Updated channel consisting of art-related videos.
Translucent
Adding details (in between admittedly long breaks) for this particular piece. At one point, I shied away from painting nudity but if art is to be ''stripped down'', as I mentioned in a previous video, then there should be no shyness in capturing the human form, without societal embellishment or assumption. Nudity within art is often a kind of taboo. I have had multiple pieces of my art that feature nudity taken down from various platforms, strictly because of the nudity. Often it's seen explicitly as being related in some way to s-x. I suppose everyone has their preference but I personally feel that not everything has to be a nod to that, as it relates to depictions within paintings. The artist's intention lays the foundation and there is a huge difference between perversion and sensitivity. So, despite not being able to control how viewers interpret my art (I wouldn't want to) I would hope that people can, at minimum, be mature about viewing nudity shown within my paintings, as (in this case) it is a testament to emotional vulnerability and femininity, not interlocked in eroticism.
Art.write
Pixie, coffee and bits and bobs. balancing paintings is, I would say, something that artists of all walks can identify with. the urge to express and the feverish anxiety of forgetting an idea can be torture. nonetheless, as you hop from one piece to the next, like a frazzled leaping gnome, ideas begin to warp and a painting that started as a flower completes as something more. skies change, shapes reshape and coffee begins to stale but art remains as it always has; a vessel and invitation of expression.
(the books shown on the side are my photography books, published a while back and filled with many photos that I have taken and use as both inspiration and reference for some paintings.)
Perhaps the reason that an artist may be shy to show their work is similar to the reasoning behind a writer's anxiety in sharing their words. Is not writing and painting like pages in a diary? I would say that a kind of portrait begins to form. Sometimes.Variety is the spice of the world. I express not to be agreed with but for my own release. Putting it out there is part of the process, though it has not always been this way. I can recall writing many pages of private poems and other things, at one point and not feeling comfortable with anyone reading them. There is always that chance that your intention is misconstrued. But to hold back in writing or in art makes the act of creating seem meaningless. The way that one paints or writes should be selfish, as a person can only really speak for oneself.
Separation of Art from Artist (My Personal Experience)
I was just pondering — not brooding but pondering something: the separation of art from artist and by extension, author from writing. When the floor is open for discussions like this, things tend to become somewhat complicated but I suppose it all depends on one's perspective.
Last night, while revisiting a somewhat obscure short story from the early 1900s, I began researching the author of that story. As someone who is drawn to classic literature, I am generally curious of the authors behind any given work (especially this story, because it means alot to me). There is something fascinating about researching people from time periods drastically different from present day. As a very young girl, the superintendent of my school district used to gift me beautiful biographies about other young girls from different time periods. Reading about these girls was quite eye-opening. I was amazed. This is likely how my fascination with reading about other people began.
As I began researching the author of the story that I mentioned, I found some things that I absolutely did not like. Things that, if attributed to a contemporary author today, would ensure an epic downfall and swift ''cancellation''.100%.
But again, this is the early 1900s — a very different time. One has to be mindful of that. While it does not excuse anything, it has to be considered that: 1. I did not live his life and I do not have the unique and complicated experiences that colored his views (which changed later in life). 2. To some degree, if a person digs deep enough, anyone is bound to find problematic or unsavory things about any given person, including themselves and 3. This author does not owe me anything. There must be some discretion at what you do or don't take personally. Show me a perfect person and I will show you a unicorn that sings 'Careless Whisper' and speaks fluent Latin. It ain't happening, sweetie.
When I say ''problematic things'', I mean that you are bound to find out things about someone whom you like that don't sit well with you or that possibly make you lose the respect or admiration that you once held for them, prior to that discovery.
The author, based on his own remarks, held racist views. Some of the things that he is known to have spouted were racist, cruel and quite honestly disgusting. No, I am not giving examples. This is not a baiting post. I don't need other people to be ''mad'' for me, when I'm not mad or to agree with my views, through manipulation or emotional pressure. I am trying to make a point. Not an excuse — a point. Admittedly, as I researched him, when I read certain quotes attributed to him, I felt somewhat discouraged because the story that he wrote means so much to me. But what I also found, in researching him, was the author's humanity; proof that he was human - that he was a complicated man, somewhat incapable of escaping his upbringing and flawed as a result of the many complex layers contained within him. Everyone isn't him but it could be argued that everyone has these layers; these complexities that elude simple explanations and have such far reaching impacts on a person, their views and their psyche.
As I dug alittle deeper, I found that the author was conflicted. On the one hand he is known to have espoused these views. On the other hand, he constantly contradicted them. As a result of his own personal experiences and travels, his views were often challenged. Traveling made him confront the wrong way in which he saw others, who did not look like him, as inferior, before getting to know them as human beings. While reading more, learning about him, the bigger picture of him unfolded; he was fighting himself and it would seem that his own views made him uncomfortable. He, himself, was partially a product of a mother that raised him up with these racist attitudes and a society that held certain expectations for its populus, in terms of ideals and taboos, at that time. Does this make it ok? Of course not but who isn't, to some degree, a product of a toxic upbringing and eventually shaped by the tentacles of insulated societal expectation? Who hasn't, at some point, felt pressured to be a certain way because that is ''the norm''? Who hasn't been afraid of being cast away for thinking differently?
There is proof that he actually did have close relationships with those whom he ''condemned'' as being inferior and further evidence that he himself had psychological issues plaguing him, based on excerpts from his diary. He feared going mad. While it is true that some people do hide behind mental illness, to do and say terrible things - in this case I feel that the author is sincere. He isn't hiding behind anything and during the early 1900s ''mental health'' was not a thing; there was immense stigma attached to it. So, you battled your demons privately (and quietly).
That was then and this is now. So... what can be gleaned from this?
This post is but a grain of sand in a real world where a great deal of things are always happening. By writing this, I am trying to make a point, not stir a hypothetical pot.
To be curious should not be seen as offensive and to bring up uncomfortable subjects is to break the ice and make them not so uncomfortable. There is a way to be mature in discussion and there is a difference between sincere interest and intentional agitation. It doesn't have to be uncomfortable. It does not have to be rude. I don't know how it became what it is now. People give me headaches.
As a black woman, (technically I am both native american and black but whatever, I check the box of being black because that is what I have always done), I feel as though people have expectations for how I think and my perception. There's a general prediction for how a person is supposed to react to discovering these kinds of things. I say this out of experience, not paranoia. I feel that people assume that I am supposed to take everything personally. There is a pressure that exists. The pressure intensifies when you say something that someone else does not agree with, if it isn't inline with what is ''acceptable'', common or embraced sociological caricatures. It feels as though you are forced to see things in only one way. It's very uncomfortable.
Rather than get angry, I would prefer to dig deeper and see a fuller picture that allows me to understand. Not search high and low for excuses, but take a moment to delve beneath the surface of things in an attempt to find an understanding of why and how; much like the books that I used to read that show me a perception beyond my own. It does not mean that I eventually agree with them, it only means that I accept that I am not them and that their experiences are solely theirs and not my own.
Race is a touchy subject. People put on latex gloves and masks and hazmat suits to tiptoe around the subject - to sanitize it and make it sound a certain way instead of saying what's on their mind or asking the right questions to find closure from a willful chaos. It could be said that people throw around the topic recklessly. It could also be said that the past has dark chapters and every now and again there are echoes of that. With that being said, it could also be argued that our ancestors would smack us for complaining in this day and age. Imagine their reaction to present times.
There is no separating an artist from their art or an author from their writing. Sure, it's a comfortable idea and you can certainly try but at the end of the day the painting that you admire or the piece of music that lulls you to tranquility or the story that you cherish was still created by someone who you may not like. Does this mean that you can no longer enjoy it or does it mean that people, in and of themselves, are complex beings and never the same from one day to the next. Ever-changing beings who silently battle time, ego, survival and society — because they have to.
There is a kind of conflict of right and wrong sometimes, when you are on the outside looking in. The gray areas make it impossible to see things as just white or just black. If you are fortunate enough to read about someone and gain a fuller understanding and perhaps see how their story unfolded, a long time ago, maybe it would solidify the idea that no one is perfect. That people change and that their words are sometimes only half of the mirror.
I don't really talk about things like this. That's not to say that I avoid talking about it, I just don't necessarily feel the need to constantly bring things of this nature up. Nonetheless, topics like this can be thought-provoking. Sometimes they leave you reeling but if you're really thoughtful, they birth broader questions and ideas. I wanted to write about this experience. The author said some disappointing and gross things. I'll admit. But haven't I, at some point? Does that make it ok? Course not but maybe on some level everyone is a little screwed up and figuring things out. The silver lining is that the author changed. Rather than sink deeper into his abhorrent outlook, he became someone who came to understand that he was wrong. To be human is to be flawed. It's true that no one is perfect but it's also true that change can be a beautiful thing.
I had attempted to make a point with this post but perhaps I am only speaking my mind, just because. Sometimes, when I feel like posting something, I think ''why don't you shut the f-ck up?'' and then other times I think ''no, f-ck that.'' In short, knowing these things has not changed how I feel about the story. It still makes me smile and if anything, has only been enriched by the very complicated man who wrote it.
Donating
The season is changing and it's beginning to get cold. There are many people out there who silently struggle or who are in difficult situations, who could use the help of others to navigate the coming winter months. Every little bit helps. If you have clothing (winter coats, scarves, jackets, hoodies, warm hats) or heavy blankets that you are no longer using, donating them could help to alleviate some of the daily stress for these people and families. If you don't have things to donate, there are other ways to help. Like If you see a person on the side of the road holding up signs, in need of help — giving what you can to them could be just what they need to get them alittle further down the line. Local food drives (canned goods) are also good. I don't know if they accept instant coffees or ramen but those are both things that could help to feed/keep people warm. It's cheap as well, so ... but it's whatever. These are human beings. They deserve to be warm just as much as anyone else. I feel sick when I see or hear people making fun of people in bad situations like homelessness. I don't think that anyone should look down on someone else, because that person's situation could easily become your reality. You don't know these people and judging them like that is unfair. Natural disasters have played a huge role in displacing many, many people and animals, across the country. Just because the news doesn't show these people on tv anymore doesn't mean that everything is rosy. They're still struggling. Them, and many others. No-kill Animal shelters can also use any help that anyone would want to provide, in the form of food and warm blankets, hay, etc. for current animals there. A simple google search could do wonders in trying to locate places near that are currently open to accepting donations. Obviously, it is good to donate throughout the year but winter is, without question, one of the most dangerous times of the year for people who are in difficult situations like this. I don't want to sound preachy. I barely even post on social media. Everything that anyone says is picked apart, until it's unrecognizable anyway. Your intention is blurred and becomes meaningless. But pretty much, I feel that when you have a platform, regardless of its size or whatever, it's not a bad idea to use it in some way to help other people, without coming across as preachy, insincere, uncaring or demeaning. If anything it would be great if even one person decided to donate locally, after reading this.
Palooka Magazine
Issue fifteen of Palooka Magazine has dropped. If you're looking for something to indulge in and treat yourself with this month, I suggest anyone who is a lover of quality and depth to lose yourself in the art and literature of Palooka.
Art and literature can be admired in many forms — but one thing that I personally adore about print magazines is their ability to allow you to carry with you the very essence of thought and heart that goes into literature and art. It is an incredible feeling to get lost in the pages, as you navigate another person's fascinating perspective. I really like books. Any magazine that holds within it such powerful moments, captured in words or through art, is something to pay attention to. Something to, I would say, embrace.
I have to reiterate how incredible this magazine is. Jonathan was kind enough to send me a few copies of my choice. I was specifically interested in issue fourteen and issue ten; they stood out to me and I was excited to explore them. What I found within both Issues of Palooka was potent, refreshing and raw. While taking in issue fourteen, I was incredibly moved by Pardeep Toor's "You'll Understand When You're Older". I cannot recommend reading this enough and struggle to explain the boundless vulnerability, emotional rawness, intelligence and unspeakable bravery that I presume it must have taken to write what Pardeep wrote. Truly, this person is someone who, through his sheer honesty, has my respect.
This is a single example of many that I could share. There are innumerable gifted voices out there, in both literary and artistic circles. But it can be a challenge to know where to look on this vast world wide web. Some platforms are phony, some say one thing and mean the other and some aren't serious and lack compassion. But it is clear that this literary magazine is different.
Having been established in 2010 by founding editor, Jonathan Starke, Palooka sets itself apart from the noise, while inspiring one to pause and listen; listen to the words on a page and the colors in a work of art. Immerse yourself in someone else's thoughts as they scream, calm and whisper to you, from the crevices and corners of issue after issue. Find art and literature that speaks to you. Support platform that resonate on a deeper level to you. Embrace the stories that find you and get excited about reading again. Everyone has different tastes but that is maybe the beauty of it. I've written something like a novel here but I type a great deal, when something relating to art or writing catches my attention and I feel it worthy, relevant or important enough to share. In the hustle and bustle and rushing willful chaos, Palooka Magazine is wholeheartedly worth everyone's time. There are actually many amazing literature and art magazines out there but given that I have been reading and enjoying Palooka lately, I wanted to, understandably, focus on this magazine. I will be featured in Issue Sixteen.
Browse all issues of Palooka here: https://www.palookamag.com/issues.html
Dive into Issue Fifteen here: https://www.palookamag.com/15.html
Goddess Arts Magazine: Issue Eighteen
A special thank you to Lena Snow, founder of Goddess Arts Magazine, an amazing art magazine based in Germany, for featuring me in issue eighteen, alongside many other artists. Profits from issue 18 will benefit the Women’s Earth Alliance, ''a nonprofit that empowers women globally to protect our environment and build resilient communities''. So, when you purchase this magazine, as Lena mentioned, you aren't only being given the opportunity to immerse yourself in art, you're also contributing to something that could have an amazing impact. I am somewhat late in sharing this, given that this issue was released in August. Nonetheless, very grateful! Thank you Jana and Lena.
'Aloof' by Cierra G. Rowe
A composition of soft, feminine colors against harsh reds and distressed black. A face lingering in the chaos, with distant colors forming behind.
Upcoming Books and Tom Antona Appreciation Post
My debut book of poetry; The Devil Bakes A Cake For His Wife is scheduled to be released in late '25. Meanwhile, my book Mood, with a foreword by Tom Antona (of Alice Donut), is to be announced v. soon (also within 2025).
Both books are something that I have put a tremendous amount of work into, with Mood having been in the making for over 4 years and The Devil Bakes A Cake For His Wife, having been in the making for over 2 years. On and off I have had a great desire to write but have also been dealing with deeply personal things. Very big hugs to my husband, for encouraging me to keep with it, despite me feeling somewhat overwhelmed, whenever I revisit things and write longform but also for understanding my intent behind Mood.
This is also a Tom Antona appreciation post. Seriously this guy, who is a fierce pure-talent, is forever cool and someone who has my respect. To be given the privilege to talk in depth, about art and passion and beyond - tons of conversations, with an artist, whom I admire means so much to me. Words do not cut it. Like, at all. Tom has basically been a mentor to me. His sincere words have helped me a great deal, when I wasn't so sure and more than that, inspired me to keep going. When someone can do that, talk to you, as an artist, and revive in you this sense of confidence in what you are doing, is nothing short of amazing and I am so grateful. He also owns multiple pieces of my art (pieces that I always assumed would not find homes) and that in and of itself is deeply heartwarming. Trying to capture my gratitude in words fails me because it is more than what I could put words on. People who know me know that I don't expect much, especially in the way of anyone giving a damn about what I do. So it means alot to me. It's a huge deal to me. Props to my husband for putting us in touch, ages ago. And Tom, you already know how much this means to me but seriously, thank you so, so much.
Realism
Progress on (untitled as of yet) Realism. I have no desire for realism, unless speaking about sincerity. There is a kind of beauty in honesty that enriches art. But traditional realism? No. I used to adore it, some time ago. I was so fascinated in capturing the exactness, the essence of a person. For a while, I was very into it. But things change. I find abstract portraiture far more intimate. There is no comparison. Intimacy in art, to me, is very important. If a person were to paint someone, would they prefer them to capture their reflection or would they prefer them to go deeper....and paint who they truly are, based on outward mannerisms, the way that they speak, miscroscopic traits and that which they are unaware of - signatures of who they are beneath the surface? I would prefer the latter. I would prefer to paint someone as they are, from what I see rather than a surface depiction.
art
Before I began painting more common elements of surface nature, I made art that many would refer to as 'dark'. Admittedly, perhaps on the surface that is how it appeared but I am of the mind that beneath any given surface lies deeper meaning — things that you cannot see right away. Sometimes you become so consumed with your art, that you forget the eyes outside of it. If one knew the artist's intention behind a piece, things would be clarified; meaning would become clearer and shapes would not look so...misshapen. But art is a mystery. Not so long ago, something happened and it changed things and shook me up pretty badly. While outside, upset under a tree, trying to get a grip and failing, I remembered what I had said in an interview; ''An artist has to break to grow''. You should be careful what you say, because I ate my f/cking words and found them mocking me. The more that I wept, the harder those words laughed at me. So...while in the depths, through trying to mask and avoid, circling the drain of being lost, running from the things which would not let me sleep, eat or think — I tried to paint things which were the opposite of how I felt; simpler things. Meaningful, yes but simple compared to what I commonly painted before all of this happened. It was too much all at once. Spiraling. I tried to gather myself and began painting a fusion of plants, landscapes and glowing shadows. After a while of painting these things, I began to feel a familiar kind of hunger. What I did not realize, through doing this — through repressing things, was that I was restraining myself in painting. I know the foundation of my art. I know what's behind painting. I also know that you cannot run from who you are. How can one fully express themselves if they are locking part of themselves away? What is art, if there is restraint? I think in modern times, it has become rule to put a word on things. Or to be just one thing. Or don a label that encompasses you as a human being. Impossible. In reality, I find that humans are the ''et cetera'' of nature. So, art must remain unbound.
'Sex' by Cierra G. Rowe
 |
| An intense interpretation of carnal and animalistic instincts. https://www.artofcierra.com/product/sex-acrylic-on-canvas-panel-8x10-framed |
An intense interpretation of carnal and animalistic instincts. As a female artist, I am sometimes made to feel ashamed or uncomfortable whenever I paint things of this nature, especially involving sex. It's like, if I paint it - then i'm somehow wrong, unclean or have created something offensive. I am not twelve. I have earned the right to paint whatever I please. If one takes offense, then that is a choice. Looking at the surface of something and making an assumption is a choice. Art is an invitation to release. It should never be dictated or controlled by the audience. What sort of artist only paints things that others will approve of? That sounds pointless and sterile. How could anyone find satisfaction in that? It is like eating a cookie made of styrofoam. It can also be frustrating when I paint something and it is taken the wrong way. Given that perception outside of yourself is not controllable, this comes along with the territory. Sometimes it can be a beautiful thing, other times it can be an annoyance. As a woman, when I paint things of this nature it does not mean that I am akin to some imagined, sex-starved nymphomaniac or that I am sending subliminal messages to a hypothetical audience or that I seek some form of pseuco-validation. It seems as though anything remotely sexual in nature is viewed as smut or taboo, nevermind ''tastes''. Art, through many layers of definition, is a statement of existence — fueled by complexities, emotion and private things. It must remain untamed. To keep art unbound is to maintain its purity.
'Spirit' by Cierra G. Rowe
 |
| A composition of that which is elusively beyond comprehension. https://www.artofcierra.com/product/spirit-acrylic-on-canvas-panel-8x10-framed |
'Cannibal (Tortured Artist)' by Cierra G. Rowe
%20-%20%C2%A9%20CIERRA%20G.%20ROWE.jpg) |
| As an artist, you are a kind of performer; opening yourself for all to see. Perhaps your audience consumes you and your pain makes it all the more appetizing. Perhaps enough is never really enough, for them and they are not sated until all of you, every bit, is on display. Then comes the great climax, as you are littered with roses, attention and applause. One final standing ovation from your audience of empty faces. After you have given your all and passionately emptied yourself comes silence. Only then will your audience walk away, on to the next amusement — leaving you as you lay motionless. This portrait is a question of what it means to be famous and to know, deep down, that fame is fleeting because you cannot hold everyone's attention forever. https://www.artofcierra.com/product/cannibal-tortured-artist-acrylic-on-canvas-panel-8x10-framed |
Early Compositions
My earliest works pave the way for current works. As an artist (painter), change is narrated through brushstrokes. My earliest drawings and compositions have always imprinted on later art. Especially my way of capturing the human form. It has always been abstract, especially after realising that realism did not quite satiate me. My way of painting human beings is more of an abstract and figurative fusion. A good example of this is the drawing shown below (which I completed several years ago using markers and colored pencils); 'Famine'. I tend to distort faces, while adding colors that accentuate what I am conveying in any given composition. A much later example of this is through looking at my paintings 'Sex' and 'Cannibal (Tortured Artist)'.
 |
| 'Famine' - Cierra G. Rowe est. 2016 |
'Powder Blue' by Cierra G. Rowe
 |
| This composition consists of a milky moon sitting in the night sky, over farmland, surrounded by ethereal swirls of whispering blues, purples and dusty pink. https://www.artofcierra.com/product/powder-blue-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed |
'Impose' by Cierra G. Rowe
 |
| Soft and light hues of pinks and yellows coalesce in this vast sky, over dark green trees and soft fog. Impose is an intimate scene that I observed not so long ago, in the gentle silence of the countryside, stillness of the evening sky and hum of nature. https://www.artofcierra.com/product/impose-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed |
'Fever Dream' by Cierra G. Rowe
 |
| Colors brush against each other, in this intense and pastel-like depiction of a fever dream. I wanted to focus on intensity and atmosphere, in this piece, through pitting effervescent colors against the strong presence of black. https://www.artofcierra.com/product/fever-dream-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed |
Brushstrokes
.jpg) |
| Most of my photos appear neat and tidy. Well, the truth is there is nothing neat and tidy about painting or creating art at all. Not the pain behind the creation and not the actual clothing that one dons when painting. Like most things online, you can crop out the ugly and only show the cleaner, neater, more appealing-to-the-eye aspects of any given thing. Here is me painting, with a cloth on the side to swipe my brush. |
Textured
.jpg) |
| Years ago, I was obsessed with smoothness in my paintings; constantly layering colors and smoothing them over, to achieve evenness. Then, I realized that I love texture. The reason that there exists texture within paintings is because of the process where the mind unfolds during completion. There is a progression; you begin with one color but then decide to use another color. one changes their mind and paints over the perceived mistake, to form something beautiful, tangible and perfect. Artistic perfection is the sense of satisfaction from creating — or perhaps, on a much deeper level, that's gratitude. |
Coffee
Coffee sans cream; the only way to truly indulge. This particular brand is very strong, with tones of chocolate but not too heavy. It's smooth; like someone playing a saxophone, while wearing a tuxedo. Or maybe like Spandau Ballet. Oh yeah, now that's smooth.
.jpg)
'Cerulean' by Cierra G. Rowe
 |
| Fire flies and glowing trees come to life, one summer night. https://www.artofcierra.com/product/cerulean-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed |
'Sun Dream' by Cierra G. Rowe
 |
| Dark trees, holding shades of green, stand beneath intense sun rays. Deep pink skies, flecked by blue and black, stretch on in the distance. https://www.artofcierra.com/product/sun-dream-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed |
Goddess Arts Mag Interview
A special thank you to Lena Snow (Founder), Jana Ebert and everyone at Goddess Arts Mag.
GAM: Please tell us something about your background and your art journey so far.
Cierra G. Rowe: My artistic background is ardent, rife with color and deeply personal. Having become absorbed by painting, my art journey is one of metamorphosis. I am an independent artist who began painting seriously during adolescence. Having no formal background in the arts, I gravitated towards painting naturally and am an autodidact. In terms of artistic direction, my passion is my north star so to speak.
GAM: Describe what a normal day looks like as an artist.
Cierra G. Rowe: Mornings commonly bring low temps. With the outdoors being a natural muse, I like to enjoy a hot chocolate and scratch out sketches of what I may or may not paint later on. I may also jot down poems, it all depends on the mood. If I am already in the middle of a painting, then it's likely that I'll be consumed by that until completion. I am a country girl at heart, having been raised in the south, so small comforts are important to me.
GAM: Can you tell us more about the theme in your art and your inspiration?
Cierra G. Rowe: Nature and emotion are constants for me, within my art. I feel most compelled to paint things that are of significance to me, through capturing them in my own way. Often this lends itself to be in the form of nature, scenes and abstract forms both interior and exterior. I find inspiration in the ''little things'' and personal moments.
GAM: How does your art life impact other parts of your life?
Cierra G. Rowe: I feel that the two are mutually exclusive — one in the same. Life imitates art and the muse of art is life. I think that art acts as a kind of antidote for the complexities that often accompany life.'Innocence Interrupted'
GAM: Tell us about your best experience in the art world so far.
Cierra G. Rowe: I am not sure that 'the art world' pertains to me. I don't mean this in an arrogant way. As an outsider, I don't know that I fit into what the art world wants, nor do I have any desire to. The concept of 'the art world', at its very core seems to be a coterie of influential names who decide what is and is not based on aesthetic, popular culture, monetary gain and other plagues of society. If this changes, then perhaps I could write out a better answer. The only world that is of any importance at all to me is this one Earth.
GAM: What practical advice can you give to fellow artists?
Cierra G. Rowe: I am hesitant to give any sort of advice, given that I am not in anyone else's shoes. I am also unsure if anyone actually wants my advice. But if anyone were to want my advice, I would say that the best thing that any given artist can do for themselves, regardless of chosen medium, is to stay true to who they are.
GAM: What are you working on at the moment and are there any upcoming events you would like to talk about?
Cierra G. Rowe: At the moment, I am painting plant life inspired by my home region, along with scenes from the area where I grew up.
crazy skies
 |
| A cup of milky hot tea, as heavy rain swooshes the trees and Harriet Wheeler sings about the summertime as I paint a crazy, chaotic sky. Thunderstorms all week, so says the weatherman. |
Happy Father's Day
Currently baking my dad a diabetic cake for Father's Day. Happy Father's Day to all of you dads, papas, daddies, pa's and grandpas out there. I hope that each of you realize how special you are and how much of an impact you make each and every day just by being ''dad''.
 |
| This is a photo that I snapped a few years ago, while gathering fire wood with my father. It was a really nice day, late in the year. |
'One Fine Day' by Cierra G. Rowe (and a brief word about my landscape paintings)
 |
A planter of red begonias sit at the forefront of an unfolding summer day. Behind them, cumulonimbus clouds linger near thick and tangled masses of trees. |
Landscapes have their mysteries. I have photographed them often. Some, from a distance and other times closer. But before I picked up the camera, I travelled often as a child. In hindsight I was in awe of how different one region was from another and startled by how many places lingered just outside of what I was able to see from my tiny hometown. When you travel, the world seems to expand.
During that time, my idea of 'home' was primitive and naive. It was after adolescence that idea changed; becoming more emotional, more complex. 'Home' means many things to many different people. It's the place that you know, the place that surrounds you, the private space cushioned between self and nature, the sacred setting of time, season and familiar comforts.
I grew up in a very southern and rural area, so overtime nature became something of a confidant for me. To find inspiration for my landscapes, I often revisit my photography or go on nature walks and snap more photos of things that make an impression on me; Trees swaying in the wind before a heavy rain, a rainbow breathing life into the sky, a setting sun kissing freshly tilled land as day winds down to night. Nature is a huge part of my background; both artistically, and personally. When I paint, I like to capture whatever I am seeing in my own way, with colors that fit the emotional aspect of a scene (how it makes me feel). I translate that reverence for nature through hues in my palette that hold significance to me. I am also very much into texture and enjoy using thick paints with my palette knife to achieve this within my landscapes.
Subscribe to:
Comments (Atom)