Student Feature: David Warner, Visual Arts

We recently sat down with David Warner, PVCC student and visual artist to discuss his work, his experience at PVCC and his creative process. David's colorful, symbolic paintings explore themes of loss and gain, perseverance, and the search for one’s own integrity and truth. He expresses these ideas through a combination of abstract and surreal elements. 

"Rebirth"

"Rebirth"

"Taking the Dark to Light"

"Taking the Dark to Light"

When did you know you were an artist?

I started drawing when I was about 3 years old. At the time it was something that I really enjoyed and lost myself in. At one point when I was about 5 or 6 I remember vividly experiencing this physical and spiritual rush of excitement. It was around this point that I realized I loved drawing.  Around the same age I was drawing Biblical stories, scenes from Moby Dick, whales and scenes from movies such as “Jaws”, “Indiana Jones” and others. I was also interested in acting and directing for a long time and that deep passion has stayed with me as I’ve gotten older. 

How did you begin painting?

I first started painting seriously about 4 or 5 years ago. From a very early age I was very invested in drawing with pen and graphite before people started continuously encouraging me to use color in my work (something I was initially resistant to). I first tried oil painting when I was a senior in High School: there one was one night when I decided to bring a canvas and paints home and I painted for about 4 or 5 hours. It was that night that I realized oil painting was my passion. For some reason, the blending, the application and feel of the paint made so much sense to me and I was able to pick up the process very quickly.

"The Plants Never Worry About Blooming"

"The Plants Never Worry About Blooming"

"The Thing That Makes Me Slow Is The Thing that Makes Me Drive"

"The Thing That Makes Me Slow Is The Thing that Makes Me Drive"

Are you attracted to any other visual forms of art?

Yes. Around the same time that I picked up drawing at a young age, movies were another thing that I absolutely loved and obsessed over. To this day, I am a very committed and passionate film-watcher. 

How do you decide what you will paint?

Currently it is something that just comes to me. These days I just sit down in front of the canvas and let it loose. Right now I am invested in bringing several ways of painting something (aesthetically and technically) into a singular painting. Creativity is something that is always there, but on some days I feel it strongly and on other days I struggle to really tap into it. When I first started oil painting around 2012-2013 I would draw and sketch out the idea a few times before I would finally commit it to canvas. For the past year I have been working on a process where I start painting an image that is planned out and I destroy it (usually out of frustration) by painting over it with an abstract field. Once the painting dries, I got to it again and fully flesh out my idea. Sometimes it’ll take a couple of months to fully finish a painting, so I try to have a few going during the same time. My process is always evolving and changing and I try my best to go with it.

"Speaking To You is Like Breathing"

"Speaking To You is Like Breathing"

"Watcher of Thought"

"Watcher of Thought"

What are your influences?

My influences span from movies, music and painting to psychology, spirituality and day-to-day experiences. My earlier influences came from film, but at around the same time I was exposed to painters such as Salvador Dali and Renee Magritte whose work had a tremendous impact on me. For about 3 or 4 years I would hole up in my room and study works by Vincent Van Gogh, Wassily Kandinsky, Jean Michel-Basquiat, Henri Matisse, Caravaggio, Pablo Picasso, Milton Avery and Jackson Pollock among many others. Recently, musicians such as Aphex Twin and John Frusciante have profoundly impacted and spurred on the way I express myself. Film directors such as Paul Thomas Anderson, Michael Mann, John Carpenter and Danny Boyle have always had a special place in my heart. My art professor, Adria Pecora has had a tremendous impact on me during my stay at Paradise Valley Community College. Her versatility, talent and insight as an artist really helped me improve as an artist. She has a way of approaching the creative process and articulating the ideas behind the process that I really admire and look up to.

What is the most difficult aspect of your creative process?

I think that one of the more difficult things about the creative process is not over-thinking it. I have noticed that having expectations for my art is something that does not work for me at this point in my journey. If I approach the canvas with a specific idea that is already mapped out, I struggle to maintain interest. At this point, the creative process has a mind of its own and if I am fortunate enough to organize all of these things in my head without forcing it at the right time, I am truly satisfied. The old cliché “organized chaos” rings true for me. Part of the creative process is relaxing into the frame of mind where thoughts fade and you loosen your grip on control. When you reach that point, the creativity just pours out. So, the difficult part is relaxing and going with it, not against it.

"Past, PRESENT, Future"

"Past, PRESENT, Future"

What is the most rewarding aspect?

Drawing and painting is always something I have done to find a quiet place where everything makes sense to me. As I have gotten older, I have found that the creative process is inseparable from my spirituality and faith. Painting allows me to explore myself spiritually and connect with God. I feel that I can truly explore my thoughts and emotions and express these things through painting and drawing. It's my way of connecting and communicating to other people. At this point in my artistic journey, connecting with other people is the other most rewarding aspect. If I can communicate myself to people and have an emotional reaction and response, I feel that I have done my job as an artist.

"Sea of Frequency"

"Sea of Frequency"

What would you change about your talents if you could?

I still have that voice that comes up and says, “You can do this better, why can’t you do THAT? What is not working in this painting?” I find that that critical voice can really push me to improve as an artist, but I still have to remind myself to appreciate and love what I do paint. I think most artists are like this. I want to find that balance of being objective and improving my craft but also appreciating and loving what I am doing. On a lighter note I would love to be able to play and create music. It is something that I have absolutely no channel to. 

What has been your experience at PVCC?

I have had an absolutely incredible, life-changing experience at this school. For a while I was lost and not sure as to what path to take in my life. All of my classes at this institution have been excellent and I simply enjoy walking the campus and encountering the faculty and fellow students who make this whole experience unique and fulfilling.

"Nostalgic Sadness" 

"Nostalgic Sadness" 

Describe a positive interaction with a PVCC professor.

A couple of years ago I was finally convinced to return to school after years of shrugging it off. I attended SCC and was heading toward a degree in film before I dropped out. I had been lost for about 3 years prior to the decision to return to school. During my first semester at PVCC I attended a life-drawing class taught by Adria Pecora. I was initially terrified and very within myself; I hadn’t been to school in years and I was afraid. Adria from the first week was able to bring out my passion and my desire for learning. She basically opened my mind to all sorts of new possibilities creatively and gave me a support system that to this day I am absolutely grateful for. She has been incredibly helpful and committed to me as a PVCC student. I credit her as being an integral part of my transformation as an artist and as a person. She helped guide me to where I am now. I’ll be attending the School of the Art Institute of Chicago for my undergraduate degree and she encouraged me to take those steps to achieve that goal. She wrote an amazing letter of recommendation for me and I am very grateful for all of her support. She is an amazing artist, a supportive teacher and a good friend.

"Pain and Pleasure"

"Pain and Pleasure"

Describe the group/community/class environment in your art classes.

I have found that the art classes are THE place to really engage with fellow students. Art is communication. I think the art classes offered at PVCC provide an atmosphere where students can really engage and learn about each other through expression. The whole experience is very enjoyable, supportive and therapeutic. I would highly recommend that even people who are not headed toward a degree in the Art field attend at least one class. There are many opportunities here and the professors are excellent.

You were recently featured in a gallery show at the Center for Performing Arts, how did that feel? 

It felt great to represent my school. Most of my paintings if not all were gathering dust in my room and I was waiting to get them out there for people to see. The only people who were aware of them were my art professors, colleagues, friends and family. To have several of them displayed for a month was a great feeling. I was happy to be in the show alongside other PVCC student artists.

How did you select which pieces to enter?

I kind of knew immediately which pieces I wanted to put in the show, but there was some deliberation between pieces I wasn’t so sure about. I asked my family and friends to choose which pieces they liked best. I didn’t rely absolutely on their opinions, but I did take into account what they had to say. I still struggle sometimes with choosing the pieces for myself rather than relying on critiques and opinions from other people. I do consider art to belong to both the artist and the viewer, so I do take critiques objectively and I try to see how people respond to certain works. Granted, I will never change something in my work because of someone else’s opinion.

What do you hope viewers think or feel when they interact with your work?

As long as a viewer can be intrigued and interested with what I have painted, I am truly happy. I want my art to make people happy. I want people to experience a familiarity to my work that resonates with their own life. I want to connect with people on an emotional level and if I have done that I have done my job as an artist successfully.

"Memories of You"

"Memories of You"

Exciting Spring 2017 Events at PVCC

BIG BAND JAZZ AT THE NASH

Featuring PVCC's Wednesday Night Jazz Band and SCC's Jazz Big Band

Wednesday, March 29th at 7:30pm. $5 for MCCD students with ID.

Come out to see some great big band jazz featuring the PVCC Wednesday night ensemble presenting the music of Charles Mingus, directed by Adam Roberts and the SCC Jazz Big Band performing jazz favorites, directed by Eric Rasmussen.

The Nash is located at 110 E Roosevelt St, Phoenix, Arizona 85004

Click Here To Purchase Tickets Online


PVCC FACULTY JAZZ ENSEMBLE LIVE AT VALLEY BAR

Saturday, April 1st at 7:30pm.

A kaleidoscopic view of the great record, taking the audience to unexplored aspects of the songs from "Revolver" - the 1966 classic Beatles recording. Highlights include: a drum-and-bass version of 'Eleanor Rigby', an avant-garde jazz version of 'Yellow Submarine'; and a harmonically-dense ballad of 'And Your Bird Can Sing' reminiscent of the music Bill Evans.

Click Here To Purchase Tickets Online


JAZZ UNDER THE STARS

Featuring music by PVCC's Monday Night and Wednesday Night Jazz Bands

Wednesday, April 5th at 7:00pm. CPA Outdoor Stage. Free Admission. 

Audience is invited to bring folding chairs or blankets for lawn seating.


PVCC FACULTY JAZZ ENSEMBLE LIVE AT BLACK MOUNTAIN

Thursday, April 6th at 7:00pm. Aquila Hall Outdoor Stage. Free Admission. 

Audience is invited to bring folding chairs or blankets for lawn seating.

PVCC's Black Mountain Campus is located at  34250 N. 60th Street, Scottsdale, AZ 85266 (60th St and Carefree Highway).


ALL MY SONS by Arthur Miller. Directed by Joe Flowers.
April 14, 15, 21, 22 at 7:30pm and 22 & 23 at 2:00pm. Admission:  $6-$12.  

In 1947, Arthur Miller exploded onto Broadway with his first major work, All My Sons, winning both the New York Drama Critics’ Circle Award for Best New Play and the Tony for Best Author. The play introduced themes that would preoccupy Miller throughout his career: the relationships between fathers and sons and the conflict between business and personal ethics.  All My Sons is still a powerful show, a true classic of the Theatre. 

Click HERE to purchase tickets


Festival of Tales is a fun day of reading, literacy and cultural activities for children and families that includes storytelling, arts and crafts, games, face painting, live music, food trucks and much more! PVCC’s Art of Storytelling classes Program, Division of Fine & Performing Arts, and the Music Program, this free event for children in the community.

For information, visit us online at www.festivaloftales.com


 

 

Free Children's Storytelling Festival: The 2017 Festival of Tales

Saturday, April 29th from 9:00am-3:00pm

Festival of Tales is a fun day of reading, literacy and cultural activities for children and families that includes storytelling, arts and crafts, games, face painting, live music, food trucks and much more! PVCC’s Art of Storytelling classes Program, Division of Fine & Performing Arts, and the Music Program, this free event for children in the community.

For information, visit us online at www.festivaloftales.com

2017 Juried Student Art Show: CALL FOR SUBMISSIONS

PVCC STUDENTS: Want your artwork showcased in the 2017 Juried Student Art Show? 

This is open to all students currently enrolled at PVCC (not just art students) during either Summer,/Fall, 2016, or Spring 2017 are eligible. 

Fee: $5 each, up to 3 works of art (2D & 3D media accepted)

Submit work: Friday, March 24, 1-5 pm, CPA Building. Artwork must be ready to display/hang in a professional manner.

Exhibit duration: April 3 - May 7, 2016

Reception: Wednesday, April 12, 5:30 pm

The Sgt. Pepper's Project: the significance of the album cover

By Tomi Johnson, Art History Faculty

Transcribed from a lecture given on February 16th, 2017

Sgt. Pepper’s Lonely Hearts Club Band is not only considered one of the best rock albums ever recorded, but its complex artistic design has made it one of the most iconic images from the second half of the 20th century.

This talk will explore the imagery with particular emphasis on the influences and motivations behind the intricate designs included in the packaging.

For this talk, I am indebted to a number of Beatles biographers, particularly the work of Hunter Davis and Steve Turner.

In order to understand the imagery of the Sgt. Pepper album, it is necessary to look at the time and context of its design.

By 1966, the Beatles had grown tired of constant touring and battling day to day just to live their lives.  They also discovered, to their horror, that the constant screaming of the crowds and the inability to hear themselves or each other during live shows had caused their playing to become incredibly sloppy.

They were also growing up, getting married, starting families, and developing interests that had long been dormant during the heights of Beatlemania.  

In 1966 the Beatles recorded Revolver, a watershed album that paved the way for the even more radical experimentation of Sgt. Pepper’s Lonely Hearts Club Band.

In 1966 Paul McCartney began collecting the works of pop artist Peter Blake.  Peter Blake would be asked to coproduce the cover of Sgt. Pepper the following year.  McCartney had begun collecting modern art to decorate the home he had recently purchased in St. John’s Wood in London.

The young German artist Klaus Voormann had been chosen to create the cover for the previous album, Revolver, seen pictured here with Voormann.

Voormann’s style of drawing in black ink was very reminiscent of an English Victorian era artist by the name of Aubrey Beardsley.  

Beardsley was best known as the illustrator of Oscar Wilde’s Salome, a work that was highly eroticized, as most of Beardsley’s work was.  Here we see Salome embracing and nearly kissing the severed head of John the Baptist. A portrait of Beardsley would appear on the cover of Sgt. Pepper, and McCartney also collected some of Beardsley’s original works.

Revolver broke new ground in pop album artwork, in that it didn’t emphasize the Beatles’ physical attractiveness, nor did it display their name anywhere on the front cover.  Smaller photographs were inserted into the drawings, showing the Beatles in previous years, almost as if the old photographs represent a nightmare from which they are now escaping.  

The cover of Sgt. Pepper would duplicate this, with the Beatles standing beside their wax dummies as they were created in 1964 for Madame Tussaud’s Wax Musem.

The entire cover of Sgt. Pepper is filled with personal references of personal interests, people they admire, and even personal belongings.  In the lower left quadrant is a ceramic fukusuke figure that John Lennon bought in a shop while in Tokyo in 1966.  It is a “god of fortune” meant to bring good luck and prosperity to the owner.

Another personal element included in the album design was the inner sleeve, the actual vinyl jacket.  It was designed by the artist duo known as “the Fool.”  The Fool was Dutch artist Marijke Koger and her partner Simon Posthuma.  Koger had done extensive painting designs in George Harrison’s home after he and his wife Pattie returned from spending five weeks in India in 1966.

Unfortunately, only the first pressing of Sgt. Pepper included this element, and it is no longer available today.

But what about the concept of the album as a whole?  Why did the Beatles decide to record an album that was titled under a different name?  And where did this idea come from?

In 1966, Paul McCartney went on a long overseas trip under a different name, and wearing a simple disguise of a moustache and sunglasses.  It was enough to work, and allow him to do things that Paul McCartney could never do without being at best harassed or at worst mobbed by an enthusiastic public.

On his long flight home from Africa, he spent some time reflecting on the feeling of freedom he’d experienced, and how that might be applied to the Beatles as a whole.  They were all feeling constricted by the constant touring, public appearances, and expectations that they continue to write and record bubbly pop songs.

I feel this is powerfully represented in visual form by placing the Madame Tussaud’s figures next to the Beatles on the cover of Sgt. Pepper.  It is visible proof of how the public saw and responded to the Beatles as a frozen, static entity, rather than as developing human beings who wanted to express their personal and artistic growth.

McCartney began thinking about adopting an entirely different identity for the group, something that could allow new dimensions in their creativity.

McCartney is quoted as saying, “I thought – let’s not be ourselves.  Let’s develop alter egos so we’re not having to project an image which we know.  It would be much more free.  What would be really interesting  would be to actually take on the personas of a different band.”

While McCartney was pondering these things, he was served a meal on the airplane, and given packets labeled “S & P”.  McCartney came up with the joke – Sgt. Pepper, instead of “Salt and Pepper.”  He liked the way it sounded.  He decided that Sgt. Pepper would be the leader of this new band.

Working off this idea, McCartney imagined the character to be from a previous generation, from the Victorian or Edwardian military band.  

Recently, “retro” style had become popular in England, and old army dress jackets with brass buttons, epaulettes, high collars, and stripes were at the cutting edge of street fashion.  It was taking the symbols of British imperialism and re-appropriating their message:  instead of symbolizing discipline, submission, and hierarchy, they were now associated with the youth sub-culture of freedom, rebellion, and equality.  

The Beatles were not the first to explore this type of appropriation.  Pete Townshend of the Who had worn a jacket made from the Union Jack for the photo shoot for Observer Magazine and subsequently wore it in concerts.   Others exploring this type of fashion rebellion were Mick Jagger and Eric Clapton.

As McCartney continued to develop his concept, he gave the character of Sgt. Pepper a band:  Sgt. Pepper’s Lonely Hearts Club Band.  It sounded old-fashioned and also psychedelic.

McCartney was further inspired by the release of Freak Out! A new album by Frank Zappa’s band The Mothers of Invention.  Inside the gatefold Zappa printed the names of 179 people who according to Zappa, “contributed materially in many ways to make our music what it is.”

The list included Elvis Presley, Ravi Shankar, comic Lenny Bruce, novelist James Joyce, artist Salvador Dali, producer Phil Spector, and actor John Wayne, and of course, many more.

The cover of Sgt. Pepper would acknowledge significant influences in a visual way, and on the front cover.

One of the first songs that the Beatles worked on was McCartney’s “When I’m Sixty-Four.”  McCartney had written the music as a teenager, and would sometimes play it live in the early days of the Beatles in the Cavern, as an instrumental on the piano.

Now he put lyrics to the tune and made it into a vaudeville-inspired song that sounded like it came from the 1920s.  McCartney wanted to make the point that Sgt. Pepper’s band could play music from any era or culture.

The final eclectic mix of musical styles on the album is a result of the wide-ranging interests of all the Beatles, and again is visualized in pictorial form on the album cover.  They drew upon a large frame of reference, and pictured themselves, in this case literally, as part of the tradition of painters, sculptors, filmmakers, poets, and novelists.

I will not identify each and every figure on the cover, as that would be tedious, and the information is widely available.

What is significant is that there are 14 actors, 11 writers, 8 visual artists, 6 comedians, and only 4 musicians.

It is easy to literally see that the Beatles saw themselves in a broader cultural context than being merely musicians and songwriters.

This idea of identity reinvention was appropriated by other popular artists who followed the Beatles such as David Bowie, and Madonna.

But, possibly the most obvious homage to this idea of artistic alter ego was by the English group XTC, pictured here on their album The Black Sea, who also cut several records as “The Dukes of Stratosphear,” an obvious loving reenactment of the Beatles retro-psychedelic exploration of artistic freedom.

 

Thank you.

 

Emerging Artist Series 2017

Opening Reception - Wednesday, March 1st at 5:30pm - Center for the Performing Arts

Highlighting up-and-coming student artists Michael Moretti, David Warner, and Taylor Wilson.

The artwork will be on view from February 27, to March 23, 2017. 


Taylor Wilson: Mixed Media

Wilson’s work focuses on duality of internal and external views of divorces and the ways it affects the family. Her imagery and structure is meant to allow people to feel the impact of divorce that becomes so ingrained in the notion of what it brings about.


David Warner: Painting

Warner’s work explores themes of loss and gain, perseverance, and the search for one’s own integrity and truth: both conscious and subconscious progression through adversity and the search for inner truth. He expresses these ideas through a combination of abstract and surreal elements.


Michael Moretti: Photography

For Moretti, photography is often aside effect of venturing out into nature and absorbing the whole experience. Taking what’s before him and trying to convey the experience through a single photo. Much of his work and way of thinking is influenced by the many great photographers who have been featured in Arizona Highways magazine. 

Four Events Celebrating The 50th Anniversary of Sgt. Pepper's Lonely Hearts Club Band

PVCC'S SGT. PEPPER'S PROJECT:

Lecture: The Significance of the Album Cover

Thursday, February 16th, 12:30pm-2:00pm, Center for the Performing Arts Theater, Tomi Johnston (Art History Professor)

Lecture: The Revolutionary Recording Process

Tuesday, February 21st, 12:30pm-2:00pm, KSC 1000A, Dr. Brett Reed (Music Professor)

Performance: A LIVE recording session

Wednesday, March 1st, 12:30pm-2:00pm, Center for the Performing Arts Music Room (CPA 115), Dr. Brett Reed and Dr. Christopher Scinto

unnamed-1.jpg

50TH ANNIVERSARY CELEBRATION OF THE BEATLES'

SGT. PEPPER'S LONELY HEARTS CLUB BAND CONCERT

March 10-11, 2017 at 7:30pm,  $8-$20 admission.  (Sunday, March 12th performance canceled).

Come and experience the Beatles' legendary album performed live by the PVCC Faculty Rock Band, Special Guest vocalists and a 30 piece orchestra.  Proceeds from this event will benefit the Paradise Valley Community College Student Scholarship Fund. 

Click Here to purchase tickets online

Student Spotlight: The Ghostlight Project

by Courtney Kenyon

On January 19th, the night before the inauguration of our newly elected president, at 5:30pm various theatres all over the country turned on one light. It was a solemn reminder of the times ahead, but it was also a light of hope and courage.

PVCC was no different. At the appointed time, with a small, but mighty, gathering in the Studio Theatre, on a rainy evening, our light was lit. Our ghost light. In the theatre world, a ghostlight is lit at the end of the night when all the work is done and serves as a single light source for safety and visibility should anyone enter the theatre after hours. Of course, that’s just the practical use. On January 19th, our ghost light was lit in solidarity with other theatres as a message that we are a safe space. This initiative was brought to our humble theatre by The Ghostlight Project. 

I found a small blurb about this initiative while scrolling through articles on BroadwayWorld and didn’t think much of it. About a week later, I saw a theatre with whom I have previously worked was participating and it was then that it hit me: I needed to do it, too. So I asked Andrea Robertson, the head of the theatre department, if PVCC could also participate and she enthusiastically wrote back, “Of course!” I only had a couple of days to put anything together, so our ceremony was very humble, but it was incredibly powerful.

Being a theatre artist, I’m not usually overly political. In fact, I’ve been told that I’m “militantly opposed” to politics. And while that might be true to some extent, this time it’s different. I won’t make this writing about politics, but I will say this: as an artist, as someone who makes their living in the arts, as a woman, as an LGBTQ ally, as someone who believes in the unity of science and the arts, and as someone who believes that anyone and everyone should be able to express who they are and be loved for it, my world is threatened. Our world is threatened. But standing in that room, holding hands with my friends, the people I love, my voice shaking and tears escaping my eyes, I knew I was not alone.

The Ghostlight Project’s mission is this, “Inspired by the tradition of leaving a ‘ghost light’ on in a darkened theater, artists and communities will make or renew a pledge to stand for and protect the values of inclusion, participation, and compassion for everyone--regardless of race, class, religion, country of origin, immigration status, (dis)ability, age, gender identity, or sexual orientation. 

January 19th is a moment of gathering within a larger resistance to intolerance at all levels. We aim to create brave spaces that will serve as lights in the coming years. We aim to activate a network of people across the country working to support vulnerable communities. This is not a substitution for protests or direct action, but rather a pledge for continued vigilance and increased advocacy.”

I think it goes without saying that PVCC is a brave space. A safe space. A space of inclusion. I’ve known that since the first day I walked into class. The dedication, inclusivity, love, and compassion that encompasses every person that walks through those doors is an inspiration. It’s something for which, personally, I’ve yearned since my high school theatre days. And I won’t sit idly by while it’s threatened. I will fight for those I love and for those I don’t even know. We will be a light and we will tell the world that all are welcome here.

With love,

Courtney Kenyon

For more information about The Ghostlight Project, please visit www.theghostlightproject.com.