Anteism is a Canadian publisher working with galleries and artists to produce unique art books. Our blog showcases the books we produce and the artist books we love!

Luke Ramsey Talks at Pictoplasma Festival

Luke Ramsey talking at Pictoplasm Festival

Luke Ramsey discusses the concepts and process of his commercial illustrations and personal art at the Pictoplasma Festival in Berlin.

Luke Ramsey is an illustrator and fine artist from Canada. He is founding member of Islands Fold, an artist residency located on Pender Island off Vancouver. His work is distinct through a continuous flow of pen on paper, which he digitally colours to strong tableaux. Human characters are set in landscapes and natural settings, mountains stare motionless and simple shapes build up to intricate agglomerations. Luke has collaborated with over 80 different artists to date and has exhibited widely in North America and Europe.

Here’s a 10 minute edit of Luke’s presentation at the Pictoplasma Berlin Festival, 2010.

IMYGRATE Artist Profile: Erik Volet

Erik Volet

Victoria artist Erik Volet's graffiti roots and ink character drawings are well suited to the IMYGRATE Project.

Below is a character drawn by artist Erik Volet. Visit the IMYGRATE Exhibition on February 19th, 2010 to find out what happened to this wandering nomad.

Erik Volet imygrate Character

Volet talks about his mural in the group show "Us Ones In Between"

Below is an introduction written about Erik's artwork for his book Saturnalia. “The drawings collected in the present volume represent a fragment of a much larger work; years of incantations and descents into the emptiness of self are here displayed in a fractured and fragile way, for that which they represent cannot be given in a singular stroke. But they serve to provide us with a glimpse of another grand attempt, another striving towards the centre, another drawing aside of the veil. In these works can be seen the manipulations of a magus born in an age when it has been decreed that such a creature shall not be. Here can be seen a desire to create and recreate another system of nature, where the dead light of fluorescent bulbs can no longer blind us in our dreaming. Here we see the hand moving in the act of tracing the transformations of point and line across the encompassing whiteness of new time, where the cartoon representation of a human face stands as the irreducible representation of that real with which all our sciences struggle. It is only in the image of the face of the other that we find the reflection of the order of the self sought by all our symbolic orders.” – Ami Joseph Brosseau, August 2007

Brain Trust Interviewed in Monday Magazine

Peter Thompson and James Kirkpatrick have a been interviewed in the current issue of Monday Magazine. Interview with Peter Thompson and James Kirkpatrick

Pump up the Jam

By: Amanda Farrell
Peter Thompson and James Kirkpatrick get in each others’ heads

It’s obvious that Peter Thompson and James Kirkpatrick feed off each other. Really, one need only look as far as the two London, Ontario artists’ new book, Brain Trust—an eclectic, quirky collection of pen-and-ink drawings and paintings—for evidence, but their collaborative creativity is corroborated by the e-mail interview we did. The duo, who have been creating work together since 2000, answered the questions while sitting in a laundromat (I guess they even wash their clothes together) and say there’s not really any set way that their co-produced pieces happen.

“Sometimes we talk about what we want to use, like paint or just pen or something, but other than that we pretty much just let it happen,” says Kirkpatrick, who also raps under the Thesis moniker. (The two will also be doing a musical performance at their book launch Saturday.) “Sometimes a pen piece will turn into a colour thing.”

Thompson adds, “Yeah, we don’t need to ‘talk’ about anything, we are geniuses.” To which Kirkpatrick replies, “We have the Brain Trust.”

Well, now we know where the book title comes from.

However it works, know the end result is rad-tastic. The line drawings and paintings (Thompson has a background in zine-making while Kirkpatrick comes from the graffiti-art scene) have a real whimsical quality to them, often with strange characters having stranger conversations with one another (“Whoever has something they want to write down on the pieces writes it down there, and it is awesome,” Thompson says of the dialogue.) The two not only collaborate with each other, but with artists like Beau Labute, Rosie Cook and Marc Bell. Of those artists, Kirkpatrick says, “Let me tell you, by no means are they back-up singers.”

Jam-style pieces are a bit unusual in the visual-art realm, but Thompson and Kirkpatrick find working with other artists to be really rewarding.

“I don’t have to rely on my own sorry-assed solo stuff,” says Thompson. Says Kirkpatrick: “Have you ever had ice cream that was melting and you put it back in the freezer? And a month later you find it and are like, ‘stoked!’ It’s kind of like that, except it’s Peter showing up at my parents’ basement with bourbon.”

Sounds like a recipe for good art to me. M

Brain Trust Book Launch

Noon, Saturday, September 26

Boucherat Gallery, 16 ¬Ω Fan Tan

Free •

Us Ones In Between @ Open Space


An art exhibition curated by Nick Robins. Featuring the work of: Ty Danylchuck, Caitlin Gallupe, Cody Haight, Liam Hannah-Lloyd, Cameron Kidd, Brooke Semple-Haight, Eden Veaudry and Eric Volet.

Us Ones In Between explodes with the activity of eight prolific Victoria artists whose profusion of output appears unlinked to careerist objectives. With bee-like instinct, these artists have produced striking visual cornucopia, while sketching out their place in other art contexts outside of the studio/hive. Working in media ranging from paint, paper and assemblage to crochet and video, Open Space will be filled to the brim with fustian colour. Us Ones In Between is a celebration of a niche community and an examination of art practice in Victoria, today.

Anteism will be publishing a book for the event which will document the artwork of the artists in the exhibition + a foreward by curator Nicholas Robins and essay by Marlaina Buch.

ART JAMS EVERY TUESDAY IN JULY AT 8PM July 7: Releasing THe Lions Artist Panel Discussion

July 14: Free Form Cinema Film Screenings by Ty Danylchuk

July 21: Psychodoolia Drawing Jam

Closing Friday July 24, 8pm featuring Tough Stuff from the Buff: experimental & activist video from the fringes of Buffalo, NY. followed by dance party with DJ Gardeners

BOKAY #001 - Ryan Thompson

*Click the following links to expand/close info
What's BOKAY?
Bokay (Bokeh from the Japanese boke ぼけ, “blur”) is a photographic term referring to the appearance of out-of-focus areas in an image produced by a camera lens.

The Bokay PhotoGiving Project aims to focus on photographers and their work while allowing the opportunity to share the artwork with our peers. It’s easy to overlook photography as a fine art. We are inundated with photographic images daily through advertisement and other media. Photos are so common we may overlook and neglect their importance as art. This project strives to showcase photography as a Fine Art and to help give some white space around the work of talented photographers.

How Does The Project Work?

Here’s how the project works:

Anteism scours the earth for impressive and inspirational photography. We highlight the work of one of these photographers. The photographer's artwork is displayed on the Anteism website along with an interview and a limited number of prints for sale. The prints will be limited to an edition of 25. These prints can be purchased for yourself or sent as a BOKAY to anyone. Think of the BOKAY like a traditional Bokay of flowers. It's sent to a loved one, a friend or anyone you would like to thank. We will personalize the certificate and mail the photo BOKAY off to your recipient. The BOKAY contains an 8√ó10 photo print of your chosen photo + an ornate numbered certificate. These certificates state who has sent the print along with a description about the project and edition information. Example of a BOKAY certificate.


*Text from certificate. —————————————————— Bokay - PhotoGiving Project

Bokay or Bokeh comes from the Japanese boke ぼけ, “blur”) and is a photographic term referring to the appearance of out-of-focus areas in an image produced by a camera lens.

The Bokay PhotoGiving Project aims to focus on photographers and their work, while sharing this artwork with the people important to us. It’s easy to overlook photography as being an art. We are inundated with photographic images daily through advertisement and other media. Photos are so common we may overlook and neglect their importance as art. This project aims to bring focus to photography as a Fine Art and to help give some white space around the work of talented photographers. It is also a dedication to the people of importance in our lives. This Bokay is dedicated to you.

This Bokay has been sent by ___________ on April 1st 2008. This photograph is # 01 in an edition of 25.”

Purchase a BOKAY
Send a Bokay to a friend, loved one or yourself. • View the BOKAY catalog of photographers • View our catalog of available BOKAYS (Prints for sale)

Anteism /  BOKAY Project #001 - Ryan Thompson

"Spread Eagle"- Rats with wings. Shit hawks. Angels.

Spread Eagle is a photo series about the common seagull. A romantic look at the flight of the seagull in between gorging. After reading Richard Bach's best-selling book "Jonathon Livingston Seagull" photographer Ryan Thompson wanted to capture the potential and character of the average seagull. Livingston wrote "For most gulls, it's not flying that matters, but eating." It's this potential of doing great things to accomplish the mundane that Thompson finds most interesting. He believes that Seagulls gained the ability to fly because of their burning desire for food. They may not recognize all they have accomplished because of their never ending hunger.

Spread Eagle #1 © Ryan Thompson 2009
Spread Eagle #1 © Ryan Thompson 2009

Info/Purchase "Spread Eagle" Print #1

Spread Eagle #2 © Ryan Thompson 2009
Spread Eagle #2 © Ryan Thompson 2009

Info/Purchase "Spread Eagle" Print #2

Spread Eagle #3 © Ryan Thompson 2009
Spread Eagle #3 © Ryan Thompson 2009

Info/Purchase "Spread Eagle" Print #3

Spread Eagle #4 © Ryan Thompson 2009
Spread Eagle #4 © Ryan Thompson 2009

Info/Purchase "Spread Eagle" Print #4

Spread Eagle #5 © Ryan Thompson 2009
Spread Eagle #5 © Ryan Thompson 2009

Info/Purchase "Spread Eagle" Print #5

Spread Eagle #6 © Ryan Thompson 2009
Spread Eagle #6 © Ryan Thompson 2009

Info/Purchase "Spread Eagle" Print #6

Aaron Noble - Rebuilding a Super Heroe

Aaron Noble's paintings look like super heroes deflating like a balloon and zig-zagging across the universe. Aaaron uses images found in 90's comics (most notably published by IMAGE). Theses abstracts are instantly recognizable as comic like to some, but comic readers will see the image as a mashup of characters. These characters have been brilliantly transformed to erase the branding and identity that has been painstakingly designed into the series.

Aaron Noble

Jeff Koons | Easyfun-Ethereal

Nobles's paintings brought to mind Jeff Koons series EasyFun-Ethereal although much more abstract. Koons does not abstract his imagery as much as crop and collage but it is the use of certain parts to create the new which is similar. Whether we've eaten a"Pop Tart" or not our generation will identitfy and the same goes for comics. These super human characters seem to have lost their extraordinary powers due to the lack of human muscle structure, but gained god like status.

Steven Harrington - Interview

Steven Harrington from Arkitip, Inc.

Harrington's work is influenced by Time-Life Encyclopedias 1965-1972, thrift stores and the 60s pysch sounds of The Moody Blues, his art might be termed 'contextual objectivism'.

"Our Mountain", is a traveling art experience with works by Steven Harrington and Justin Krietemeyer.  The exhibit will start in Paris then travels on through Barcelona, Milan and Berlin.

Amy Stein - Domesticated

Amy Stein is a photographer and teacher based in New York City. Her work explores our evolving isolation from community, culture and the environment. Amy crafts photographic allegories set simultaneously in a number of different liminal spaces. Her sure and realistic color works manifest the place where the human-built meets the wild, but in addition they show us where the factual descriptive image meets fiction. Despite their apparent realism, her images are posed and constructed, sometimes using models and taxidermy props, sometimes using the bodies of dead or living animals to re-create, record and perform actual events that occurred in the small Pennsylvania town of Matamoras, which Stein has claimed as surely as Faulkner invented and limned Yoknapatawpha County. What at first appears to be a series of photojournalistic decisive moments is revealed, at a second look, to be a powerfully imagined vision that establishes its strength through its very artificiality.

Stein has been exhibited nationally and internationally and her work is featured in many private and public collections such as the Philadelphia Museum of Art, the Museum of Contemporary Photography, the Nevada Museum of Art, SMoCA and the West Collection. In 2006, Stein was a winner of the Saatchi Gallery-Guardian Prize for her Domesticated series. In 2007, she was named one of the top fifteen emerging photographers in the world by American Photo magazine and she won the Critical Mass Book Award. A monograph of Domesticated will be published in fall 2008. This forthcoming book won the best book award at the 2008 New York Photo Festival. Amy is represented by Robert Koch Gallery in San Francisco and Pool Gallery in Berlin.

© Amy Stein - Cover image from the book "Domesticated"

Read an interview with Amy Stein on

Matthew Herbert - There's You and There's Me

I don't post music on Anteism very often but I could not help but share this gem. This album is not just music. It's more than the sum of the notes you can hear in the recording. Matthew Herbert's album "There's You and There's Me" is so powerful because of the amazing connections between the music, location of recordings and what's happening behind the sound curtain.

"Matthew Herbert's dazzling new album There's Me and There's You is the most seductive, sophisticated and subversive collection of protest songs ever recorded. Blending lush jazz instrumentation, soulful vocals, fascinating rhythms and a secret underground arsenal of outlandish samples, it marks Herbert's second collaboration with his big band. Effortlessly wrapping deluxe avant-jazz arrangements around polemical lyrics and artfully selected noises, the album's dominant theme is power and its abuses in the 21st century. The album's dense mix of audacious samples includes the sound of 70 condoms being scraped along the floor of the British Museum, a match being struck in the House of Parliament, one of 100 nails being hammered into a coffin, vocals recorded at a landfill and a McDonald's, and 100 credit cards being cut up, among other things. Recorded with a vast community of musicians and participants, There's Me and Then There's You has a declaration on the cover signed by all parties involved: "We, the undersigned, believe that musical can still be a political force of note and not just the soundtrack to over-consumption.

The overall theme of There's Me, and There's You is the use and abuse of power in the 21st century, whether that power resides in the church ("Pontificate"), the media ("The Story"), greed ("Rich Man's Prayer"), monarchy ("Regina") or the various power sources affecting concerns such as climate change and consumerism. But these individual critiques are slyly pitched to insinuate themselves imperceptibly through arrangements echoing musical theatre, cartoon music and brassy jazz, in contrast to the hectoring tone which turns so many away from the standard folk-protest mode of political music."

Chris Johanson Interview

I recently had the opportunity to check out a screening of the Beautiful Losers movie. It was amazing to see the artists behind the work that we've all seen and love. What was really impressed on me was the personalities, the honesty and life that each of these artists had/have to give. This is the reason why their art is so good, it's not because it's original or rebelious or whatever, it's because it's human and these artists know how to truly express themselves.

I've always enjoyed the artwork of Chris Johanson but after seeing the Beautiful Losers movie and seeing the artist himself I can appreciate his art much more. He puts a smile on my face.

Here's a perfect stereotypical "interview" with Chris Johanson

Beautiful Losers Movie

Beautiful Losers film trailer from beautifullosersfilm on Vimeo.

SERISCOPE Charlotte Cynthia - Interview + Print

Charlotte Cynthia Walton I've had the good fortune of spending time with Charlotte Cynthia Walton on and off over the last 12 years. That's along time at this stage in life. And in that time frame I've never met anyone like her. She has passion unrivaled, which translates into her intricate immersive artworks. Usually where passion reigns sincerity wanes. In Charlotte's case this is far from the truth. I've recently come to a realization that the most important aspect of any art is sincerity. With passion and sincerity amazing things can happen.

Charlotte Cynthia Walton Email Interview - Friday August 15th 2008.

SERISCOPE Charlotte Cynthia - Limited Edition Screen Print - Available in the Anteism Shop

As a kid did you have any outside influence that directed you towards art or did you just find yourself doing it?

My parents think for themselves, this I could not help adopting. Art was always a part of my life right from the get go when I use to draw on the walls of my house as a kid.  My room was filled with these heart characters with funky eyes and I use to kiss the inside of them with my moms lipstick for there mouthes.

When did you first realize you wanted to be an artist?

I have always been in the visual arts, singing, performing, dancing, acting, but the visual I found the most challenging.  I went through a period of time when I was 17 when I kept calling myself an artist, it drove my dad up a wall.  I have always realized the danger of labeling yourself, but I needed to do that because I did not take my work or myself seriously enough.  It helped me discover what I loved to do every day.  Now I allow myself to just be.  That way you liberate your thinking, action and love.

Have you had a formal art education? What do you think about going to school for art?

Any way works as long as you are doing it.  Let the juices flow, and bless you for your beauty. I have had a mentor in classical oil portraiture and I have been to art school and University, but that way was not my calling. I found I worked better doing it myself at home.  I also have done some traveling and I believe that was a great teacher for my heart.

In one sentence, how would you distill your reason for making art?

First of all, art to me is a lifestyle, therefore:  I have to do it to keep my sanity.

© Charlotte Cynthia Walton - From the art show "Givers"

You put a tremendous effort into your current show "Givers" at El Kartel in Vancouver, and it shows. How do you feel after the show? Do you get that "what next" feeling or do you have plans for things to come?

I have a vision and it is so strong my body "feels" the image before I make it.  Beau (Charlotte's Partner) had me write it down before I lost it to my dreams the night I got back home.  We were about to fall asleep, but the beast had awakened.  (Giggle).  So I end up chewing on that sandwich for a while to see if the new idea is possible.

© Charlotte Cynthia Walton

What I really liked about "Givers" was that it combined all the different processes I've seen you develop over the years. From painting, to paper cut-outs, to sculpture. Do you think those three separate mediums will be incorporated as one in your future work? Like they were all stepping stones for what you will be doing.

I am sure they will.  But I love originality in basic visual media, such as drawing. So I will strive for this every time.

Do you ever feel your treated differently by male artists? Like your missing out on the "BRO" factor?

Ha ha ha ha of course, but I tend not to take notice nowadays that I don't have a penis.  I have breasts, a mind, and love to make art, I am very lucky.  I also have so many amazing guy friends, I feel like a person with the ones who are my closest friends.

© Charlotte Cynthia Walton

You spent time traveling solo through China, how did that trip affect you & your artwork?

Being fully aware of yourself allows you the freedom to explore.  To humanize with people you can not necessarily speak to. I have always had a global appreciation for the world around me.  I follow my heart and this leads to compassion.

Where would you like to go next?

Every where. India for its spirituality, but I would like to see my country too, I take it for granted. India is a calling and it has been beckoning to me for a while, and I would really like to see painted cows. Yet there are many ways to travel, I would like to go within as well, sitting in silence and reflection.

©Charlotte Cynthia Walton

Right now, if you could only see the artwork of one artist for the rest of your life, who would it be?

At the moment BLU, I find his work striking and provocative, yet my eyes eagerly await others work from moment to moment and love it all.  I admire his time restrictions, his ability to produce quickly and his story telling.  So dark, yet so vital.

Which do you think make good art good? Originality, concept or style? or? And, why?

Originality and craftsmanship, even if the piece is raw and made to look unmade.  Concept will develope through originality.  Style is personal taste.

What else are you interested in other than art?

Living acts of kindness. People who care, inventiveness.  Many things, robots, literature, ballet, climbing, ha ha ha this sounds so resume!

What do you do to pay the bills? Does it affect your art? What’s your dream job?

I sell my work and I serve seniors food at the moment.  Yes you can get paid for this. Life is my masterpiece.  As long as I have the ability to do what I want with great health, then traveling and making art with others around the world would be ideal.  I already do this and am working on developing it furthermore.

Charlotte Cynthia Walton's - IMYGRATE Character

What is your most beloved object?

I do not believe in material possesions, yet I use them to do the things I love.  My computer allows me to contact people I might not have otherwise had access to 10 years ago, so this tool has been quite useful.  I also enjoy my oven because I love to bake things for friends and my lover.

What’s one thing you have learned as an artist that you could share with other artists?

Do not be so critical, you can be your worst enemy and you need to love yourself deeply not hurt your self with over analysis.  I have allowed my self to grow by letting go of a lot of self doubt. As well everything you have learned can be relearned so you can reinvent the way you truly want to live your life.  Risk everything, and follow your heart.  Be kind to others on their path and be around people who love, and live it.

SERISCOPE #002 - Charlotte Cynthia Walton - Limited Edition Screen Print This 4 colour screenprint is in a tiny edition of 25.

SERISCOPE Charlotte Cynthia - Limited Edition Screen Print

SERISCOPE has produced a very limited edition screen-print of Charlotte Cynthia Waltons artwork. This print is titled "Father & Daughter".  The drawings in this print were created while Charlotte was traveling China. These drawings were then reworked to produce this print. Prints 1-13 are now available for purchase for $30.  After the first half of the edition sells the price of the prints (14-25)  will increase to $50.

We strive to provide high quality handmade artwork at a price that allows most people to collect these up and coming artists work.

Charlotte has also produced a beautiful book with Islands Fold called "The Pawns Queen"

Erik Volet Interview + Saturnalia Online

Check out the interview with Erik Volet done by Kevin Nelson of WhiteHot Magazine. If you haven't had a chance to view Erik's art check out his book Saturnalia. We have now published the full book online. Part of Anteism's publishing mandate is to have our books available to browse online for free. We want people to see the work of the artists we publish. If you enjoy the book please consider purchasing a copy from the Anteism Shop. saturnalia

Erik Volet - Art

SERISCOPE Scott Malin / Interview + Serigraph

Seriscope Presents Scott Malin We are very excited to present the talented Scott Malin to kick off our new Seriscope series. Scott Malin (b. 1974) is a self-taught artist living in Vancouver, BC. His drawings explore ideas of narrative and blur the line between real life experience and imagination. Most of his art utilizes straight-to-ink drawings, both celebrating and damning choice. It's been a pleasure working with Scott on a limited edition serigraph. Without further adoo. ( Interview June 5th 2008 )

Scott Malin Screen Print

You’re originally from Vancouver, BC but lived in Northampton, MA for a while. What brought you there? My partner, Aretha, went to do her MFA in choreography/dance at Smith College. It was a perfect opportunity for both of us because we were looking for a change from Vancouver. I would visit her for 3-6 months and then return to Canada for 3-6 months.

What are the differences in the art communities in Northampton and Vancouver? Did you find your art was influenced when you moved? I don’t feel like I know much about the art community here or there. I do know, however, that Northampton has more diverse venues for all types of art, be it drawing, dance, music, etc. Another nice thing about Northampton is it’s only a 2.5 hour drive to NY and 1.5 to Rhode Island.

It was my first time living outside of Vancouver, so it was fantastic. Different weather. Different people. Different trees. It was really inspiring and I rapidly filled sketchbooks, about 6 a year. The experience shaped my art in that I had a kind of sabbatical to just draw. I definitely felt a renewed sense of being while I was there.

There’s a lot of collaborative drawing happening in Vancouver, have you done any collaborative art with anyone?

I’ve done some animation for bands (The Beans, Great Aunt Ida) and for a dance show with Aretha a while ago. Mostly I collaborate for/with people I know. I ought to branch out, but am not very good at the social side of things.

Scott Malin - Comic - Kick AroundScott Malin - Comic You’ve done the comic “Kick Around” for Discorder Magazine and inked “Way Off Main” which was printed in The Georgia Straight. I assume comics have been an influence in your art. I see a narrative layering in your artwork, do your drawings have a narrative story? I think of my current drawings as narratives. Messing with time, memory, and vision. I still love comics and have been trying to get back to completing a longer narrative I started in Northampton, but the momentum hasn’t come yet.

Scott Malin - Comic

Is there anywhere online or a published format people can check out your comics? I did have some samples up on my website and maybe should do that again as my self-published comics are older and sold out. The inked work I did for Way Off Main is very different than my own comics, but those are available through my pal Josue ( who wrote and penciled the strip.

Scott Malin Comic

Your recent show with musician Chris Harris was based on the music of John Fahey. How did Fahey’s music shape the art you produced for the show? That show was meant as one story of Fahey based on limited research of Fahey’s life. Several drawings were based on interviews or his writing. And others were based on song titles or repetitive listening to songs (I listened to one song 93 times straight to finish the drawing). My favourite part was drawing or painting the mural while my buddy would practice the songs. The art made more sense hearing the songs being played.

Scott Malin - ArtScott Malin - John Fahey ShowScott Malin - Art

The Fahey shows drawings were straight-to-ink. This unforgiving method seems to work well for your narrative layering works. Is this how you usually draw? I rarely use pencil. I got so used to using an ink brush in my sketchbook that I became really comfortable with just jumping in and not premeditating anything. I still tend to work that way (the two prints are from straight-to-ink drawings as well). The energy of the first drawings has always been the strongest for me.

I’ve gone straight to ink for my own comics as well, but find it’s better to pencil because I want the structure more formal and refined. So that’s really the only time I use pencil. And I have recently started doing linocuts and am penciling a rough sketch before carving away.

Scott Malin Art

Your sketches have characters awkwardly interacting with nature/animals. Can you tell us more about any underlying themes in your work? It’s funny because I think so many artists my age use that exact theme. Perhaps it’s part of living in a city and romanticizing/lamenting the woods and lack of interaction with nature. For me it’s also remembering the forest when I was young. Always loving nature shows, cats and dogs. Loving children’s literature that involves animals. And loving the physical structure and beauty of animal forms—they are so satisfying to draw.

Scott Malin - Art

Who/What do you feel has most influenced your artwork? My girlfriend is a huge inspiration and critical eye. My friends. Dreams. Music. A phrase from a book. Looking at and learning from others’ drawings/comics.

Scott Malin - Art

If you could only see the artwork of one artist for the rest of your life, who would it be? I’ve thought about this because most of my art/comics have been boxed away for a couple of years and are still boxed up. The one artist whose work I brought with me to Northampton was Taiyo Matsumoto. He’s a cartoonist and is totally inspiring. There was a buzz about him the past year or so because an animated version of his comic “Black and White”. The film was ok, but not as invigorating as the comic itself. When I read it for the first time I felt like I shrunk to a child again and felt the thrill of being able to move.

Taiyo Matsumoto Image Above from Tekkon Kinkreet -Taiyo Matsumoto Which do you think make good art good? Originality, concept or style? And, why? Damn. Maybe sincerity behind the work. Or the humanness. The line quality of the drawing. I appreciate the human hand in drawing and prefer that over other art forms, so I like to see the line represent spirit.

Scott Malin Art

Other than art you play music in a couple bands (Great Aunt Ida and The Secret Three). Does your music and art have any relationship? Music is my social time. I love playing bass, but it’s the only instrument I can play. It has given me amazing opportunities (touring across Canada with Great Aunt Ida last year was incredible), but I connect with it in a different way than with drawing, which is my solitude time. I don’t practice bass, except with whatever band I’m playing with. I do, however, “practice” drawing and feel awkward and stressed if I go too long without doing it.

What else are you interested in other than art? I enjoy cooking vegetarian meals. Drinking beer with friends. Walking. I also go through periods of reading a fair bit of young adult literature. “The Chronicles of Darkness” by Michelle Paver is a standout so far. I’m interested in learning more about animism, types of whisky, and gardening.

Scott Malin - Art

What do you say if someone asks you if you’re an artist? I’ve recently become comfortable in saying, “Yes.”

What is your most beloved object? Pentel brush pen.

What do you do to pay the bills? Does it affect your art? What's your dream job? I’m a substitute elementary school teacher and have been for about four years now. The kids definitely inspire me to tap into my imagination and remain curious. It’s a fantastic job that allows me time to travel, draw, and return to Vancouver to do a job that I’m proud to do. I think ideally I’d teach part-time and draw full-time.

Scott Malin - Art

What’s one thing you have learned as an artist that you could share with other artists? Trust.

SERISCOPE has produced two limited edition serigraphs of Scott Malins work. These two prints are available for purchase as a set for $25. We strive to provide high quality handmade artwork at a price that allows most people to collect these up and coming artists work.

The first print is based on a John Fahey song and is entitled "Prince Georges County Line". This signed and numbered one colour serigraph is 9"x12" & printed on 120lb archival/acid free paper.

Seriscope - Scott Malin

The second print is a test print which was used to experiment with the transparent layering of Scott's artwork. It is a 4 colour print utilizing different shades of grey and transparent base. This print is 8.5"x11" and printed on archival/acidfree paper.

Seriscope - Scott Malin

For limited time purchase both prints by Scott Malin for only $25

Limited Edition Scott Malin Serigraph Limited Edition Scott Malin Serigraph Limited Edition Scott Malin Serigraph Limited Edition Scott Malin Serigraph Limited Edition Scott Malin Serigraph

50% of the sales of the prints will go directly to the artist. The other 50% will be used to produce more Seriscope artist showcases. We appreciate your support.

Gregory Euclide Profile

Anteism contributing artist Gregory Euclide has been profiled by YouWorkForThem.(Check out all the other awesome profiles.) Gregory Euclide is an artist and teacher living in the Twin Cities of Minnesota. His attraction to the landscape originates from his experience of growing up in the rural landscapes of Wisconsin. Free to roam from farm field to forest edge, he developed an appreciation for authentic experience within the natural landscape. The complexity and interconnectedness of the environment had a profound impact on him as a child and would become the content and conceptual framework for his future work.

After teaching high school art for three years in southern Minnesota, he took a teaching job in the Twin Cities. In 2001 Gregory was awarded a summer residency at the Minneapolis College of Art and Design. This time allowed him the opportunity to explore a number of materials and techniques important to the development of later works. In the past few years Gregory has shown his work at over one hundred events and locations in the Twin Cities. He has been awarded a a Minnesota State Arts Board Artist Initiative Grant and a Jerome Foundation Residency through the Blacklock Nature Sanctuary. Currently he is teaching high school art and attending graduate school at The Minneapolis College of Art and Design on a Trustee Scholarship.