Kick boxing champion to abstract artist? Zatista’s contributing writer Joe Conway sat down with L.A. based artist Kevin Brewerton to discuss his original, and very physical path to the canvas.

I’ve read that you grew up “hating art,” so how did you move from the athletic world into the creative world as an artist and appreciator of art?

I guess I didn’t really hate it, I just didn’t understand it. I grew up in a coal-mining town in northern England, I was from a working class family and we were always taught that art was for rich people.

I moved to London when I was 17 and while I didn’t understand art at the time, I always found myself at the Tate Gallery or in some other gallery. I wound up coming out of boxing gyms and going into art galleries, I guess I was always drawn to art.

I think though I was always an artist. I expressed myself as an artist in the athletic world in the boxing ring — on a different kind of canvas. Expressing myself is what I’ve always been after. I think the expression is the impetus and the drive.

Your work either flirts with abstraction or embraces it outwardly. It’s interesting that you went from someone who felt alienated by art to someone who embraced abstraction, because that’s usually what many people find the most daunting.

I’m drawn to abstraction because I find it to be very spiritual. All the great artists talk about art being a mirror of your deepest feelings; your personal feelings, and I think that abstract art really is.

Mahoning, Franz Klein - 1956

I look at a piece of art I like from Franz Klein — he lived in NY and he did lots of abstracts in black and white. There’s this tension between the black and white, and they look very simple; they’re simply painted. But within it, within the framework it’s quite easy to see someone who is holding on.

When I attack a canvas, I might have an image of what I want to go after, and sometimes I have no idea. Abstraction is immediate, spontaneous, provocative. I’ll just start; it’s a subconscious thing that’s working and you’re working from your deepest level of unconscious and putting your soul on that canvas. It’s about exploration, it’s about discovery, it’s about learning about yourself, about revealing yourself.

You have said that creating art takes just as much if not more courage than stepping into the ring. Was starting to make art a matter of courage for you?

One of the first things I learned from my mentor, Milton Katselas, is that if you’re afraid of something, then you have to do it. There’s no place for fear if you want to be an artist. Being a five-time world kickboxing champion I figured, “I know what fear is, I can go in the ring with anyone.”

To be a great fighter, you have to have heart: with art you reveal your heart. With fighting, it’s all about protecting, covering up and putting a wall around yourself so that no one can get to you. When I became an artist I had to relearn everything: I had to take the walls down and reveal myself. It was much harder than putting walls up to protect myself.

You’re kind of a success story in terms of your relationship with art, going from feeling alienated by it to becoming an artist and appreciator. Do you have any recommendations for people who are learning to approach art, maybe by looking at your art?

I think the best way to approach art is to get a canvas or a sketch pad, some paints or a pencil and just start. Once you start the process, it’s infectious. You don’t have to be skilled, good at it, or have years of training to immediately benefit from it. It’s a part of our inherent, creative spirit and when you connect with it, it’ll lead you right into it. Just start.

There’s an obvious connection to your athletic past in the figures that you paint, does your relationship with sport have any other bearing on your work today?

The semi-figurative boxers I paint, they’re all part of me. I ended up doing a series of them and I’ve been approaching them from different perspectives when I paint. Sometimes I’m reminded of different fighters who I’ve faced, but usually they’re coming from some sort of stage or phase that’s happening inside of me. In some respect, they’re all a kind of self-portrait.

Are you still training?  Has you art affected your athleticism?

I do still train. I think about it as an expression, the way I move when I’m kickboxing. Martial art is, after all, art. My mentor Milton Katselas talked about what we possess as artists and how powerful art is. He talked about the world of physical strength, athleticism—about guys who are unable to break in or find it more difficult to break into themselves—it goes back to courage.

It’s the courage to be vulnerable, to have vulnerability in your art which makes it more human. What he said is that art is about humanity, it’s about life. I think that’s what changed me when I started “becoming” an artist. I mean, what’s bigger than life? Why not create art? It’s in every aspect of our lives.

Do you know of other artists these days who blur the line between athleticism and art?

I don’t. I think I may have read about a boxer in the 1920’s who was also a painter.

Who are your greatest inspirations artistically?

Motherwell: For sheer scale and depth.

Pollock: Action painter—no beginning and no end point.

Yves Kline: Audacious. Spiritual.

On Zatista I like Kim Curtis,

Sandra Wray,

and I found Lisa Cacciopoli’s work provocative.

Anything to add?

There is one more thing that I’d like to say, and that is that each painting has a life of its own. I often don’t know what I’m doing or where I’m going until I get there. Not unlike stepping into a ring, the process requires faith.

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Take this concept and apply it to your home. While you might not be using fluorescent bulbs as your primary overhead illumination, here are just a few ways to turn your home lighting from hospital bleak to city chic:

"Bounty" by Tracy Mewmaw, A Zatista artist

Hang “light” art. If you’re looking to brighten your space, find prints that “pop” right off the wall. Prints that include light blues, yellows, and tangerines work well to lighten up an otherwise dark space.

Use task lights. Overstuffed chairs, small work-spaces, and chaise lounges all look fantastic when accompanied by you, a book, and a well-appointed task light. Make sure the light reflects your personality and has a story you can share. For example, my aunt has a gorgeous Tiffany lamp that she bought in New York that required three taxi trips, a plane flight, and a train ride home before it found it’s place on her writer’s desk.

Learn the language of accents. Accent lighting is the number one way to add a bit of drama to a dull room. Accent lights also play the secondary role of adding pockets of warmth to a room without flooding the entire space.

Hot Air Balloon Chandelier (Chateau Sonoma)

Unscrew the overheads. By adding task lights, accent lamps, and strategically-chosen art, you almost eliminate the need for any basic overhead lighting. If you’re still using the lighting that was initially installed in your apartment or home, consider unscrewing the bulbs and letting your personal artistry speak for itself. If you can’t imagine a world without overhead light, replace any outdated, standard coverings with fun, alternative options, like the Hot Air Balloon Chandelier that I saw while shopping in Sonoma, California this past weekend.

How have you used light to create warmth and enjoyment in your own home? Have you ever gotten nasty letters from your landlord when he found out that you removed all the light covers and replaced them with open umbrellas? (Okay, maybe that’s just me…)

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Eames Molded Plywood Lounge Chair

Bertoia chairs,

Bertoia Side Chairs

and Saarinen chairs. If I could live in a house filled with original artwork and iconic chairs, I’d be satisfied.

Saarinen Chairs

More than any other piece of furniture, the chair has been designed and redesigned by the world’s most creative minds. Architects, artists and designers all want to sink their teeth into a chair project and tackle the essence of chair-ness. Who knew that, when the ancient Egyptians invented the chair, the idea of this utilitarian object would be taken to such an inventive level?

(I don’t have this book, but I should have it. I must have it!)

Let’s take a moment to indulge in chairs and celebrate what the spirit of artistic pursuit has done for the sedentary over the years. Here are a few of my favorite chairs,

Panton C1 Chair

Frank Gehry Wiggle Side Chair vitra.com

vintage steno chair twentygauge.com

a few chairs that have caught my attention recently,

Drops Chair - camillahounsellhalvorsen.com

Bloom Coco Plexistyle

Fernando-and-Humberto-Campana-Sushi-III-Chair bonluxat.com

and a few paintings of chairs.

Van Gogh's Chair

Raimonds Staprans

David Pettibone "Yellow Chair" zatista.com

What is your favorite chair?

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A recent New York Times article about Motl’s apartment says, “One-room living works well if you clearly define areas” and one of the ways Zach does this is with artwork. A large framed map anchors the couch,

and the walls of his wet bar display a collection of framed art and art objects.

Here the artwork draws attention to each area and functions as punctuation, allowing the eye to pause and notice that this is where a specific activity takes place.

“He knows how to hit the sweet spot that turns a bunch of objects, like stacks of magazines, into a collection,” the New York Times wrote, “and how to array those objects so they look sculptural.”

Zach’s “artfully arranged stuff” epitomizes this space, where everything from lighting to chalkboard-doors to Wellingtons become art.

Zach’s sophisticated apartment proves that living gracefully in a small space can happen with an artful eye. Get organized, punctuate areas with art, and with your own distinct flair you will surely create a very cozy sense of home.

Photos: Robert Wright for The New York Times

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Yehan Wang "Density-058"

Her typical request is, “I want it to look like it’s from the window of Anthropologie!” or “I want it to make me say, ‘huh?’”

Yehan Wang "Density-056"

That’s not the kind of artwork you see everyday. But work by this zatista.com featured artist, Yehan Wang, fits the bill.

Yehan Wang "Density-063"

Check it out. I really, really like it. Does it make you say, “huh?”

Yehan Wang "Density-057"

His sizes are terrific and he lives in Vancouver, BC, which brings me to my next point:

How about Shani Davis, Lindsey Vonn, and Shaun White? Talk about inspiring. Go Team USA!

cherikopp.com "God Bless (Patriotism Without Rigidity)" made with 100% repurposed materials: plastic caps and lids

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I was glad to see that Madelyn Jordon, a gallery owner and art consultant, made a great point in a comment, anticipating the topic of my next post. She said,

That is a start, but when committing significant funds to a purchase of art ( $10,000 and up), it’s best to make an informed decision. It’s great to have an emotional response, but I am happier when there’s a bit more knowledge and thought behind the decision..as a gallery owner and consultant, we educate and illuminate, choosing art with both the wow factor and quality.

Ideally, anytime you purchase art you will be making an investment–one that will appreciate nicely, if not astronomically. And realistically, while Madelyn is definitely right about the $10,000 threshold, let’s face it: one man’s Fiat is another man’s Ferrari.

Sierra Crystal Cut by Katrine Hildebrandt on Zatista.com

So whether that painting that caught your eye and haunts your dreams costs $150 or $150,000, it’s always a good idea to make an informed decision. Now, the question is, how? If you don’t know any thoughtful, articulate gallery directors like Madelyn, the key lies in a key. Actually a combination of keys, really–Command-t on a Mac or ctrl-t on a PC.

That’s of course assuming that you already have Zatista opened (it’s set as your homepage, right?!) and have just found a piece that you’re really, really into. We’ll use my friend Katrine, a Zatista artist, and her piece “Sierra Crystal Cut” as an example. You can get some pretty good info on the artist by clicking on her name just to the right of the piece of art. OK, so you read her artist statement:

“Katrine’s work investigates the world through a philosophical and scientific lens, using data or specimens as models or metaphors in order to examine a philosophical concept.”

That really speaks to me, and wow, that piece is actually a cut paper design–that seems really intricate and labor intensive, and it’s beautiful. I’d say that’s well worth $175 (granted, I happen to be biased in this situation, I’ve watched her make these and the process is amazing).

You can always pull the trigger right off the bat, or you can also pop open another tab on your browser (that’s where the Command-t or ctrl-t comes in) and instantly have a world of value asserting information in front of you. Artists, especially emerging artists, are some of the most web savvy people out there today. They have websites, blogs, and use Twitter. All of those things can lead up to a pretty accurate assertion of where they’re at in their career and where they may be headed.

www.katinehildebrandt.com

So let’s google Katrine Hildebrandt. Yep, there’s her website. The first thing to look for is a CV (Curriculum Vitae, like a resume used for applying to academic, education, scientific or research positions)–that’s your key to see where Katrine or any other artist went to school (Mass Art), if she has a graduate degree (yep), where she has shown work (Boston, San Francisco, Portland and google those galleries–see who else has shown there) and what kind of press she’s received. Solo shows are a good indication that the person is going somewhere, as is a generally active exhibition schedule.

www.katrinehildebrandt.blogspot.com

From there, you can dive as deep as you want. Artists are smart, they blog about major projects and collaborations with other important artists. They promote their shows and get the word out when their work is going to be featured in the media. Of course, all of these things are just ingredients for success and there’s no guaranty that any artist’s work will appreciate. However, with the internet you now have previously unimagined access to an artist’s life and career and a better ability to assess the potential for any purchase to prove to be a sound investment–and that’s an amazing thing.

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Prisons
Interrogation rooms
Hospitals
Sanitariums

Question: What do these four locations have in common (besides being the setting for every episode of CSI)?

A lack of warmth.

That’s right. You don’t go to the local prison to share a feel good moment. Sure, the subject matter might have something to do with it, but consider this: if the walls of your home feature little more than an IKEA bulletin board and a couple of old AC/DC posters, your home is probably about as a warm as the set of a detective show.

Warmth Tip #1: Art is where the heart is.
If you find a particular piece of art moving or inspiring, chances are your friends and family will feel the love as well.

"Silhouette in Arches" by Jose Azel, a Zatista artist

Warmth Tip #2: Choose wall art that represents your values and interests.
For example, if you’re a travel fanatic, showcase a series of sunsets from around the world.

"Homeward" by Tracy Mewmaw, a Zatista artist

"An Icelandic Boy" by Peter Guttman, a Zatista artist

Warmth Tip #3: Tell a story.
Find three photographs that can tell their own story when hung in sequence.

"Michael's Memory" by Jennifer Childs, a Zatista artist

"Words" by Jennifer Childs, a Zatista artist

"In the Crowd" by Jennifer Childs, a Zatista artist

Warmth Tip #4: Add a splash of color.
Vivid Reds, oranges, yellows, and deep greens automatically add warmth to any room.

"Waiting" by Jeremy McKane, a Zatista artist

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zatista.com Xiuyuan Guo "Path"

In the midst of December-Multitasking-Madness I met two friends for coffee and a quick bite at Chelsea Market in Manhattan. Secretly, I wanted to stop into two galleries while in the neighborhood, but I didn’t mention this to my friends in advance because I knew they’d groan. But, once bellies were full of brownies, I innocently asked them to join me while I walked a few blocks to PaceWildenstein to see the David Hockney: Recent Works exhibit. At first my friends said they didn’t want to go, spouting their usual reasons that going into galleries to see exhibits by ‘important artists’ was intimidating and left them feeling like they should have something meaningful to say about the art afterwards. So I promised them that we didn’t have to discuss the artwork, I just wanted their company. A week later I tried this with another friend after lunch uptown. I wanted to see a Gerhard Richter exhibit at Marian Goodman Gallery so I suggested she join me.

zatista.com Mary Lee Bradley "410 Untitled"

In the weeks since then, my friends and I have all agreed we enjoyed those impromptu, no-pressure gallery pit stops.

zatista.com Edward Zelinsky "Pink Landscape"

And to my great pleasure, my friends offered that what they responded to most about the artwork those days was the color.

zatista.com Elizabeth Graeber "Bird"

Indeed, we were all inspired by the profusion of color!

zatista.com Kristina Zallinger "Blue Danube"

What a beautifully simple and completely natural standpoint from which to appreciate original artwork. It’s enough to whet your appetite when it comes to art.

zatista.com Bobbi Heath "Melons"

It doesn’t have to be any more complicated than that.

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From Vietnam to Vancouver, while on vacation I take as many snapshots as the next person.

gettyimages.com Brian Lawrence "Statue of Liberty"

But once I’m home loading pictures into iPhoto, I’m often surprised to see that my most interesting images are of the least expected subject matter.

zatista.com Jennifer Childs "Little Italy Remaining"

I like to apply this theory to collecting travel photography as well, in order to curate a compelling group of unique photographic images. You’ll notice in the pair of New York images above – as well as in the pairings of Italy, Greece and beach images below – an obvious image is juxtaposed with something less expected and therefore a bit more enticing.

gettyimages.com Arctic-Images "Leaning tower of Pisa, Tuscany, Italy"

zatista.com "Discussion" by Daniel Grant

For me, the challenge to collecting travel photography is to evoke a sense of a place without falling for the obvious images of that place.

gettyimages.com "Parthenon Facade, Acropolis, Athens, Greece" by Harald Sund

zatista.com "Dock Workers Athens" by Simon MacArthur

Case in point: At the beach house where we stayed during a recent holiday in Florida, I came face to face with a terribly boring group of artworks. These images added next to nothing of interest to the home simply because the subject matter was too similar to what we saw outside during the day. If a person sits poolside every night watching the sunset, why hang a photo of that same sunset in the living room? The redundancy didn’t do much for me.

gettyimages.com "Razorbill" by Guy Edwardes

zatista.com "Fins" by Nick Lavecchia

Take your travel photography collecting to the next level- don’t miss an opportunity to let your original art collection add impact to your surroundings. When it comes to travel photography, go a step beyond clichéd subject matter. Images that maximize intrigue and minimize the obvious will bring you years more enjoyment and may even enhance the mystery of all the places you’ve visited, or dream of visiting one day.

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"The ugliest thing I ever saw." -Lyndon B. Johnson

Official White House portrait of Lyndon B. Johnson by Peter Hurd

And then there’s the type of portrait that may not be well-liked in the end due to circumstances entirely beyond the artist’s control. This sculpture portrays the former leggy lady of Victoria’s Secret, Stephanie Seymour. Her husband, Peter Brant, owns it. Soon it may be all he has left of her, as they are getting divorced (messily).

The mounted (simulated) torso of Peter Brant's soon-to-be ex-wife Stephanie Seymour, by Maurizio Cattelan (1 of 3)

Artists creating self-portraits have a better time of it generally (no, we’re not going to get into Van Gogh and his poor old ear, here). Andy Warhol made hundreds of self-portraits during his lifetime. Here’s the last one he made, a few months before his death:

Last Self-Portrait, 1986 Andy Warhol

Frida Kahlo portrayed herself after her divorce from Diego Rivera as two starkly and painfully separate women (that’s a portrait of Diego in the hand of the colorfully dressed Frida):

Painting Title: The Two Fridas 1939 Collection of the Museo de Arte Moderno, Mexico City

The artist Kehinde Wiley has taken classic, famous pieces of European portraiture and replaced the original subject (in this case Napoleon) with young unknown African-American men:

Napoleon Leading the Army over the Alps, 2005, by Kehinde Wiley (9' x 9')

Bonaparte Crossing the Alps at Grand-Saint-Bernard by Jacques-Louis David 1801 (8.5' x 7.25')

Portraits don’t have to be limited to human beings. Here, one of Zatista’s artists, Sam Dolman, captures a cow pausing between chews of cud:

Suspicious by Sam Dolman

Ben 1, by Rob MacInnis

The photographer Rob MacInnis created a series of images using farm animals:

Cameron, by Rob MacInnis

Keira, by Rob MacInnis

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