Monday, January 31, 2011
Studio Phoenix: Galapagos Art space: 12/30/2010
Studio Phoenix: Galapagos Art space: 12/30/2010: "Galapagos Art space 12/30/10- MC's Chris & Will Photographs by Kerwin K Williamson(Studio-Phoenix)Canon EOS A2-58mm lens:Kodak 400 fl..."
Stand alone productions: City of walls
SP: What made you start City of walls as a mini-series?
AL: A few key things factored into the creation of City of walls.
For one, I wanted to create my own story and not be dependent
on someone else telling me whether or not it was good or not,
based on any number of things that have nothing to do with
the actual quality of the story and how it's told.
Also I was very disillusioned with what is
essentially the bread and butter
of mainstream American comics.
Namely god type characters unable to logically handle
comparatively mundane problems.
All the restrictions that keep those stories and
characters in the same place.
I wanted to create a story that revolved around
more regular people in extraordinary situations,
as opposed to doing a story about extraordinary people
in ordinary situations. I also wanted the journey
to be powerful, engrossing and definitive.
A mini series seemed best designed for that.
SP: How long have you been drawing and involved with,
and a fan of comic's ?
AL: I have been drawing for as long as I can remember,
which stretches back to 3 or 4 years old.
When I was still a very young kid,
probably 8, my grandmother got me
a Spider-man comic-book from a news stand
at the Jay street train station.
I read that comic to fucking death!
I drew my favorite panels and everything
till at some point the whole thing fell apart.
It was so thoroughly destroyed
that I have no memory of what happened to it.
But the damage was done
and I was officially addicted.
SP: After S.V.A (School of visual Art) were you thinking about
working with or for one of the mainstream
companies (Marvel, DC)?
AL: When I got out of S.V.A (School of visual Art)
I just wanted to work anywhere,
mainstream, up stream, downstream.
I really didn't give a shit,
so long as it was a job.
SP: What do you think about mainstream
domination of the market?
AL: I think the mainstream domination
of the market is more or less normal.
I think the situation is comparatively status-quo
when juxtaposed to most any other
industry. I do think that mainstream American comics
have a real dilemma in that
they are not growing or expanding. I work in the industry,
I have worked in schools
and I read comics, so I get to see a pretty
broad area of comic book culture.
And sad to say, the kids aren't buying.
A lot of the time when I bring this up
industry cats have a knee-jerk reaction.
You could say that it's a general problem which applies
to comics in general as a genre;
but that is not what I've observed.
The kids I worked with when I was
working in schools did read comics.
They just weren't reading mainstream American comics.
Many times it was really shocking.
They wouldn't know the origins for any
number of big time mainstream characters
unless they had seen the movie.
Shit, that would make me gasp because
when I was growing up of course,
you knew these Characters origins,
it was akin to your abc's.
Not so with these kids. On the other hand
they knew any number of
Manga characters and stories, and were
into to it as I was into my comics
when I was their age. The big Question is why?
I'm not so arrogant as to say I know the answer.
One thing I do know
is those stories are generally
more consequential/edgy. Characters grow, change,
and die, things end;
and not pretend dead where this guy/girl is back
4 issues later but for real,
they're dead and aside from the occasional flash back
they're never coming back!! End!!
And the thing is the kids love it.
They don't go "oh they killed my
favorite character I'm not buying
this shit anymore!" They go "dam
they killed my favorite character that
freaking sucks...now what happens?"
I think that creates a much healthier
environment to tell and sell stories in.
American comic's seem stuck in
selling to the same generation that's been
funding them for the last 30/40
and that's a bad model in my opinion.
To me it's a vicious cycle of folks
who are scared to really change things and
move forward, people
who want to continuously relive the stories
they loved when they were 12.
I also find it sad that the focus of
the American mainstream markets is so
seemingly narrow. When I hear about some of the Asian
and European markets and how there are
these places in the world,
where comic's are made about all manner
of subjects and
that there are audiences for them
ranging all ages and demographics.
It's sounds like a fairytale because here
that's so perpetually far from reality.
It's a very complex issue.
SP: What's your top three comic movie adaptations?
AL: Hmmm, hard question, no right or wrong answer.
In no particular order, The Dark Knight, American Splendor
and Sin-City. That list is really easily changeable.
We are at a point where we actually
have a lot of comic book movies that are really good,
some even great. This was unimaginable when I was a kid.
Gotta love progress. But those are pretty straight up adaptations
(The Dark Knight withstanding) which made pretty compelling
and powerful cinematic experiences for me.
Thanks for the interview Lovelace.
Post a comment, let us know what u read in comics,
whoever makes them. For further info or to place an order go to,
Comic's/Graphic novels:"Land of the rising sun" Part2
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| L.R.S prt2 pg #1 2010 |
Japan(Kyushu) 1650: The wars waged to unite the lands was at an end
with the the Tokugawa in firm control.
But the peace brought by bloody swords
would not last....for a silent new enemy
would rise.... to challenge the Tokugawa.
This is the basic historical back-drop story for L.R.S,
Kerwin K Williamson's comic story mini-series.
In 3 villages on the island of Kyushu a strange sickness
begins killing all males between the ages of 16-40,
with signs of it spreading throughout the area.
Advised by Shinto priests that the sickness is unnatural
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| L.R.S prt 2 pg#2- 2010 |
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| Character design for Fujiwara Hidesato |
I wanted to create a story based in reality with strong elements of magic, science, and dramatic action. A more adult story-line not unlike Blade of the Immortal, Lucifer, Hellboy, or "City of walls".
Even as a kid the world of feudal Japan was exciting. Something about the Samurai and their shadowy counter-part(The men &women of Iga), the Martial arts philosophy, it struck a cord in me like many others. Before I took up Painting and film photography the comic book medium and illustration was my life. Having grown up reading them and various other kinds of stories, Macbeth, Bram stokers Dracula, The picture of Dorian gray, I always had the urge to create worlds and characters doing extraordinary things. I suppose it was only a matter of time before I got to it. Having a natural love of history made the research aspect fun, but I tried not to get too deep into it. I started with Basics, drawing as much of their world a possible, deciding the amount of main characters, and then the way the story would be told. After that drawing the characters as much as possible, creating variations on their faces, clothes, etc. When I started all this I had little training in creating comic books, but I was inspired by my good friend Abede Lovelace(www.cityofwalls.com).
So I began constructing what would be the story while beefing up my skills
and doing as much research as possible on comics, writing, laying out of panels, inking, etc. It was hell, but oddly enough "hell doesn't always look like hell, on a good day hell can look alot like L.A", N.Y.C, Tokyo. Dispite training part one had problems, however not in artistic terms, but in spelling mistakes, having to hand write the word balloons, the cover lay-out should have been better. Doing the work of 5 different people by yourself, limited budget, etc. Still it was well received and some money was made, but more importantly readers liked the look of the art, subject matter and the way the story was told. Great feed back to make the second part better. Look for it April 12th everywhere where it can be, "Art is the reason, art is the way".
("Land of the rising sun" and the characters there in are copyright and trademarked 2008. All characters within this publication and the distinct names and likeness thereof are, unless otherwise noted, are the property of Kerwin k Williamson and Studio-Phoenix . None of the content in this publication may be reprinted without the permission of Studio-Phoenix.)
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| Character design for Momochi Imisu |
Saturday, January 29, 2011
"Land of the rising sun" prt2: Pencil preview
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| L.R.S prt2, Pg#1 |
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| L.R.S prt2, Pg#2 |
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| L.R.S prt2, Pg#3 |
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| L.R.S prt2, Pg#4 |
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| L.R.S prt2, Pg #5 |
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| Concept drawing: Shinagarin-L.R.S |
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| Concept drawing: Imisu(drawing of old friend Gabby)L.R.S |
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| Concept drawing: Imisu-L.R.S |
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| Concept Drawing: Imisu-L.R.S |
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| Concept drawing: Shinagarin-L.R.S |
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| Concept drawing: Hidesato-L.R.S |
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| Concept drawing: Hidesato-L.R.S |
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| Concept drawing: L.R.S |
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| Concept drawing: L.R.S |
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| Concept drawing: Hidesato(final design) |
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| Concept drawing: Imisu(possible poster design) |
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| Concept drawing: Imisu-L.R.S |
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| Study drawing: Feudal era homes, Japan |
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| Concept drawing: Imisu(Kimono's)-L.R.S |
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| Study Drawing: Garden (rock path through water) |
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| Concept drawing: Imisu(undercover disguise #1) |
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| Concept drawing: Imisu(undercover disguise #2) |
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| Concept drawing: Mura-sama(a familar) |
Thursday, January 27, 2011
Q&A Interview: Madeline Hoak
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| Madeline Hoak: "Retreat 6" Photo courtesy of miss Hoak |
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| Madeline Hoak: "Retreat 5" photo courtesy of miss Hoak |
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| Madeline Hoak: Aerial Dancer photo courtesy of miss Hoak |
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| Madeline Hoak @ Galapagos Art space 12/30/10(K.K.W photo) |
Q&A Interview: By K.K.W
SP: I saw on your facebook page your not a originally from N.Y.C, how long have you been a New Yorker?
MH: I have lived in New York since the fall of 2006,
so almost 4.5 years. I took a summer and lived in Seattle for three months, so sometimes it feels like it's
been less than that. other days I look at all I've been
able to do in that short amount of time and it feels like
I've always lived here.
SP: Is their a name you prefer to use for your performance's?
MH: I don't have a stage name. I've always loved my
name, I think I'm the only Madeline Hoak in the world
(according to google anyway) and my performance's have never called for an alternate persona.
SP: What made you get into this kind of performance art?
MH: I've always been a dancer, since I was 4 or 5. I trained through high school and then got my degree in college. When I move to N.Y.C my friend, Annie, was taking these aerial classes and thought
I would love it. She was right! I was hooked. I trained a lot that fall, started teaching in 2007, and soon branched off into private lessons and gig's. As a performer, I find aerial to be a satisfying
combination of Strength, grace, and theatrics.
SP: How long did you work at it before first performing?
MH: I performed only a few months after starting my training.
It was a low key; student showing, but it was a great way to
show off my new skills and get used to doing aerial in front
of an audience.
SP: Are your routines inspired by another art form or style
of performance art?
MH: When I create work its usually
for a specific venue or event.
First and foremost there is the ceiling height of the venue
to take into consideration. This can dictate a lot of what
you can do and don't do, especially
when your working on aerial silks.
If the event has a theme, I incorporate that into
my musical selection and then create
the choreography from the music.
Sometimes people just want an ambient performance
which allows me the most freedom to Choreograph.
I'm currently working on a Lyra(hoop) piece.
I've only taken a few classes in what is traditionally
done on the Lyra. Currently exploring the apparatus on its own.
Music really inspires me, sculpture often does,
sometimes I dream choreography, literally.
Mostly I like problem solving. I like being in the studio
with a particular character or challenge in mind,
or a story to tell, and find the best way to communicate that.
SP: You must be in fantastic shape, are the performances really exhausting?
MH: I never go to the gym, I sort of hate gyms.
I would so much rather be in rehearsal, class,
or be teaching to stay in shape. I do what I do often
enough that it usually is more of an issue
of strengthening one particular move
or sequence of moves. Stamina comes and goes,
but that builds as you're working towards
performing a piece. If I know I'm going to be away from
dance or aerial for a while, I will make a conscious effort
to take a class, or work out at home. I love outdoor sports:
hiking, swimming, and skiing,
so I try to do that when I'm out of the city.
SP: At current, are there any other art forms
you're working in or taking an interest in?
MH: I've been sewing a lot lately. Its a hobby,
but I enjoy it as an art form too.
I've dabbled in a lot of things purely for enjoyments sake:
piano, guitar, Jewelry making, drawing, knitting,
and crafting in general. I've learned that I'm happiest
when I'm moving, making things, or teaching others the skills I have. So I try to keep all those things in my life
as often as possible.
Madeline, thanks for the interview dear lady:)
If you would like info on a Aerial class: http://madelinehoak.com
Wednesday, January 26, 2011
New Music = Noon:30
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| Noon:30 @ Galapagos Art space 12/30/10(first N.Y.C show) |
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| Noon:30 @ Galapagos Art space, 12/30/10(first N.Y.C show) |
a tough, smooth, gentle voice (Blue on vocals),
brings you in and never
lets you go. This is-
"French song", one of four
powerful tracks that await you,
dear reader, on "And so it is"
Noon:30's smash EP.
I first heard their wondrous
sound @ my friend Jeanee'
apt/studio space back in Nov
of 2010. The sound was amazing, reminded me of
Elastica and Skunk Anansie.
I hadn't been that excited about new music since I heard Mattafix and Amy Winehouse. Every once in while something really exciting
comes along that isn't really known, but damn sure will be.
Noon:30 is three beautiful young women, Vivianne on drums/visuals, Aissa on guitar, bass and electronic sound, and Blue on vocals and bass. They have quite a bit to say and oh so many ways to say it. "Absynthe" is a far reaching song probing down and about some where memories float about, like wispy left behinds of a warm bong.
Its the sirens call that brings you out into the night looking for love. Their music has a slight punk quality with a little tech and a deep resonating personal feeling. They strike a major chord when listened to so give it a go. You can find their CD on Amazon, CDbaby, or I-tunes, and for all the kid kid, kiddies who love retro-futuristic images, the teddy bear illustration for the cover is way cool. Look for them on reverbnation. Stay Sharp, stay up, stay listening and don't let the man get you down.
K.K.W
This article is dedicated to my friend Jeanee, thanks for putting me on.
If you would like to know more:www.reverbnation.com/#!/noon30
If you would like to know more:www.reverbnation.com/#!/noon30
Monday, January 24, 2011
Madeline Hoak: Acrobatic/Aerial dancer
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| Madeline Hoak @ The Galapagos art space. |
in glorious light. This is Madeline Hoak,
her aerial acrobatic performance
is a thing of maddening delights.
Bending, twisting, turning, all while
holding her self up with arms, legs,
either or, creating a seemingly effortless
display of acrobatic movement.
Her act is an intense, splendid thing to behold, it takes you away and brings you back safe and happy.
A former native of Worcester Massachusetts, she studied dance and Theater at Muhlenberg Collage. A New Yorker for some years now (thank god, we need all the talent we can get) miss Hoak is currently dancing with the Daniel Gwirtzman dance company (they performed Encore at the the Joyce, SoHo). She has also performed at the JCC theater N.Y.C in the "Aerial Dance festival" 2010. A stunning performer, she has worked and danced with Chriselle Tidrick and Dilshod Djalilou to name a few. Aside from all this Miss Hoak also teaches her Acrobatic forte to those willing to learn (http://madelinehoak.com).
Improved Health, strength, flexibility, and grace might all be yours dear reader (for a small fee of course) if you have the stuff to learn her skill. Here is one image (upper left) of the amazing Madeline doing her thing at the Galapagos art space (Photo by K.K.W) along with a number of other wonderful acts, check out all the photos on the blog, leave a comment, tell us what you think dear reader.
Art is the reason, Art is the way
Thursday, January 20, 2011
Galapagos Art space: 12/30/2010
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| Galapagos Art space 12/30/10- MC's Chris & Will |
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| The ambiance of the place is wonderful. |
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| Noon:30 warming up, Blue @ the mic, Vivianne on drums |
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| This girl was taking a shot with a Digital, I set my camera for a long exposure, then moved it for effect. |
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| Reflection of Blue(Noon:30) on the waters surface |
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| Noon:30 warming up |
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| Noon:30 @ Galapagos Art space 12/30/10 |
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| Noon:30 |
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| Just after the show, Galapagos Art space |
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| Noon:30 @ Galapagos Art space 12/30/10 |
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| Behind two people(balcony) |
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| Blue(mic)and Aissa(guitar)noon:30 |
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| Blue and Aissa: Noon:30 |
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| Alton(left)and Jeanee(right) |
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| Jeanee looking through costumes |
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| Jeanee adjusting the dress she made for part of the show |
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| Madeline Hoak wearing Jeanee's dress |
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| Jeanee |
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| Madeline Hoak wearing jeanee's dress |
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| Madeline Hoak: Aerial robot(Theme of the performance) |
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| Madeline Hoak: Aerial robot(one of the hosts adjusts her hand to touch the cloth&shes starts to move) |
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| Madeline Hoak: Aerial Dancer in the dark |
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| Madeline Hoak: Aerial dancer |
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| Madeline Hoak: Aerial dancer |
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| Madeline Hoak: Aerial dancer(May in-fact be Bat-girl) |
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| Madeline Hoak: Aerial dancer |
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| Dyalekt on stage |
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| Dyalekt on stage |
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| Hurrikane & NoNo warming up. |
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| Vivianne(Noon:30) speaking to a friend |
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| DJ: Meta Physic |
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| The Bar (the drinks were great, kept me feeling motherf*&#king fine) |
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| Hurrikane & NoNo on stage(a folk dance performance) |
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| Hurrikane & NoNo |
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| Hurrikane & NoNo |