{"id":11434,"date":"2012-10-24T05:00:47","date_gmt":"2012-10-24T05:00:47","guid":{"rendered":"https:\/\/www.zatista.com\/blog\/?p=11434"},"modified":"2016-07-20T06:32:52","modified_gmt":"2016-07-20T06:32:52","slug":"featured-artist-interivew-deanna-fainelli","status":"publish","type":"post","link":"https:\/\/www.zatista.ie\/blog\/2012\/10\/featured-artist-interivew-deanna-fainelli\/","title":{"rendered":"Featured Artist Interivew: Deanna Fainelli"},"content":{"rendered":"

 <\/p>\n

\"Featured<\/a>
\n
\n<\/a>Through a process of photomontage, West Coast artist Deanna Fainelli creates layers of paint and photographs to convey boldly colorful and compelling stories. Initially, her subject matter appears representational, but there is also a mysterious sense of incongruity adding depth both physically and metaphorically to each original work. Zatista’s contributing writer Nancy Cost talks to Deanna about her inspirations and the process through which she creates her captivating style.<\/span><\/p>\n

\"\"<\/a>

Chinatown Gifts by Deanna Fainelli on Zatista.com<\/p><\/div>\n

Have you always been an artist?
\n<\/strong>Yes, in various forms – painter, graphic designer, and photographer. Now I combine all of that experience in my current mixed media work. Creativity is what drives me, whether I am tackling a blank canvas or taking photographs.<\/p>\n

How did you develop your distinctive style? <\/strong>
\nSeveral years ago I spent two weeks alone shooting in Taipei. Taipei has a stunning combination of old and new and I wanted to accurately represent those contrasting characteristics in a two-dimensional form. When I got home and started editing photos I found\u00a0a way to accentuate those qualities by layering paint with photos printed directly to the surface using image transfer. I view the process as a type of paperless collage. The distressed quality of the medium was ideal for depicting the beauty of decay, while color layers perfectly represented the vibrancy of modern life in the city.<\/p>\n

When did you become interested in the urban landscape?<\/strong>
\nCities have such variety, depth of history, and a rapid pace of change – there\u2019s literally a story on every block. I love to get lost on foot or explore on public transportation. When I lived in Los Angeles, I would ride the bus into downtown for fun. By walking the streets I experienced a lot of funky things I otherwise would have missed – the old cafeterias, theaters, department stores – places that are now gone. There is a lot of nostalgia related to change and I wanted to capture that feeling through my images, while documenting places that may not exist a few years or decades from now.<\/p>\n

Do you paint real scenes or does your subject matter come from mixed sources?<\/strong>
\nInitially, my work was very representational and I still return to that style when I want to depict a subject in a realistic manner. Most recent pieces are photomontages that combine details of street art, graffiti, or found ephemera with streetscapes. Layering images allows me to inject elements of fantasy to tell more varied visual stories.<\/p>\n

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Looking Up by Deanna Fainellli on Zatista.com<\/p><\/div>\n

What mediums do you mix?<\/strong>
\nPhotography, painting, and image transfer – a process I consider a form of hand printing. To save time, I have thought about using screen printing as a medium, but ultimately I prefer the results\u00a0I get from image transfer. With this method I can print the same image a thousand times and each piece will be one-of-a-kind.<\/p>\n

What\u2019s your process?<\/strong>
\nOriginal photos are the foundation of my work. Before printing the image, I paint the canvas or board with acrylic paint. This adds background color and a layer of texture. A mirror image of the photo is printed on paper and placed face down on gel medium that has been applied to the substrate. Once the gel medium has dried, the paper is dampened, peeled and gently rubbed off. This is a time-consuming process, but very rewarding. For me, it\u2019s a lot like the excitement and anticipation of printing from film in a darkroom. As the the paper is removed the image begins to emerge. The magic happens when some areas of the image are peeled away with the\u00a0paper. This process creates the random distressed quality that gives my work a distinctive edgy look.<\/p>\n

What are your two most favorite recent works?<\/strong>
\n\u201cThe Corner\u201d \u2013 combining elements of street art and torn posters found in an empty Los Angeles lot, and a photo of an old bar in the center of an industrial town east of San Francisco. There\u2019s a lot going on in this piece, but I especially like the contrast between the playful pin-up style figure in the neon sign and the more aggressive contemporary graphic of the stiletto heel.\u00a0Another favorite is \u201cKee Sing.\u201d This work combines two images from the Delta region of northern California. There are amazing remnants of old Chinese villages along the Sacramento River where I photographed the Kee Sing sign. These old villages are like Asian ghost towns in the middle of California farm country. I wanted to represent how these old settlements coexist within the current local community, which is dependent on agriculture and river-based tourism.<\/p>\n

How long do you spend working on a single piece?<\/strong>
\nSeveral days from start to finish. There are days when I only take photos or edit, and days when I am in the studio for hours. Since the process is time consuming, I always work on several projects simultaneously to keep the creativity flowing.<\/p>\n

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San Francisco Mix by Deanna Fainelli on Zatista.com<\/p><\/div>\n

What is your studio like?<\/strong>
\nI am fortunate to have space in a modern studio building with beautiful natural light and concrete floors so I can get messy. I am surrounded by a supportive group of talented artists who inspire me daily. Plus, we have an on-site gallery and an outdoor zen garden that is great for relaxing or spontaneous parties.<\/p>\n

How do you get inspired to paint?<\/strong>
\nInspiration can come from the strangest places. I take visual notes of everything from graffiti and garish wallpaper to the topstitching on a bag. I definitely take a lot of cues from fashion, videos, and movies. I always carry my camera and a book to sketch ideas and make notes, which comes in handy when I forget why I took a picture of some guy\u2019s shoe.<\/p>\n

What inspires your color palette?<\/strong>
\nThe color palette is my most powerful tool. From a representational perspective, I will pull color from the places I photograph, like store signs or buildings. More often I will select a palette based on my perception of a place, which allows me to reinterpret an image if I feel there is another story to tell.<\/p>\n

Who are some artists you admire and why?<\/strong>
\nPop art icon, Andy Warhol, broke a lot of barriers in the 1960s and helped shape post modernism. I am especially influenced by his photo silkscreen portraits and his bold choice of imagery, specifically those of common, everyday products that defined the pop movement. I admire Robert Rauschenberg\u2019s groundbreaking use of unconventional materials, such as found objects, to depict pop culture. He also pioneered the use of the image transfer process in his collage work, which inspired me to experiment with the method. Henri Cartier-Bresson, the father of street photography, was the master of capturing the perfect moment. It fascinates me that this artist, who contributed so much to the world of photojournalism, eventually gave up photography to paint. At the moment, I am obsessed with Kehinde Wiley\u2019s fresh perspective of contemporary portraiture. The way he balances classical poses of his very masculine male models with colorfully ornate backgrounds of florals patterns and paisley prints is so brilliant.<\/p>\n

\"\"<\/a>

Grandes by Deanna Fainelli on Zatista.com<\/p><\/div>\n

What cities do you like to visit for their art & design culture?<\/strong>
\nBerlin is all about innovation and risk-taking, which I think provides a sense of freedom for artists. That creative energy is seen in museums and galleries, but it\u2019s most evident on the street. Graffiti is so prevalent \u2013 it seems all of Berlin is an urban canvas.\u00a0Visual contrast is a huge element of my work, so Barcelona \u2013 with its great mix of modern and gothic architecture \u2013 is one of my favorite cities for design. You see it on the streets, in the fashion, the art, even in the food, which can be very avante-garde.\u00a0I enjoy being completely out of my element so Asian cities like Taipei, are amazing.<\/p>\n

Where do you see your work in 5 years?<\/strong>
\nLike most artists, my work is constantly evolving. I am moving further from my representational roots and becoming more abstract. Also, I am experimenting with portraits and I am excited to see where it takes me. I believe art requires failure, so I am open to new challenges.<\/p>\n

What\u2019s hanging on the walls at your house?<\/strong>
\nI rotate art I have purchased while traveling with oil paintings by my great aunt and grandfather who both painted into their 90s. My grandfather continued to paint even after losing most of his vision. I strive to emulate his creative drive.<\/p>\n

What would our readers be surprised to know about you?<\/strong>
\nI would love to spend the summer touring America in the Oscar Meyer Weiner Mobile.<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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