Page 8 - Arts Management Magazine Future Issue
P. 8

AMM: When did you realize you wanted to be a painter?   LH: The studies I do are in photoshop where I establish the basic
         LH: As a child I was always fascinated by color and paints. My  parameters of the painting, that is if I’m doing a representational
         parents thought it would take away from my music lessons, so  work. As I’m dealing in ancient Greek figures now, I need to do a
         my childhood was immersed in music, which is a form of color  lot of research first then figure out how I will approach it both in
         as well.  To this day I love both, so it just depends on how you  color and deconstruction which I often do.
         want to express color.  I can’t choose between the two but for
         time, hours, thoughts and dreams it is in color that applies to  AMM: Where would you go if you could paint anywhere in
         my canvases.                                         the universe?
                                                              LH: I live in Southern California, both the mountains where
         AMM: Describe your state of being when you are painting.   I have a horse ranch and the city. All forms of light are inter-
         LH: It depends on what it is I’m painting. If it is an abstrac-  esting to me from the natural landscapes to the light in urban
         tion, I’m somewhat free however  even in these looser forms of  cities, especially in New York with its towering peaks that seem
         expression I’m always conscious and disciplined, and actually  to touch each other as you look upwards.
         find it more difficult to have a successful abstract than repre-
         sentational. In a way I envy the abstract painters that can just  AMM:  Who are some of your heros/heroines?
         freely let the paint flow, drip or come to the canvas randomly  LH: My heroes/heroines occur daily as I witness those who express
         without thought and the painting is cohesive. From the incep-  kindness and compassion in human and unique ways. Sometimes
         tion of my work when I airbrush the surface, I maintain control  it is a very small gesture and others we witness in grand newswor-
         and  choose  from  many  different  palettes  which  I  Photoshop  thy ways. Visit www.lorihyland.com to view all of Lori’s artwork.
         first and then make a choice.

         AMM: How many studies do you typically create before the   Above: DAYBREAK, Oil on Canvas (36 x 48’’). Right, top, RIPPLING EFFECT, Oil,
         final piece?                                         acrylic, metallic on Canvas (48 x 60’’), bottom,



         8   Arts Management Magazine  I  www.ArtsManagementMagazine.com
   3   4   5   6   7   8   9   10   11   12   13