The Uncovered Artistry Project - Empowering Domestic Abuse Survivors

Created by Angela Spoto together with her sister Sarah, the Uncovered Artistry project intends to provide domestic abuse victims with means to improve their financial situation and express their creativity, as well as to share their experiences with others in the same situation.

Operating out of Seacoast New Hampshire, the project is a nonprofit online boutique that provides an outlet to the finely crafted work of domestic abuse survivors and non-survivors in America and Canada who support abuse awareness. Uncovered Artistry also educates its customers about domestic abuse in order to raise awareness and eliminate stereotypes.

In order to give a general idea of how things work and answer a few doubts that may raise from those interested in participating, either as artisans or as sponsors, The Art Inquirer has conducted an interview with the authors of the project.

TAI When did you come up with the idea for this project ?

UA We thought of Uncovered Artistry last winter when we heard about the Projects for Peace grant, which gives select students $10,000 to start a project that promotes peace. We knew we wanted to empower women in some way, and since we had previously owned a jewelry shop on Etsy, we deiced to take our skills and start a nonprofit boutique that sells the work of domestic and sexual abuse survivors. Luckily, we got the grant!

TAI Why did you decided to make this project ?

UA We believe in the empowering effects of entrepreneurship and art and wanted to give others the opportunity to expand their businesses.

TAI Where has this project started and if it's still on the same venue ?

UA Currently, we sell exclusively online at Uncoveredartistry.com. We operate out of two locations: Seacoast New Hampshire in the summer and Chicago during the school year while we are at college.

TAI Do you have plans to expand this project ?

UA Yes, definitely. We are currently exploring other grant possibilities. We'd like to have many more artisans, a larger website, and more employees. We intend to reach out to the community and host community events. Also, we hope to raise $10,000 for domestic abuse shelters.

TAI Why did you think that this specific project would be a successful option ?

UA We believe that taking a for-profit business model and creating a nonprofit will enable us to become self-sustaining and reach more individuals.

TAI According to the artists/crafters, how has this project improved their lives ?

UA Here are some quotations from several of our artisans:

"When I work on my jewelry, I feel peaceful. I'm so focused on the project that I am able to momentarily "forget" those bad experiences. And I feel good about myself when I'm done with a pair. Some of my self-worth and confidence has returned."

"Creating has always been a way to get away from reality. As well as show that you are worthwhile and talented which I heard over and over I wasn't. It gives me self confidence I don't think I could have gotten elsewhere.Creating has always been a way to get away from reality. As well as show that you are worthwhile and talented which I heard over and over I wasn't. It gives me self confidence I don't think I could have gotten elsewhere."

"It helps me focus more on beauty and seeing the beauty inside myself. It's helped me accept myself more and actually love myself more because I have the ability to highlight the beauty of others. I can make others smile with it and that is worth everything to me. To have contemplated suicide many times and then to be able to help others showcase their own beauty means the world to me. I not only survived, but I've overcome, I've learned to forgive, and I've learned patience."

TAI From which areas do you accept works ?

UA Our artisans are from all over the country, and we do accept artisan applications from Canada.

TAI How can people contribute for this project ?

UA We take donations, both monetary and artistic donations. For instance, students at Lake Forest College donated a number of jewelry pieces. We accept most types of items, including artwork, jewelry, accessories, and home decor. If you are interested in donating, please contact Sarah at sarah(at)uncoveredartistry.com.

TAI What kind of art/craft is more common ?

UA Most of our artisans create jewelry, but we also sell artwork, accessories, and home decor. Our most popular sellers are necklaces, sculptures, and earrings.

TAI For those who don't have any means to buy materials to start, can you provide them with any kind of help ?

UA Yes, Uncovered Artistry has set aside a microloan fund for the purpose of providing artisans who may not have the current financial means to start their business with a small loan ranging from $25 to $100.

TAI Do you think that besides its main function, this project is also a vehicle for its users to share their experiences with each other ?

UA We hope that our artisans feel a connection with other artisans who have gone through similar experiences. We hope to start an artisan newsletter through which UA artisans can get to know one another.

TAI Have you ever felt when gathering information and promoting this project, that the tabu of not interfering in a couple's life is still implated in our society when talking of domestic violence ?

UA We think that many times people chose to ignore domestic abuse when it is happening. We believe this is unacceptable. Domestic abuse and sexual abuse should not exist, and we hope to promote awareness.Domestic violence is certainly a touchy issue. We are always mindful of the comfort level of our artisans when talking about this issue. Some artisans don't mind discussing it, while others would like to avoid the issue.

TAI How are you advertising this project to reach the maximum number of people ? Have you gotten interested sponsors ?

UA We currently advertise online at craftcult.com, greatgreengods.com, and modishblog.com. We also write a weekly column for our college's newspaper.

The Uncovered Artistry project was made possible by a grant from Projects for Peace established by the international philantropist Kathryn Wasserman Davis, upon the occasion of her 100th birthday in 2007.

Interview With Canadian Artist Loretta Fasan

The work of the Canadian artist Loretta Fasan reminds us of the Renaissance paintings, incorporating glazzing techniques and depicting portraits characteristic of that period.

Her still lifes entice the viewer to imagine a story beyond the painting itself.
Loretta has kindly accepted to share her thoughts about her work and techniques, as well as the materials that she uses to accomplish her art.


TAI - How do you choose the colours for your monochromatic underpaintings ?

LF - When I decide to use a monochromatic underpainting for a face or skin tones in general, I usually lightly tone the canvas with a warmish color, such as burnt siena, or burnt umber.

Then I use raw umber, ultramarine blue, and black, plus white for the underpainting. Sometimes I add viridian green, if the skin color is going to be light or medium. I do this to counteract the orangey tones of the ground color, which still partly shows through, and to act as a contrast to the pinkish tones which will follow.

The hue of the underpainting colors can vary, somewhat, but it always basically consists of neutrals. The imprimatura can also be a cooler gray. I sometimes base the underpainting color on the subject, and technique ultimately used. If I am planning to use gold leaf, I may use a more intense reddish tone as an imprimatura, to compliment the gold. This red does not usually appear at all in the final work, except for small touches surrounding the gold leaf, but it definitely affects all of the color choices used in the course of the painting.

If I decide to do an underpainting for a still life, I basically use the same colors, without adding the green.




Do you buy your linen already primed, or do you apply the primer (gesso) yourself ?

I buy linen in pre-primed rolls. When working with acrylic primed linen, I add a layer of gesso. I have discovered a compromise that works for me, since I like the strength of the medium grain acrylic-primed linen, but I prefer a smoother surface.

I smooth the surface by adding a layer of gesso using a large palette knife to spread a very light layer of gesso, skimming across the surface weave. This deposits a thin layer of gesso into the crevices of the linen, while avoiding a build-up on the top. I have to work very quickly to blend it because the gesso dries fast. After sanding with fine sandpaper, a smoother surface is achieved with a bit of the weave still visible, while retaining the strength of the thicker linen.


Do you usually use acrylic or oil primed surfaces ?

I have recently bought some oil-primed linen panels, and I plan to try them out.


Have you tried other supports, such as copper ?
If so, how did you prepare them and how satisfied you were with the result ?

I have not used copper, but I have used masonite and wooden panels. I like the smoothness, and the hard support, especially if I am adding texture, or gold leaf.


Do you make a previous study, or do you draw directly onn the support that you are going to paint on ?

I do a very basic drawing just to place the elements, but since I usually work on a somewhat large scale, I find that the proportions and placement have to be changed anyway, so I end up changing a lot of elements on the canvas. I also like to allow for "surprises" or unexpected additions at the end. These touches can end up adding a lot of interest to the final piece.


What is the importance of drawing for you and for your kind of work ?

In the past, I tended to only do drawings, because I felt somewhat intimidated to start paintings . One day, I just decided to just start painting without any preliminary drawings for a while, to get over my anxiety. At this time, I started to incorporate elaborate pattern, and since I was working lifesize, it became impractical to attempt to do a drawing of the whole painting in advance. If I used gold leaf, for example, I had to apply it in the beginning, and work the rest of the painting around it.

I have sanded off, covered, and changed sections of what seemed to be finished portions of the painting, if the final effect required it. I think this adds a lot of richness at the end.


Do you use stand oil by itself or do you also mix it with another medium, such as an alkyd, or eventually with turpentine ?

I mix stand oil with 50% turpentine. I haven't added anything other medium to it so far. I have Venice turpentine, and I plan try to add it in the final layers. I have started using alkyds for the underpainting only, because they dry fast, add body to the final paint film, and can be used to affect oil glazes which are added [see painting underneath].



What role does trump l'oeil plays in your line of work ?

So far, I think I have used trompe l'oeil in a unique, and unexpected way. I have use elements of trompe l'oeil to change the context of the painting, to make some areas appear floating or glued on, or to go from 3-dimensional to flat. Sometimes this breaks the implied realistic illusion, and creates a new illusion.

Which are the positive aspects that glazzing lends to your paintings ?

Glazing allows me to add depth to color or shadows, or to modify a color. I add shadows to the beadwork, for example, at the end, only with a transparent glaze. I also add glazing to the lips and hair.


Of which colours is made your usual palette and which other ones you find yourself reaching for on a regular basis ?

My skin tones are usually composed of: raw umber, burnt umber, terra rosa, yellow ochre, raw siena, ivory black, flake or cremnitz white, alizarin crimson, Indian red, and viridian green. It sounds like a lot of colors, but I don't always use all of them. I just like to have them on the palette.

I might end up using some spare skin tone on the hair, or background. I make warm and cool color strings from these colors. I also use ultramarine blue, transparent red oxide, red and yellow cadmium in my work. I love the quinacridone colors for flowers. I have tried to use it lightly in backgrounds.

Since the internet has taken over as the main showcase for art, one result is that some paintings which are quite strongly colorful, yet appealing when when viewed in person, can appear "loud" or garish on the internet. This is especially the case when primary colors are used. Monitors can show colors differently, and no camera can see into shadows, or react to color as a person can.

Tell us about your favourite brushes (kind, shape and sizes) and in which stages/parts of your work you use them.

I use both bristle and synthetic sable-type brushes. My favorite shape is filbert. I also use flat bristle brushes for laying in colors quickly. I sometimes use a semi-stiff large sable to blend on the neck, shoulders, etc. I use filberts on the face and figure.

If the face is life-size, I use medium-sized filberts for the main areas, and smaller brushes for the eyes, and nose, etc. I try to lay in the brush strokes in all directions, but I end up with vertical strokes at the end. I use a large fan-shaped synthetic sable to lightly stroke down to get rid of directional ridges which tend to catch the light, and are distracting.

I sometimes use a splayed-out sable to lightly add blush in a random way, to the lips, nose or cheeks. I use various sizes, from large to very tiny. I also use fan-shaped bristle brushes for the background or sky.


Can you tell us what kind of frames go well with your painting stlye and subjects ?

I have used all kinds of frames, from elaborate to real antiques, brushed steel, and even found frames which I have worked on, including recycled objects used as frames. I have 2 Renaissance-style frames recycled from the speaker fronts of a vintage TV found in a barn! [jpg of this frame included in email] I like to buy frames, and have them on hand, then, as I work on the paintings, I can test how they will look in the frames. Sometimes, you can find great frames in very large sizes at home decor stores. Unique hand-finished styles. They usually come with mirrors in them, but are of the same quality as the more expensive custom frames sold in framing stores. I have tended to choose well-made solid, classic frames, which are suitable to various types of decor. I do tend to prefer linen liners, which almost always seem to enhance the look of the painting. Linen liners set the painting apart from the frame, and give it breathing space. Without liners, frames can cast shadows onto the painting, and sometimes appear to confine the painting.




How would you define your work and how has your art evolved to reach this stage ?

My painting style and subject matter is evolving. I will describe what I've tried to do so far. My goal was to create a sense of richness and impact creating female faces as icons, while incorporating a strong graphic aspect.

I was attracted to pattern, decoration, and flatness, and at the same time, to certain aspects of realism. I have been working to combine all of this , and, recently, to get the rich colorful elements to also appear worn, and aged. There is an element of trompe l'oeil, also. Parts of the figure can appear to flatten, and the background goes from atmospheric to a texture with folds. I tend keep the mood of the paintings positive, even if there is a moody element. I am inspired by many artists, both past and present. Currently, I am reducing the scale of the imagery away from lifesize, to allow for complete figures, and more of the surrounding space. [Detail from Quiet Girl (underneath); Titania; Example of trompe l'oeil; Quiet Girl ]



Do you accept commissions ?

I have done some commissions in the past. It would depend on the individual proposal. Obviously, I would prefer to work on a project that would suit my style.

Are you available for workshops or painting lessons, if someone should be interested in learning more with you ?

I would be available for workshops, to explain fundamentals, or metal-leaf technique.


Are there any planned exhibitions for the near future ?

At the moment, I have many paintings-in-progress that are at the 70-80 % finished stage, which I need to complete. I would like to have a decent body of finished, framed work put aside, so I don't feel pressured to complete work specifically for a show. Many galleries have closed, including some in which my work has been shown. I will use the internet to show my work for now, and will probably enter my work in some group shows.


"Living in the Past"

Loretta Fasan owns a Fine Arts degree from Concordia Univertisty.
After working commercially with airbrush for years, she decided to go back to oil painting, and took the time to develop a personal painting style, in between working on music recording.Since 1995 her work has been exhibited in galeries, cultural centers, and small museums in group and solo shows in Canada and the US.
Her paintings have been featured for several years on PBS television, and are in private collections in Europe, Africa, Canada, and the US. She has received 2 honorable mentions from the Quebec Association of Illustrators, and has completed commissions for individuals and for public spaces, she is currently working on a series of paintings of women in mythology.

You can also read Loretta's blog, where you can follow the different stages of her paintings and her artistic career.


"Titania"


Example of trompe l'oeil


"The Quiet Girl"

Interview with Ron Francis

Ron Francis was born in Sydney, Australia in 1954.
He remembers drawing Disney characters on his bedroom walls, something that his parents didn't oppose to.

In 1974, Ron settled in Melbourne where he paints full time improving his skills and in 1980 he achieves the first representation of more to come.

Building custom software to work with perspective and developing formulas to work with, Ron's paintings involve the viewer in a direct way, namely through trompe l'oeil murals.

The artist prefers acrylic for his murals and oils when painting at the easel, although lately he has dedicated himself mostly to fine art.

Interview :

Q : Your paintings are usually not painted from life, what challenge does that pose to you in terms of imagination and creativity ?

A : The main challenge is trying to make something imagined look plausible. It's much easier for me to paint man-made objects from imagination than it is to paint natural objects, so in the latter case I will seek out references and either paint from life or from a photograph. The challenge here is to marry the real and the unreal so that they look like they belong to the same scene. Objects from life have to have the same lighting and be in the same perspective as the imagined objects.

Q : What kind of reactions do you expect from people who look at your murals and what are the most usual ones ?

A : I hope the illusion is strong enough to give people the feeling that a scene is there, even though I can't expect to fool people into thinking that it is actually there. Of course if someone is actually fooled by what I have painted then that is the best compliment and this has happened on enough occasions to make me happy.

Q : In your experience, what are the main reasons a client commissions a trompe l'oeil mural ?

A : Usually clients like an outdoor scene to add some space that normally wouln't be possible. It may be that they just have a huge empty wall to decorate.

Q : Although not so much present in your oil paintings, trompe l'oeil is a dominant subject in your works. Tell us about its importance to you.

A : Trompe l'oeil is less important to me than my fine art. Trompe l'oeil doesn't allow the same self expression that fine art can, and I regard it as more decorative painting. If trompe l'oeil is important to me, it's mainly because of the technical challenge. I do enjoy painting them, but not as much as fine art.

Q : When you are contacted to develop a mural and the client asks for an opinion on the theme, which one is your favourite ?

A : I don't have a favourite theme. One of the most important aspects in this case, is to marry the mural with the physical architecture of the site. These are basically logistical problems to overcome, rather than themes. Most of the time the clients have a fairly good idea of what they would like to see.

Q : From the themes that you paint, which ones permit you to better trick the eye ?

A : Anything with a short focal length, that is, anything that doesn't extend too far in front or behind the surface of the wall, such as a carved relief, niche etc. Unfortunately most people want to look out onto open vistas, which automatically makes it less effective as a trompe, but more effective in creating the feeling of space.

Q : What are the biggest challenges when developing a trompe l'oeil mural, namely when first making the project and when painting ?

A : Quoting is by far the hardest thing for me to do. Often clients can have unrealistic expectations of what can work and from my point of view I won't paint anything unless it could exist in real life.
For example, someone may want stairs leading down to a beach, but from the viewpoint I may work out that the stairs would not be visible at all. In that case.
Once a plan is drawn up, the hard part is to make the painting look realistic, which is the same for every realist artist.

Q : Alternating between murals, canvases and mediums is like an escape valve ?

A : I no longer paint murals, and have for the past 5 years concentrated on fine art. I found working with clients and asking for money was very stressful for someone like me who is not business minded at all. So yes, painting fine art is like a big escape!

Q : When not painting a trompe l'oeil, what are your preferred subjects ?

A : Subjects vary greatly. Many are inspired by dreams or observations about life, while others are purely technical experiments. They nearly all involve people.

Q : Can we expect the development of projects in the future which will surprise the viewers ?

A : I hope so, but only in the area of fine art. Painting the same subject more than once would be tedious and boring for me, so I'm always looking for something new to paint. As fine art allows me to express myself more freely, this should give me more opportunity to be surprising.

Q : During your earlier development as an artist what technical challenges were hardest to surpass ?

A : Linear perspective, light & colour and how they relate to each other, all of which are important in creating atmosphere, which is my main concern.

Q : Do you consider that entering the business world of art proved a difficult task, namely the acceptance from galleries and getting your work known ?

A : In the 1980s I think it was difficult for any realistic artist to be accepted by galleries as most of the art around that time was abstract expressionism, although personally I stumbled into a couple of galleries fairly easily. The financial side was always difficult. After a 15 year period of painting mostly murals, I decided to get back into the gallery system and was very fortunate to come across a gallery owner who knew and liked my work. Since then, I am able to be a hermit in my studio without having to think about the business and marketing side of my art.

End