In the modern art world, there are thousands of creative minds working each and every day to make our imagination soar, and to connect with their audience in a very cerebral way.  It is up to each of us to decide what in fact we consider art, and what makes that connection with us.  Some of us prefer hyper-realistic art that often appears as sharp as a photograph, others prefer to have their favorite subjects immortalized in a very artisticly muddled way, allowing us to know what the subject is, but marvel at the creative way the artist has chosen to present it to us.  More than likely we all find ourselves appreciating the fine medium of abstract visual art.  No specific subject, no defined emotion the artist is trying to convey, just you with the canvas and your imagination, making fantastic visual imagery out of a vague assemblage of paint strokes.

​Enter the incredible artistic talents of Seattle artist Tracy Boyd.  Her creativity is beyond definition, although some may have attempted to fit it into some category or another.  If you’ve ever taken your sense of sight for granted, you will certainly appreciate every second of it, when standing in the midst of one of Boyd’s enormous works.  If you have been deprived of your sense of sight, the texture of Boyd’s canvas and the layers and varying thickness of her brush strokes will make your imagination dance the tango in your mind.  Any way you conceive of this artist’s amazing talent, one thing is for certain, if you are lucky enough to stand in the midst of her work, you will never forget it.

Boyd credits her process and the depth of her creativity to solitude.  In a world absolutely FILLED with distractions and constantly evolving schedules and priorities, Boyd’s work reminds us of the beauty in stillness.  Born on a rural farm outside Philadelphia, Boyd’s artistry came to life through hours of solitary contemplation and boundless stretches of her imagination.  No instagram, no twitter, no facebook to fill her subconscious with ideas born in popular culture.  Boyd was fueled by the desire to create, whether it was painting portraits of her friends and family, or recreating images she experienced in the vast expanses of nature that surrounded her.

Fast Forward to today, fresh off of a summer abroad sharpening her skills in the hillside villages of Italy at two different Artist residencies she was rewarded with because of her indomitable desire to create, and to master her craft.  The first chance you get, you need to make your way to her latest exhibit.  Whether you travel from across the city, or across the country, this artist is phenomenal, and you absolutely must include her work in your collection, or at the very least, the experience in your mental repertoire.

So…to break the ice, and allow you a glimpse into the mind, and the process of this phenomenal artist, we sat down with Tracy Boyd to learn a little bit more about her. Without further adieu…Ladies and Gentlemen,

Q: Your paintings are so incredibly textural and almost vibrate with a energy/life of their own.  What materials do you work with when creating your art?  Talk about your creative process.  Are there different stages or do you just grab the brush and get after it?

A: I work in a quiet studio alone where I look for “that perfect” image I feel I can explore through my painting. During this time I go through thousands of visual thoughts about what might work filtering and discarding ideas until I finally have a workable one. Once I can visualize my intent, I begin with a big piece of charcoal to roughly sketch out my idea; immediately thereafter I grab a big wet brush and scrub those marks to let them drip and start to become something and soon after that I start applying a dark grey paint that begins to form the base of almost all my paintings. 

I have a lot of physicality throughout the creative process, going from sitting and listening to NPR and suddenly I have three brushes going, a hairdryer some towels and it is a race to capture the phantom. A race to get somewhere. A race to catch something. I believe authentic painting is about not fearing the “fuck up” but instead embracing the rush of what you can come up with. Once the paint and water mix and begin dripping I start to wipe and create motion with a hairdryer. Inevitably there are puddles at my feet and towels down to collect some of the mess.

Q: Your piece “Falling” is one of, and if I HAD to choose, my favorite piece of yours.  Can you talk a little bit about the INSPIRATION behind the painting, and also… talk a bit about how your style has developed since you began creating?

A: The painting “Falling” is also one of my favorites and in fact is hanging in my apartment. It is 7ft x 6ft Oil on Canvas which is my ideal scope. It is a great example imagery I found and pushed it further. I am constantly looking for imagery that is shocking in a nuanced way… like taking a typical subject such as a horse and or a figure and put them in different situations… off balance or larger than life for example. I love this piece because it represents the overall concept of the series very well, it demonstrates new techniques and it felt fluid and very original. ​

​Q: What do you hope that the audience takes away from their time spent viewing your art? What made you smile at your last exhibit?  What made you gasp/cringe/retort/etc.?

A: My art is about studying the beauty of a subject while stripping away and exploring the essence of it.  I fall into a trance when I am painting at my best and I hope the viewer does the same.
There is a part of the actual painting that has to be believable. What I mean by that is something the viewer can identify with and have clarity. The success of an artist lies in their ability to open the eyes of the viewer and reflect the subject in a new unforgettable light.

Q: Tracy, I am absolutely honored to be allowed to discuss your creative life with you.  Being an artist myself I know how deeply personal some aspects of our process are, and also that there are those times we wish we could reach out to our audience and give them a better context of our passion, so thank you for being so open with all of us.  I know the audience will all want to know where/when they can see your work currently? What is the best way to find out where you will be exhibiting next (Website, Facebook, etc.)

A: Thanks so much it has been an honor. I am scheduled to show the new paintings I mentioned February 2015 in Seattle WA. (please signup up for my newsletter or join my Facebook page for updated information)
My art website : http://www.boyd-art.com
Facebook Page : https://www.facebook.com/TracyBoydArt

“Christopher Aaron is crazy!” (Maybe, but aren’t we all) …

“He’s a dreamer!” (Definitley, and Dream BIG he does!) …

“His work will never make it past the doorway of his studio!”… WRONG!

​Undoubtedly, some gauche, art critic at one time or another thought those same things to him or herself about what they saw when experiencing one of Christopher Aaron’s breathtaking works of Abstract Art. Christopher Aaron, through his passion for abstract art and his remarkable work ethic, has put all doubts to rest.

Southern California’s own Christopher Aaron brings the hues and textures of today’s bold new concrete metropolis’ into the warm, luxurious spaces his collectors inhabit all across the world. Christopher Aaron IS a dreamer, is a visionary, and we’re all a little crazy, it keeps us from becoming boring. See, Christopher Aaron doesn’t stop at a simple color field masterpiece; he doesn’t stop after masterfully blending bold contrasts of grays together; he doesn’t stop after taking his palette knife and creating stark textures within his layers of paint. Christopher Aaron combines a multitude of textures, mediums, and color palettes to create what we here can only describe as “Urbexture”.

​How would we describe “Urbexture”?…try to imagine…you’re in any major city in the world, and you happen upon an older section of town. The buildings are a bit weathered, time and mother nature have taken their toll on what appear to have been once lavishly adorned concrete surfaces. Hints of vibrant colors emerge across hard cracks and through the rough granite underbelly that has resurfaced through years of erosion. Now imagine that texture, that vibrant decay, reimagined onto canvas. You may then have perhaps a glimpse of an idea of what Christopher Aaron’s masterpieces really are. But once you see them, once you stand before their size, and distinguished presence, you still cannot fully appreciate their beauty. Here at Articentric, Abstract Art is one of our favorite genres of art, and Christopher Aaron is one of it’s masters.

​Articentric caught up with Christopher in his San Diego art studio, to allow our readers to get to know a little more about him, his art, his environment, etc. So…without further Adieu, Ladies and Gentlemen:

Q: Thank you for taking the time to meet you Christopher. If you would, talk a little bit about how you came to realize your talent, and how you decided to make it a profession.

A: I’ve always done art in one way or another. Whether it was graphic design, fonts, graffiti, music, interior design, whatever. I’ve alway had a definite need to express myself through art. I had started painting because I wanted some cool pieces for my own place and then someone asked me who did the work. This person happened to be Andre Power, the co-founder and Art Director of Soulection, which is a record label, radio show and niche collective of creative music makers worldwide. He was curating a group art show and asked me to be in it. I had no idea that it would turn into what it has.

Q:  You’re originally from Los Angeles, but now reside in San Diego.  How would you describe the art community in San Diego?  Have you been to, or shown in other areas and would you talk about the differences of those communities?

​A: San Diego has a really cool art community. There are many really great artists that just want to create for the love of it. For a while there, you could go to an art show with live painting and great music every night of the week. Most of the artists in SD are more figurative or “street” than I am, but there are a ton of students and young people that just love to do art. That being said, it’s not a great city for Modern Abstract Art. I was raised going to art shows and festivals, as well as concerts and plays, so it’s definitely a part of me, and I’m excited to start showing in some great galleries around the country.

Q: I think you’re use of texture and the entire soul of your palette is absolutely stunning.  Talk a bit about your process.  What inspires your pieces, what goes into the preparation?  Do you let the piece develop as you go? Do you start with an idea and build on it?

A: Thank you! As I said before, as a teen I would see a lot of amazing art. My parents had some crazy abstract art and sculpture in our home. But I also grew up in a time and place where graffiti was a huge influence. On my drive to school I would see beautiful pieces along the streets and freeways. I was in awe of the colors and textures. I had to do it. But when I started to paint on canvas, I didn’t see any reason to try and duplicate what I and others had done in the streets. It was a different experience for me. Now I paint to BE painting, not FOR the painting. It’s about the experience, not the final result. When you aren’t “trying” to paint “something” you go through a whole process of learning, doubt, acceptance, and finality. You are using techniques and abilities, to express yourself, without showing your techniques and abilities. It’s like using meditation to get to absolute “nothingness”. You are letting whatever is inside of “yourself”, express itself, and trying not to get in the way. All of my influences will, of course, show themselves because that’s who I am, a product of my environment. My paintings are just an expression of that environment without being obvious.

Q:  Give us a mental tour of your creative environment.  Do you work out of a studio?  If we were to tour your space, what should we take note of, what might amaze us, what is your favorite part of your space?

​A: My soon to be wife is an award winning Architect and she designed our home. It’s an incredible modern with amazing lines and space. (She is also a very talented painter!!!) So if I can paint something that will look nice at home, then it will work in any space. I hang stuff all over the house to see how it works in different spaces. It doesn’t hurt that I get to see new projects that she is working on and it gets me excited to create for new spaces.

Q: Is there one artist/creative talent present or past, that you would love to spend a day with in their studio?  Who and Why? What would you talk about?

A: Gerhard Richter or Jackson Pollock. I would talk to Gerhard about philosophy and art. I think he experiences it in a similar way. With Jackson Pollock… well, we’d probably just get drunk and paint.

Q: What is the best way to follow along with your career and find out where you will be exhibiting next (Website, Facebook, etc.)

​A: My Website: ChristopherAaronFineArt.com or on Instagram: instagram.com/christopher_aaron_art

Equanimity is defined as mental calmness, composure, and evenness of temper. It is the perfect way to describe the feeling one might expect when viewing Todd Williamson’s work.  Given the environment the artist works in, the hustle and bustle of the Los Angeles metropolitan area, his work evokes an overwhelming sense of inner calmness.  The colors are intensely balanced, the lines all but reflect the pulse of the viewer…soft and long when relaxed and subdued, while short and energetic when pulsing with the rhythm of life.  We thoroughly enjoy viewing Williamson’s work and his roster of exhibitions tells us we are certainly not alone in our admiration of his work.  Williamson is the consummate working artist, seemingly never on pause, and always pushing his limits, both professionally and creatively.  It is both reassuring and intensely motivating to listen to him discuss art and his process. We certainly encourage our readers to look for his exhibit nearest you, and witness Williamson’s work and vibrant energy for yourself.  Without further adieu…ladies and gentlemen, meet West Hollywood-based artist Todd Williamson.

Meet Todd Williamson…


Q: Thank you for taking the time to talk with us Todd, let’s start off with how you got started as an artist.  Is it a gift you’ve always had?  Talk about how you came to realize art as a professional adventure rather than just a hobby.
A: I grew up on a small farm in a very, rural town in North Alabama.  Drawing and art were sometimes the only way to pass the time.  I did it so much as a child my grandpa called me “Doodle”. I attended Belmont University in Nashville and received a BA in music with an emphasis in singing.  Art classes were electives. 

​I moved to LA after graduating and filled my first apartment with my work since for the first time I had a space to put them and could not afford to buy anyone else’s work!  My friends began taking them from my walls.  I eventually had to request that anything that was taken had to be replaced with a larger, blank canvas, and that is how it began.  I attended Cal State LA for grad school, going after a degree in education, but only made it through a year of the process.  During this time I took art classes both at Cal State and at UCLA having some wonderful teachers like Lisa Adams!

I taught young children with autism and other mental challenges for a few years before starting a small custom furniture company.  This allowed me to eventually have enough money to become a full time artist, as I could now see myself through the inevitable lean times that we all go through.

When I finally left my job to be a full time artist the doors began to open and I knew I had done the right thing.  My first residency was on an amazing Greek Island for the Skopelos Foundation for the Arts (https://skopartfoundation.org/), and the following year I was a visiting artist at the American Academy in Rome.  These, more than anything, allowed me to see the importance of showing my works outside of the US and introduced me to artists and scholars that I turn to when I have questions or need advice even now.

Q: Take us on a visual tour of your studio space.  What do you cherish most about your space?  Talk about how your creative environment affects your art/ your style?

A: My studio is full of memories and every item in it comes with a story!  I love to trade art when I do exhibitions around the world, and my studio shows this!  I also have things that collectors have given me after I completed works for them.  I have an espresso machine that ILLY Coffee sent to me after I did a small work for their NY offices.  I had met their art program director, Myra Fiori, when I attended Louise Bourgeois’ Artists Salon!  Such an amazing experience to sit with the 94 y/o artist and have her discuss my art!  More artists should do this with young artists!

​My studio is kind of a time capsule as well with works of mine that date back to the early 90’s and show the progression of my “style” as it developed.

Q: Your paintings are so incredibly intense and almost vibrate with a energy/life of their own.  What materials do you work with when creating your art? What is your creative atmosphere when you create (loud, silent, ambient noises)?  Talk about your creative process. Are there different stages or do you just grab the brush and get after it?

A: I work almost exclusively with oils.  I need the long dry time of oils in order to create the lines that permeate my work.  My studio is in a building behind my house so each morning I wander out after coffee and start my day.  My studio is my safe place.  I have an old massage chair that holds down one corner that always works out the kinks after some of my larger works!  I like to work with the large doors open to the sunlight and to the natural light and air.  I always have Pandora going, everything from country to Phillip Glass.

​In many ways the music inspires me as much as anything.  To me, the parallel lines in my work act similar to the lines in music that hold the notes.  Like the staves in music,  my lines hold the emotions and the stories that are my work.  I often work with a friend from college who is an amazing composer.  He creates music as I paint and I paint as he adds to the music using facetime to make up for the vast distance from California to North Carolina!  We did a big exhibition together in November in Naples Italy where the exhibition was in a beautiful 17th century villa, the Villa di Donato.  The exhibition was a experience of seeing the art and hearing the music which was captured in almost every review of the show.  Here is a link to the live performance.    https://youtu.be/zjEG9I3iSMo   At this same time, I had the great honor of being asked by the Pio Monte della Misericordia to create a work for their permanent collection based on Caravaggio’s “Seven Works of Mercy”.  I cant express the honor of them placing my work next to their Caravaggio!

​Q: Your piece “Every Day A Memory” is one of, and if I was forced to choose, my favorite piece of yours.  Can you talk a little bit about the inspiration behind the painting, and also… talk a bit about how you've noticed your style develop since you began creating?

A: Thank you!  ”Memory” is a work about reflections and passing thoughts that linger a bit too long in my mind as I work.
When I was developing my style, I experimented with everything from figurative to minimal, to gestural.  I hated the way a lot of contemporary work made me feel and searched for a way to control that, while still showing the wonderful craziness of the world that I saw.  The lines came as a way to hold the emotions in a way that allowed me to work with them but not be consumed by their chaos.   The lines are part of the painting, raised from the paint like breathing points or heartbeats.  My work is often as much about removing paint as it is about adding it.  I paint, remove layers, add more paint, etc.

​Q: An artist of your caliber (and I mean that in a way that honors your obvious respect for the creative experience, and your brilliant body of work) must essentially have your choice of venue and market.  How do you prioritize what environments you choose to exhibit your work in?  Do you create with an idea of the finished product’s destination?

A: I get asked to do more shows than I can in any given year so I choose with two things in mind.  Places I want to go to visit, and cities that are important on my resume!  It is more difficult than you think in choosing where to show your work in todays crazy market.  On the one hand you have to make money to survive but on the other you need to show in the most important markets around the world, like Berlin.  Berlin is a great place to show with an intensely vibrant art scene but, there are a thousand artists for every collector, so sales are not a guarantee.  Most artist I know in Berlin have other jobs that keep them alive but the contacts they make are with them the rest of their lives.

I am on the Arts and Cultural Affairs Commission for West Hollywood and as one of the only artists on the commission, I work hard to address problems that artists face on a daily basis.  We are working to create grants for our artists that can help them survive difficult times as well as creating exhibitions that help the artists to be creative and thrive.  I find many grants are not set up in a helpful manner to artists since they take months to even be looked at or they are geared to artists under 35 years old. 

In late May, West Hollywood will open up a artists database for all West Hollywood artists as well as a mural artists database, for all artists, where we will help put businesses with artists in an effort to make West Hollywood the true creative city!  www.Weho.org  We were one of the first cities to fully embrace murals when we teamed with MOCA to do the murals on the Weho library with works by Shepard Fairey, Retna, and Kenny Scharf.  We also require a 1% for the arts on all new construction which has helped spark great creativity in the art in our city!  I think this is one of the most important things that I do at the moment.

​Q:Do you have any current series’ in the works?

A:The series that I have been exploring the most is part of the art/music exhibition that I did in Italy.  I am still working the connections between color and music with a series titled, “Frequency” “Light”, and “Grid”.  The number 3 also influences my work in a strong way.  The parallel lines in my work are always divisible by 3 whether I am doing  the lines or the grids.  I can see this exploration continuing well into the future and I have applied for several foundation grants about sponsoring this project on a much larger scale where I could use a full orchestra and large scale paintings to show the strength of the connections between the two.

Q:Talk about your experiences with your shows, do you seek out specific events, environments, etc. to show your work?

A: Like all artists, as we grow and age what is required and needed changes somewhat.  I am currently working closely with a gallery in Germany where we are putting together a large show that will travel to several galleries in an around Germany and Austria in 2017.    I also work with a cultural association in Southern Italy that I work very closely with and have for nearly a decade.  They have a strong group of artists they work with in both the US and Italy.

Q:  Can you recall and would you talk about your most recent burst of inspiration? Did it come at an unusual place or time?  Do you ever put yourself in a particular situation/environment to try and attract ideas or inspiration?

​A: I find that a deep conversation with an artist of any ilk, musician, painter, film maker, inspires me more than anything.  The act of truly being real and having deep conversations with other creatives makes me feel alive and inspired to take chances and really go after the goals I want to reach.  Most recently this happened when a colleague from the  Arts Commission dropped by my studio and we had a wonderful instantaneous chat about all things art!

Q: What do you hope that the audience takes away from their time spent viewing your art? What made you smile at your last exhibit?  What made you gasp/cringe/retort/etc.?

A:I love having my work in a home that feels something every time they look at my work.  For me there is nothing better!  I also like new collectors and that amazing transition they sometimes make as they become great art lovers and hopefully patrons for many years!  I recently started working on paper in an effort to have works that are affordable for young collectors.

Q:Todd, I am absolutely honored to be allowed to discuss your creative life with you.  Being an artist myself I know how deeply personal some aspects of our process are, and also that there are those times we wish we could reach out to our audience and give them a better context of our passion, so thank you for being so open with all of us.  I know the audience will all want to know where/when they can see your work currently? What is the best way to find out where you will be exhibiting next (Website, Facebook, etc.)

A: I currently have an exhibition, the Darker the Blue,  at Nicole Longnecker Gallery in Houston. (www.LongneckerGallery.com)  I have a small exhibition in late August with the Palm Springs Art Museum @ the Saguaro Hotel, Area 35 Gallery in Milan in April 2017, as well as a series of exhibitions in Germany in 2017.  My exhibition schedule tends to change and develop quickly so follow me here:
Website: www.ToddWilliamson.com,
Facebook: https://www.facebook.com/toddwilliamsonartist/
Instagram: https://www.instagram.com/toddwilliamson7/
Tumblr: https://www.tumblr.com/blog/toddwilliamsonartist
Saatchi Art: http://www.saatchiart.com/ToddWilliamson

When we first discovered the bold and effulgent art of Bryan Sanchez, it was on a desolate stretch of highway somewhere between Colorado and Oregon.  The artist himself was most likely working feverishly in his studio thousands of miles away in Miami, but we were captivated by his instagram feed immediately!  The magic of social media had transported us into the mind, the world, no…the GALAXY of this brilliant artist.
  Internationally recognized for his masterful work with water, Sanchez proudly mixes acrylics that are bright, bold, and visually erogenous!  His array of media, from simple paper to human flesh, keeps his skills sharp and keeps an admittedly “anxious” artist, balanced.  As artists we know all too well the cathartic effect of getting in our space and creating…even if it’s just as Sanchez references, “a single splash on the paper”, it relaxes our mind and helps us center.  That’s precisely what his work represents to us, that cathartic pause that transports us to a comfort zone of bright color, and fantastic wonder.
  We sat down with Bryan to ask him about his work, his inspirations, his aspirations, and what fuels his creative spirit.  His humility, humanitarian vision, and his reverence to his craft did not surprise us, and we’re excited to share our discussion with you.  So without further adieu, ladies and gentlemen,

Meet Bryan Sanchez…

Q: Thank you for taking the time to talk with us Bryan, let’s begin with your “how”.  How did you get started as an artist?  Talk a bit about how you came to realize your art as a gift to the masses, a professional venture if you will… 

A: Hello friends, thanks for this cool opportunity. It’s easy to explain how I first started out as an artist, because art was my favorite thing to do as a child. I have literally drawn ever since my first memories. I remember I was always the kid with a book full of sketches and other artistic ideas, but was never able to finish my math homework. I am so happy to create art for a living because obviously I am terrible at math.
As for my work and its effect on the masses, I have a specific goal. I believe everyone’s mission should be to leave the world a better place for the next person on the planet. As an artist, I especially feel that we have the opportunity to create “magical things” to let the people dream about the future, and ultimately our art will save the world. The biggest difference between my tattoo art work and my murals are that tattoos are personal, while the murals are for everybody.

​Q: Take us on a mental tour of your creative space(s)?  Talk about how your creative environment affects your art/ your style…what do you HAVE to have in your space?

A: A mess, my workspace is always a mess with a lot of water splashes all over the place.  Since water is one of the most important elements of my work, the walls in my studio are covered with a rainbow of splashed paint all over. Other than that you will find a tripod, a camera and a bottle of wine. That is my space.