Studio Visit With Charles Dwyer

By Maureen Mulhern, Caggio Blog Contributor

November 2010 • Bayview, Wisconsin


This month I visited the impressive studio of Charles Dwyer, Caggio's featured artist for November/December. South of downtown, in Milwaukee's charming enclave Bayview, I met with this prolific and imaginative artist. With his show quickly approaching (November 19 - December 30)-- entitled Ash Paintings-- I sat down with the artist, a Wisconsin native, and discussed his new body of work. Surrounded by his beloved animals (including Napoleon the dog, and two curious felines), his vintage cream-city brick loft infused with sunlight, I marveled at Dwyer's working space-- both physical and energetic. I took in immense wall space, grand paintings, a myriad of art supplies and materials, bookcases packed and European magazines, vast collections of photography, research areas, color theory studies, and hand-written notes dotting walls and work tables-- only briefly unattended to speak with me for this interview.


There is much written about Charles Dwyer, a painter well-known over two decades both nationally and internationally for his female portraits-- mixed media masterpieces-- elaborately staged compositions layered with oil paints, pastels, collage, and photography. The artist is most recognized for his striking portraiture and perhaps just as well known for his restorative work. For over 15 years he has worked to restore and recreate murals, stained glass, marbleizing and mosaics in historical landmarks and churches nationwide. Interestingly, a 12-week job in Sioux Falls recently-- marbleizing grand columns in St. Joseph's Cathedral-- was a driving force behind Ash Paintings. The art of marbleizing requires the ability to imitate the look of polished marble with paint and glazing-- making it look unintentional-- to work with a controlled spontaneity. Working extensively with these opposing principles laid the groundwork for Dwyer to immerse himself in a new series of paintings.


I was introduced to Dwyer's new work-- initially, quite surprising-- as I had only known his romantic and impressionism-like beauties. This was truly magical-- an absolute departure from what the artist is known for. Striking as they are mysterious, I was in awe. His wall-size to mid-size paintings and smaller portraits invited me into gritty abstract landscapes-- organic, symbolic, emotion filled and textural-- keeping up a spontaneous and active momentum of imagery-- like a series of vignettes in lucid dreaming, all in a cohesive palette consisting of one key ingredient. Ash.


Artistic process has a moment of conception, oftentimes spontaneous. In Dwyer's case, using leftover torn paper as a dustpan and sweeping ashes from his fireplace. The transformation of oak firewood into ash-- altering the paper surface-- resulted in rich tones and textures reminiscent of pastels. With decades of study into all forms of mixed media, years of expertise in drawing and painting-- combined with knowledge of age-old restorative techniques-- Dwyer was able to take this simple organic material, and pioneer a new technique.


In terms of technique, Dwyer's Ash Paintings are quite literally, made of ash. Gessoing over his own canvases-- underprinted with old paintings-- Dwyer then applies polyurethane varnish, sifting and rubbing gravel size coals into the surface, shaking the mixture-- enclosed canvas in industrial strength plastic-- until it coats the surface just so. Also in the mix-- bits of French dictionaries-- burned and scattered in the now tactile surface that begins to take on irregularities found in lunar landscapes. Why French? "Because it is the most beautiful language," the artist replies. I can't help but agree. To top it off, a mixed-media foreground: oil paint, marble powder, linseed oil, oil crayons, conte pencils, carbon paper, pastels-- applied with hand-made brushes-- commencing this new direction in Dwyer's work.


Ash-- the basis for Dwyer's paintings both literally and figuratively-- is complex with symbolism. As the new collection is very personal to the artist, I wanted to understand the nature of choosing such a loaded symbol. Ash itself-- crystals and fragments resulting from burning-- in this case oak firewood-- brings to mind the cycle of life and death; transformation; rebirth. "Ashes to ashes" in western religious tradition signifies a sorrowful reminder of humanity's imperfection and impermanence. For Dwyer however, ash makes up a landscape to which concept runs deep and imagery abounds: acknowledgment of self and mortality; conception to death; sexual imagery and reproduction. Dwyer candidly reveals that this new work has been liberating-- however risky-- yet profoundly honest; as abstraction is free from the confines and limitations inherent in commercial art.

I enjoyed learning first-hand about Dwyer's work and innovative process; I was inspired by his prodigious body of work and exciting new departure.

We look forward to the upcoming show with Caggio, sure to be a phenomenal collection of work!

Studio Visit With William Lemke

By Maureen Mulhern, Caggio Blog Contributor
October 2010 • Delafield, Wisconsin

This week I visited the open studio of William Lemke, one of Caggio's featured artists for October/November. Far from the city, through winding roads, tree-lined lanes windswept with leaves, it was a glorious fall day in the Wisconsin countryside. With his show quickly approaching (October 15 - November 15), I sat down with this seasoned landscape photographer, a Wisconsin native, and talked about his many journeys-- cross country and abroad-- producing a prolific body of work that has spanned nearly 30 years. Staying true to traditional methods, Lemke spoke about his methodical photographic process, spontaneous travel locations, inspiration and artistic influences, and a lifelong passion for nature-- a passion that has compelled him to sustain and preserve it-- through the lens of his experience and unique point of view. I gained insight into this tonal and textural world of black and white photography, shot in environments both familiar and exotic, a "step away from reality" Lemke describes.

As a traditionalist, Lemke is an expert in black and white photography using the age-old silver gelatin process-- a technique made famous by Ansel Adams and largely unchanged since the 1880's. Images are created using 4"x5" or 8"x10" film for a large format camera. Lemke then uses traditional dark room processes-- following archival standards-- to create silver gelatin prints, achieving luminous white tones, deep blacks, and a myriad of tones in between. Unlike digital photography, Lemke observes a greater depth can be achieved-- a more three dimensional quality-- when using this methodical, hand crafted process. Each print is individually exposed and hand processed, staying true to time-honored traditions and standards of quality, resulting in museum quality prints, rare in this fast-paced digital world that often sacrifices quality for quantity.


In terms of location, Lemke travels the country-- and world-- packing 35 pounds of equipment. Exposures are long-- common for large format cameras-- "wind is your worst enemy" he admits, tripod in tow. Whether on assignment for the US Geological Survey in the Grand Canyon, traveling solo in the Western United States (Montana or Wyoming are among favorites), climbing pyramids in Egypt, or finding beauty in rugged landscapes closer to the Midwest, Lemke finds his subject matter-- plants, water, rock formations, skies, clouds, mountain ranges, trees, architecture and people in their natural settings-- and frames these distinct compositions-- inviting serenity, bringing forth a feeling of expanse and thoughtfulness. It is not surprising the artist is gearing up for his next adventure-- a trip to Madrid, Spain.

Artistic influences include Ansel Adams, Edward Weston and Richard Avedon-- some of America's most influential photographers. Lemke attended classes at the Ansel Adams Workshop in Carmel, California, and studied with the master himself-- one of many catalysts driving his career early on and inspiring a commitment to black and white photography and to age-old photographic processes.


Inspired by a lifelong passion for nature, Lemke has been traveling cross country since he was 16. Over the years these trips have consisted of long journeys by van-- often in solitude-- traveling, eating, and sleeping in the van. The artist views the process as organic, going on location-- in the field-- with an open mind, letting the environment affect or persuade him as it will. The result of these free spirited adventures has awarded Lemke decades of experiences that range from quirky to profound. Sleeping in cemeteries while on the road, being arrested in Egypt for climbing a pyramid, following Grateful Dead shows and photographing fans, bonding with fellow motorcycle riders, or catching the first rays of sunrise in the stillness of morning, Lemke takes tradition-- years of practice and refinement-- and makes it his own.

I enjoyed getting insight into Lemke's work and process; I was inspired by his expertise and command of such a rare, hand crafted process.

We look forward to the upcoming show with Caggio, sure to be a fantastic collection of work!

Studio Visit With Brent Oudejans

This show is sponsored by Café 1505

By Maureen Mulhern, Caggio Blog Contributor
September 2010 • South Milwaukee, Wisconsin

This week I met with Brent Oudejans, Caggio's featured artist for September/October, in his South Milwaukee lakeside studio. With his show quickly approaching (September 17th - October 13), I chatted with the artist and UW-Parkside graduate, interested to learn more about his dynamic and explorative mixed media pieces. Like the journey itself to find his studio-- zigzagging streets in lakeside neighborhoods south of the city-- I found Oudejans conceptual roadmap to be a series of connections, points, and parallels building nonlinear themes with principles key to Eastern philosophies. Drawn from many sources-- yet tied together with universal spiritual continuity-- the artist shed light on some of his belief systems and how they have influenced and challenged his artistic process.

Oudejans identifies themes in Eastern philosophies that parallel his own belief systems. As Buddhism speaks to mindfulness and interconnectedness of existence; Chinese philosophy speaks to yin and yang; Hinduism speaks to the 6th chakra-- or third eye. All philosophies aspire for enlightenment, yet it is Buddhism the artist is most influenced by. For Oudejans enlightenment helps decipher the realistic from the idealistic world; the dark from the light; the esoteric from the exoteric. He explores how these opposing, interconnected forces can coexist. The artist uses other symbols to build his compositions: infinity, ichthys and astrological signs to name a few. These symbols inhabit a landscape often dark and cryptic-- creating tension-- exposing the human form in primeval states. He delves further, uncovering his own inherent struggle between darkness and light, bringing these issues to the forefront in a continuum of images. Layers and textures speak metaphorically-- skillfully sculpted, photographed, printed and painted-- resulting in what could be called an awakening.


In terms of process, Oudejans looks to Gestalt theory-- defining the unified whole-- and builds his compositions layer upon layer. Like an intricate patchwork of visual perception, parts that make up the whole are intentioned yet spontaneous. The artist often surprises himself with unanticipated outcomes. As a visual communicator, music helps him construct ideas and translate themes; Tool and Nine Inch Nails are key. Inspired by artists Andrew (Android) Jones and Alex Gray, Oudejans takes concept art--spiritual, even visionary art-- and makes it his own.


Oudejans describes himself foremost as a digital artist based in fine art. Paralleling his personal spiritual and intellectual journey, the artist combines sculpture, photography, digital design, canvas printing, painting and airbrush, wood working, and digital video into a distinct visual language. Pieces take months, sometimes years, to create as there are many elements working together to unify the whole. Palettes are unconventional. The artist is not only skilled in traditional sculpture, but staging, photography and digital art manipulation. Finishing the pieces consists of large scale digital printing, LED lighting in some cases, in addition to traditional application of acrylics, airbrush, stenciling, and fixatives.

We look forward to Oudejans upcoming show, a first with Caggio, which is sure to be a fascinating collection of work!

Food will be provided by Café 1505. Located in Mequon, WI, Café 1505
is the premier dining destination for a delicious breakfast and lunch.
The Café utilizes fresh, local produce and has a gourmet bakery and deli for take-out.

Q+A With Mark Johnson

By Maureen Mulhern, Caggio Blog Contributor

September 2010 • Milwaukee, Wisconsin

I had the opportunity to meet up with Mark Johnson, exhibiting photographer at Caggio this month. His new series, Eclipsed, features photographs taken in South Africa’s Kruger National Park. In this candid interview with the Scottish-born artist-- a behind the scenes look into Johnson’s life and work-- I got a fascinating international perspective on art and rare insight into compelling issues of our time.

On exhibit at Caggio through September 15, 2010.


Q: You were born and raised in Scotland. Two years ago you settled here in Milwaukee, what brought you to the Midwest?
A: It was my day job in marketing. I was working over in Asia and there was an opportunity to come here and have the position I had in Asia, but on a global basis. I love being in different places, so I thought it was a good opportunity. I moved the family and came here to Milwaukee.

Q: How is Milwaukee? Do you like it?
A: Very much so. I'd lived in America before, in Texas. When I moved here it was February, I was knee deep in snow and freezing cold-- I was thinking this is not what the brochure said -- so I made friends with the snow blower really quickly; I settled right in.

Q: This collection of work focuses on portraits of reptiles, mammals, insects and birds of South Africa's Kruger National Park. What inspired you to chose South Africa's wild lands specifically to host your subject matter? What is your connection there?
A: I've done a lot of travel, I've been fortunate enough to visit a lot of different places around the world. There were two places I hadn't been: South Africa and Egypt. Those two places were on my wish list, so actually through work I got a chance to go. I took three days. I chose animals (as subject matter)-- I don't know if you know the photographer Nick Brandt-- he's an English photographer and his work is just stunning; he approaches animals the same as he would a person. So I thought it would be nice to do that, nice to go photograph animals in that sort of fashion; but obviously you don't want to just emulate the guys you like, you want to put a different spin on it. I was also very conscious of environmental factors, the World Cup was going on at the time. I thought that would be a great opportunity to tie this all together, and come out with something a bit more evocative as a message.

Q: When was this body of work photographed?
A: A little over 3 months ago.

Q: The collection is called Eclipsed (literally, a partial or complete obscuring, or overshadowing of) What a beautiful metaphor for both complex subject matter (modernization eclipsing the land and wildlife) as well as your distinct use of black and white photography. What is the significance of the title to you, and how did it come about?
A: Two fold, you're exactly right, it is a metaphor for the diminishing wilds of Africa. When I looked at it, it's not just the common things that people expect-- industrialization, hunting, these sorts of things-- it's the natural expansion of man as well, agriculture and all these types of things that push into the wilds, and they're being threatened more and more. I lived in Asia for a long time, and I've been down to Borneo and you see the same thing. So on one hand Eclipsed is really my personal belief to look after that a bit more, keep those precious aspects of the world. On the other hand, the whole world is looking at Africa, soccer was on the go, all the nation's eyes were on Africa and how they were going to perform. It was all about new infrastructure going in, vuvuzelas playing, that sort of stuff. All that was going on, and this (native lands and wildlife) was forgotten; this was being eclipsed by the World Cup. I thought how could I take this subject matter and metaphorically describe it in the image-- so that's where the black and white processing came from-- with the dodging and burning. They were all shot during the day, and processed to look like they were taken at night, I wanted to tie that together and get a unique presentation.

Q: Did you go into this journey with an idea for the title, or did the title come to you?
A: The title came after, I liked the presentation. I was going in to do something different. I wanted to tie this all in with one word.

Q: You talk about South Africa's delicate preserves and their fragility in light of human development and expansion; Clearly these beings and ecosystems are threatened. How has photographing these subjects inspired you? Has this experience affected you in other surprising ways?
A: One of the things I mentioned before-- that I lived in Texas-- I was on my own there, the family was back home, so I had a choice, I could do something I've always wanted to do. That was learning how to ride horses. So I took up English riding out there, cross country and jumping. What it really meant to me was this connection-- this bond-- between man and another being. It's the only sport that you're dependent on an animal in that way. So when I was in Africa, I didn't go out with a guide, which is nice because what it meant is that I could just sit for a while and that was the most important part. When you can observe herds of elephants for example, interacting with each other, it really is changing, you're moved in a way you don't get from other experiences. Being there and being with them, that is what I wanted to bring out.

I’ve lived in all sorts of depressed areas. Malaysia, places like that, but I feel myself hardened a little, it (poverty) surrounds you all the time in your day to day life. When I was in India, and when I was in Africa, you expect it to be a very hard place where there's a lot of depression and people being upset, but not at all. They were vibrant, happy with what they had; they made the best of it; that really moved me. The same thing when I came away from Africa, seeing the animals, they don't know any different, they only know what they've got, with hardship around the corner, when the summer comes and waters dry up, that's all they know. They just get on and make the best of it. Really that brought it home to me, we complain a lot about life, what we have and don't have. You should just be thankful for what you do have and get on and make the best of it.

Q: The plight of African elephants and poaching comes to mind. Talk more about your subject matter, the animals in this landscape and what you have learned about illegal and brutal slayings for trade on the black market.
A: There are two points in that-- people look at people who do the killings as the bad guys, but its not that-- the real thing is the demand, you need to stop the demand. The poachers, they're just trying to earn a living too, these are really depressed parts of the world, they've got to do the best that they can. You've got to change human nature higher up on the food chain. You’ve got to stop the demand.

Q: Your focus is conceptual but also aesthetic, what draws you to black and white photography and the minimalist form? What photographers, fine artists, or other creative outlets inspire you? Chiaroscuro comes to mind, art that is characterized by strong contrasts between light and dark, usually bold contrasts affecting a whole composition.
A: Nature photography-- Nick Brandt-- but all the greats that go back to traditional photography. There is a quote, "we as photographer's spend our life catching fractions of a moment” and if you add it all together it probably doesn't even add up to a few hours. I like that it's a split fraction of a moment. So for me I look to those photographers who have spent their life looking at life, and for that moment, this is what it was; I don't consider myself a nature photographer, but I present these more like portraits. I present people, animals-- connections is a good word to use-- that's what I like to photograph. Not necessarily a particular subject matter like wildlife, portraiture or weddings, more so, connections and how people interact. This is where I'm going in my next series as well.

Q: Talk a little more about your process of shooting in daylight, then using processing methods to adjust shadows and highlights.
A: When I was in Africa there was no option but to shoot in daylight, you're only allowed in the park between 6am and 6pm. You can go out and do night drives but those are all guided, so given the constraints I was under really I had to shoot during the day. I wanted that aesthetic of appearing after dark. So my approach was to shoot them during the day and turn them into black and white. The lighting that I chose lends itself to that; basically you try and mimic as well as you can the old dark room techniques of dodging and burning. For this series I wanted to keep it as honest as possible, what was there at the time, that's one of the things I think black and white gives you; you look at an image in black and white and it just feels a little more honest than color does.

Q: Your images are taken in close proximity to your subjects. Talk about methods you use as a photographer, and how you approach subjects in this setting and how you handle the inherent dangers in that.
A: Because I'm looking at it as a sort of connection-- the same way as a portrait photographer does-- you want to be as close to the subjects as you can, spend time with them. In the case of wildlife it's more of a case of observation, rather than interacting (if you get too interactive, you better have good running shoes on) I'm by myself for the most part. There was one time, the shot with the rhino, that I was out with a guide, we were out on foot at that point. We did actually get charged there! I got really close with the elephants, I was probably eight or nine feet from them, as close as that for a lot of the time. The elephants are pretty good, you just have to be really respectful, the whole idea is you don't want to interfere you want to keep it observational. You want to get into a position where you feel there's a little more intimacy.


Q: How did the elephants react to you being there?
A: You've got to remember this is in Kruger National Park, there's a lot of traffic through there, I think they more readily accept vehicles moving through the park. At first for a couple of them, they will come over in a full charge, shaking their ears at you a little bit. You just sit quiet and stand your ground, they see that you're not really doing anything to disturb them, and so they just get on with it. Really, you're just not there as far as they're concerned. They have safari vehicles going through the park; or you can go out by yourself. That's what I did, I had my own vehicle, I went out on my own.

Q: You now call the Midwest home. Any plans to use Wisconsin or it's native landscapes for any future work?
A: The people of Wisconsin, yes. I've done a lot of winter shots, something I quite like about here is winter, you get so much snow, it wipes the countryside clean. I've done a lot of black and whites, but to be honest with you, that's been done to death; you get that on every postcard and calendar. I enjoy shooting it but it doesn't really inspire me. So the direction I'll be going in my next series will be focused on people, and how they interact and connect with each other.

Studio Visit With Daniel David Kaiser

By Maureen Mulhern, Caggio Blog Contributor

August 2010 • Milwaukee, Wisconsin

I recently met up with Daniel David Kaiser, Caggio's featured artist for August/September, in his Riverwest painting studio. With his show quickly approaching (August 20 - September 15), I sat down with the artist and UW-Madison alumnus, to learn more about his striking, large-scale works. His theme for the upcoming show is the sensual female, and Kaiser challenges convention, drawing on inspiration from two vastly different worlds: Op Art (abstract, pattern and repetition-based) and Greek sculpture (classical, realistic and mathematically proportioned). Kaiser's interplay between two-dimensional patterns and three-dimensional realism is fascinating. As I gained further insight into Kaiser's chosen subject--the female form-- subtle undertones became apparent, and cultural perceptions rose to the surface, along with recurring themes used throughout history. The artist defines pattern and repetition not only literally, but also figuratively.



Inspired by the sensual female, Kaiser looks to fashion advertising and photography to find subjects that lend themselves to painterly translation on a grand scale. When beginning work on a piece, he sketches in graphite using correct proportions, and an environment begins to take form. Choosing to paint solely in oils, Kaiser uses this slow-drying and age-old medium to work his compositions, often spending many months on one piece. Kaiser explains that as he develops figural elements in the painting, patterns are then laid in and eventually filtered as shapes play off each other, often causing optical and spacial confusion. Influenced by Victor Vasarely, Op Art, and patterns in Islamic art (directly inspired by a ceiling motif pattern of a mosque in one case), his interest in pattern and repetition continues. Music (techno and free jazz are favorites), mathematics and physics inform his concept-driven process further.


Studying art and architecture in Florence and Rome, Italy, remains an influential life experience for Kaiser in terms of defining cultural perceptions, exploring antiquity and identifying recurring themes throughout art history. Inspired by Greek sculpture and the French academic painter William-Adolphe Bouguereau, heavy emphasis on the female form is key. In terms of palette, Kaiser favors luscious flesh tones to play off bold, bright shapes. Color, interwoven in optical shapes and repetition, is a unifying element that gives voice to Kaiser's unique take on the female form. Tagging art and present-day cultural markers are interjected to distinguish his contemporary subjects from their classical influences.


We look forward to Kaiser’s upcoming show, a first with Caggio, which is sure to be a thought-provoking collection of work!

Studio Visit With Jim Finnerty

By Maureen Mulhern, Caggio Blog Contributor

July 2010 • Glendale, Wisconsin


I had the pleasure of visiting the painting studio of Jim Finnerty, Caggio's featured artist for July/August. With his show quickly approaching (July 23 - August 18), I sat down with this seasoned painter and designer, a Wisconsin native, and talked about his work. He shared work in progress, and spoke to me about inspiration, consistency of form and process, and the often dueling worlds he inhabits creatively: that of a spontaneous abstract color field painter, and that of a precise and measured designer with a successful career in graphic design and brand identity. I gained insight into this colorful world of geometric abstraction, created with intention and rich with nostalgia, substantial both in concept and in technique.


Inspired by nature, landscapes, Motown music and the meditative qualities of painting late into the night, Finnerty spoke of time spent in the water-infused marshy landscapes of Northern Wisconsin. Choosing to work not from photography, but rather from a vibrant library of memories categorized by color and texture, Finnerty's paintings provide a balance of recognizable to purely abstract and emotive representations. In color fields of rough geometry lies a structure by which memories are placed like elements in a pictorial space, creating strong compositions varying in mood. As concept is key, the artist uses his superb understanding of color to inform his process--one that is remarkably spontaneous!


In terms of form and process, Finnerty approaches painting with a fluidity and spontaneity characteristic to abstract painting, yet a consistency inherent to all traditionally trained graphic designers. With keen attention paid to the spacial relationships between elements, in addition to harmonies of color, shape and composition, the artist sees painting as a journey, informed along the way and never knowing the outcome at inception. Finnerty favors applying and roughing up paint with palette knives, wet rags, oil pastels and colored pencils to traditional paint brushes (a tool the artist can “do away with altogether,” he jokes), and works with acrylic paint on canvas board, preserving vibrant pigments with generous applications.

I enjoyed getting insight into Finnerty's work and process; I was inspired by his distinct use of color, application and concept, infused with regional markers native to Wisconsin.

We look forward to the upcoming show, a first with Caggio, that is certain to be a phenomenal collection of work!