Art Chowder May | June 2017, Issue 9 - Page 19

1. H ave Y our O wn W ork S pace T he movie Ghost may have made it styles, the scent of the studios dif- appear stimulating, but the reality of sharing a creative workspace, even if they work within the same modality, is different. Not only do Bartosz and Nishiki not share a workroom, but their isolated studios are separate from their living space. Their home is a sanctuary for family and connect- edness. They own a television, but it is off to the corner and there are plants in front of it. Q: Who is the Messy Artist? Nishiki: “He is. He paints quickly and freely.” She reflects about how she admires his style She is more careful, contemplating her painting first, and he often puts paint to canvas and di- rectly transfers what is in his mind. “Water medium is less forgiving. Ev- ery stroke of the brush is precise and deliberate.” Working with different painting fer. Nishiki ruffles Bartosz’s hair and says, “Sometimes he comes home pickled,” referring to the fragrance of distilled turpentine often associated with oil paint. The water mediums, including Sumi, that she uses have a sweeter aroma to them, similar to incense. Bartosz: One who enters his studio is greeted with a professional, clean ap- pearance. Bartosz paints with heavy impastos, by placing a large amount of paint on the canvas and scraping it across, leaving an evident texture. He uses various squeegees and card- board to move the paint around. “A fellow artist in Rome advised that the era of messy artists ended. The artist can better view their work with white walls and a clean floor.” Neither Bartosz nor Nishiki is a messy artist. Bartosz has paper taped under- neath his work-in-progress paintings to be removed upon completion, to keep the pristine appearance of his studio. Q: Do You Work in Silence or with Music? Nishiki: She doesn’t always have a choice. Her studio, located in a build- ing where students also work, often provides music in the space above hers. “Part of what I do is repetitive, and I enjoy playing music then.” All she needs to create is privacy and a closed door. Bartosz: “In Rome I shared a ware- house with 100 other artists in an open factory. Some artists favored music, others desired silence.” He shares Nishiki’s need for an isolat- ed workspace. Though he prefers to work in silence, once in the zone he can tune out noise. Another person in the room is more distracting. May|June 2017 19