Artborne Magazine July 2016 - Page 19

How do you feel about the culture and arts in Orlando? I think it needs to be more. It’s such a vague word. Like “How”? A lot of people in Orlando are just not educated in art. And it’s too new in the area, but that’s not to say it’s not going to change. It’s just developing. It’s not well established like New York or Southern California. It’s a lofty comparison whenever you compare to New York. Or even Atlanta. Even Santa Fe. Yeah, I‘ve heard Santa Fe is great. There’s such a big market there. I was just there in December. Really, how was it? I really enjoyed it. There’s a lot of very... institutional art... decorative? I think that’s the right word. I can see that. I see a lot of older artists migrate to Santa Fe. There’s also a lot of Native American art. That’s a big influence. Which isn’t decorative, I’m not saying that. No, of course. I understand what you’re saying. That being said, I mentioned Philadelphia. They’re really big on their mural scene, and all these bigger cities they have a kind of presence, an essence. What they’re known for. If you could – I don’t know if you could – how would you describe Orlando? What’s our community, our arts? I don’t think I’ve been in it long enough to know, to give it a word, to sum it up. I would say it’s not as conceptual. How would you describe your work, in that context? It’s accessible but very conceptual. My houses I’m working on. Aesthetically, they’re very easy to reach. But they’re thought provoking. What’s the meaning behind the houses? Why do you create these fractured shapes? Time, acrylic on canvas Orlando’s Art Scene 18