Buzz Blog

Somehow in a week filled with nonstop rain and even bits of snow, the weather let up for a moment to give Gallery Stroll some sun. --- Which, let's be honest, it really didn't feel like Stroll without some kind of cold weather annoying the piss out of anyone visiting town. "Why is it so cold here? It's only May!" Yeah, enjoy your stay. So this month, for the warm weather we made our way to the last showing of a gallery for the next few months.

GalleryUAF held a triple artist show for May, the last one before September as the staff now prepares for the Arts Fest and shuts down the gallery for the next few months after. This month, we talk with two very different photographers, Scott Page and Chris Madsen, and painter Michelle Condrat about their works and thoughts on local art, all with photos for you to check out over here.

Scott Page

http://paulscottpage.com

Gavin: Hey, Scott. First thing, tell us a little bit about yourself.

Scott: I own and operate an online store selling kitchen products at Canning Pantry.com. I was an environmental consultant for 17 years before starting my online business in 2003.

Gavin: What first got you interested in photography, and what were some of your early inspirations?

Scott: I became interested in photography when I discovered my older sister's old Kodak Brownie camera. I was fascinated with the ability of the little brown box camera to capture images. After getting back the images from those initial attempts at photography, I began doing extra chores to earn enough money for an old Instamatic camera and film. My interest continued, and I later convinced my dad that I needed the Time-Life photography series of books to further my young education. I was perhaps 10 years old, yet I devoured each book in the series that came in the mail about every other month. I was also heavily influenced by the photojournalism magazine Life, which came weekly to our house, displaying the horrors of the Vietnam war. One of my early influences was Ernst Haas, who did several photo essays in Life, which highlighted his motion study work. His influence can be seen in my similar work.

Gavin: You're currently earning your Bachelors in Photography from Utah State. What made you choose USU, and what was its program like for you?

Scott: I have not yet completed my Bachelors program in photography but will graduate in 2012. After 17 years as an environmental consultant, and seven years running my own business, I decided to return to school to formally study the photography passion that developed just after I learned to tie my own shoes.

Gavin: Your body of work seems to incorporate different forms. You snap landscapes and motion shots, but you've also tried self-portraits and body figures. Why spread yourself across different genres and experiment, as opposed to focusing on a single type and become an expert?

Scott: I'm still discovering the artist within and exploring different avenues of creative output. While becoming an expert in one area may be the way to greater success, I'm doing this for fun and personal growth and do not feel the need concentrate on one area. I do plan to attend graduate school with a plan to pursue a third career as an exhibiting artist and photography teacher. Graduate school will be the place to refine and narrow my creative focus. Right now, I'm just having a blast photographing whatever interests me at the time.

Gavin: Of all the different themes you've experimented with, which one do you enjoy working with the most, and what keeps drawing you back to it?

Scott: I certainly love black-and-white film photography. Specifically, using this material on images of rural and urban decay. I'm intrigued with showing the evidence of people; the effects of their previous presence and subsequent abandonment of places, objects, and buildings as people move on to bigger, better, shinier and newer things. Perhaps it is a way for me to explore the feelings of abandonment and loneliness that I've felt in my own life. The focus of my current UAF show is motion studies, which are considerably different from the still and quiet images of decay and abandonment. My enjoyment and interest in these types of images that show energy and movement are also likely related to my experiences in early life. My father became partially paralyzed from contracting polio when he was young and was on crutches. Throughout my life, as a boy, in ignorance I feared getting polio, too and had nightmares and anxiety attacks about being unable to move or run. My motion studies are perhaps a way to explore and confront these early experiences.

Gavin: For your own personal choice, do you prefer traditional film or digital, and why?

Scott: That's a tough question. If I'm doing color work, it will most likely be digital. But there is a whole history and romance surrounding traditional photography methods that are hard to leave behind. Wet, darkroom, black-and-white prints have a rich, luminous, handmade quality that is hard to duplicate digitally. That said, digital offers levels of control that are difficult or impossible to achieve via the traditional methods. Layering or composting in Photoshop enables the photographer to create images that directly reference the artists imagination. I believe that both digital and traditional materials each have their own unique qualities and that working with a hybrid workflow often provides the most unique look with the highest level of control.

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Gavin: What kind of equipment do you choose to shoot with for your main body of work?

Scott: Again, a tough question. I shoot 35mm film or digital, and both medium- and large-format film cameras. The project I'm working on dictates the equipment. I recently did a 10-day urban shoot on the streets of Toronto and New York City. I only used a 4x5 film camera for this work and was able to capture some truly beautiful images that smaller formats would have made difficult or impossible to achieve.

Gavin: Usually, most photographers tend to pack up and head to a major city to display and make their mark, but you've chosen to stay in Hyrum. What made you decide to stay?

Scott: The Internet has really made it easier for photographers to show their work in major markets. Not only can you showcase your work on your own Website or on the picture-sharing sites, but there are online databases of artist calls-for-entry, where you can submit work on a regional, national or international basis. I started entering these juried shows just over a year ago and have had the opportunity to show my work in markets from California to New York. It is true that artists close to large population bases, have access to large buying markets. But the economy has become worldwide and artists now have many more opportunities to become involved in that world market.

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Gavin: Have you given any thought to starting your own professional photography business, or are you mainly sticking to doing it as an art as opposed to job?

Scott: I have no interest in pursing a commercial photography business. I'm 50 years old and simply don't have the years left to build a client base. Portraiture is perhaps the fastest route to a photography business, but my interest in that type of work is fairly small. I'd love to teach photography and continue to pursue exhibition opportunities. For myself, I believe that is the path to keep photography fun and exciting.

Gavin: Tell us about the new works you have on display for this Stroll.

Scott: If you look at the motion work of Ernst Haas, you will see the influence that master had on me as a 10- or 12-year-old. One of the unique properties of still photography is that it has the ability so show a span of time in a single instant. Photographs usually show us a frozen "existence" that occurred in a small fraction of a second; say from around 1/60 to 1/250 of a second or so. But an interesting world beyond our normal perception exists at the two extreme ends of shutter speeds. Both high-speed and slow-speed photography offers imagery outside of our normal visual perception. For this exhibition, I've chosen to work with slow shutter speeds, often from around 1 second to 1/15 of a second. While capturing objects in motion, these slow shutter speeds compress movement into an interesting display of swirling color and captured energy. I often seek out amusement parks and carnivals for colorful and fun subject matter for this type of work. A couple of the photographs are large-format film-based works taken in New York City. These depict the energy and movement of a large city, but unlike the moving subjects in the carnival ride photos, motion and energy is implied through movement of the camera during double exposures.

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Gavin: What are your thoughts about being displayed at GalleryUAF along with Michelle and Chris?

Scott: I'm really excited about displaying at GalleryUAF and particularly alongside the work of Michelle Condrat. I'm not sure how she feels about her work, but I feel that in some ways it is the "painting" equivalent of my motion work, applied to the landscape instead of the amusement park. Her work has a vibrant "aliveness" and energy in the landscape that I feel is similar to the output of subatomic energy (of which we are all products of) that I'm trying to capture with children zooming in circles on a carnival ride.

Gavin: Going local for a bit, what are your thoughts on our art scene, both good and bad?

Scott: Utah has a really strong art scene for a western small-population state. Our university museums and community art centers offer good opportunities for artists and the public interested in looking at or learning about art. The Park City art scene and Sundance Film scene are particularly strong. Even the wonderful Central Utah Art Center in little Ephraim has gotten some national press. I do sometimes feel that the local art scene is a bit heavy on the landscapes, portraits and religious-based work, but that is not surprising given the sentiments of the population. It is unlikely that my male and female nude work will find many exhibition opportunities in Utah.

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Gavin: Is there anything you believe could be done to make it more prominent?

Scott: Given our population size, Utah is pretty visible to the world due to Park City and Sundance. However, our museums are fairly small and spread out in multiple venues between the LDS Church properties, university museums, Park City galleries, and various local museums and galleries. A single, central, large high-class museum would be great to promote art in Utah but is probably unlikely to happen.

Gavin: What's your take on Gallery Stroll as a whole and how its doing today?

Scott: This is my first real participation in the Salt Lake Gallery Stroll so I have no experience to base a comment on.

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Gavin: What can we expect from you over the rest of the year?

Scott: At the end of May, I'm headed to Austria, Italy, Hungary, and the Czech Republic for 40 days of daily photography. I'm hoping to return with some exciting imagery that I can share with Utah. This fall, Utah State University will have an exhibition of work generated by the group of students participating in this central European trip.

Gavin: Is there anything you'd like to plug or promote?

Scott: The Central Utah Art Center in Ephraim has some wonderful national exhibitors and they have an art bus that travels from Salt Lake City to their gallery openings. Those who love art should check it out. You can see more of my work at my website.

Michelle Condrat

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http://www.michellecondrat.com/

Gavin: Hey, Michelle. First thing, tell us a bit about yourself.

Michelle: I am 27 years old and was born and raised in Utah. I graduated from the University of Utah with a BFA in Painting and Drawing and Printmaking and Minor in Art History. Some of my favorite things to do are (obviously) working on art, but also fishing, hiking and playing poker. I am very close with my family who has always been and still remain very supportive and loving. I love living in Utah. I like seeing new places and trying new things.

Gavin: What first got you interested in painting, and what were some of your early inspirations?

Michelle: I have to admit that as a kid, I watched a lot of Boss Ross (yes, the afro man with the happy little trees) on TV early in the mornings with my dad. I loved how he was able to capture an entire beautiful world so easily and within half an hour. I used to use my dad’s watercolors to paint with and found myself really enjoying it. He also had a lot of books around on different painters, and the main artist he would show me was John Singer Sargent. I used to remember how amazing Sargent’s portraits were and how he was able to create a whole face with only a few strokes. When I was in junior high, I was asked to be in the Advanced Art class, which was when I first knew that I really liked painting and drawing and wanted to keep doing it. I started winning art competitions and liked the feeling of positive recognition for what I was producing. I continued creating art and entering competitions through high school and realized that is what I wanted to major in college.

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Gavin: For college, you got your degree at the U in Painting/Drawing. What made you choose the U, and what was its program like for you?

Michelle: I chose to go to the U because it was close to home and because my mother had graduated from there and my brother was going there at the time. I didn’t know anything about the art program or what to expect. While I was in college, I enjoyed the art program very much. I had very good professors who challenged me and made me think, and they helped me break out of my art box and opened my eyes to the world of art. Although now that I am out of school, I believe I didn’t do my most growing as an artist until I left the U with what I was taught and had to motivate myself to keep growing and producing art without anyone telling me to do it. I think that is one of the hardest parts about being an artist who is not in school, waking up every morning and making yourself work and think and create new ideas, even though no one is breathing down your back. No one is making you do it but yourself. It’s not easy staying disciplined and motivated. It’s hard to tell yourself to keep making work even though you might not have a show coming up or you aren’t getting paid or working on a project. Do I always like something that I am working for? No, but I am working for myself because I love it and it’s what I want to do. Do I have a steady flow of money coming in because of my art? No, but I keep doing it anyway. I learned a lot from going to school and being around other artists, but I also learned a lot just from keeping myself going and constantly working hard.

Gavin: What influenced you to paint landscapes and settings above most other subjects?

Michelle: Landscapes have been my most painted subject because of my surroundings and my love for the outdoors. I live in a place that is surrounded by beauty. I can’t think of a better place to live than Utah, where you less than a half hour's drive from towering mountains and trees or a scenic drive that leads you into chiseled red rock and continuous blue skies. I love to be outdoors, to hike and fish and climb. Any time I am outdoors, I have my camera with me to take pictures that will be used in my paintings. I enjoy the outdoors so much, which is why I like to paint landscape scenes. I want to capture the places that I am enjoying so much and share them with others. I want the viewer to also experience what I see and enjoy the beautiful world in which we live in.

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Gavin: Throughout your works, you paint both in an Impressionist style and a pastel style. Which are you more comfortable doing and why?

Michelle: I have only recently started a series of pastels works. I feel most comfortable painting only because I have done it longer than my pastels, but I am really starting to get the feel for pastels and I like the change. I like changing up the work that I am doing and experimenting with different materials. I think in order to grow as an artist, sometimes you need to mix things up a bit and discover new ways of making art, whether it is with the material or the subject matter. That is one reason I am moving toward painting the figure.

Gavin: Aside the landscape work, you also do portrait and figurative work. What got you started in painting people, and how different is your approach to that subject?

Michelle: The figure is very challenging. Unlike landscapes where you can be slightly off and no one is really going to point it out, if you are off on a figure, everyone is going to know. Like I said before, I think as an artist, you need to change things up and try things that are challenging to you. The physical process of painting a figure is no different from a landscape for me. I still start the painting the same, first as an under painting and slowing moving into color and detail, but the mental part is totally different. I have to admit that doing a figure painting is slightly scary to me, especially when it is of someone that I know who is going to see it and know if it is off. There is so much structure to a figure that is not there in a landscape and there is so much more planning and less room for error. Figures have never some easy to me. I remember struggling in school in my figure-drawing classes. It has always been a real challenge for me. There came a point when I felt like I needed to move on from just painting landscapes and try out other subjects. I needed to grow with my style which I new worked with landscapes, but I wanted to see how it would come off with the figure. I have had a very positive response with my figures which is why I want to continue challenging myself with them and develop them even more.

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Gavin:What's the process like for you when creating a new piece, from initial concept to final product?

Michelle: I mainly work from photographs, so I first start by taking a photo of my subject matter. I take the photo and use what I want from it. Sometimes the colors are off but the composition is good or vise versa. From the photo I create an under painting on my surface, generally canvas or primed board. I paint a solid color with oil paint on the surface, usually with Paynes Gray, Ultramarine Blue, or Burnt Sienna. Then I start wiping away the paint with a rag to create the lights and darks of the image, which is where I create the composition. This way I am not investing much material and getting my general tones, so it makes it easier to see where I am going when I start adding real color. I generally work from darks to lights and from general to detail. I go back and forth from adding in details and wiping and blurring them out and adding them back in. I try to have some places in my paintings with a lot of detail and others with broken edges and blurred out lines. I think this makes the painting more interesting and gives it depth. I like that some parts of the subject aren’t there and that the viewer’s eye has to fill in the information. I know I am done with a painting when I am trying to find something to work on or fix and just keep going over the same parts. When the painting has dried, I sign it and put a final varnish on it to protect it. Once a piece is signed, I won’t go back and work on it anymore.

Gavin: What was it like for you first breaking out onto our art scene and getting your work out to the public?

Michelle: I remember it being kind of scary at first. It’s hard to show the public your work and hope that it is taken well. I am actually a very shy person who usually wants to stay in the background of things, so it was very hard at first to throw myself out there to the public and display my art for everyone to see. But as time went on, each show got easier and easier to do. I also have to give credit to my friends and family who were always there to support me with my art shows and art events, and who continue to support me to this day.

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Gavin: Over the years, you've won many awards for your work, including top honors at the U's Fine Arts Senior Show. What's your take on receiving the recognition you have so far while still working hard around the state?

Michelle: Any award or recognition that I receive only motivates me to work harder and become better. I take it as a personal challenge to be a great artist, and those things fuel me to keep working hard and always keep pushing myself farther.

Gavin: Tell us about the new works you have on display for this Stroll.

Michelle: The show is based on the idea of how people “hide” themselves. How people hide themselves whether it is through physical means such as make-up, clothing brands, or cell phones and computers, or even behind things such as fake smiles, lies or phony personalities. This is a concept that I have been developing within my art, and feel that it is something that everyone can relate to. I wanted to express this idea through a series of oil paintings, but painted in a subtle way. Instead of paintings of figures holding cell phones or applying make-up, each piece shows the figure in various poses, not having every part of the body shown. Some parts of the body are clearly defined, while others parts are blurred and hidden in the shadow, implying that people only show certain parts of themselves that they want others to see, while keeping other parts hidden. Each figure is looking away from the viewer, almost as if they don’t want to draw attention to themselves, strengthening the idea of being “hidden”. Each painting conveys the concept of “hiding oneself” and showing only the parts of ourselves that we want others to see. It is a theme that everyone can identify with, while being subtle enough to not over power the viewer’s own conclusions when looking at each painting.

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Gavin: What are your thoughts about being displayed at GalleryUAF along with Scott and Chris?

Michelle: It’s such an honor to be selected to show at GalleryUAF. They have a great reputation and really put together some great shows. I haven’t seen much of Scott’s work, but I have seen some of Chris Madsen’s work online. From what I’ve seen, he is a very talented photographer and I really look forward to seeing all three of our artworks come together as one show.

Gavin: Going local for a bit, what are your thoughts on our art scene, both good and bad?

Michelle: The art scene in Utah has definitely grown. It had grown numerically with more and more places to show your art and see art, but I think the art scene has also grown with what is being shown. There are more shows and places that aren’t just about showing traditional art, but showing new and edgy kinds of art that Utah has been lacking. I think it’s refreshing to see a new kind of art scene in Utah.

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Gavin: Is there anything you believe could be done to make it more prominent?

Michelle: I think what is happening right now is really helping Utah’s art scene. More and more people are coming together and making art a big part of Utah, with musical concerts, art shows and art events. I think it’s easier for people to stay connected with what’s going on with Facebook and things like that, which is what needs to happen. People need to keep hearing about what is happening and what’s new so that our city can continue to grow. We might be far way from some of the major art cities in the country, but we are definitely on the right path and need to keep it up.

Gavin: What's your take on Gallery Stroll as a whole and how its doing today?

Michelle: Gallery stroll is a great way for anyone to see new art and new places, and to connect with artist and patrons throughout the city. I’m glad to see it growing and to see new places popping up around the city. Sometimes I feel like Gallery Stroll is really the one main time that people go out to see art. I think it needs to be more than just one night a month where people come out and see what happening around the city. I know it’s hard on galleries and expensive, but one night a month just doesn’t seem like enough.

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Gavin: What can we expect from you over the rest of the year?

Michelle: After this show I will mainly be focusing on the Utah Arts Festival. I will have a booth where I will be selling pastel landscapes drawn on wood panels. It’s a new form of art that I have been developing, and I hope people like them! Like always, I will be working on something new. I have a couple ideas for some new series of paintings, one being a series of painted glass and the other a series based on the idea of being “trapped”. I’m still trying to figure those out, but that’s the plan.

Gavin: Is there anything you'd like to plug or promote?

Michelle: I will be at the Utah Arts Festival June 23-26th Come and visit me at Booth #82. I will also be teaching a Teen Workshop at Art Access in July if people want to sign up their teens. And I will be teaching painting classes at the Petersen Art Center 1025 East 2100 South, starting in June.

Chris Madsen

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http://www.burningpaperhearts.com

Gavin: Hey, Chris. First thing, tell us a bit about yourself.

Chris: Well, I grew up in Southern Utah in Richfield. I have been living in Salt Lake for about 15 years. I was raised on a farm and even used to rodeo for a living for a few years. I am the oldest of three kids and an uncle six times. I am a total workaholic and have a love for indie film and art. I am rad.

Gavin: What first got you interested in photography and design, and what were some of your early inspirations?

Chris: I became interested in design years ago when I started a small manufacturing company that I am no longer with. I would see a lot of good design as well as a lot of bad design. I really became interested in what went into creating good design. My interest grew from there and I eventually went to school for it. In design, my early influences were album art. I still love packaging. I like the puzzle of putting together a package or box with the available real estate and still making it look attractive. I became interested in photography from using stock photos in the same way I developed an interest in design. Using photos in design and seeing the composition was inspiring. I went to design a cover for a friend's band My Stage Exit, and I could not find a photo that matched what I envisioned so I decided to take it myself. That is the point that I fell in love with photography. I have so many inspiration in photography and its changing daily.

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Gavin: For college, what made you choose UCC for your degree and what was its program like for you?

Chris: It was easy to work in UCC with my work schedule. I also knew one of the teachers there. I have to say that in attending a tech school like UCC I lost a lot of faith in trade schools. If the school  happens to be good you learn a lot, but more often the case is I felt that some of the teachers were not that talented, or at least they had a hard time teaching. These schools feel like they spend a lot of time teaching you how to use software that will be outdated in a few years, while spending nowhere near the time they should teaching technique and composition. Thankfully, a few good teachers made a huge difference in my learning.

Gavin: How did the idea come about to start up your own design company, and what was it like for you building up Square Pixel from scratch?

Chris: I started Square Pixel on a whim, more or less. I was working in a company I helped create with a few partners that over the years we didn’t see eye to eye on pretty much anything. I was uninspired and bored. I wanted to do something creative so I started Square Pixel and just rolled the dice. Since then, I am fortunate that I have been growing steadily and I am much, much happier with the opportunities I have now to be creative.

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Gavin: Over the years, you've built the company up as an all-in-one stop for graphics, promotional material and Web design. How has it been for you taking a part in defining different companies and personalities with your work and having a hand in getting their name out on an artistic level?

Chris: I love what I do in helping to develop and even give companies a personality, or to embody the feeling of design they already have. I get to work with so many different types of products and companies that you are always learning and growing. You meet a lot of different people and its never the same. That is exciting to me. My goal was to be a small design company that could help the customer with many aspects of design. I think of myself as a mini agency. I work with mostly medium-size companies and I am in that area where someone needs more than a guy who just will build a Website for them, but not as much as a large expensive agency.

Gavin: On the photography side of things, you kind of run the gambit from personal shots to corporate and promotional to single subject, but one of your main focus is the female body. What drew you to that specific genre?

Chris: Anything corporate or promotional tends to be as I try to produce income from my photography. With my art I absolutely focus on the female body. There is something soft and emotional about a woman. I think they are interesting and I also tend to work with girls who are not the typical glamor type. I love to bring the feminine and emotional aspect into my art without ever creating something sexual. I look at my art as almost a cinematic concept, full of a steady solemn emotion, and also a bit dark.

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Gavin: For your own personal choice, do you prefer traditional film or digital, and why?

Chris: I have only been really shooting for almost two years, so I shoot digital. I learned digitally, and as far as photography, I am entirely self-taught. I like the digital format because it is faster, especially on a commercial standpoint, and I can do a shoot and then jump right to editing. For me, the editing process is as much fun as taking the photos. I recently did just buy a medium-format film camera and I am learning to shoot film. Film has an analog warmth that you just don’t get with digital, like the difference between a CD and record. CDs are amazing and convenient, and sound great. But an old record has that warmth that just doesn’t come with digital.

Gavin: What kind of equipment do you choose to shoot with for your main body of work?

Chris: Right now, I am shooting with a pretty inexpensive kit. You don’t need the best and latest tech equipment to still create something amazing. I have a Nikon D5000 and my go-to lenses are a Tamron 17-50mm f2.8 and a Nikkor 35mm f1.8. For lighting I love natural light, but in studio I use 36” continuous soft boxes or some cheap quantaray or vivitar speed lights. I am slowly building up my gear, though, and plan on buying my next camera in the next few months.

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Gavin: With the various forms of photography you do for business and art, what's it like for you balancing the two and constantly being creative on multiple levels?

Chris: I think its easy to be creative in different levels of work. Everything you do has to create a certain message. With commercial, it may be a lawyer wants to portray trust and being reliable, or buy this shirt, or something like art and you are communicating an emotion. I love the challenge of being able to put the desired message across in a single frame of still motion.

Gavin: Tell us about the new works you have on display for this Stroll.

Chris: For this stroll there will be works covering everything I have done. My newest work is a bit more powerful than the softer, more timed work that I started doing. At least, emotionally more powerful and vivid. I am always experimenting, learning, pushing myself to create something new and never become stagnant with my style.

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Gavin: What are your thoughts about being displayed at GalleryUAF along with Chris and Michelle?

Chris: I am extremely appreciative to have been asked back to display there. The Utah Arts Festival is such a strong and positive thing for the art scene in Utah. They really do a lot to promote the art scene here, not just during the festival but year round. I saw Scott's work for the first time at the Gallery while it was being hung. I love the feeling of motion in his work, it's amazing. Michelle is a superstar painter. One of my favorites now, for sure. Its always nice to be displayed next to such amazing work as well as the experience of meeting new artists.

Gavin: Going local for a bit, what are your thoughts on our art scene, both good and bad?

Chris: Well, I am still pretty inexperienced in the local art scene. But it seems like in the music scene we have lots of amazing and creative artists in Utah but they don’t have support like I hear from other artists in other places. I think we could be more supportive as a community. Organizations like the Utah Arts Festival and the Utah Arts Alliance managed by Derek Dyer do a lot to help with that though and I love being involved whenever I can.

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Gavin: Is there anything you believe could be done to make it more prominent?

Chris:I think just a better sence of community would be nice. More support from locals. We have a lot of talent here but a lot of times the really creative stuff seems to be almost underground.

Gavin: What's your take on Gallery Stroll as a whole and how its doing today?

Chris: I have only been going for about a year. I love it, so many different and amazing artists to see. Unfortunately, I don’t know that much about how it is doing compared to years past. I know that I go to some galleries and they are packed, and others that are not on the beaten path don’t get as many people. If there was a way to help get people to all the galleries that would be nice. Oh, and I love the cheese.

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Gavin: What can we expect from you over the rest of the year?

Chris: This next year I have some new concepts that I am working on, as well as some film projects. Its hard to say what to expect after that because I am really not sure yet. I will let it go where it takes me.

Gavin: Is there anything you'd like to plug or promote?

Chris: Of course:  my design company Square2Pixel.com, and my art that you can find on my Website, and how about world peace? At least, peace in the US.

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