The Artist Series: Natalie Pukasemvarangkoon

Frankenthaler, Saint Phalle, Thiebaud, Hockney, Rauschenberg, Cézanne, Renoir, Monet, Degas, LeWitt, Van Gogh, Agnes Martin, Dalí, DeKooning, and Botticelli. 

That is my short list of "household name" artists who I find inspiring. These people transcended the boundaries of language, culture, and time, bringing beauty and unconventional expression into the world. I once saw a Willem DeKooning painting at the Museum of Modern Art that brought me to tears. I must have been fifteen years old. That was the first time that I had been knowingly exposed to Abstract Expressionism. I could not explain why I was so overcome with emotion; I just was. Great art does that and awakens the soul. Many important artists have lived and left their impressions on humanity. My short list of well-known inspirations could get quite long. However, I believe that some of the greatest inspirations are right in front of me: my family, my friends, my peers, and the people who I meet through them. 

This summer I am embarking on a project to better understand the artists and people around me, while delving into my own practice. Every person I know has a unique and interesting story to tell, once asked. To start my series of interviews, I have chosen to work with Natalie Pukasemvarangkoon, an artist who I met through a mutual friend.

I first encountered Natalie's work in person, when I attended her solo exhibition in June 2012. Natalie's style has resonated with me ever since, and I am grateful to have had the opportunity to interview her for my blog. For someone of only 23 years, Natalie has an impressive resume, having exhibited since 2007. Natalie received a scholarship to UCLA based on her talent alone. I am a huge fan of her expressive paintings and photography. Natalie exudes a sense of confidence, humor, self assuredness, and determination that I find impressive as well as her artwork. Her honest, raw, yet uplifting answers are motivating for both artists and non-artists. 

Below are images of her fantastic artwork as well as her Q & A. I would like to say thank you in advance to Natalie, who has offered her time and to me and who will be the first person featured in my artist series.

Meditation is Impossible in WeHo   Oil on brown paper   54" x 60"

Jessica: Where and when were you born? And how did you end up studying at UCLA in the fine art program?

Natalie: 1990. Born and bred in Bangkok, Thailand. I went to a British international school in Bangkok and was accepted early into Central Saints Martins College of Art & Design in London. My ducks were lining in a row perfectly fine. Even though it’s uncommon at my school, I did take the SATs to keep my options open but struggled very much with the American system; so many boot camps, tutoring, and all that non-sense. So to not waste that effort, I submitted my portfolio to UCLA. Some how got in, looked at weather.com, and said okay. Just kidding (although weather was a factor!) I knew UCLA’s art department had an A-list faculty line-up with one of the best programs so I switched out one of my ducks :) Best decision of my life.

Jessica: How has being an artist shaped your beliefs and desires? Please feel free to draw on your cultural background and/or your experience living in the US.

Natalie: Coming from a Thai family where all my family members are in banking, I was raised with the standard formula: Best grades à Best bachelor’s degree à Best master’s program à Multiple high pay jobs to immediately select from. BOOM. Why ever question that? What is a gap year? What is a creative lifestyle?

My point is: I did not know any better or different. The diversity I experienced in LA pushed me to question things and explore alternative paths as an artist and in effect, a different way of living. To allow yourself to get lost in phases where you experience things that stimulate your creative mind and soul while knowing when to pull back and be the boss you don’t have; it’s finding a certain balance and discipline in an artists’ lifestyle (I promise I’m not trying to be a motivational speaker...). And as an artist, if a body of work is important enough to you, you’ll make it happen. You don’t wait for everything else in your life to be okay and then create. This ‘now not later’ approach has basically shaped my beliefs and desire on life period. I’m not going to wait till I’m financially stable or be in what people might say ‘a better position in life’ to start tending to health, charity, etc. This non-rigid lifestyle is scary (hi, how do I pay rent?) but breeds contentment so I try my hardest to follow it as much as I can. 

Jessica: What are the most important lessons that you have learned through studying art at a higher level?

Natalie: Authenticity and honesty to your work; everything else will come with it. Basically, not creating work because:

1. It fits all the marking criteria and will give you an A+

2. It is what you think the gallery is looking for

3. It is what you think will make you money

4. It is what you think the mass audiences are interested in

Jessica: How would you describe your artistic style and your body of work thus far? What has inspired this? How is it changing?

Natalie: Brown paper and raw canvas are my go-to surface for its immediacy and primal quality (although I have been told by art conservators at The Getty Center restoration department that brown paper with oil paint is very not archival…but my stubborn self loves the combination) The brushstrokes are very gestural, which derives from my routes of sketching; the noticeable bodily shapes within my work are unfitted forms that propose a certain tension and struggle. My 3 most recent non-collaborative series of works, Never Mind Killing Two Birds With One Stone. Kill Ten(1), Obsessive Compulsive Figure-Finding Disorder(2), and Workspace (3), all include paintings, photographs, and videos. They are an exploration of my relationship to the chaos in the Los Angeles culture. I basically give viewers a look into the complexity of an artist’s behavior and dissect the concept of exposure.

My last collaborative duo exhibition, titled Jooge, I found myself moving more into the installation and site specific realm while incorporating photographs and paintings; I love this change and see my work growing towards that direction more and more.

Untitled   Oil on canvas   64" x 68"

Jessica: Is there anyone who has shaped your artistic career? Which artists inspire you?

Natalie: There are a bunch of inspirational artists (dead and alive…) whom I have never met. But in terms of mentorship, I’ve had several artists who really contributed to different areas of my art practice.  I grew heavily as a painter through Kim Fisher. I grew heavily as a photographer through Catherine Opie. And I grew monumentally as an overall artist through Karen Atkinson and James Welling. But really at the end of the day it’s the young emerging artists and my peers who contribute greatly to my career.

Jessica: What is your biggest challenge to overcome as you enter the art world professionally?

Natalie: I learn so much through collaboration and studio visits. I’m really not a distant admirer when it comes to art… or actually anything in life. I want to sit down, talk to that person, pick at their brain, learn as much as I can about them, and understand their inner workings as an artist/ person. So as a result, I’ve often quite bluntly just asked people if could buy them coffee and chat, instead of throwing praise at them. My challenge as I enter this world professionally is to cultivate the ability to use these interactions as a learning experience WITHOUT swaying my own core practice towards theirs simply because I admire them. I think this is normal for many young artists though; finding the balance of being influenced without mimicking. 

Self Portrait   Digital Print   14" x 22"

Jessica: I once had an interesting interview with an artist and we came upon this question: How do you think mortality influences an artist’s expression?

Natalie: A deep sea diver I know writes a little fact sheet plus a story to go along with every single one of his findings; its his artistic expression of staying immortal for his grand kids and so on. Artists do the same leaving their legacy through their work whether it’s a movement they’ve created or a single work of art. I’d like to think that the thought of mortality makes an artist that much more diligent and authentic.

A painting a day reflecting events from that day

Mini Bank of Solutions   Oil on brown paper   

Jessica: What message do you hope to translate to those who see your work?

Natalie: For now, the best answer I can give you is that I hope it does something to you that isn’t mundane. Even if the result of seeing my work is you wanting to stick a fork in your own eye; because that’s something and that’s better than you taking a glance at my work and walking pass it without a single cell in your brain being stimulated.

Natalie elevating her sprained ankle while painting (that's dedication)

Jessica: What is the accomplishment that you are most proud of as an artist?

Natalie: My 4 year scholarship. It seems like such a cliché but maybe I am proud of it because it was selected purely based on my art. It had nothing to do with SATs, (my SATs would’ve given me the opposite of a scholarship…), or financial statuses, or influential contacts, or some academic letter written strategically to convince someone that you are deserving of that scholarship. My work spoke for itself.

Jessica: Please add any concluding thoughts, and thank you!

Natalie: The grass is NOT greener on the other side. The grass is as green as it will get where your foot is. So go do something.

More information can be found on Natalie's website: http://www.nataliepv.com/

Artist Interviews

In the coming three months, I will be posting features on a number of artists who inspire me. I am looking forward to sharing interviews, biographical sketches, artwork, and content about a variety of working artists who are doing interesting and inspiring things. Stay tuned. The first feature is coming right up.

Happy Friday, everyone!

Scratchboard Etchings [Makeup, Perfume, and a Cactus]

Cactus in a Pot

Lipstick and Perfume

Lipstick and Compact

Perfume Bottles

Scratchboard is a fantastic medium for artists. If you have not heard of if yet, you are in for a treat. There is an entire scratchboard culture. Just Google it, and you will find amazingly detailed etchings that utilize light in such marvelous ways! Unbelievable ways!

I first discovered the art form in high school upon seeing a scratchboard exhibition. I walked into the gallery, jaw-on-the-ground thinking that young artists could paint such fine and controlled white lines upon black. I soon realized that the detailed and beautiful works were actually etchings / drawings, but nonetheless equally as impressive.

The materials needed to create these works are: 1) clay boards made of white clay, coated with india ink (which can be purchased at many art stores...I recommend Ampersand brand in pre-prepared boards) and 2) scratching tools, which can be purchased solely for the art of the scratchboard. I prefer designated scratchboard tools, rather than sharp tools for clay or crafting. I also prefer traditional white clay over some of the multi-colored backgrounds, but that is just me. Likewise, if you are just trying this, I suggest buying the boards rather than the paper; they are much easier to maneuver, and I have found that the paper tears easily.

How it works is that upon etching and scratching, the white clay is revealed just below the top layer of india ink. Fine lines and small strokes are great for detailing and rendering, and you may be very surprised by how interesting the composition becomes as you experiment.

One thing that I have learned to embrace in this art form are my mistakes. Because the nature of the work is so detailed, and for me, unplanned, I have learned to love the "errors" that arise from a twitch of the hand or otherwise. Making the mistakes integral to the composition is part of the pleasure of working with this medium. But the best part of working with scratchboard is that the setup and cleanup is very simple; you can take these boards with you anywhere you go (except for on planes...the tools will probably not make it past security, and I have not even tried). So long as you are alright with some black dust on your hands and possibly clothing, then these are very desirable travel companions or after-work projects. Do not get the boards or black dust wet if you can help it...because that is when the ink comes alive! Also, I have experimented with finishing the boards using fixative, and after about 10 attempts, I suggest leaving them uncoated. By adding a frame or properly handling, the boards will maintain their integrity and look much better in my opinion, but then again, it is all a matter of preference.

I encourage every artist to try scratchboard at least once. I hope that you enjoyed my little segment and that you liked the scratchboard etchings pictured.

Red Conte Drawings [Flesh and Bones]

Suspicion

Dusty Bones

Skeleton Hand

Light Photography [Water and Light in Motion]

Cinderella

DNA

Gemini

Hurricane

Magic 8 Ball

Mars

Poseidon

Techno

The above photographs were taken with a Nikon D80, on a special shutter speed in the dark of night. The images you see are the result of fluid motion, colored light, water, and lens coming together. These abstractions are seconds captured in time. The camera sees and captures the dancing motions mixed with the lights in a way that no human eye can. Look closely, and you will see mirroring images, complex lines, and the illusion of three dimensionality. No filters or Photoshop here.

Textile Artwork [Breast Cancer Awareness Month]

The month of October is Breast Cancer Awareness Month. This subject is very close to me as I lost my mother to breast cancer five years ago. In October of 2011, I took part in a collaborative art show called Womynhouse for which I created the following piece of art entitled “Twenty Three”. The project was a type of therapy that heightened my own awareness of the disease and fostered personal healing. Today, with more vigor than ever, my hope is for a future that holds a cure for breast cancer and for all cancer. 

Please take a moment to read the edited statement I created for this piece two years ago followed by more photographs of the artwork:

Since the day that my mother told me she had breast cancer in 2002, my life has been colored by different shades of pink. Some days have been dark and complex while others have been brilliant and bright. I lost my mom in the summer of 2008 and have experienced all shades of emotion.“Twenty Three” was constructed with three main abstractions in mind that applied to my life: what it means to fight cancer, experiencing loss, and healing / continuing forward after loss. The project allowed me to spend time contemplating these complexities.

After my mom passed away, every day that I woke up and faced the void, and every time I forced myself to do something that scared me, it was with her in mind. While she was sick, she taught that there is no time to wait. We must do the things we want to do in this short life and love the people we love with all of our hearts. My mom lived by example and guided me with brilliance, energy and a true passion for life’s adventures. Even on her most challenging days, she exuded hope and strength and that is how I remember her: strong and determined, adventurous and free.

I hope that anyone who is experiencing a difficult time, especially in regard to loss, can know with certainty that even when everything feels like it is overpowered by a dark shade, there is light and hope ahead. We must charge forward with life’s powerful current, or else we give it permission to pull us under. 

This piece was created in memory of my mother, Amy Dishell. The 621 loops of paper are dedicated to all women who have battled breast cancer, as well as their loved ones. If you have lost someone to sickness, they will never be forgotten. For the brave people fighting cancer and for their families: every day we get closer to beating it and finding a cure; I send you thoughts of healing and love. I hope and am confident that in our lifetime, the word cancer will no longer be associated with loss. 

National Breast Cancer Awareness Month

Susan G. Komen

National Breast Cancer Foundation

The Breast Cancer Research Foundation

National Cancer Institute – BRACA information

Think Cure

Art: Why It’s Important (A Tangible Piece of the Soul)

You will usually find my own artwork on this blog. Today is an exception. The watercolor you see actually belongs to my mother, Amy.

It happened one crispy fall day in 2012 as I was tutoring. I opened up a dusty pad of paper that had been thrown into a large box of art supplies. When I peeled away the yellow protective cover from the crisp white sheets, I was taken aback by this piece of art staring at me. I hadn’t painted it. On the lower righthand corner was the signature “Amy ’99”.

After my heartbeats normalized, I inhaled the poignant flavor of this moment: rich and sweet and slightly bitter in its aftertaste. It has been almost five years since she passed away that hot and sticky July. Life has moved forward with full force since then, engulfing many of us in highs and lows and major life changes. Most memories of my mother are stored in a secure chamber of my heart. Now and then though, tangible objects tug on those little strings.

This particular moment touched me in an earthshaking and pure way. Seeing her handwriting sent a rush of emotion through my body; a waterfall of sensation moved about my veins but no tears accompanied this visceral reaction. I studied her handwriting and brush strokes–her choice of color and light. After gazing into the mystic, I felt connected to her memory. The simple spring watercolor was so…my mother.

As an angsty teen I was focused on MY art and MY expression (this is evident upon looking at photographs of my morphing hairstyle and hair color). Luckily my understanding mom didn’t take it personally. I however do not feel like I spent enough time studying and honoring her talent. After she was gone, her art came to life because I wanted to keep her alive. She was a natural–an absolute Renaissance Woman. I can still imagine the sound of her fingers pressing the ivory-white piano keys in our living room. The melody traveled through our house and filled the open space with light and beauty. I took that for granted. Little things like that are the most precious. That sound is gone, but her handwriting is here. I can touch it, smell it, keep it and imagine her hand upon the paper.

My mom devoted a lot of time (when she was a bit older) to her artistic pursuits. I believe that everyone is a creative soul with a wealth of talent waiting to explode. It does take cultivation and nurturing. As we know, time is of the essence; we get into our routines and another obligation blocks us from carefree actions like creating or following our passions or allowing ourselves to fall in love. I however noticed a sense of urgency when life surprised me with hardship. The sky opened up and pretty much screamed at me,”There is not enough time to wait!”

Although not everyone is inclined to pick up a paintbrush, I do find an urge to share some sentiments. Take them or leave them. I will not be offended.

I’ve often struggled with the concept of being an artist. I always just created because it felt good or necessary at the least. I couldn’t explain it when I was younger, and still I often have no reasons behind my artwork. I can’t defend it. Anyhow, in the past sometimes my need to create actually isolated me from the important people in my life. I needed to feel every emotion and let it explode into art, so naturally I got deeply into my own head and feelings. I struggled (and still do) with questions like: Why do we make art? Is it selfish? What is thisall about? Should I follow my passion? These are common life questions, to which many might relate. These notions especially haunted me after times of reclusion into a world of journals, painting and all-consuming creative periods, often accompanied by emotion and urgency.  When I saw my mother’s painting however, it made sense to me why art is so important in the world and perhaps why those stages of extreme and uttermost concentration are alright.

Here comes my point (I think): art documents the human experience in a way that nothing else can, leaving behind traces of existence and reality. It records the soul’s wisdom, naïveté and innermost desire. It proves that we—emotional, social, talented and invigorated beings—are here, were here and have an ineffable current of energy inside our flesh and bones. We are in essence creating history and representing our unique experience in this world and era. Witnessing the form of ink on paper in a love letter or poem, or pigment on canvas from elegant brush strokes, or the song of a voice carrying through a space can transform a moment in time making it last eternally, though it may seem fleeting in its nature. Life’s finality is exactly what makes art important and beautiful.

As for the questions above like: Why is art important? Well, I think the answers will continue to reveal themselves in an ongoing journey. Like a good painting, the layers  will build with every bump and celebration along the way. I hope that this curiosity will never stop. If you don’t relate to art, maybe this is simply following your passion, whatever that may be.

In an artwork, traces of that person are forever embedded within the color and motion. I am grateful that my mom left behind this imprint of love and that she dedicated time to enjoying her senses through art. Today, this simple painting reminds me that she is still here.

Pen and Ink [Flitting Away]

Impressionist Landcape [Surrey, UK - The Countryside]

The English Countryside

During my winter holiday, I traveled to the UK to spend time with Andrew. It was a breath of fresh air being in England, after spending so much time in busy Los Angeles. The countryside is green, damp, fresh, and just so English. 

Andrew and I spent a lot of time relaxing at his small house, cooking, and having relaxing visits around Surrey. It was delightful and refreshing. This is my impressionist view of his father's back yard, painted from a photograph. I had recently seem David Hockney's paintings in impressionist colors, and decided to try myself. The sky was often dark and moody, but I loved it. It was quite a nice change from LA. 

I sent this painting to Andrew's brother, Tim, and his girlfriend, Shelley. I hope that it will remind them of home. 

Drawing on Paper [Tattered]

Tattered Hand Drawing

During my time studying drawing, I focused a lot on the hand: a very difficult subject for me to draw. What you see before you is a painstakingly detailed drawing on paper, with fine swirling and obsessive elements of line work. I spent weeks working on it, making sure that the finger prints had similarities to the human hand. It was quite an involved process, and when it was done, I was proud.

It was a windy and wet day in Salt Lake when the finished product was tucked away into my folder. On my way back to my car, a gust of wind knocked it out of my hands, and it blew the drawing into the street, only to be run over by a Hummer. I was heart broken when it happened, and I could not believe that all my work had been in vain. But several days later, when I came back to the drawing, I realized that it actually looked interesting in its frail condition. It had character and scars and resembled an old artifact. It was incredibly aged and somewhat eerie. I decided to keep the drawing as part of my portfolio, and I learned the lesson that projects are best kept indoors (not loose in folders).

Photo Series [Color Pop Jellyfish]

I begged my mother for a lava lamp when I was a child. Something about these devices really engrossed me. These photos of jellyfish were inspired by the lava lamp and pop art. 

Photo [Sealed with Wax]

Wax stick & seal 

"J"

We live in a sphere of instant communication. There is no need to wait when all social networks are at our smartphone fingertips. It's exciting and convenient having friends, family and a wealth of information mere seconds away. 

I still feel that nothing is nicer than a handwritten letter. There's something about script that carries far more weight than any other type of written communication and it really comes down to the fact that it's personal. Every letter is cherished and re-read, whereas even the loveliest of emails seem somewhat disposable. I have a true appreciation for handmade paper, stationary and old-fashioned correspondence and I count myself the luckiest girl in the world when a spontaneous from-the-heart note turns up in the old mailbox. It's trite but true that the smallest and least expensive gestures are without a doubt most meaningful.

Above are photos of my wax seal. It came from Urbanic Paper.