Shalon interview featuring artist Bradford Johnson: part of the independent creatives series

Image by Sharona Jacobs.

Last spring, I posted about the Shalon, a cross-collaborative professional creative group formed between myself, an author, an artist, and a filmmaker (we just added a mosaicist/educator as well, but more on that soon!). Inspired by the concept of 18th century French salons, we meet monthly to discuss our goals, be accountable to one another, and brainstorm ideas. The three menfolk of our group suggested the name based on the first three letters of my name. 

Being an independent creative professional can challenge the most stalwart of creative souls, and this group helps keep all of us focused and productive, both creatively and from a business standpoint. I hope that this, and future interviews with fellow independent creatives will inspire and support those of us making a living with our art. In that initial post, I mentioned that I'd be focusing on the Shalon-ers individually so you can learn a little more about them and their work. 

For this post, I interviewed our resident artist, Bradford Johnson. Brad has been painting now for nearly three decades and exhibited extensively in solo and group exhibitions—garnering acknowledgements and awards from such prestigious organizations as the Pollock-Krasner Foundation and Yaddo and MacDowell Artist Colonies. Throughout this time he has focused on “first-level” questions: who are we, where do we come from, why are we here, what has gone wrong, where are we going? In his work there is often an element of immanent danger and potential or actual disaster. Images of wrecked ships, airplanes, and balloons alongside ordinary human activities; indicators of aspiration and failure, calamity and hope — overlaid with time and memory. Without further ado, let's talk to Brad about his work (all images of artwork are courtesy of Bradford Johnson).

Sharona: Hi Brad, and thanks so much for speaking to us about you and your work! Could you tell us a little bit about what drives you as an artist?

Brad: I'm fascinated with the boundaries between photography and painting. I delight in criss crossing the line between both -  embedding objective photographic backstories with the subjective painting process. Even during the formative training as an artist at The Rhode Island School of Design to my MFA at Hunter College, NYC, I was captivated with memory and the past in visual terms. This was central in my show at the UniLu Gallery in Cambridge MA, Spaces Between the Splendor- Painting Encounter and Conquest.

SJ: How did you first venture into the art world?

Brad: I came to art making sometime late in high school - my application to the Rhode Island School of Design a kind of afterthought amid other liberal art colleges. When I was accepted there I (naively) took this a confirmation of an artistic path. This unexpected stroke of luck or grace was the gate through which I found a vocational calling.

SJ: It's true, luck can certainly change an artist's course, both for good and the difficult! What are the greatest challenges in your work, and what helps you overcome them?

Brad: I think it's particularly hard to hold on the value of myself or my work consistently. There are plenty of metrics in the world that diminish livelong pursuit of painting (or any creative path). Painting can be isolating. There are many moments of self doubt. The only way through these periods is through community and connection. It can also be helpful to muster a determination to keep throwing any shit at the walls until something sticks. 

SJ: Absolutely! Persistence is underrated as a vital commodity in an artist's survival and success. Speaking of success, whose work do you most admire or influences you?

Brad: An early guiding light for me was the quirky painter A.P Ryder and some of his obsessive gritty mysterious paintings. Later Robert Rauchenburg offered a way to work with photographic images that was liberating. I also lean pretty heavily on musicians like, Bruce Cockburn, Leonard Cohen, Jeff Buckley and Nick Cave as inspiration.

SJ: Sounds like you like to draw from multiple artistic disciplines to create your work, much like we at the Shalon like to support each others' work though we each create with different media. How is the Shalon, or meeting within other creative professional groups, helpful to you?

Brad: The Shalon has been a lifeline of artistic and personal accountability. This group of friends are a remarkably undefended fellow creatives who generously share the burdens and joys of the artistic road.

Shalon interview featuring author Robin Lippincott: part of the independent creatives series

A few months ago, I posted about the Shalon, a cross-collaborative professional creative group formed between myself, an author, an artist, and a filmmaker. Inspired by the concept of 18th century French salons, we decided to meet monthly to discuss our goals, be accountable to one another, and brainstorm ideas. The three menfolk of our group suggested the name based on the first three letters of my name. Being an independent creative professional can challenge the most stalwart of creative souls, and this group helps keep all of us focused and productive, both creatively and from the business standpoint. I hope that this, and future interviews with fellow independent creatives will inspire and support those of us making a living with our art. In that initial post, I mentioned that I'd be focusing on the Shalon-ers individually so you can learn a little more about them and their work. This week, I interviewed our resident writer, Robin Lippincott, the author of the novels "In the Meantime", "Our Arcadia", and "Mr. Dalloway", among many other published works.

Robin Lippincott, photographed at Mt. Auburn Cemetery

Sharona:

Hi Robin, and thanks so much for speaking to us about you and your work. Could you tell us a little bit about you and your work?

Robin: I am a writer of literary fiction and nonfiction. I have two books coming out: Blue Territory: A Mediation on the Life and Work of Joan Mitchell (November 2015), and Rufus + Syd, a young adult novel co-written with Julia Watts (Spring 2016). I am also the author of the novels In the Meantime, Our Arcadia, and Mr. Dalloway, and the short story collection, The 'I' Rejected. My fiction/nonfiction has appeared in over 30 journals, including "The Paris Review," "American Short Fiction," "Fence," "Memorious," "The Literary Review," "The New York Times Book Review," and others. I teach in the low-residency MFA Program at Spalding University, and am also an avid film/museum/gallery goer, as well as a frequent walker in the city.

Sharona: How did you first venture into writing?

Robin: I first got into writing as a result of grief, not death but loss, as has been true for so many writers—one long, hot, long ago summer in Central Florida, where I grew up. Van Gogh's letters to his brother, collected in Dear Theo, and Anne Frank's Diary, were seminal aspects of my aesthetic and moral education that summer.

Sharona: 

What are the greatest challenges in your work, and what helps you overcome them?

Robin: The greatest challenge in the work itself is simply getting it right, and in creating something that's beautiful and true. And then there are the challenges that occur at the intersection of art and commerce, at which there's most always a collision: sometimes it's only a bump or a scratch or a dent; at other times the vehicle is totaled. In both cases, you've just got to keep at it, teeth (sometimes) gritted.

Sharona: Whose work do you admire or influences you?

Robin: The list is long. I consider Virginia Woolf and D. H. Lawrence as my literary parents, with Emily Dickinson as a great aunt, and from there it's largely the great minds and/or stylists (the writer's writers), as well as a few Southern writers, whom I most admire. Here's a shortlist:  Susan Sontag, Joan Didion, John Berger, William Faulkner, Flannery O'Connor, James Baldwin, Elizabeth Hardwick, James Salter, Grace Paley, James Schuyler, Toni Morrison, Renata Adler, Michael Ondaatje, W. G. Sebald, Anne Carson....

Sharona: 

How is the Shalon, or meeting in other creative professional groups, helpful to you?

Robin: The Shalon is invaluable to me for several reasons. First, I believe the artistic pursuit (and the life that goes with that) is best and perhaps only really understood by other artists; in my experience, non-artists just don't/can't fully get it. And so I receive meaningful emotional support, both generally and also specifically. And I also get ideas and inspiration, and stimulation, as well as direct, inside exposure to the work of artists working in other art forms.

Robin Lippincott, photographed at Mt. Auburn Cemetery