The Art of Stephanie Pui-Mun Law: The Dreamer of Dreams

I have been familiar with Stephanie's work for a very long time. She has been a regular in the game industry, illustrating for games such as the Forgotten Realms rpg, and the popular card game Magic: the Gathering. She was part of a retrospective publication called The Art of Faery, which gave us a glimpse of the woman behind the art. When this book came out and I received my copy, I remember being taken by her work, and honestly, a little jealous as well. I wasn't doing so great in my own illustration career at the time, and although I was also featured in the book, most of the work was older and I was dealing with a devastating artist block and unable to produce much of anything but tears. I knew that the Amy Browns, Linda Ravenscrofts and Stephanie Pui-Mun Laws were on the rise, and while I appreciated the work, I wasn't exactly thrilled.

I managed by ignoring the "fairy art" and artists for many years, tuning out for the most part, until a meeting with Tara Larsen Chang changed my point of view. The reality was that I loved this kind of art and this genre, and with Tara's help the FAERIE show of 2013 was created. Tara insisted Stephanie Pui-Mun Law be involved, of which I agreed. Stephanie sent us her lovely piece, Firefly Hunters, to exhibit, along with several prints and books.

Firefly Hunters

I didn't realize how many Law fans there were in Seattle. Her prints sold like hotcakes and the response to her painting was impressive. The piece itself was large, in watercolors and very well done. The amount of control and restraint in managing a temperamental medium such as watercolors was apparent in her work, and her soft palette of blues, greens and pops of warm reds and yellows was very effective. She clearly knows what she's doing, and seeing her work in person confirmed this.

I was surprised at how easy going Stephanie was; I expected a wishy washy entity behind the work, but was greeted with professionalism, warmth and enthusiasm. Seeing how well her prints and books sold, I asked if she would consider showing with us in 2014. She quickly agreed, and from there we began building a relationship that I have come to really appreciate and enjoy.

Dreamsign

Stephanie is prolific; she has brushes for fingers. She is one of the few artists that has created a full deck of tarot cards (called Shadowscapes Tarot). She has completed several books in the last few years. The woman is a machine. And yet, in her busy schedule she was inspired to produce new work for this solo show at Krab Jab Studio, thirty pieces in all, many of the pieces never before seen. None of them look rushed or slapped together, and yet, many of them have been completed in the last few months.

Legato; this piece's light areas are embossed, adding natural shadows to the antlers

Her new work employs the use of metallic inks and methods of repelling watercolor by use of salts in a method of controlled chaos. The result is beautiful and textural and difficult to reproduce in print and digital image. The original work, in this regard, must been seen in person in order to be fully appreciated.

Ripples

Her imagery has been inspired by the world of dreams. Her work is already dreamy, misty, and ethereal; now it embodies a depth of the human psyche that is the artist herself. In reading her artist statement, I was forced to revisit her work in a new light. She claims that until recently she could never remember her dreams - and yet, I see in all her work the Dreamer. There is an element of searching in her pieces, iconic elements appearing again and again in the form of totem animals (the fox, the fish, the bird, the stag), willowy figures gliding through impossible landscapes lit by golden balls of light. The nautilus appears, that object of perfection, and pools of water, the depths of which are filled with fish and other creatures, repeat in her work. Ancient trees sprout everywhere in bursts of shadowy blues and dusky greens, twisted, dark, and yet strangely inviting.

Nocturne Visitation

Stephanie is a romantic; this in itself is clear. She is a riddle - her Magpie series (think of the Counting Crows poem; it's actually based on the Magpie) bears witness to her interest in the world of divining from nature. She is not literal with her work, but at the same time it's intensely narrative.

Magpie Series: 8 for a Wish

In working with Stephanie, I have come to really love her work and I find the woman behind it equally wonderful. She is a real dream and an incredible artist. We are very honored to have this solo show with us in the month of Pisces. I no longer envy this artist: instead I find her to be an inspiration, a beacon of light in the peculiar darkness of our sleeping selves.

Veil of the Night

~Julie Baroh, March 2014

Collecting Art 101: Start Where You Art

I had a couple conversations recently with a couple of artists - one was a digital illustrator, the other a traditional realist - in which we talked about good art, trendy art, collectible art, and ways to sell it to the public. The term "Tastemaker" popped up during one of the conversations, referring to those who judge and curate shows. It made me cringe - I could never call myself a Tastemaker. To me, it implies that the curator or judge somehow is not just merely an expert on their field, but a superior, refined, End-All, Be-All who has the right to label anything they see as "good", "bad" or "ugly". Whatever the Tastemaker throws, sticks. The balance of power rests with their opinion, interests and - honestly - mood.

I know that when collecting art, the first thing that tends to go through the mind is if what we like is any good. "I don't know anything about art" is a comment I hear a lot, which I tend to translate as "I don't trust my own taste, I don't know what is good and what isn't". We all have seen pieces of work that critics have hailed as genius, but all we see is a couple pieces of wood and twine knocked together to represent some sort of strife in the far reaches of the world. We think "Really? This is good art?".  We think to ourselves that our dog could do better than this.... and in most cases, you're right. But your dog doesn't have a brilliant gallerist or art rep working the ropes for him. You and your dog haven't targeted the right audience with the right amount of investment money. So for now, your dog remains the untapped artistic genius who drinks out of the toilet and barfs on your rug.

Metro the Horse has a good agent

Another worry is that good art costs a lot. This is only partly true, as there are many variables that go into the costs and value of artwork, some of it from you, and some of it coming from the artist or third party selling the piece to you.

Art is a business. It can be quirky, slick,weird, or wonderful. The experience can be fun and pleasant, but in order to be that kind of experience, it's important to do two things: educate yourself, and start where you are.

I Like
First thing to think about is what you like. Do you like bright colors? Do you like animals? Do you like little things or big things? These are first grader questions, sure, but the answers are honest and true, and will help you define more complex "likes". Don't judge your likes by using words like "cheesy", "cute", "dark", "weird". Those may be judgement terms that someone else assigned to your likes at some point and you latched onto them.

I Like Dogs

As you really think about what you like, you may find yourself veering away from your defined "likes" and into uncharted territory. This is good - it's important to keep your mind open to concepts that are new and unexpected.

What people like is as individual as a fingerprint. A "like" doesn't define you per se, and it can change and morph over time, but no two people are really alike in their collection of preferences. It can surprise you what people really like: take the art in my own home, for example. I have a lot of dog art in an English Pub style. I have skateboard art, photography, and lots of 3D pieces, mostly stuff my great grandfather whittled. I have a mix of original art and lithographs, many of which are in bright, primary colors. I have roller derby posters. I also have art similar to the stuff in Krab Jab, but I'm not restricted to any type of genre. Which roles me into -

I Like Living This Way
You will have to live with your art. You will look at it, touch it, straighten it, match it to the sofa, clean the dust off of it. It will remind you of your childhood, of a person, of a trip you took or want to take. It will be an object you meditate on. Maybe it's something for your office or your studio. Whatever the piece of art is, you will have to live with it in some way. It should add value to your space. It's not important HOW the value is added by anyone else's standards, and it should be YOUR value. I can tell you what looks good in your hallway, but I don't walk it every day on the way to the bathroom, you do. Maybe a priceless Monet doesn't work in your house full of dogs and children, as you'd panic every time grubby hands or paws got near it.

"Junior" looks good over our Chesterfield couch. 

Where Is the Art?
Not all of us have a nearby gallery, or more importantly, a gallery with art we like. So where does one start looking?

1. Start Local
I always advocate to visit a local gallery or show. It's important to know what is happening in your region, and even more so, see art in person. A lot of art does not translate well in photography, and even more so, artists aren't exactly the best photographers.

Many towns and neighborhoods have art walks, which are regularly occurring events in which local merchants, galleries and studios open their doors to the public. You can easily find out if your neighborhood or town has them by contacting your city or town cultural affairs department (like Seattle's Cultural Affairs department of local city government). Or easier still, ask a local merchant; most merchant's associations either run art walks or know of them.

Street fairs are another way of locating artists in your region. Quality of art may vary, but it's a good and easy way to make contact.

I also recommend to go to group shows - no better way to get a taste of all that's out there than a show containing several artists' work. Many group shows are themed or classed by genre - the show's title is often a dead giveaway as to what the theme entails.

2. The World Wide Web
Ah, the world at your fingertips! But locating and buying art online is overwhelming and sometimes risky. What's reputable?

Etsy.com is very popular with artists right now. They sell direct to you, the buyer, and terms are clear. Buyer experience can be rated publicly, so artists try to represent as honestly and best as they can. Everything is tagged by genre so it's easy to find what you're Likes are.

Many artists have eCommerce on their own websites, so buying direct is easier than ever. One note of caution to buyers, though: artists are often not the best marketers or salespeople. Photos may be poor, they may not be good at packing and shipping art, and most of all... they can be really slow at getting your work to you. I know folks who've waited MONTHS for their paid art to ship to them. This is one of the reasons why working with galleries and online shops like Etsy are worth it, even if you're paying a little more than you would working directly with an artist.

There are also good websites and blogs that categorize and rate art for you. Online art magazines are good for that, as well as sites like artsyo.com, which is a Seattle based online source of local art. Blogs like Art Nerd (it's a blog/magazine) are great as well. If you like certain genres of art, online art magazines are a wonderful place to start making connections to artists, shows and galleries. My personal favorite is Hi-Fructose - I really like the neo-surreal movement right now.

And finally, (sigh) Facebook. Many artists have Facebook pages that are accessible to the public. They often post images of what they're working on or what inspires them. If you can avoid getting sucked into the Facebook void for several hours, its a great place to find talent.

I found French artist Yoann Lossel on Facebook.

Art is Expensive if It's Good, Right?
Nope, not at all. I mean sure, there are really expensive pieces out there, but art collecting can start at a small budget. And by "budget", that's exactly what I mean. Work out a budget for art, the way you do with other purchases.

Most artists have pieces that run in various price points, from an inexpensive open edition of prints (open edition means that it's not number and limited) and limited edition prints (which cost more because it's from one specific print run and is numbered), to sketches, studies, and finally, finished pieces.

Sketches and studies are a great place to start with original art. Usually artists don't advertise these items for sale, but many are more than happy to part with them. They are often in graphite or possibly watercolor or limited palette oils (for sculpture, they may be small, simple study pieces). Sometimes sketches and studies are more interesting than a finished piece - you can see the thought process of the artist in them. Don't feel bashful asking an artist or rep about these items - it's not an uncommon request, and often they are the only art pieces you can barter a price on.

A study of a crow skull. Artists working on their anatomy often have wonderful studies.

Many artists and galleries have payment plans; you can purchase art on layaway. If you see a piece in a show at a gallery or studio that you could purchase in payments over a short period (such a two months), ask about their payment plans. However, do expect that you will not get the piece until it's paid in full.

It's not generally okay to haggle a price at a gallery; prices are often set in contract. Sometimes a gallerist will offer you a deal (usually if you are purchasing multiple pieces) - deals are often on the spot and if you don't agree to the terms at that time, it's off the table. Don't expect that deal to adhere to future purchases.

This Brian Froud piece comes by itself or in a set of three limited edition prints; a buyer can get a deal on a multi-piece purchase

Sometimes an artist will adjust pricing in a direct sale (artist-to-buyer). However, respect the artist and their price point - often people are a little too pushy with artists in order to get a deal. Many of the artists out there are on tight budgets themselves and this is their livelihood. Badgering them down to a price you like may seem like a win to you, but trust me, that's the last time you may ever work with that artist.

And finally, if you are working a direct sale with the artist, a trade is not uncommon. Some folks trade services for art (haircut, contract work, landscaping, etc). It's only a good trade if you hold to it, and only if the artist is in need of what you're trading. Be honest with the value of the trade.

Finally, if you are offering to trade art for art - don't, unless the artist brings it up. I can't tell you how many artists have offered me their art for art I have for sale - it's not really a value trade for me, and 90% of the time, other artists aren't interested in collecting your art, they really need to sell art to make a living. It can be an awkward moment for an artist to turn down your work, so keep that off the table.

Your kitteh painting is not my cup of tea...sorry.

Final Words
So now you have a starting point. Woo hoo, right? You have your budget set, you march off to the local gallery, you look at the art, and...huh... what the hell is a "giclee"? What is "gouache"? Do I have framing options? How do I take care of this stuff once I get it home? What if I hate it in a few days? What if a piece falls off my new sculpture?

Don't panic. Terminology, care and maintenance of a collection takes a little time to get but it's not rocket science, I promise. I'll cover that in my next Collecting Art post.

Until then, poke around, think about what you like, and most of all, enjoy yourself! This is supposed to be fun!

FAERIE II

I'm going to need to backtrack a little over a year, when fellow Krab Jabber, painter Kyle Abernethy, introduced me to the woman who ran TLC Workshops, an illustrator named Tara Larsen Chang. I myself ran a couple of workshops at Krab Jab Studio and marveled at the success of this relatively new workshop machine that booked talent such as Greg Spalenka, Brom, and Terese Nielsen, among others. Honestly, I was a bit irked; I mean, she was making my job of putting "butts in seats" fifty times harder! Plus, Kyle had gotten into her Brom workshop and couldn't stop blathering over how great the facility and experience was. He insisted we meet.

The woman he introduced me to was truly magical. Smiling, warm, talking a mile a minute, Tara was instantly likeable. She was a Doer, a Seeker, and a Dreamer. All my envious feelings melted away when I realized that much like me she worked hard in the background of her workshop machine, and much like me, she was a huge fan of the artists (and students) she supported. And... she was a faerie artist.

Tara Larsen Chang

Not only was Tara a faerie artist, but she was connected to many of the faerie artists I admired and had worked with in the past. I mentioned my idea of a Faerie show, and she enthusiastically offered to help me cull together one of the most interesting and beautiful group shows we've done, which debuted with glowing reviews in February 2013. Not only were the "old favorites" of Amy Brown and the Frouds (including Toby Froud), but newer talent such as Emily Fiegenschuh, Yoann Lossel and David Thierree were introduced to Seattle. Without Tara's help I would not have gotten in touch with Robert Gould, the mastermind behind Faerieworlds and another enthusiastic backer of the FAERIE show. Before the show even closed, Tara and I were already concocting plans for FAERIE II.

Amy Brown

So here we are, a year later, and FAERIE II will be opening in just a few days. I asked Tara to be guest curator this time, and she eagerly accepted and went to work on her list of invites. The list was long - too long, actually. There are a lot of great faerie artists out there, but the gallery can only stuff so much into it. We had to cut a few people out (many of which are highly talented, by the way. I was also cut, so this wasn't necessarily biased). Tara came up with a stunning list of artists, and happily, nearly all of them accepted the invitation to show. As Tara states: "When considering who to invite to participate in this assemblage, I thought of those artists whose fairy art I was familiar with and admired. Many of them are well known and the others should be! It's a striking assortment of talent."

Kimberly Kincaid

We worked alongside Robert Gould, as he loved the idea of a Faerie exhibition in his February convention, aptly called FaerieCon West (located in the Seattle-Tacoma area - see website for details, it's a pretty wonderful event). FAERIE II will exhibit in it's own room at the convention February 21-23, with many of the attending guest artists on the exhibit roster.

Linda Ravenscroft

Okay, fairies... what's the big deal? For me, Disney kind of ruined them. Disney and all those well-meaning "house fairy" sculptures and badly painted watercolor greeting cards, the cutesy little kid fairies with impossibly tiny insect wings. Faerie and the Fae was reduced to kitschy, cutesy and completely harmless. Scared of a fairy? Really???

Annie Stegg

Really. The Realm of Faerie was not always filled with tiny butterfly children and impish smiling elves hiding under mushrooms. It was a spiritual world of Nature, an otherworld that was both marvelous and tempestuous. It wasn't hard to accidentally piss a fairy off, and they often stole milk, cows, or children from their human neighbors. While there were faerie folk of small stature, depending on the region where one lived, they could be human sized or larger, or simply blinking balls of light. Sometimes they married and lived alongside humans, but mostly they kept to themselves, dancing in the moonlight, always enjoying what Nature offered in their magical realm. Until they were squelched from everyday life (thanks to the Church) and reduced to children's stories, they were feared, loved, and most of all, respected. Many believed the Fae were the spirits of our Natural world, and often one would see a dearly loved one, passed on, dancing alongside the Fae in the tall grasses and sacred groves, smiling and laughing, young and vibrant.

Fred Fields

I believe that thanks to Brian Froud and his friend Alan Lee, the world of Faerie began to take on it's original face with the general public. They published the now-iconic book, Faeries, igniting a new interest in the old beliefs of the Celtic regions of Ireland, Scotland, England, Wales and Brittany. Their beautiful illustrations of the world of Fae opened the door to many similar artists, and once again did the Faerie demand her rightful respect. The fairy was now the Faery, both beautiful and terrifying, generous and mischievous, mysterious and strangely familiar.

Greg Manchess

The Fae take on many shapes and forms. Terra-bound and aquatic, tiny and huge, red-capped and finely dressed or completely nude, wings or simply radiating, faeries and their ilk run the imaginary gamut of form and function. Many faerie artists find a form they enjoy working with, and some of them like to push the envelope into pure weirdness. Allen Williams, for example, works smokey, ghostly forms into his graphite masterpieces, with bony, spurred horns emerging from the tops of heads and tree trunks. The Fae manifest through the artist's hand in the forms they choose. Allen may think he has a handle on them, but truly it's the other way around.

Allen Williams

When speaking with Tara about the lure of Faerie, she puts it this way: "I think there is more 'out there' than what generally meets the eye. What *is* however, is harder to define or quantify. I believe things like fascination-with-the-fae begin to attempt to give form to the mystery of the unknown."

Justin Gerard

From the point of the artist, Tara adds: "To me, a large aspect of Faery is Nature and her forces personified. Something that can be both intensely appealing and deeply perilous to interact with. As part of the unseen natural world, their mien reflects the many facets of organic beauty and wild unpredictability. To depict them effectively, I believe one must portray these paradoxical elements that make them enigmatic and ultimately unknowable."

Stephanie Pui-Mun Law

Faeries can also be humorous; who better to depict this than Brian Froud? His 1994 book, Lady Cottington's Pressed Fairy Book, exemplifies this to a T. The squashed fairies in this album are often in silly positions, smiling, tongues sticking out. (no real faeries were harmed in the making of this book)

Brian Froud

 With 24 stellar artists in this exhibit, I can't realistically show every one of them in this blog post; you'll have to visit the show itself or view the full catalog, available online February 9th until show ends February 27th. When I asked Tara what she hoped the viewer would take away from this show, she stated: "I hope the viewers of this collection get a glimpse into the realm just beyond the senses, and go home with an increased sense of wonder and mystery."

Reception is February 8th, 6 - 9 pm, show runs through February 27th. All works are original and for purchase. Select prints also for sale. Exhibition will travel to FaerieCon West February 21-23rd. We'd also like to thank our NYC support, the AFA Gallery, who represent the Froud family and exclusively consign their art to Krab Jab Studio.

If you'd like to read what the artists have to say about their work, make sure to check out the online catalog!

Gary Lippincott

-Julie Baroh, February 2014

Quoth the Raven

 About a year ago, artist and editor Jeff Menges commented to me that I should consider doing a show about corvids, specifically ravens and crows. He knew I had a thing for crows: I had been keeping tabs on the mated pair that lived in my neighborhood for years, and they often popped up in my artwork. I'd been devouring the works of author and avian expert John Marzluff, marveling at the intelligence and marvelous adaptation this bird possesses. I also knew that for some strange reason, crow and raven art tended to sell quicker than any other animal or bird art at Krab Jab Studio. Even skull studies sold to eager collectors.

"Corvidae Skull", Benjamin A Vierling

I ran the idea by a few artists and illustrators to gauge interest. A barrage of positives came back at me. I think the only reason that some of them weren't able to participate had more to do with time constraints than interest.

People simply love this black bird.

Crows and ravens weren't always so loved. In fact, not too long ago the American Crow was the target of a mass holocaust, with thousands being destroyed, often in very bloody ways (such as blowing up their roosts with dynamite). They were considered a pest by farmers (think "scarecrow"), despite their usefulness at eating the bugs and worms that threatened crops far worse than they did. Honestly, the crow (and it's shy cousin, the raven) challenges our belief that we, Man, are the superior rulers of this earth. When we look to the sky in the western hemisphere, it is that black bird that dominates. Wily, social, talkative, clever, playful, excellent parents, scavengers, with amazing memories, the raven and crow simply challenge our superiority. And they crap on our cars. On purpose.

I was really curious to see what artists would come up with for this show. My one worry was that we would have multiple images of a Raven cawing ominously at something in the distance, but I was pleasantly surprised at the pieces I received (although we did get an excellent example of the raven caw in Halsey Swain's work).

"Raven", Halsey Swain

Myth was a popular topic. Morrigan, the Irish triple-goddess who often took form of the crow in battle, is featured in the work of Yoann Lossel and David Thierree (and hinted at in Olivier Villoingt's dark drawing) - all three artists hail from Brittany, France (a coincidence that they chose this Celtic goddess? Possibly!).

"La Morrigan", Yoann Lossel

"The Soul of War", Olivier Villoingt

"Morrigan", David Thierree

Norse's god Odin kept two ravens, Huginn and Muninn, that brought him news all around the world, the subject of which Echo Chernik, Jason Engle and Stephanie Pui-Mun Law tackled.

"Huginn ok Muginn", Echo Chernik

"The Messenger", Jason Engle

"Raven-god", Stephanie Pui-Mun Law

The crow as a symbol of omen was chosen by artists Braden Duncan and Margaret Organ-Kean. The divine roots of counting crows (called orniscopy, or divination by observing birds) was reduced to a folksy rhyme by the 18th century.

"One for Sorrow", Braden Duncan

"Corvimancy", Margaret Organ-Kean

Crows and ravens in literature was also tackled. Edgar Allan Poe's classic poem The Raven was the subject of Stefanie Vega and Samuel Araya, and hinted at by Robert Tritthardt. Poul Dohle referenced the Raven King from Susanna Clarke's Jonathan Strange and Mr Norrell. Allen Williams ties the corvid and the book together beautifully in his graphite drawing.

"Sentimental Damned", Stefanie Vega

"Dark Wings", Robert Tritthardt

"Plutonian Shore", Samuel Araya

"Raven King", Poul Dohle

"If Beauty were a Book", Allen Williams

The magical, shamanic qualities of crows and ravens were apparent in three pieces by Sandra Everingham, Yuko Ishii and Yvette Endrijautzki. It's interesting to note that while we think of crows and ravens as a more masculine symbol, there is a very strong element of the feminine in these works, especially when seen in the positive, mystical aspects of the crow and raven. Perhaps our ancestors have noted the strong maternal connections crows have to their chicks - they make very protective and loving parents, with the female patiently teaching her young what to eat, how to speak, and how to behave long after most chicks leave the nest.

"Transmutation", Sandra Everingham

"Die Raben Koenigin", Yvette Endrijautzki

"Entrance (Healing Magick)", Yuko Ishii

 Our macabre obsession with crows and ravens is reflected in Kyle Abernethy and Jethaniel Peterka's work. Even Benjamin Vierling's simple skull study has a slight sinister element to it. Death permeates the world of crow and raven - infamous scavengers of carrion, we naturally connect them with death. Even the wistful works of Jeff Menges and ShirrStone Shelter Dolls touches on death.

"Dominion", Kyle Abernethy

"Visitation", Jethaniel Peterka

"Lignum Corvus "RAMUM"", ShirrStone Shelter Dolls

"Bare Branches and Dark Wings", Jeff Menges

Crows are silly birds, they really are. Coupled with another silly animal, Drew Tucker anthropomorphizes the crow in his painting, further reflecting our strong connection to this bird.

"Family portrait:  Putnam Co. #8", Drew Tucker

Sara Otterstatter uses her work to tackle the very really issue of extinction: the Pied-Raven is now extinct, and there are a few other breeds of crow that are on the verge of extinction, notably the Hawaiian Alala Crow, of which there are less than 100 left in captivity. A portion of our proceeds will go to support crow conservation and research.

"Nevermore: The Pied-Raven", Sara Otterstätter

-Julie Baroh, January 2014

NOTE: We will be having one last hurrah on January 30th, 5 - 8 pm! If you are local to Seattle, come visit and see the show - including all the European pieces stuck in customs during our opening reception!