Abstract State

Out Now!

Introducing ISSUE 1 of Abstract State
Available now for purchase in both print and digital PDF formats.
Secure your copy today!

artists publication

Stories through art

contemporary art magazine

---

Attended Washington & Lee University, Lexington, Virginia, from 1967-1971. Majored in Business Commerce; minor in art history.Graduated from Tulane University School of Law in 1974; receiving the award of Order of the Coif for being in the top 10% of graduating class.Practiced law in New Orleans for 2 years. Joined Kurt E Schon Gallery in 1977. Started own gallery in 1979.

Can you share some insights on how your education in business commerce and art history at Washington & Lee University, followed by your law degree from Tulane University, influenced your decision to move into the art gallery business?

When I was at Washington & Lee, and also at law school at Tulane, I had no sense of being an art dealer…I simply liked art and was starting to collect (modestly) at that time.  Mostly prints and British watercolors. My studies in business and art history ended up being useful, as well as my law background, in my eventual decision to enter the art business. I use all 3 disciplines in the business!

What drove the shift in your gallery's focus from 19th and early 20th century American art to specializing in American Abstract Expressionism, and how has this specialization impacted your gallery's reputation and success?

In the later half of 1990, there was a major recession that kicked in, and the stock market crashed, along with the real estate market and the art market as well. Business in D.C. was drying up.  I was at a crossroads:  if we didn’t make a change, we felt there was no way to continue in D.C. I was already making regular trips it NYC for auctions, so I decided to make a major gamble, and open a second gallery in NYC, in hopes that business would be better there than in D.C. In 1994, we took a space on the upper East side, and sure enough, the recession ended soon thereafter, and we found good success in Manhattan. By 1996, I no longer felt the need to keep the Georgetown spaces, so we sold those spaces and consolidated in Manhattan. Once we were in Manhattan,  we began to push forward chronologically with our focus and mounted shows of American Modernism, (works from 1905-1930), which was well received. Over the course of 3-4 more years in Manhattan, we started showing early abstract expressionist works (mainly works from 1940-1950), and we mounted several scholarly shows analyzing how American modernism evolved into abstract expressionism. This period of the gallery led to reviews in the NY Times and the gallery’s reputation for scholarship rose.

Your gallery is known for mounting numerous exhibitions and publishing significant catalogues. Can you talk about the importance of these activities for your gallery and some of the most memorable exhibitions and publications you've been involved with?

From this time, from roughly 1999 to 2010, we embarked on more and more scholarly exhibitions, and began collaborating with museums.  Several of our gallery shows were accompanied by extensive catalogues, and traveled to museums. Our gallery was always motivated to collaborate with scholars and museums in examining areas of American art history that had not been previously covered in any depth. We mounted a show called “The Color of Modernism”, which was an examination of how the French Fauve movement influenced American Modernist painters, and how color was used to prove emotional responses. We also mounted a show called “Pathways and Parallels” which examined the bridges that led to early Abstract Expressionism, how it evolved from American Modernism.  We uncovered certain aspects of art history that few people had known about before our show. So we were always motivated by contributing to art history, and some of these major exhibition catalogues have been used in Colleges.

You’ve had successful collaborations with museums in the past. Can you elaborate on the benefits and challenges of these partnerships, and share details about the upcoming solo museum show for Audrey Flack and the exhibition of Sheila Isham’s work?

Back in these earlier days, collaborating with museums was quite accepted and provided mutual benefit. We were able to mount boutique focused exhibitions that were of museum quality, and were shared with museums in some cases, filling a need for the museums, without them having to do the work. Later on, starting around 2010, there was a shift in museum policies and a more restrictive environment came bout for collaborations between commercial galleries and museums. This was unfortunate, and continues to this day. There is still collaboration, but in a more restrictive way than before when it was more acceptable and more fluid. We are currently involved in a couple of museum events, including helping mount a retrospective of works by Audrey Falck (who recently passed away) at the Parrish Art Museum in Long Island;  and another show at the American University (Katzen Arts Center) in the Fall of 2025 for artist Sheila Isham.

Your gallery participates in numerous art fairs, such as Art Miami, Art Expo Chicago, and the Armory Show. How do you navigate the dynamics of the art fair circuit, and what trends do you currently see shaping the art market?

Art fairs have become a significant part of the art business.  We participate in 5 art fairs each year. The foot traffic in the physical galleries, especially since Covid, has decreased, so art fairs have become an efficient way to meet many people, and for art collectors to see a lot of art under one roof, vs trying to see dozens of galleries in person. I think with increasing overhead and competition in the art world, there may be some consolidation in the galleries, more galleries sharing artists and working together, and continuing to use art fairs to compete. The art market is soft currently, I think due to high interest rates and so much uncertainty about elections and the world events (wars) and political shifts occurring globally. I anticipate an improved art market environment in the Fall after the election.

More About the Hollis Taggart Gallery

The gallery was originally created in the Summer of 1979, under the name Taggart & Jorgensen.  We were located on La Cienega Blvd., in Los Angeles. We moved the gallery to Georgetown, Washington, D.C. in the Spring of 1983. We bought a 2nd gallery space on the same street (P Street) in 1990…the former Adams Davidson Gallery building. We had a contemporary realism division and an historical division while in Georgetown.  In 1993, I bought out my partner Carl Jorgensen, and created Hollis Taggart Galleries, inc., which name has remained until today. In Jan., 1994, I opened a gallery in Manhattan on 48 E. 73rd Street, and had locations in both Georgetown and Manhattan.  In 1996, I closed the galleries in Georgetown and consolidated all gallery operations in Manhattan. In 2005, we moved Manhattan locations to 958 Madison Avenue (Vance Jordan’s former gallery space) and in 2015, we relocated to our current Chelsea location. We also had a 2nd gallery from 2003-2010 in Chicago, also called Hollis Taggart Galleries, inc. We closed that space in 2010, and have remained in New York City exclusively since that time.We have 2 divisions currently:  a contemporary art division and an historical division. We currently  specialize in  American Abstract Expressionism, after having dealt in 19th and early 20th century American art in prior years.We mount exhibitions in the gallery, both contemporary and historical, on a regular basis; averaging 12 shows a year.  You will see the shows and publications from Kara Spellman next week. We have published 2 catalog raisonne’s (Danial Garber, and Kay Sage), and we are currently compiling the Michael West Catalog Raisonne’. We were involved in the Frederick Carl Frieseke raisonne’ for 6-7 years before the project was turned over by Nick Kilmer, to the Archives of American art, about 3 years ago.We exhibit in numerous art fairs including Art Miami, Art Palm Beach (January show), Art Expo Chicago, Dallas Art Fair, Armory Show, and have exhibited in Frieze, New York in past years.We have placed many works in museum collections, and have shared gallery exhibitions with some museums.   Edward Middleton Manigault was shared with the Columbus Museum in Ohio, Jan. 15-March 31, 2002;  University Gallery, University of Delaware, Sept. 5-Oct. 25, 2002;  and also at the Gibbes Museum in Charleston, SC, Nov. 22, 2002 -Jan. 28, 2003.We shared an exhibition called “Espana” (American artists influenced by Spanish art) with the New Britain Museum of art, which ran from January  to April, 1999.*In both of these cases, we published the show catalogues and transferred the shows from our gallery directly to the two respective museums. Since that time, the museums have shied away from such collaborations with commercial galleries.

We are currently curating and organizing a solo museum show (retrospective) of Audrey Flack which will open in October at the Parrish Art Museum in Water Mill, Long Island.We are also curating and organizing an exhibition of artist Sheila Isham (one of the estates we represent) at the Katzen Arts Center, at American University in Washington, D.C., opening in the Fall of 2025.

Find out more

• Hollis Taggart Gallery

John is a contemporary artist born in 1990 in Brooklyn, NY, who lives and works in New York City. Inspired by his city of birth, John's work gives you a glimpse inside his consistently colorful mind. His professional endeavors started in 2013 when he found a love for creating street art. By the next year, he started working full-time to perfect his craft. Here he found a passion for educational works that explore the essence of identity and humanism. His progression as an artist has led to his paintings being included in galleries and collections across the U.S., Europe, and the Middle East.

Your journey in art began with street art in New York City. Can you share what initially drew you to street art and how the city has influenced your artistic style?

It was the summer of 2013. I was 23 years old, living in brooklyn where I had lived my whole life. I had been painting on canvas for a few months already, really just having fun, learning how to paint. I still hadn’t sold a single painting at this time. Somehow the paint leaped off of the canvas, and I started painting The LOVE logo on walls around Brooklyn and manhattan. Immediately people loved it, it created a buzz. Ironically, me starting painting off canvas is what enabled me to start selling pieces on canvas for the first time. Everything I do is influenced by New York City, the way I dress, the way I speak, everything I take in and inevitably what I put out.

You mentioned being inspired by iconic figures like Keith Haring, Basquiat, Warhol, and Kenny Scharf. How have these artists specifically influenced your work and your approach to creating art?

Yeah absolutely. I guess mainly its the street element. Today those guys are all in museums and blue chip collections but what they did in the street was the vehicle that got them there and that’s the blueprint I had to learn from. Also I just completely romanticize the idea that there was a whole scene, those guys didn’t exist individually in a vacuum. Collectively they put New York City on the map as the creative epicenter of the world and I believe that still shows to this day.

Your LOVE logo has become quite iconic. What does the concept of love mean to you, and how do you incorporate it into your art to convey different messages and emotions?

For me, Love is being alive. I really think life is about finding something you love and becoming fully immersed in it. Living through whatever it is you’re most passionate about, and making it your life. If you can find a way to align your life and whatever it is you love most, naturally you’ll have a lovely life. I do try to put this idea into my work, I want these pieces to bring light into the rooms they’re in. I think its kind of trendy for art to make people feel weird, I just want to make people feel good.

Your art blurs the lines between fine and commercial art. How do you balance the two, and what challenges or opportunities does this present in your work?

Im so happy I’m alive today, because this is possible. Traditionally artists had to choose a lane and then they were stuck in it, commercial, fine art, street art etc. Today, I guess due to social media and the “direct to consumer” ability that artists have to stay connected with and build their
audience across “lanes”, the walls creating those lanes have come down. Thanks to guys like Kaws, Shepard Fairey, Banksy, they have completely blurred any line that was still remaining of those walls and I love it. I can do a gallery show, paint a mural, and then sell a T shirt, all in the same month, promoted in the same place.

In addition to painting, you've ventured into streetwear. How does designing clothing differ from creating your visual art, and what inspired you to explore this medium?

Im a painter, I fell in love with painting the moment I started. But really what I fell in love with was the freedom. Freedom to create anything you want, and this has led me to explore different mediums, and streetwear is definitely one of them. Also as an artist there’s always going to be a large portion of your audience that just isn’t in the market for a piece on canvas but everyone where’s a T-shirt or a hoodie.
I think its important to once in a while offer something to that wider audience.

Light, shadow, color, and contrast are highlighted as elements you're fascinated by in your work. Can you discuss how you use these elements to evoke emotions and provoke thoughts in your photographs?

Light, shadow, color, and contrast are powerful tools for evoking mood and atmosphere in photography.
I often seek out scenes where these elements are particularly dramatic or dynamic, as they can add depth and visual interest to an image.

Your work has been showcased in galleries and collections across the globe. How does it feel to see your art resonating with people from diverse cultures and backgrounds?

Really amazing. I don’t stop and think about it so much because my head is always thinking about the next thing, working on the next project. But when I do, it really does make me so happy. All I want to do is continue exactly this, more shows, more cities, more countries, more love.

You aim to perpetuate positivity, inspiration, and love through your art. What impact do you hope your work has on viewers, and how do you see your art evolving in the future to continue spreading these messages?

Yeah those things are definitely important to me. Again, I think its kind of trendy for art to be “dark’’ and make people feel weird, I want to be the light! I want people to see my work and feel good. I want them to see my story and feel inspired to be the best version of themselves. To find something they’re passionate about and really go for it. To have a vision, discipline, courage, persistence, and the self awareness to learn and adjust. I truly feel like this is still just the beginning for me, I’m certainly still learning and adjusting. I will continue to grow as an artist, I will be working on bigger projects, in more places in front of a wider audience and just hope to continue having as much fun as I’ve been.

Born in the Netherlands and based in Portugal, Gís Marí [born Gijs Maris in Haarlem, 1991] paints large-scale, abstract, expressionistic oil paintings. He was drawn into the world of painting during his study of psychology in Leiden. His apartment and its white walls increasingly served as an atelier, and instead of preparing for his exams, he was occupied with art.

In his early 20s, he quit university to devote his life entirely to painting. Gís Marí rented his first atelier in Amsterdam [NDSM Wharf], where he worked for 2 years. His increasing discomfort with the gentrifying, speedy and money-driven Amsterdam saw him move to southern Europe, where he fell in love with the city of Porto.He rented an abandoned industrial store in central Porto, which served as an atelier and house, and he worked here for four intense years. In 2019, he moved to an old rice warehouse in the port town of Figueira da Foz, where he currently lives and works. In modern times, where quantity and efficiency prevail over quality, Gís Marí believes in old-world values.

You initially studied psychology in Leiden before transitioning to painting, and we know that psychology plays a crucial role in art. What drew you to become an artist, and how does your background in psychology influence your work?

From early on in life, I had a certain reluctance to unthinkingly accept the things that were taught to me at school. I found myself dreaming, zooming out, and abstracting the knowledge, but I never had a voice to express my inner world. After graduating from high school, when I began studying, I experienced more freedom regarding planning my own time. In Arts, dreaming once seen as a flaw became a strength.Studying psychology made me more aware of empathy and its value. For an artist, being empathetic is crucial; art doesn’t come solely from oneself. It’s valuable to listen to others whether directly or through books and media consider their thoughts, and then form your own. Still, I was attending fewer classes.I started buying paint and spent long nights in my student apartment, experimenting with the paint’s structure, its interaction with the canvas, and exploring strong shapes and color combinations. This was a world with no one to dictate what to do or think endless possibilities. Since my early 20s, I have dedicated my life to painting.

What influences your decision to spend months or even years on a painting? Is it the mediums you choose or the motivations behind the work?

First of all, I am bound by the rules of chemistry. I use oil paint, which is quite thick and not so diluted, so the paint needs some time to dry before being able to apply the next layer.For me, the use of different layers contributes to the profundity and personality of the painting. I like the fact that this process takes time. It allows me to make contact with the painting and develop a relationship. When working on a painting, I am a perfectionist.Every inch of the canvas needs to contribute to the whole. In order to achieve this, I look, paint, erase, and repaint infinitely. This takes a lot of time.

Your art aims to convey energy and evoke deep emotions, much like a messenger traveling between your inner world and the common world. How does this idea influence your creative process?

For me, the essence of art is to stimulate the beholder, in whatever way that may be. If the observer is, after encountering my work, a bit different than what they were before, I am satisfied. In order to produce this stimulation, I put as much energy into my paintings as I can.To generate that energy as an artist, I see myself as a messenger traveling between two worlds: I travel from my own ‘inner’ world to the ‘common’ world and back, seeing myself as the character from Greek mythology, Hermes. I pick the flowers from my unique inner world and translate them via a comprehensible medium to the outer world.The longer the journey, the more unique the flower and, therefore, the artwork. This is why I work on a painting for a long period, with high concentration, and often in solitude.

Given the Netherlands’ rich artistic heritage and excellent art institutions, what inspired you to move to a new environment for your artistic practice?

I am extremely grateful to have grown up in the Netherlands. There is so much art to see from Rembrandt in the Rijksmuseum to De Kooning in the Stedelijk Museum, Van Gogh, Mondrian, and many others.I grew up in Haarlem, a place full of history. The historic Grote Markt square, famously painted by Gerrit Adriaenszoon Berckheyde, was a 5-minute walk from my house, as was the Frans Hals Museum, which for me was the Alex Katz of the 16th century.But alongside my sense of gratitude, I have always felt a certain restlessness. When living in The Netherlands, I switched environments several times a year, moving from anti-squat houses to a boat. The frequent change made me feel alive and lucid.Then, in my early 20's I moved to Portugal, where I also lived in many different places. I have lived in the same apartment for some years now, but when I don't paint, I am still on the move, discovering new places and people.

How has working in studios in Amsterdam, Porto, and Figueira da Foz impacted your artistic approach and creative development?

For me, life in the South is more physical and more real. People are less rushed and more respectful towards each other. I think one should not create in a rush; you should oversee and contemplate your work. Also, I like to be an outsider. It feeds my curiosity and
drive to explore.

What are your future aspirations for your art? Are there any new themes or techniques you’re
excited to explore?

At the moment, I am working on an exhibition in an 11th-century chapel. From the moment I saw the space, I was captivated by its ambience and soul. I am currently working on a new series of paintings that respect the personality of the chapel and forge a symbiotic relationship with the space.I have also been experimenting with painting on a somewhat smaller scale lately.Whereas my work is usually around two meters at the minimum, I am now limiting myself to half of this size.The limited surface space makes a single brushstroke more impactful; I need more time to distance myself, observe the painting, and think through the next step.

What do you consider to be the most significant achievement or turning point in your artistic journey?

The process of putting my signature on every single painting is significant to me. When working on a painting, especially in its final phase, I am captivated by it. I constantly think of it and dream of it. In the final phase, finishing the painting properly is the most important and significant thing there is.The trajectory of the painter I was 10 years ago to the one I am now has evolved organically and through constant transformation. The struggle, confusion and ecstasy have all contributed to the painter I am now.A year ago, I painted as the painter I was then, and in a year from now, I will paint the way I am then. I don’t see my identity as a painter as a fixed point but as a constantly flowing movement, giving all that I can offer at that moment, ''Panta Rhei''.

• subscribe

Sign up with your email address to receive news and updates.

Submit

• Home
• Instagram
• Email

Abstract State© 2023 - All rights served

• Privacy Policy

Can you tell us about your journey as a visual artist and how you got to photography?

Until 2012, I painted in my studio and worked as an art teacher at a school for pre-teens. For years, I explored freedom through the plastic effect of pictorial materials, chance, and the body in fluid gestures. It was an elixir for my happiness. However, in 2012, my personal life changed, and I decided to change everything that could be changed. I stopped working and started dedicating myself to art full-time. I returned to university to update and expand my knowledge and to get involved in new experiences, though photography wasn't yet part of my journey.One day, I came across a collective mentoring program in photography entitled “She.” I felt simultaneously attracted to the title and uneasy about the photography aspect due to some preconceived notions. Nevertheless, I embraced the experience. Why not paint with light instead of paint? Today, my work has evolved. While the element of freedom remains, it has expanded in its purpose.

Does your background in painting influence your photography?

My background in painting is deeply influenced by my knowledge of art history. Regardless of the technology I use, I draw inspiration from it. For example, Pablo Picasso used his work to highlight the realities of his time and draw attention to existing problems. Similarly, I aim for my research to be committed to today's social realities, evoking what affects me and others within it.

What inspired you to address the marginalization of older people through your art?

As I am experiencing the aging process myself, I realize what it means to grow older. I see that a woman's aging process is different from a man's. Society often views aging as unacceptable, leading many older people, especially women, to become slaves to a forced youth in order to fit into the always-young pattern. This fear of aging stems from society's perception of older people as being incapacitated. We must be able to choose, without coercion, how to react and continue with the natural process of aging. After all, with luck, we will all grow old one day, right?

How do body, heat, ice, and time symbolize aging in your work?

Initially, I thought of these elements as natural signs of transformation, as basic as the thirst we all feel within ourselves. These elements are metaphorically strong for my work. I transitioned from depicting the mouth to depicting the hand, as signs of waiting. The title "Warming the Ice with the Body" remained, but the project is still ongoing.

How can art influence societal views on aging?

Art can play a crucial role as an agent of awareness and transformation in society. The artist's unique perspective can influence and change deep-rooted perceptions about our elders and other issues affecting us. People often feel distant from problems that don't directly impact their lives, such as the marginalization of older people. However, when these issues are highlighted artistically, they become more tangible and impactful, leading to reflection on the importance of combating this reality. This is my hope.

Jemima Charrett-Dykes is an artist whose output is primarily autobiographical, drawing from experiences in childhood and the aftermaths of psychosis as a result of Complex Post-Traumatic Stress Disorder. Using art-making as a therapeutic outlet, Jemima’s work often references her past and the traumas linked to her body both physically and mentally.

Jemima Charrett-Dykes is an artist whose output is primarily autobiographical, drawing from experiences in childhood and the aftermaths of psychosis as a result of Complex Post-Traumatic Stress Disorder. Using art-making as a therapeutic outlet, Jemima’s work often references her past and the traumas linked to her body both physically and mentally.

She operates across multiple mediums, all of which are thematically linked through visions of childhood, the female body an exploration of “the self” and psyche as the main subject. It might also be interesting to talk about my work that is being launched as part of a book collection at MACBA, Barcelona this winter. Jemima has exhibited and sold paintings, photographs and books in a range of galleries across Europe, including London, Glasgow and Paris.

In what ways has your experience with CPTSD shaped your artwork?

Naturally, sometimes I wonder what my life would be like if I didn’t have Complex Post-traumatic Stress Disorder. My experiences in childhood that led to my diagnosis have certainly shaped a lot of how I see and experience the world around me. Similarly, I don’t know what my art would look like had I not experienced such things. My observation of trauma thematically links everything I make and influences my artwork so directly that I think my output would be completely different if I did not have those experiences. At first, I didn’t consciously realize that I was creating work about my conversance with C-PTSD and psychosis. Rather, I was just making art as a way of expressing emotions that I couldn’t put into words. As I became more acquainted with my diagnosis and have been in therapy, I’ve realized that it really is my trauma that is influencing all of my decisions when art-making. It is what shapes every idea and series that I create, as my output is an autobiographical narrative on my experience in childhood and post-adolescence, where I began to deal with the repercussions of being traumatized. As I initially began making art simply by way of therapy and not for the purposes of becoming an artist, I don’t know that I would have ever picked up a paintbrush had I not been unwell, which is very strange to think about.

What is your process for transforming personal and painful experiences into art?

When I am creating work, I am dialed into my unconscious mind and less focused on linear thought. I find that I best create when there is a memory or feeling that I find is taking up a lot of space in my head. When I allow space for this particular emotion or experience whilst art-making, I have a springboard that forms the central theme for the piece I am starting. From here, tangents and connotations form and more memories or emotions come to light. This is helpful especially when I’m painting, as the different emotions that emerge from my unconscious blend together to form one piece, which is why my work is so abstract—it’s basically the coming together of a handful of ideas and emotions relating to one overarching theme. I’m quite a private person, but I find that when I’m painting or taking photographs it becomes very easy to address topics that are very personal to me. I think this has a lot to do with the fact that I am creating imagery out of more metaphysical, conceptual ideas that I would struggle to put into cohesive words in normal conversation. Creating a vision from painful experiences is a process I find really helpful. It can be a lot less intimidating to be focused both on what I’m creating as well as these distressing emotions, rather than to simply sit with difficult thoughts and memories.

How do you decide which medium best suits your creative vision?

Typically, the two mediums I use the most are mixed media painting or photography.

I think I’m drawn to photography when I have a more specific idea that I’m considering; painting is a medium I turn to when I’m expressing more fluid, less elusive chains of emotions. Often, the ideas for my mixed media images are born from archival imagery, like when I look at old photographs or letters that evoke certain feelings. I’m currently creating a book that includes a bit of everything self-portraiture, poetry, and found imagery and it’s proving useful to combine different mediums in order to tell different parts of my story. Photography and found imagery can be harnessed to illustrate particular memories and moments in my life, whereas, when the vision is leaning toward the metaphysical, concepts are more easily explored through poetry and painting.

What inspires your focus on themes of childhood and the female body?

When I first started art-making, I was focused solely on my childhood and was harnessing art as a form of therapy. Whilst I was studying my undergrad in photography I was really interested in artists like Jenny Saville and Louise Bourgeois, whose work follows similar narratives to my own. When I studied art psychotherapy in Edinburgh, I read a book called ‘The Body Keeps the Score’ by Bessel van der Kolk, where the central themes are surrounding how the physical body contains and is affected by trauma. I think that, in relating to this, it was a combination of taking inspiration from feminist artists and my personal interest in “The Self” that led to my exploring the female body in my output. Although I had previously explored nudity within self-portraiture, the first painting I ever made was actually created in response to a long time spent waiting for a diagnosis in regards to my own reproductive organs, so this was the first time I really explicitly explored that theme. Since then, both the ideas of childhood, trauma, and the female body have started to merge and become more fluid topics within my work.

Can you discuss the role of the self and psyche in your work?

The self is a central theme across my whole output, and something I am continuously working on addressing and improving. I’m very invested in Carl Jung’s theory regarding the self, how it is an archetype embedded in all of us where the conscious and unconscious come together in unison. Since being in therapy myself, I’ve definitely become a lot more aware of my own individuation and the importance of addressing every aspect of my personality and experiences, however difficult. Exploring the self within my artwork aids me in constantly remaining conscious of my ever-changing psyche, and the role of this when art-making proves essential to how I reflect on certain memories, especially when I am faced with trauma.

How have audiences in different European cities responded to your work?

I’ve been quite lucky in that I feel my work is transferable between different types of audiences from varying walks of life. I think the fact that my artwork lends itself to the abstract plays an essential part in this translation. I think my work resonates most with an English-speaking viewer, as a lot of the narrative within my work is referred to within the poetry and words harnessed alongside the imagery. In saying that, I think it is my paintings that don’t include locution that are most consistently appreciated throughout Europe, which is something that has certainly boosted my confidence in my ability to paint over time.

What role has art played in your healing process, and what advice do you have for artists using art as therapy?

I can’t honestly say that I know I would be as healed from past traumas as I am today had I not begun to create work about my experiences and mental health. I feel that, no matter your ability as an artist, channelling your creativity and unconsciousness can play a vital role in healing from both physical and mental trauma.

I would advise anyone interested in using art as a form of therapy to become acquainted with the core ideas that are weaved through the subject. I first familiarized myself with art psychotherapy by reading books from writers like Alain de Botton (his book "Art as Therapy" is beautiful and one of my favourite comfort reads) and looking at work by pioneers of the Art Brut and Naïve Art movement like Jean Dubuffet. Interacting with art that isn’t necessarily created by artists with formal training is something I found really helpful as someone with no official education in painting as I found both the imagery and themes being discussed relatable, and it definitely provided me with some reassurance, feeling less alone and less fearful of judgment in my endeavour to create.

Dotan Negrin is an experiential designer and multimedia artist based in NYC. He is the Founder/CEO of LUME Studios, a leading experiential agency with a multi-level venue in TriBeCa.Founded in 2016, LUME Studios serves as a hub for international brands, celebrities, and artists to create unforgettable experiences and video productions. Through the use of high-end visual software, projection mapping, and spatial audio, the venue and creative services are tailored to enable his clients to tell visually dynamic and engaging stories that resonate with audiences.Over the past few years, LUME has also become the premier destination for new media art exhibitions through its SUBJECTIVE programming, which connects the digital and physical realms by providing a platform for artists, collectors, and communities to celebrate art and internet culture in NYC.

Dotan is also known for his global travels around the world with a full-size piano, playing music in more than 24 countries and 500 cities between 2010-2016. His travels took him on an adventure of living in a van, meeting thousands of people who joined him in public jam sessions in the streets. Dotan documented his travels on his YouTube channel, Piano Around the World.

Dotan, if I were to sum up your roles, you're a musician, a CEO, and a curator who brings digital and physical art together in unique ways at LUME Studios. But, who do you feel you are the most: musician, CEO, or curator?

Ten years ago, I was a full-time musician doing gigs and making YouTube videos. Now, after launching LUME, I've evolved into a founder/producer. I spend a lot more time managing the team, designing new installations, and maintaining the space. I really enjoy producing our own experiences, events, and art shows. As of now, because so much of my time is spent developing LUME Studios, I would consider myself more of a founder/CEO.

Based on your choice, how does that primary identity shape your approach to your other responsibilities?"

Being a founder, I am forced to wear a lot of hats, and I find myself shifting, using my brain in a variety of ways throughout the workdays. My management style is creative and experimental, constantly trying new things to see what works. This makes my approach more freestyle and less organized compared to others. I’m more of a "let's try this, let's try that, let's see what works" kind of person. As an artist, I was not always the most organized, but my work as a founder has forced me to spend more time planning and organizing before I take actions

Can you share a memorable experience from your global travels with the piano that had a significant impact on you?

Sure. After over five years of traveling around the world and living out of my van, I learned that we all have friends we haven't met yet. Everywhere I went, people wanted to connect, live in peace, and be happy. I saw that there are more good people in the world than bad people. In Zurich, I met a guy who introduced me to local artists and musicians. The next day, I played on the streets, and had 50 strangers join in to participate in co-creating live music and fun.Another time in 2011, I posted on Couchsurfing.com that I was going to Madison, WI but didn't have anyone to celebrate my birthday with. One of the people on the platform saw my message and invited me to join him and 8 friends for a birthday dinner. I spent my birthday eating dinner with complete strangers who celebrated with me and even got me a cake. These experiences showed me the universal desire for connection.

What do you enjoy most about hosting new media art exhibitions at LUME Studios, and how do you select the artists and projects featured in the SUBJECTIVE programming?

I love people. I enjoy meeting interesting people from around the world and discovering how they use technology and art in unique ways. My goal is to create exhibitions that encourage connections and collaborations. I want to inspire people to create, I want to give them the ability to do so, and I want them to walk out in awe of their experience. We select artists and projects by seeking out innovative and unique work, often tapping into various communities and galleries to find fresh talent.

What inspired you to start LUME Studios, and how has it evolved since its founding in 2016?

LUME Studios, originally called 393 NYC, was rebranded in 2019. The inspiration behind it stems from my lifelong journey of creativity and exploration. From playing with Legos as a child to pursuing acting, music, and various forms of art throughout my life, each experience contributed to the foundation of LUME Studios. After college, I delved into video production and traveled the world with my piano, merging different skills and passions along the way into a YouTube channel called Piano Around the World.

LUME Studios represents the culmination of these experiences—years of learning and practicing lighting, sound, video, projection mapping, curation, and business management. In 2016, I saw an opportunity to take over a space previously occupied by another business. With low rent and a vision for hosting events, particularly for brands, I seized the opportunity and embarked on the journey of building LUME Studios.

What has been the most challenging project you've worked on at LUME Studios, and how did you overcome those challenges?

The most challenging period was in the beginning when I was handling everything solo, working 16-hour days consistently. While there wasn't one specific project that stood out as the most difficult, there was a stretch in 2017 where I worked 20 consecutive days, 12 to 16 hours each day, which was incredibly demanding. Dealing with the impact of COVID-19 was also extremely challenging, particularly having to let go of staff and taking on the responsibility of managing the entire space by myself. While I can't pinpoint one specific event, there were definitely moments of being overworked and exhausted. Each challenge required perseverance and determination to overcome.

If you could collaborate with any artist, living or deceased, on a project at LUME Studios, who would it be and why?

If I could collaborate with one artist, it would be Bobby McFerrin. I’ve always been excited by his work as a musician and his ability to bring the entire audience together in song. I have seen him perform many times and even met him. He has the ability to use his body and voice as the instrument itself. He is also famous for bringing musicians on stage from the audience, and it's such a good time. I would love to do an audio-reactive experience with him, combining sound, light, and color together in the space.

Oliviero Leonardi (1921 - 2019) was an Italian painter and sculptor based in Rome. He was largely recognized in the 1970/80s as one of the leader in painting with experimental materials on steel plates baked in oven at high fire (at 900 degrees Celsius). His artistic research focused, among others, on the subject of cosmogony. He was partially influenced by futurism, surrealism, cubism and art informel.

In the 1970/80s, he had more than 25 collective and solo exhibitions in major art galleries in Italy, France, Spain, Monaco, Germany and Luxembourg. He exhibited with a collective of artists including Giorgio De Chirico, Salvador Dalí and Joan Miró during the 1975 Contemporary Art Exhibition in Fiuggi, Italy. His work was also exhibited at the Maschio Angioino, the Centro di Cultura Italiana, the Saarland Museum, the Van Gogh House Museum and the Limoges Biennale, and commissioned for public spaces including the metro in the city of Rome and the Pan-American headquarters in New York.

Following two decades of successful exhibitions, Oliviero Leonardi detached from the world of art on his own, and slowly started creating art for himself from the 1990s until his passing few years ago. His efforts, art, beliefs, innovative art techniques, numerous exhibitions, ideas, friends, and critics, namely his work and art as a whole, were almost completely forgotten.

During his exploration phase on the island of Capri, Oliviero Leonardi discovered the potential of steel as an artistic medium. After Capri, he travelled to Florence, Venice, Palermo, Rovereto and Ravenna to perfect his knowledge of the artistic forms.In a post-WWII context, he became passionate about studying the origin of our universe and, in the broader sense, human existence and condition.

Oliviero Leonardi became one of the leader in paintings with experimental materials on steel baked in oven at high fire. He believed that art and its message should not be limited by the degrading physical attributes of its medium. He wanted to crystallize his artistic message ad vitam aeternam.

His work captures the great scene of the world where the artist’s vision evolves to the heart of known and unknown spaces. The art of Oliviero Leonardi tells a sacred story, the origin, a primordial event that is created by the colors and the letters in baked ovens at high temperature.
Time is not a continuous concept in Oliviero Leonardi’s art.

Reach an exclusive, art-focused audience through Abstract State Magazine. We offer premium ad spaces like the back cover, inside full page and sponsor recognition options to showcase your brand.Ad OptionsBack Cover & Inside Options: Ideal for brands seeking high-impact exposure.
Sponsor Recognition on the Cover: Subtle “Presented by [Brand Name]” for tasteful brand visibility.Interested in Advertising with Us?
Contact us today at info@abstractstate.us to explore advertising opportunities.