness. Like a craftsman making a piece of furniture, the end product has to function in certain understood ways. I view my art as a personal and emotional expression.. a pursuit of something mysterious inside me. Like there's a lost language inside me and I'm trying to get it out and record it. Maybe it's the graphic design of my subconscious. Anyway, I enjoy both practices, although I have found that graphic design/illustration is often used to sell things with derivitive, meaningless imagery. I don't get excited about being a part of that but I am willing to do it for the cash.

Does graphic design inform your art-making process?
Yes, concepts and tools like grid layouts, typography, the use of white space, and the balance of graphic design are inspiring to me and I bring that into my art sometimes.



How do you feel about selling your art work and entering the commercial side of the art world?
I'm happy to sell my work, but I'm not at a point right now where I'm actively pursuing that in any way. I'm not really at a point where I'm trying to get my work seen / marketing myself right now either. I can definitely see myself wanting to show my work more in the future though. But I don't see art making as a business or a way for me to make a living. I'd rather not have money tied to my personal creative output too intimately.

Talk about your motivation for creating work over the years. Has it changed as of late?
Like I mentioned earlier, I feel like I have this mysterious thing inside me that I'm trying to get out and document. I don't always know where my ideas come from or why, however certain things like wood, trees, the desert, and natural light are very inspiring to me.

Is there anything new projects you are working on, or new areas that you are considering exploring in the future?
I've been working a lot with thread and embroidery lately. I'd like to expand those ideas and do them on a larger scale with thicker threads, possibly yarn or something like that, maybe work in three dimensions with it. I'd like to continue embroidering on top of found images, but would also like to explore creating stand alone images from the ground up. I've been really interested in working with fabric as well and have been inspired by Yo Fukui's work. I've also been recently inspired to do some street installations of printed images.. Vinny and I have been talking about that for this summer.

How has the idea of collaborative art-making affected your work and the way you look at your own process?
It's opened things up for me and had a big influence. It's prompted me to try new things that I can then take into my own work. For example, I worked with embroidery for the first time on a Mail Art postcard that Brandi sent me and it really clicked for me. I might not have discovered that otherwise.


\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\


Pedro Ramos


Date of birth:
08.10.1982

Single, Married, partner:
It’s complicated.

Pets:
I love dogs, but my lifestyle hasn’t allowed me to have one yet.

What was your experience like growing up on the island of Madeira? Tell us a bit about your family?
Growing up there was really fun! We would play outside all day and would only come back home for dinner. It was great to be so close to the ocean from an early age. I think that’s why I still find it almost impossible to live away from it right now. It’s pretty amazing there, you can go swimming in quiet waters in the morning, go surfing in not so quiet waters afterwards and go see a sunset in the mountains, above the clouds all in one day. The more I travel, the luckier I feel to have my home in such a unique place.
I have a great family and they always backed me up, whatever my decisions were. I can’t really complain about that.

You're currently living and working in Sydney Australia, what made you choose Australia and how long do you think you will be there for?
During the course of last year I contacted photographers whose work I like, hoping to assist them. I got very positive answers from some big names in New York. At first I was pretty much sure that I would move there.
I guess I came to Sydney because I could blend work and a bit of the lifestyle that I had back home all in the same place. I’m glad that I don’t have to cope with a New York winter at the moment… but I still think about moving there a lot.

Do you miss home?
Yes, I miss my family and friends, the surf and the perks of island life.

Any reasons for leaving?
If I wanted a 9 to 5 job and a really steady life I would’ve stayed there. The problem is, like in most small places, there’s not much you can do, especially in creative fields. That can be really frustrating because it’s hard to get yourself out there, few people get what you’re trying to do and you don’t meet too many like-minded people.

Has it been worth it?
Yes.

You recently spent some time in Japan tell us a bit about your trip?
Japan was a place that I wanted to visit for a long time and now that I’m living closer to Asia seemed like the appropriate time to do it.
I flew in to Tokyo and on the same night I jumped on an overnight bus to Shikoku Island in the South where I met with Leki, a friend I made in Australia in 2008. He runs a guesthouse in Shishikui, one of the most beautiful places I’ve ever seen. I had a lot of fun with him, his friends and his family.
On the way back to Tokyo I visited Kyoto, which was very nice but a bit too touristy. I was expecting to be taken back in time amidst the temples and shrines in the woods but it didn’t really happen… way too many tourists like myself, and the collective noise of hundreds of digital cameras didn’t really help.
I had an amazing time in Tokyo. That city is incredible. It’s at the top of my list for sure! I made great friends over there, especially Sachie at Cosmic Wonder that told me where to go, showed me the best places to get food, bookshops, galleries, places not to be missed, etc. I also met Peter Sutherland who was having an exhibition there at the time. It was pretty good to hear some of what he had to say about the art world and photographers back in New York as well as his process and projects.
Japanese people were really friendly and willing to help at all times despite the language barrier. I want to go back there soon.

Has assisting for photographer Ben Sullivan had an affect on your own work?
Ben is an amazing photographer. He knows a lot about the technical side of photography, has his artistic vision well laid out and knows how to deliver on his jobs. He’s also very forgiving of my mishaps and never really got mad at me for that…
Through assisting I think you learn things without knowing. I guess you realize that when you pick up your camera afterwards or look at new work and see improvement.
Apart from that, I think I’m learning a lot of stuff that will help me on future jobs like finding and choosing the best locations, the best light, directing the models, working with the whole team at the shoot, getting the studio/office work done, etc.

Good or bad?
Pretty good.

What's your first memory of using a camera & what's the first camera you owned?
I got a 110 film camera from my best friend as a birthday present, I must have been around 6 years old at the time. I don’t even remember seeing photos taken with it but there’s this photo of a very young me with that camera in my hands. I don’t even know what happened to it.
I used to try and take a few photos with a Konica SLR my father had, but he was afraid I would break it so he didn’t give me a lot of freedom to mess around with it. Anyway, whenever I shot with it my photos would look way better than his and he still tried to get credit for those! Sorry Dad!

What equipment are you currently using?
Mostly 35mm rangefinders and the occasional point & shoot. I’m going through a personal dilemma ($$$) at the moment about whether or not I should start shooting with medium format cameras.

What are your views on the war between digital and analog?
It’s not a war. It’s a matter of personal preference. It also depends on what results you’re aiming for. I’m actually more bothered by the fact that some people think that shooting on film will make their pictures into instant works of art.

How do you feel about photographing strangers? How about Friends/Family/Loved-Ones?
Strangers are harder to photograph, whether or not you’re supposed to be taking their picture. Normally, you don’t have much time on your side and you don’t want to be intrusive at first, which is not a good combination… I’m still trying to overcome that.
With friends and family, you spend more time with them, and their guard is down… even if they’re aware of the camera and don’t really like it, you always get your break.

What do you think about Lady Gaga being appointed creative director of Polaroid?
I know she’s a pop star but that’s pretty much all I know about her. It’s probably just a way for Polaroid to reach out to a broader audience.

Most of your work seems to be a part of an ongoing narrative. Is this accurate?
I guess it is a bit diaristic. Even when I have projects on my mind, I start them by taking my camera along with me wherever I go and if I see something interesting, I try to capture it in a relevant way for that specific project.
I never really felt a connection with formal and academic bodies of work. Like when someone makes a book or an exhibition of photos of the same thing over and over again, like roundabouts, you know? There are some exceptions but generally I think these projects are quite boring.
I guess I’d rather look at work that is done more spontaneously. Everyone has a different vision and I think that’s what’s interesting about it. It can depict something real, but it can also be something fictitious, or just the way a person wishes the world were.

When was the last time you let go?
I’ve been living like that for a while and I’m pleased with the outcome so far.

As your work is highly personal, do you find it difficult to have your images altered and added to by another? Does that derail your vision?
I think it’s pretty hard to see that happen. It obviously alters your original vision and why you did things that way in the first place.
In the end, when you alter it, it becomes something totally different and new. I guess it is kind of like a collage. There’s a bit of you in there but it doesn’t mean that it is somehow connected to your way of thinking or style of making things.

How has the idea of collaborative art-making affected your work and the way you look at your own process?
I don’t know if it affected my work directly yet. What I like more about working with people who use other mediums is absorbing ideas and inspiration from their work. I love seeing stuff other than photography. That is actually refreshing, because you tend to see so much photography work on a daily basis and it can get a bit overwhelming.
I’m pretty interested in seeing the results of the upcoming WAFA photo book though.

Any new years resolution?
Keeping on keeping on.

See more of Pedro's work here:
www.pedroramos.org


\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\

Brandi Strickland



Date of birth:
October 8, 1985

Single, Married, partner:
I have a partner, Robert. We've been together almost 4 years and he's the best.

Pets:
I don't have one but I (really) want one. It'll probably be a few years though.

What was your experience like growing up in North Carolina? Tell us a bit about your family?
I lived with my dad in eastern NC until I was 12. It's a rural place with lots of land and farming and people who've lived in the same place for a long time. I had family all around: grandparents, aunts, uncles, cousins.... I spent lots of one-on-one time with my grandpa, our house was just across a field from his. He was a huge influence; always reading to me and going along with my make believe.

I had an (almost) pre-technology childhood; we didn't own video games, our TV only had a few stations, and I didn't hear about the internet until I was almost a teenager. No Wal-mart, no mall, no neighborhoods, no cul-de-sacs. We shopped at Piggly Wiggly, and had a big summer garden every year. Everyone spent time doing seasonal activities, lives were still tied with the land. I'm lucky to have grown up the way that I did, in the country & surrounded by family. I was an only child, so I spent lots of time by myself or with adults. I loved being outside, riding my bike, collecting rocks and small treasures, making mud pies and (really sophisticated) 'fake food'. I read a lot and soaked up lame TV and made artwork here and there. I think I missed being around other kids, but I became really good at entertaining myself.

While I lived with my dad I visited my mom every other weekend in Charlotte and we stayed really close. She's into art and worked with me a lot, which built my creative confidence. Around age 12 I moved to Charlotte to live with my mom, in a suburban area, totally different from what I was used to. And I've been here in Charlotte 12 years now, half my life. I visit my dad a lot back home and I have an awesome 9 year old little brother.

You went to Queens University of Charlotte. How do you feel about art & academia?
I don't know, that's tough. I liked school, always enjoyed being a student. Getting my BA was generally good, I had some great teachers and certainly learned a lot (about art and everything else). Those four years gave me time to work intensively on my art and figure out what I wanted to do with myself. I think I just did it one way, not the way, or the best way. I totally disagree that people need degrees to be taken seriously, to show in galleries or get teaching gigs. I don't appreciate elitism and academic society naturally tends to set that up. Sometimes I wish I could get the learned art speak out of my head, turn off the critique in my brain.

You're thinking about moving to Chicago, why did you choose Chicago and when do you expect to move?
We just visited to check out neighborhoods and get a feel for the place, I'd never been before. It's Robert's favorite stateside city, so I was pretty sure I'd like it. I've known for a long time that I wanted to leave Charlotte, it was just a matter of finding a good fit. Chicago is a big city, no doubt, but I was really surprised by its friendliness and general good attitude. It has a great public transportation system and there's more opportunity for education, employment and exhibiting. It's the third largest city in the US, and the most affordable of all the big ones. Plus, I can take a break from the NC summer hell heat and experience real winter for the first time. I don't want to jinx anything, but we hope to move sometime during 2010.

Do you have a favorite book or author?
Kurt Vonnegut, easy.

Can you talk about "Art as Magic"?
Images and words are powerful things, people have always recognized that. I believe all the arts have roots in magic and that shamanism is part of the creative inclination. Creating/manipulating images as art isn't all about entertainment or fun or having something to match your home decor. I really believe that it has a primal and important role in the life of the artist, the viewer and society. But words and explanations aren't my strong suit, I better shut up about this one.

How does music relate to your artwork?
I listen to music all the time and definitely think it facilitates creativity.

You recently did a record cover is this something you'd like to do more of?
Yes! It's a really interesting challenge to create visuals that compliment or represent music. Since the Bird & Flower cover I've been working on another album art project that I'm excited about. I don't want to be a full-time commercial illustrator or anything, but projects like these pay the bills and keep me in the studio. Assignments give a little structure and focus to studio practice as well as being good exercises.

What have you been working on lately, outside of WAFA? Are there new areas you are interested in exploring?
I've been keeping some work in book form lately, I haven't done that in a long time. I feel like 2010 is going to be a big, good year. I feel ready to explore lots of things.

There is a sense of nostalgia, mystery, and the Universe represented in your work. Is this an accurate representation? Can you talk on this?
I think that's accurate, I like to get caught up in wonder. When you're a kid everything blows your mind, all is mysterious, unexplained and possible. It's important to get back to that place once in awhile, to try and stay there as much as possible. I use pictures of stars and space because they're powerful, I think humanity actually seeing pictures of outer space changed us fundamentally. It's crazy to see our little blue-green island floating in so much space. Art is a good place for keeping mystery, make-believe hope and aspirations alive. I think my work is definitely about big ideas, I'm just no good at all talking about them.

Can you tell us about your "dark crystals" series and where you are pulling from?
Dark Crystals was about energies and supernatural happenings within nature. All those works seem to hinge on a pivotal moment, something big happening. I didn't think about it that way while I was working, but it's been about a year and that's how I read them now. It was also a pretty big shift in my work, I started using lots of black.

Do you have a power animal?
I've never thought about it until you asked. A deer, maybe. My boyfriend said squirrel, that's probably more accurate.

What keeps you inspired?
New ideas, good talks, taking breaks, cappuccino, flickr + tumblr, music, photography, non-fiction, metaphysical/spiritual/religious books, Kurt Vonnegut, Bill Hicks, cute animals.

Do you have days when you doubt your work, how do you deal with them?
Oh yes, often. It's usually when ideas aren't coming and there are 100 unfinished pieces lying around with no conclusions in sight. Often I'll paint over unfinished or failed work on those bad days, it makes me feel much better. This general frustration is evident in the finished works, most of them have lots of layers and unfinished thoughts underneath.

Sometimes I just have to walk away and avoid the studio for a few days. Soak up some new ideas and return with a fresh perspective. I'll work on something that's not intimidating, a doodle on white printer paper or a collage in a notebook. There's also plenty of work to do that's not studio related, so I catch up on that when I'm low on inspiration.

What are the materials/tools that you go to the most?
Old books, magazines, found paper, board, scissors, x-acto knife, UHU glue stick, gel medium, gouache, acrylic paint, pencil, colored pencil, pen...

Why is UHU the best glue?
I've tried all sorts of adhesives and UHU is my favorite for simple paper to paper gluing. Sometime in high school I settled on UHU glue sticks and haven't looked back. It has a good texture--spreadable, not too thick or thin. I like the purple tinted kind, it dries clear but is easier to see while you're applying it. And of course, UHU has all the archival/acid free/non-toxic and washable specifications. If there's anything better out there I'd like to know about it.

For my mixed media works on board I always use gel medium. It's a love/hate with that stuff. I know it's toxic and the feel of it on my fingers sets off some kind of OCD.

What has your experience been like selling/promoting/showing your work? Has this had an effect on your work in any way, good or bad?
It's been good. I feel fortunate to have had a lot of good opportunities. Selling/promoting/showing has allowed me to get direct positive feedback, constructive criticism, encouragement. The prints are an economical way to share my work with lots of people, and likewise it's a way for people to show support for what I do.

Has collaborating with other artists had an effect on the personal work you do on your own?
For sure! Working with other artists and getting to know them has been so validating and reinforcing. It reminds me of why I'm doing what I'm doing. I think the collaborations have given me a 'playground' type area. I don't feel any stylistic obligations, there are no dollar signs attached, and no strict goals. That release definitely helps when I get back to my solo work.

Any artist you'd love to work with or collaborate on a project with?
There's a lot of people I'd like to work with. I'm excited to continue current WAFA projects, and there are some great new ones in the works. I'm really interested in mail art, I want to keep that up forever. Specific people though, I'll keep that one open.

Tell us something we don't know about you
I recently got an espresso maker, so I'm practicing daily to make the perfect cappuccino.

See more of Brandi's work here:
www.brandistrickland.com
www.paperwhistle.com