Sean Connelly is a senior at the University of Hawaii at Manoa. He creates images by combining several different photographs in an attempt to capture the undefined movement of the world. Here is his artist statement, a campaign called “Keep it Beautiful.”

Keep it Beautiful

Sometimes…I hear voices in my head. No. I am not crazy. They usually tell me profound things like to know love you must loose love, or life is simple but the simplicity is complex. While those can be inspirational, there is one in particular that really struck.

You will not live past 26.

Whether I believe this or not is questionable—but the point remains: I never know when I will die. I am not scared of death…I just believe I need to make the most of my time. Instead of living my life for some ambiguously future “potential” I will reach one day when I’m “rich and successful” I’d rather live each moment in the moment. Keep it Beautiful.

And in this moment I can attain success and [I can] fulfill my self-potential as long as I keep my connections to others in mind while I strive for my own goals. I need to return what my community gives me.

People will ask me if Keep it Beautiful is some sort of movement or organization I am trying to start. It is really just my own philosophy/attitude I share with others to inspire. It reminds me my motions are connected to each other in some way…and that my actions affect those around me as we are all connected to and affect each other. I live in the beauty along the way, and as my favorite poet Rumi wrote let the beauty we love be what we do. Keep it beautiful.

art of the verge

I call the art I create art on the verge. I explore the importance of connection…connection as a conversation, rhythm, and relationship—the push and push of one thing against another.

The images in this art are more than just a larger picture composed of smaller snapshots, but a song of connection, a “photodance.” Art reflects how I experience the world. We don’t see things in still frame; our eyes dance around what we see. When I look at a face, it is hard to see the entire face at the same time. I can’t help but focus in on the curve of the lip, the color of the eye, a freckle. The memory I have of the world is a composition of these images my eyes collect. I am inspired to capture this. Many people do not like the portraits I do…which is fine. I’m not interested in recreating magazine shots, that’s all boring. It’s is much more exciting to challenge what people (and myself) consider “beautiful.”

I can’t speak of what this art does for others, or what I want it do for them…I need to keep it as empty as possible. All I can say is what it does for me—I experience expansion, motion, chaos, balance. And when I create these pieces I am reminded I live in conversation, rhythm, and relationship with myself, the people around me, and the land. I dare to aspire and create.

Keep it Beautiful.

Brendan Smith is throwing down on Maui walls. He gave us the time to do a short interview about the country spirit and how it’s influenced his art.

How did you begin?

Aside from being born on the east coast and seeing graffiti in the city when I was young, my first direct contact with graffiti came when my sister started hanging out with “gang banger” kids. I use that term very loosely, of course. I saw what they were doing with tagging and that really interested me. Eventually I started to see pieces from them and that’s when I really fell in love with it. I started to mimic their hand styles and tried to add my own flare to it. It wasn’t until much later in high school that I started to meet writers personally. A writer named Jedi took me under his wing and started showing me some techniques. I also owe it to a cat named EASone who first took me out bombing.

Who what where inspires your designs?

Old school East coast writing is what got me going in the beginning. Writers like Cope2 and Zephyr had styles I could really embrace. I was really big on European subway bombing as well. Many European crews have a “go big” style that I really embraced in recent years. I like knowing that when someone sees a piece of mine they know exactly who it is.

How do you choose your colors?

I’m fortunate enough to be a paint distributor in the state (Requests Music myspace.com/requests check us out) so I’m also blessed with a room full of Belton Molotow spray paint (some of the best as far as I’m concerned). My process of picking schemes is sitting in the middle of that room and pulling out any colors that happen to catch my eye. I tend to pick my fill in color first then base my main shadow color off of that. From there I find lighter tones that will compliment these main layers. I also think it’s important to find a force field color that will make ALL of your other colors pop.

Did you start off as a writer?

I started off, like most, with a strong appreciation for the art and an imitator of the style.

Which graffiti artists influence you?

I could name a bunch of big time writers right now but honestly it’s about those that personally helped me out. Arise TR FTL, Demiser OSH PT, Scope, Hev One KOA, ELF QTK, Toure TR QTK, Fate KOA, Kept FTL and BLUR AMP.

How long have you been in Honolulu doing this?

City life is not for me. Maui no ka oi. I don’t hate, though. I’ve been painting on Maui for the past 5 years or so under a few different aliases.

Are you part of a group of graffers or is it just you?

I write with FTL crew.

How often do you get to do a piece?

Weather pending, about once a week.

What prompts you to do it?

It becomes a natural impulse over time. I just love doing it. It doesn’t always matter how great it comes out. The feeling of having anything you want as a canvas and doing your art as large as you want to go is great.

Whats the ideal environment for a piece?

The simple answer would be a cop free-America. Since that doesn’t exist I enjoy large open walls that can be easily painted at night but will slap people in the face during the day. I like beautifying broken down buildings, too.

Is it about the high risk factor?

When I was a little younger it was more about the risk factor than it is now. I’m lazy and don’t like running that much. Now and again I’ll still go do some risky business here and there.

Amy Wagner is a tattoo artist working at Tatoolicious. She designs and tattoos her own work. Here is the story of how she began and how she continues on.

I started painting and drawing in high school. My first day of school I was walking down the hall when the art teacher approached me. She asked if I was in any of her classes. I told her I wasn’t interested in taking any art classes. She wouldn’t hear that. She marched me right down to the guidance office and changed my schedule. Some how she just knew that I would love it. After that it became my passion.

I began tattoo about four years ago. When I was about 17 I had a boyfriend who pretty much lived at a tattoo shop in Seaside NJ. As a result of him being there all the time I would follow and became good friends with the artists and the owner.

About half way through my junior year of college, my roommate was bugging me to tattoo him. In fact a lot of people were bugging me. So one day I bought a starter kit on eBay, haha. It was such a piece of crap, but it got me started.

I did my first tattoo on my roommate and went from there. Tattooing friends and a bunch of punk kids that wanted free crappy tattoos. I was awful at first. I worked out of my house for a while then I started working in Massachusetts out of my friend’s houses. Finally about a year ago I was hired at Twisted Visions Tattoo in NJ. I worked there for a year and then got the opportunity to move out here and work at Tattoolicous. Who could pass that up? Tattooing in paradise!

Right now I’m really inspired by different artist around me. Jerrell Conner, Evan Lovette, Josh Wrede. Dave Quiggle I see the amazing things they are coming out with and I’m like ‘Damn I need to step it up a notch.

Inspiration:

found junk, vinyl toys, monotony, cartoons, travelling, everyday objects, Walmart, irritations, fashion design, my collection of random art supplies, any type of label.

I can look at all of my work & not see a single common thread. To sum people, that’s not necessarily a good thing. An artist is supposed to have a vision, a focus, some kind of natural thought process. Then there’s me. I get bored easily…really easily. The problem with having a million ideas, is that once you start on one, something else pops up & you have to start that too. Pretty soon you’ve got 10 different things going on at the same time & none of ‘em are finished. But hey, I think variation is the key to living an interesting, eventful & fulfilling life! Everyone should try it. Can’t hurt….that much.

Maika’i will be showing work at the Moku Ola Healing Center at Koko Marina through the end of November.

Maile Andrade, Danny & Mea`alaaloha Bishop, Lena Lei Ching, Solomon Enos, Puni Kukahiko, Marques Marzan, Carl Pao and Doug Tolentino will also be showing.

I wanted to start a t-shirt company when I was in high school like every kid I think, I came to UH hoping to learn all the aspects of creating clothes from start to finish, I guess that’s how I actually fell in to sewing/draping/pattern making, etc.

Fashion by Dan Weaver

I’m using a lot of straight forward design lines, with color ways that play off of each other, like similar color shirts yokes, pockets, stitching, etc or contrasting thread top stitching with different color fabrics. Not really wild stuff, mostly clothes that can find a common places in someone’s wardrobe, but for dresses, that something where I try to translate the same concept but have a little more fun.

Who knows where I’ll be in ten years, I know I could add a lot to any company. Hopefully my designs will have grown and continue to have gotten better, maybe I will have more opportunities to create clothes on a larger scale, but as long as I have food, a place to live, and the means to do what I want I will be happy.

Dan Weaver dot com

I’ve noticed that, of my own photos, the ones I tend to like more and feel stronger about are the shots that have a lonely feel to them.

Photos by Chris Bobek

I really started putting time and thought into this when I moved back home to Waikoloa the beginning of this year. I ended up in a lot of debt running around San Diego and I got into an accident that left me with some medical bills I’m still trying to pay off.

Photography has been something I’ve been using to keep me occupied while I’m back.

Dont know if you’ve been to the Big Island but there arent alot of options out here.

When I shoot people I try to capture as much of their personality and style mixed in with my personal style to create a unique photo every time. I take the time to get to know my model, so I can find an appropriate style and concept that suits them.

Sounds easy enough.

Photos by Aaron Van Bokhoven

Cecilia Piemontese creates black and white for the most part; her images give off the vibe of stop motion films everywhere. Interesting variations in depth create a shadowbox effect that is rare amongst many artists in the United States that are working on a more graphic idea in their pieces. Without the distraction of color, she makes great images with plenty of character.

Have you had any formal training in art (what was it, if any)?

I Graduated from the London College of Printing in Graphic Design Illustration. While at University I experimented with all the traditional methods of Printing and design: Screen Printing, Lithography, Photography, Drawing, Collages, and Mix Media. I started learning Animation and computer programmes (Photoshop, After Effects, and Flash) only after finishing my degree.

Are you pretentious enough to call yourself a starving artist?

No I don’t starve, I call my parents first and ask for money or I go to my brother for lunch and dinner.

Do you think you have to suffer for your art?

Well you do end up suffering a bit. In different ways. You suffer because you wake up one morning you look at your artwork and you think ‘this is Shit!’

You suffer because you have to wake up in the morning and go to the office to do a mindless work that you hate but lets you pay the bills.

You suffer because it’s sometimes difficult to find the motivation.

And sometimes I suffer because I disconnect with the world to such a degree that I seldom think I am living in my own head and imagination. I pursue an Idea, I start drawing and walking and imagining things. I travel 20 cm above the ground, and when its time to come back I hit it hard (reality I mean).

Maybe in a way my suffering is part of what I do, it feeds my art.

Are you on any medication?

No…well coffee, sugar and cigarettes in a ridiculous amount.

Do your parents hate that you’re an artist?

No, I suppose they like having someone ‘artistic’ in the family, but I am not sure they would refer to me as an artist, maybe ‘artistic’, yes. I suppose it’s nice to have one in the family, like the black sheep, it keeps the balance. An artist sounds more like a waist of time, like unemployed. Artistic is someone who benefits from a certain talent.

What was your first big break?

The Animation for the Tour of Pilar Ternera in Italy. From there I came back to London with a 14 minute video animation to show around and started freelancing. It was an important moment in my life mainly because I finally discovered what I wanted to do with myself… and that is not a small thing!

How did you begin creating work?

I started at college but I really got into it when I left. Something about my personality maybe. When I finished college I had this huge sense of relief and I thought ‘Right! Now I can do anything I want, without boundaries, expectations or grades!’ so I started to produce much better work than I did before.

What animal do you most want to pluck from the wild and keep?

Penguins, Polar Bears, Whales and all the mammals that live in the North Pole…. No, I wouldn’t keep them, but I am so fascinated by them. Something about creatures living in the Coldest Loneliest places on Earth! It’s so extreme and solitary but it feels so real at the same time, maybe more real than living in a city. It may seams a sad view but to me it’s not, these animals give me a great sense of freedom.

What does your Sunday routine look like?

This is not very interesting as I work on Sundays, I feel it is the most creative days of all, maybe because everyone is recovering or sleeping or just not doing anything and in a place like London it’s Rare! and you can feel that.. oh my God Sunday mornings are special!

What does your play list for working consist of?

I find it important if I am doing an animation for a band not to listen too much to their song, it is best to leave that for the editing part when you are bound to listen to it a hundred times. So …Anything goes: but really anything! I think last time I was animating a video I was hooked on Sinatra and the Twin Peaks Soundtrack which are nothing like the band I had to do the animation for.

Also cheesy 80s songs with a bit of dancing around the house, good old Grunge, Radio and anything that I find in the house.

What is your favourite combination of two colours?

Dark, Deep Blue (The one you can find on Renaissance Paintings) and Gold

Do you go through any certain processes while trying to produce your work?

The Best thing for me to do at first is to Play and experiment. It is important to take pleasure in what I am doing and relax. Drawing is a good starting point because it broadens my mind and makes me focused and concentrated. I think it also opens up a sort of channel that connects me with my own creativity.

Another important thing is not to stress about the final result or about time schedules, because you can’t schedule and idea! Planning comes later when you already know what you want and need. Creativity has its own course; An Idea can take a long time or come to you suddenly in a second. The important thing is to be connected with it.

Drawing makes me forget about time and it’s a good way to improve my patience. I think it’s a common thing with artists to want the result straight away and to end up frustrated with it.

If I enjoy what I am doing it means that something really good will come out.

If you weren’t showing your work, what do you think you’d be doing?

I would be doing documentaries. That’s one thing I would like to get in to one day.

Being an animator I spend most of my time in front of the computer, locked in my room and in my own little world. The work load is so extensive it feels like embarking on an Odyssey..

When I go out to get something in the shop my perception of the things around me doesn’t change: the world feels just like a big extension of my Photoshop and it’s hard to scroll it way.

I project my reality on to things, I observe them constantly and unknowingly I think of ways to reproduce their movement in an artificial world such as my computer. Sometimes I feel like I am living in a dream world of my own invention where virtual reality crashes against the real Reality.

I wish to reverse this process, and start capturing the reality working outside, rather than inside, recording things rather than creating them, working with people rather than with a computer.

I also love watching documentaries: nature, science, culture, history, personal stories. there are so many interesting things out there. I wish there were more documentaries than reality TV. Or more reality TV like Documentaries.

If you had to get a tattoo at gunpoint, what would it be?

a Tree. an Old tree. I love trees. There are so many peculiar trees in London. so weird you wonder how they actually got to reach that shape. I often go out and sketch them. I am really fascinated by them, the way they adapt to the city and become something so unlike their nature. I am fascinated by these Metamorphoses of Nature in an Artificial, Concrete Environment

Had you always planned on being an artist [or had you other hopes]?

What is a better hope than that?

There was a time when I wanted to be an Archeologist.

Where do you think you art will be in the next ten years?

How will the world be in the next 10 years….(?)hmmmm

Don’t know…

But I would like to be doing a feature animation film…a mix of graphics, animation and real footage as well as creating Music Animation Videos for

Bands. I wish for my work to be meaningful, touching and human. I want to continue experimenting and playing around with ideas and visuals thought creating something that carries a message. Beauty and substance! I t is important to be part of the century we live in. social, human, environmental issues are close to me.