Hathors Sister's topics - tribe.net

Hathors Sister music downloads MP3

2007-06-21T17:16:29Z

You can now download the Hathors Sister Albums at this website:
http://payplay.fm/hathorssister1

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New web pages for Nina Pak

2007-03-31T19:57:21Z

Please visit my web pages at:

www.ninapak.com

www.myspace.com/ninapak

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ERICA STEINER INTERVIEW

2007-03-29T17:59:41Z

HATHOR’S TRIBE: Who is your muse, who inspires you?
STEINER: I wouldn’t say that I have a muse per se, though I do sometimes feel presences or energies with me when I work…subtle flows of color, light, sound and emotion that feel like they are imprinted with the resonances of distant places and times and people. I might call them muses, or collections of information, or echoes in time that leave behind impressions in my consciousness and in my work. They are intangible, but they feel very clear and present at times.
I think I’d be accurate in saying, however, that the natural world, the water, the sky, the land, is really my primary muse. Not any literal or particular landscape—I don’t consider myself a landscape painter, though I incorporate elements of landscape into my work—but the deeper essence of the natural world, the breakdown of its parts, its internal geometry. I grew up in rural northern California, very close to nature, and as a kid my love for nature was so deep that it was like a longing, almost painful. My work, I think, grows out of that; on some level, it’s an effort to relieve that longing, to get inside of nature, to engage with it, to merge with it. Of course, within this desire, there is always the deeper desire to know my own nature, to experience my own being in a pure, unencumbered way. Painting allows me to do that; it relieves me of the everyday suffering of the mind, and it fulfills my desire to get inside of what is dynamic and beautiful and meaningful about being alive.

HATHOR’S TRIBE: Are you a visual artist, writer, musician or film maker?
STEINER: I’m a visual artist—a painter. That’s what I do, and my identity and career and life are focused on that goal. I’m also a singer, and I’m something of a writer and poet. I worked as a writer for a number of years, and got my graduate degree in creative writing. The truth is, though, I’ve found that I’m much happier, more adept, and more comfortable dwelling in the mind of the painter, because it is non-linear, pre-linguistic, and simultaneous (the painter can see all of her creation at one time). I am also not particularly interested in telling stories, which, as you can imagine, can be problematic for a writer. Even as a painter, I avoid narrative in my work, preferring to communicate in more abstract visual language that, at least to me, feels truer, closer to the bone. Painting allows me to more directly express the quiet, subtle moments in life when time slows down, when stories stop…these are the moments that interest me most. When all is stillness, and there is nothing left but feeling, impulse, movement, harmony, tension, timelessness, expansion, ecstasy, beauty, emptiness.

HATHOR’S TRIBE: What artists have influenced your work?
STEINER: Many movements and artists influence my work, though I usually see them first in my paintings, rather than planning or deciding what they will be. Among my influences, I would count the art nouveau movement, medieval Catholic art (illuminations, stained glass), textiles from all over the world (India, Japan, Africa, Europe), origami and Japanese graphic design, Chinese calligraphy and landscapes, botanical drawings, Victorian fashion, aboriginal art (which I discovered only very recently, after being told my work was reminiscent of it), modern/minimalist design, Tibetan Buddhist painting, Rococo, folk and religious art from all over the world (Mexico, Eastern Europe, India, Bali). I am also an admirer of many contemporary painters: Julie Heffernan and Darren Waterston are current favorites, as are Clare Rojas, Rex Ray, Margaret Kilgallen and the “Mission School” painters from my long-time home of San Francisco. Also: Frida Kahlo, Kiki Smith, Yoko Ono, Hokusai, Van Gogh. I grew up worshipping the work of Georgia O’Keefe and as a teenager used to copy her paintings in pencil and watercolor in my sketchbooks; recently, I was looking through some of her work and was struck by how deeply her work had imprinted in my artistic sensibilities, affinities and tastes. And last but certainly not least, I am influenced by my husband, Aaron Castro, who is a powerfully inspiring artist and partner and friend.

HATHOR’S TRIBE: At what age did you have an interest in art, and when did you first realize you would be an artist?
STEINER: I feel like I knew from the time I was a small child that I was an artist, but then, kids are artists naturally, and they all know it, don’t they? But…to pinpoint a specific moment, I would say it was probably on a family trip to Washington D.C., when I was eleven or twelve. My mom and I went to the Smithsonian Art Museum and spent hours there looking at the paintings…and I was just in a kind of ecstatic state, totally blissed out. Afterward, riding with my family in a train car, I declared with conviction that I was going to be an artist when I grew up. I remember my mother reacting positively, being very excited and sweet about it. Of course, there have been many instances since then in which I’ve decided/realized anew that I am an artist—in high school, in college, in my late twenties. In a way, I reaffirm my choice to be an artist every day when I show up to work in my studio.

HATHOR’S TRIBE: Do you plan out your work before you do it, or does it evolve organically?
STEINER: Very rarely do I plan my work. I tend to work on impulse, to feel the art in my body first…in my solar plexus or throat or chest…and I allow it to gestate, to percolate in my consciousness. I usually work on a large number of pieces at a time—sometimes as many as 20 or 30—and I move around from piece to piece, depending on what is calling me. My process reminds me a little of the way the surfers here in Santa Cruz go out to the beach and sit in their trucks and study the waves for long periods of time. Then, something clicks, and they go into the water. That’s kind of what I do. I sit with the paintings—even if they’re just blank canvases—till something clicks, then I go into the water.

HATHOR’S TRIBE: Is there a mental process? Do you have a question to ask or answer?
STEINER: I feel like in my creative process there’s a nexus point—a hub of consciousness where the mental, emotional, physical and ethereal meet…and the inspiration tends to move from the ethereal, through that hub, down the arms, through the hands and paintbrush, onto the canvas. Within that mysterious process, the conceptual or mental is somehow present—I have general ideas and themes that play out, over and over—for example, I have a very real concern for the state of the Earth; I also have a deep craving to connect with the anonymous women artisans who came before me, who gathered together in sewing circles, and worked so intimately with textile design and pattern and ornamentation. But ideas, issues, themes, they never really come first. Like I don’t sit down in my studio and think “I’m going to connect with my ancestors today” or “I’m going to express my concern over the fact that we’re abusing the planet.” Not because I don’t want to sometimes, but because it just doesn’t seem to work for me; it’s putting the cart before the horse. I think there are a lot of artists out there who are really good at starting from the conceptual, and I truly admire them and sometimes envy them. For me, I seem to have to surrender to approaching my work as a process of studying and engaging and playing with the basic building blocks of the physical world…color, form, material, etc. I think the concepts are backdrops to the creative process, but they are not the process itself; it’s almost as if they’re there to be transcended or forgotten. I think I really do forget them—my mind goes out the window when I paint—and yet when I look at finished bodies of work, I’m amazed that the concepts have managed to stay, to continue to be a relevant and grounding force in the work.

HATHOR’S TRIBE: If you have had formal training, do you feel your educational process hindered your artistic expression in anyway?
STEINER: Yes, I’d say my formal training—limited as it was—was something of a hindrance, at least in the short-term. When I started my undergrad studies at Mills College in the early nineties, I did so with the intention to be an art major. I took a handful of art classes, felt totally traumatized and baffled and inadequate, and changed my major. After that, it took me a good seven years until I began painting with any kind of discipline or intention again. The upshot was that when I did come back to painting, it was with a kind of fire and directedness that I had not known before. Somehow, my voice had found me, not through painting, but through life experience. So, in the long term, I’m grateful for that experience, because it strengthened my will, conviction and vision. It tested my resolve, which is important for an artist.

HATHOR’S TRIBE: Do you use the creative process to express your internal conflicts or to purge yourself of emotions?
STEINER: I’d say so, yes, not really consciously, but more alchemically, in an experiential way. Art is a discipline; it’s a devotional practice and a commitment. There’s something about showing up in the studio, rain or shine, whatever’s happening in my life, that is just profoundly comforting. I can bring the deepest sorrows of my life to the table, and the art will eventually transmute them. The flip-side of that is that I can’t hide from my sorrows, my conflicts, my shadow, because the creative process doesn’t allow lying or hiding. It’s constantly cleaning house on the psyche, both personally, and for the collective, the ancestors, the rocks and trees and all the rest. The creative process has a graceful way of touching the deepest, most painful wounds. It brings existential comfort, somehow speaks to those unanswerable, fundamental questions about the nature of reality that can’t ever really be answered.

HATHOR’S TRIBE: If so, do you feel that art can be a kind of therapy?
STEINER: Without question; I think art is inherently therapeutic, and there’s no way around that…it’s a roto-rooter for the soul. Of course, its value as therapy and its aesthetic value are not necessarily related. The merit of art therapy is in its healing or cathartic effect on the individual. Fine art has to stand on different criteria, on its own artistic merit.

HATHOR’S TRIBE: What is your opinion about the current art movements which focus on dark imagery?
STEINER: That’s a very interesting question, and one that I’ve actually thought about a lot, but which I haven’t really been able to satisfactorily answer. Certainly, like all expression, it’s by nature a reflection of the inner worlds of the people expressing it…and let’s face it, to be alive on planet Earth today means confronting on some level the absurd dream of the apocalypse that humanity is very dangerously working with now. So…from that perspective, it should be no surprise that dark imagery is showing up in art these days. I don’t know…I think about the R. Crumb model…that art can be a kind of exorcism of internal demons. I agree with this idea and know from first-hand experience that it’s true. And yet, there’s a place where, at least from my perspective, very dark imagery in art has become too fashionable for its own good, and can be (though it certainly is not always) a bit unimaginative or repetitive. I have a perpetual craving to see art that I’ve never seen before, to see art that is brave and innovative and fiercely honest. Just as overly sentimental art fails to tell the truth because it hides from the shadow, relentlessly dark imagery fails to tell the truth, because it denies light. Both fail because the nature of reality is that light and dark are in a constant, dynamic interplay, that they are gradually, inevitably part and parcel of the other, connected as they are by infinite gradations of gray. It’s the yin-yang thing. You can’t avoid it.

HATHOR’S TRIBE: Do you make art for yourself, or do you have a market in mind?
STEINER: I make what comes through. I don’t seem to have it in my nature to do otherwise. If I did, I don’t think I’d be doing what I’m doing, being an artist. It’s pretty much got a hold on me.

HATHOR’S TRIBE: Do you believe that art has a higher purpose, other than to decorate a room? if so, please explain?
STEINER: I’m not sure I would say I believe that it has a higher purpose, because I don’t really know for sure, and don’t want to hang my hat on that belief or make a grand pronouncement about it. But I would say that in my heart of hearts I feel that art is necessary for our psyches, for our bodies, for our existence as humans. I read somewhere that the ancient Hebrew nomadic tribes, when they’d find a place in the desert where they intended to set up camp, would take a tent stake, called an “ameyn” and ritualistically ram it into the ground, claiming it as their own, literally grounding themselves in that place with the proclamation of that word. “Ameyn” is of course “amen”, a word commonly used to ‘stake’ prayers into reality, into time and space. To me, art is like that amen or tent stake going into the ground; it’s what we use to ground ourselves into the meaning of our lives, to remind ourselves and to proclaim that we are in fact transcendent and eternal slips of light—intangible souls—navigating the Earth plane at a certain point in time. Without art, we drift into states of spiritual and social anomie…we lose ourselves in our infinite nature, we lose our minds. Art gives us a place to be, a stake in the ground, a way to define ourselves. For that reason, art can be a powerful manipulator of the psyche; it is used as effective propaganda all the time, for governments, corporations, religions, etc. It connects with the emotions and the deepest places within ourselves, where we are most pure and beautiful and innocent, like children. Which begs the question: what is the responsibility of the artist in making art? I don’t have an answer to that. My approach is to work as hard as I can to find a place of truth, to express my nature and loves and fears and to try to get at the center of the meaning of existence. It’s a devotion that means I have to go into the darkest places and the lightest places in my psyche, continuously. It can be very intense and very painful and very wonderful and thrilling. I don’t know exactly why I do it, except that I’m intensely compelled to. I hope that my work and my journey touch people.

HATHOR’S TRIBE: If you could meet any artist from the past who would it be?
STEINER: There would be so many…but if I had to choose one, I would probably say John Lennon, because his music and life and death are so viscerally and emotionally intertwined with the events of my life. I have missed his presence on the planet profoundly since he left, and still cry when I hear his music.

HATHOR’S TRIBE: In what way do you want to be remembered?
STEINER: My greatest, ultimate hope would be that there are people thriving on a healthy Earth a thousand years from now, people who have long since forgotten this little lifetime of mine, because they’ve got more important things on their minds, like loving their children, and taking care of the planet.

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Interview with Julia Surba

2007-03-11T18:33:12Z

Hathors Tribe: Who is your muse, who inspires you?
Julia Surba: Ancient and native cultures.

Hathors Tribe: Are you a visual artist, writer, dancer, musician, or film maker?
Julia Surba: A pyrographer and mix media artist.

Hathors Tribe: Do you work in other creative venues?
Julia Surba: Performance, shadow theater.

Hathors Tribe: What artists have influenced your work?
Julia Surba: The aborigines of Ancient Kuzhebar (Siberia).

Hathors Tribe: At what age did you have an interest in art, and when did you first realize you would be an artist?
Julia Surba: I guess I was born so. It´s my nature. I´m sure that everyone is an artist, but not everybody realize the potential.

Hathors Tribe: Do you plan out your work before you do it, or does it evolve organically?
Julia Surba: It depends... Some works are realizations of my dreams, some I think out before some are done just by following the touch of the moment...

Hathors Tribe: Is there a mental process? do you have a question to ask or answer?
Julia Surba: My pictures are always stories, may be somebody find in them answers or questions.

Hathors Tribe: If you have had formal training, do you feel your educational process hindered your artistic expression in anyway?
Julia Surba: I´ve been never destroyed by any art school:) I´m self taught.

Hathors Tribe: Do you use the creative process to express your internal conflicts or to purge yourself of emotions?
Julia Surba: I would say, all conflicts are melting during the creative process.

Hathors Tribe: If so, do you feel that art can be a kind of therapy?
Julia Surba: Better to say meditation.

Hathors Tribe: What is your opinion about the current art movements which focus on dark imagery?
Julia Surba: Some of the artists and their art work are very talented and impressive, but I prefer don´t to look at their art to much, because I don´t want to support such world picture. It´s deformed and shows a gloat about being deformed.

Hathors Tribe: Do you make art for yourself, or do you have a market in mind?
Julia Surba: This question is like: "are you black or are you white?" I´m colored:) I do only what I like, creative process is always a big joy for me and I´m also happy when somebody wants to buy what I have created.

Hathors Tribe: Do you believe that art has a higher purpose, other than to decorate a room?
Julia Surba: To decorate a room is a secondary purpose which has replaced the original one. I think that art should be inseparable from dayly life, be a part of it, has practical and religious use.

Hathors Tribe: If you could meet any artist from the past who would it be?
Julia Surba: Of course aborigines of Ancient Kuzhebar!

Hathors Tribe: In what way do you want to be remembered?
Julia Surba: I ´ve never thought about. First I want don´t lose myself.

Links to Julias websites:

www.pyrography-design.com

www.myspace.com/kuzhebar_design

www.nadishana.com

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An Interview With Gareth Balch

2007-03-04T15:56:13Z

I didn’t realize until after attempting to lay out something for this questionnaire that I had such a rambling, ramshackle of a mind for both mentor and protector....its amazing what you find sometimes when you lift up the stone or just barely pull the drapes to one side
I’m not sure if the following is what you expected but reading your list of questions almost became like some mind altering substance inasmuch that once I considered the question I was then taken up by a tremendous amount of activity and imagery.. some relevant, some distractive and some really quite probing ... in fact it was not until I thought about your questions did I start to appreciate and recognize just how much art enters, affects and consumes of everyday life...this a fascinating questionnaire and I’m beginning to feel that it is much larger than maybe you really intended it to be as each answer provides the questions for dozens more...and probably because of this my response might appear rambling and not at all cohesive... but then that’s one of the greatest rewards of art in that it has this incredible capacity to take you far beyond that which is readily comprehensible

No matter what the design, core, purpose or presentation, art has a symmetry about it that balances and compliments the forces and elements of nature that might otherwise be perceived as chaos... if there is a chaos then it is the almost a totally random digestion and regurgitation of persuasions, rumours and histories that we unwittingly refer to as intelligence. intelligence requires substance whereas art can exist without any at all. intelligence requires a question, answer or conclusion ...art does not as it has the independence to exist purely on its own terms....I’m sure I cannot be the only artist who has at times been totally baffled by the submissions of my sub conscience

Art has become almost the only stable and constant part of me that bears either relevance or connectivity to anything of substance. Perhaps sadly I have concluded that without it even my anonymity would be anonymous... even to myself.
It is not as though without music I would have lost my soul ... more like a sense of being abandoned without even the comfort of a miserable question. This might sound negative and depressing but actually it is not...in fact for me I find it quite enlightening ...but then maybe that observation is one that is well supported and armoured by the music and imagery and creativity that is, in its entirety and collectively, in almost every atom that brushes against my senses... in fact I cannot think of another human activity that compares or is capable of externalising the essences of what we are and what we are capable of...more or less everything else seems to relate to the somewhat baser edicts of reproduction and the maintenance of being.

Art is both language and interpreter ..and it is not only what it brings you but also to where it takes you..... Art is undoubtedly the ultimate and most comprehensive language we possess... devoid of barriers in itself and quite capable of removing any existing ones. Another significant attribute of art is that it has the capacity to be supremely articulate when all other routes, modes and common identifying criteria fail.

Here are my questions:
1. Who is your muse, who inspires you?

The 2 people that influence and inspire me the most, and in fact almost exclusively are firstly the person that I am and recognize that I know... and secondly the person that I am and yet is unknown to me... Within these 2 persona exists all other persons dead, alive or yet still to be born. All they can ever be is whatever I perceive them to be . The remainder of their existence to me is unknown and always will be. This is not unique to me and is in fact common to every single person on this planet. Nothing and no-one has any proof of existence outside of these perceptive facilities of mine. This might appear to isolate me or indicate that I must be alone...but it does not because the capacity of imagery can create quite independently all the other 6 billion persons here... and of course many that could never be found by anyone else..... I find it somewhat ironic that one of the other translations for “muse” is “to be absent in mind”
Or there again perhaps my muses are the abstractive and anonymous dwellers that have harboured within my soul simply to confuse desire with purpose and labour both of these with intent....that maybe these are something benignly parasitic searching for dimension, structure and identity.... and as you can well observe I do appear to be struggling somewhat with my own....
Oh dear...I have just remembered the other muses and now feel like I am a prevaricating and in great danger of becoming a rambling inconclusion.
My other muses , and the most influential in many ways, are those that hold sway with the destiny of my emotional being....fortunately, or maybe not, these have been very few and far between in my life....but with the passing of time they still stand like erect majestic seductive beacons in an otherwise flattened landscape...in some respects it almost feels masochistic to continue to entertain their insistence of being remembered, loved and feared....almost as though I exist in the tragedy of their memory rather than the frighteningly deserted senseless oblivion of emotional neutrality...My direction bids surrender onto the blade rather than numbness ...I bow to protection of pain.

2. Are you a visual artist, writer, dancer, musician, or film maker?
Wordsmith, musician and sometime painter....and an even less than sometime sculptor of 3 dimensional objects...plus of course in this enormous worldwide Waltz a willing but rather clumsy rambling dancer. Tactile sensuality is another beautifully expressive artistic medium that has far too many detractors by way of lazy and selfish disregard.
I love nothing better than to strum and hum and just see what the imagery brings forth. Some of my best lines have simply tumbled out of my mouth without any attempt to allow themselves an attachment to a thought.

3. Do you work in other creative venues?
Unfortunately not...but I would love to be a multi-instrumentalist , a potter, a sculptor a dancer, a writer of books, a wood carver, a lover and a father....

4. What artists have influenced your work?
First and foremost nature...no greater design.. there exists nothing with more graceful of line... no colour more vibrant... no smell more sweet.... and no tragedy more sad.
Those that have influenced me have never been of my choice because they always brought to me something previously unknown to me...and this must include the artists who’s work I did not admire or enjoy or relate to... I have to allow that the influence of my existence would not be considered were it not of my fear of death.
Trying to “list” who such influential artists might have been becomes very frustrating... each time I think of one I turn around to see another dozen or so rightfully seeking a mention too..... I tried best to resolve this is a short chronological way and also confined to music...and so they are Chopin, Elvis, Dylan, Cream, Rachmaninov, Shostakovich, Free, Puccini, Hendrix, Freddie Mercury, and me.... Funny how sometimes when asked a question like this you look back later and realize you’ve left out the most important.

5 When did you first realize you would be an artist?
As far as my memory will take me back I can recall a very strong interest in music and painting and drawing.... the interest just seemed to be a cohesive part of thought recognition and an attempt to be part of the world I found myself in.

6. Do you plan out your work before you do it, or does it evolve organically?
Mostly it is simply there in the ether to be harnessed and shaped.... although it often feels that in constraining it or trying to shape it into more recognisable and available and approachable structures that I invariably strip away much of the purity and unbiased constitution that it is offering.... It took me many years to begin to understand why abstract art of whatever medium is exceptionally liberating...although I’m not sure this translates much from the giver to the receiver...
In many ways these applications remind me of flowing rivers where the energies are totally independent of their surroundings...and in scooping up a glassful of these flowing waters sadly and frustratingly all that I am left with is a vessel of still waters and none of the spirit of the river....What I really seek to harness, but unrestrained, is the flow.

7. Is there a mental process? do you have a question to ask or answer?

Any mental process is basically retrospective and simply attempting to catch up with the intuitive imagery that has been so often barely tenuously grasped... And within this process invariably is to be seen attempting to remove the answer from the question... and yet somehow still allowing the question to be both intact and complete. My belief is that humanity is in error for its inexhaustible quest for answers...for surely the truth is already in place and simply requires the correct question to reflect its source and set it free. I am much more driven to find the emotional process rather than the mental one....to feel the orgasm rather than write about it...!!!
Additionally there is the retrospective recognition in the completed pieces that proffer the consideration that somewhere quite subliminally there has been some extensive mental processes beavering away...there are always processes but I do sometimes wonder who's they really are.

8. If you have had formal training, do you feel your educational process hindered your artistic expression in anyway?

Very little and very basic..... I am most grateful for this as it has helped to discover whatever the uniqueness of me actually might be...I do concede that formal training could unquestionably have improved many of the technical and practical limitations that often frustrate me.... but ultimately I am much more content to settle for my own limitations and weaknesses as I feel they more accurately represent the very imperfect person that I am ...and this allows a clarity that could otherwise have been obscured by the influence of tutorial directives.

9. Do you use the creative process to express your internal conflicts or to purge yourself of emotions?

Yes...and also to discover and explore those that I either do not recognize or avoid.
I dont feel like I purge them as much as integrate them in as balanced a format as is possible for one to achieve...never perfect but then perfection is an abstract representation of subjective imagination.

10. If so, do you feel that art can be a kind of therapy?

Very much so and in extreme and tragic cases of trauma involving both children and armed forces it has given them an almost independent and externalised place of safety where their experiences can be re-enacted and hopefully then more readily approached. Of course the actual act of involvement with more or less all forms of artistic expression is one of the most common therapies that there are for all of us ...and very likely the most effective and rarely with negative consequences.
As with many other “alternative” therapies I am sure this has much much more to offer than is realized.... The route to simplicity is often obscured by the veils of intelligent supposition.

11. What is your opinion about the current art movements which focus on dark imagery?

I’m not that much in touch with the general flow of movements but would just opinion that “dark imagery” has been prevalent in one form or another for more or less as long as art has existed...If there is currently a growth in this then I would conclude that it is very much a reflection of the overall state of humanity....dark and in trouble.... Historians doubtless can provide examples of similar times at any given period...the difference now is that the world is relatively very very much smaller with changes and movement vastly accelerated and reacted to... If we observe the radical actions that nature is having to implement in order to counter balance the demands made upon it then it would be suicidal for humanity to consider that it can achieve what nature cannot.... I realise we are all a part of the natural resources and demands but nature suffers neither ego nor sentimentality ...therein lies our warnings from both sides . Similarly to other questions involved here I feel the dark movements are an attempt to access more fully the threats that we perceive...our artistic shield is our armour and possibly allows us to approach something threatening with a degree of confidence that we otherwise would not.

Personally I both need and prefer art that adds something to my life... I really do not need replication of the mundane or in the cases of elephant dung , unmade beds or a thousand squinting lightbulbs and the rather shittier things in life...I respect the artists need to produce them but am also saddened at the narrowness of their vision. and those that elevate them simply for their low common denominator attention gathering.
Art is also a place to exist within accompanied only by that which it chooses or stumbles over to represent and share...as far as I am aware there is no other medium upon or within this planet that can offer the same isolation in which to share and accompany that which shares us too.

12. Do you make art for yourself, or do you have a market in mind?
Art makes itself for me rather than the other way around...I don't create something that is not already there all I do is to simply give it dimension to allow my limited facilities to recognize and approach it . If within this process of recreating myself it also speaks for others too then this is for me is a very significant reward....touching the untouchable in someone else has this kind of tingling effect...quite magical.
I try not to think of it in marketing terms because it then confronts and stumbles clumsily with my ego and all the interminable “what ifs” of “success”...god I hate that word for the amount of lives it continues to torment, torture and destroy....and yet....like a moth to the flame I flavour my weakness.

13. Do you believe that art has a higher purpose, other than to decorate a room?
if so, please explain?

It helps to externalize that which we find difficult sometimes to express...in fact it also produces a model to enable us interpret that which we might otherwise struggle with... and it provides clues for that which we at times neither recognize nor acknowledge
I also believe that art as an activity , whether participated in actively or passively is both fundamental and essential in helping humanity avoiding a head on crash with its extremely fragile insecurities and instability. Art is by far the greatest distractor of human confrontation with its feeble and distinctly dangerous capacity for self destruction..... art is without doubt the most useful antidote we have to an otherwise certain insanity. The proof is that it allows our brains to create a reality out of any given set of circumstances and material and then places it at a safe distance from the edge of our incredible stupidity. Art has all of the places ..no matter where or why situated

Although it is not necessarily the purpose of the artist to do so sometimes you can say more for another person than they could ever find ways to express. The reason I am aware of this is because in the film Snow Falling On Cedars there is a scene between
Ethan Hawke and Hatsue Miyamoto that last barely 10 seconds...and yet it has the capacity to tell of so many years of my life and at a depth I very rarely even reach yet alone express.

14. If you could meet any artist from the past who would it be?
For so many different reasons this could be an endless list... but if limited to 5 then I would choose Da Vinci, Chopin, Dostoyevsky, Rachmaninoff and Reginald Mitchell

15. In what way do you want to be remembered?

That from and within my darkness that someone else might find their own light... even a single solitary candle would be sufficient reward.... and paradoxically especially for those I never knew nor met . And maybe in some respects ego satisfied by the possibility of defying the paucity of immortality. In many ways this is a difficult question to answer because ultimately I would simply wish to be remembered as a contributing sound and symbol in the word and reciprocation of unconditional love... my history has since precluded that so I’m looking at what I feel is the next best representation of the generosity of the human spirit.... and more honestly I cannot discount a buffer against my fear of oblivion either. Ultimately I guess I’d be grateful enough to accept I placed a raggedy blistered footprint next to somebody elses..

It might sound as though I have both deviated from and exceeded the remit and precepts of your interview... but my belief is that absolutely every human condition physically emotionally and mentally has a corresponding and equivalent representation in art....one that has always been in place and which is why we often recognize in these creations our ultimate identities. I was going to add truth but truth is a concept that I find difficult to substantiate with any degree of being absolute....In fact I tend to believe that the word is simply a misnomer for opinion and that humans are incapable of recognizing or creating truth. independent of condition or expedience.

I have this belief that the art of any given individual is always much larger than the person it comes from...this might be because the “artist” is nothing more than another brush or chisel or violin string that gives expression and dimension in a format otherwise too large for the recipient to either comprehend or encompass. Art has given me the most accurate and logical interpretation of dimensional awareness and has me convinced that I have barely entered the possibilities and extensions that are there to explore
Art is a place to exist and live within accompanied by much more than we share with any other activity or dimension of our existence....in fact art is very much more than some metaphorical representation of our lives...it is not independent of that which we are as humans but it definitely has something unique that does not require either our co-operation, our intervention nor our contribution in order to exist....herein I think lies a partial explanation as to why it so often surprises and shocks with the interpretations it brings forward
Here is a link to Gareth's MySpace page: http://www.myspace.com/garethbalch

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An Interview with Amina Bech

2007-02-23T21:55:12Z

Hathor’s Tribe: Who is your muse, who inspires you?
My muse has always been those with a mind of their own, and the will to both.
Hathor’s Tribe: Are you a visual artist, writer, musician or film maker?
My main focus today is on visual art, i.e. photography. My first foray into this field was through “theme of your own choice” in High school. Later I studied fine art; painting. Over time I got a formal education in set design at 'The Norwegian Academy of Stage Art'. I have been working with audio and image processing within various formats since I left the Academy. I’ve done video for various concert performances, and have been working with sampling, loops and ambient audio for two different band projects.

Hathor’s Tribe: Do you work in other creative venues?
My main focus is on photography. I still work with sound design in some of my own projects, but - If the possibility emerges, I would not exclude to take up the sound work in a new art co-operation.
.Hathor’s Tribe: What artists have influenced your work?
I am fascinated by the palettes and techniques of the Old Master's. Especially painters like Rembrandt, with respect to his use of dark and modest light. I admire his use of dark earth tones and the golden highlights.
Hathor’s Tribe: At what age did you have an interest in art, and when did you first realize you would be an artist?
Growing up in a family where being an artist was not necessary the first choice you made, combined with a culture that really doesn’t support such a choice. My ambitions might have started early, but my real efforts started in my mid twenties.
Hathor’s Tribe: Do you plan out your work before you do it, or does it evolve organically?
That varies. I really enjoy the evolving process of work which can start from a vague idea which then develops into a universe all its own. Nothing can be more frustrating and giving at the same time as that. What excites me the most is when an emotional trigger connects unexpectedly with a visual memory.
Hathor’s Tribe: Is there a mental process? do you have a question to ask or answer?
All my works is based on either an affiliation, personal experience or childhood memory - comprised of fairy tales, folklore, and myth. I use my own story to reflect on a larger set of issues.

Hathor’s Tribe: If you have had formal training, do you feel your educational process hindered your artistic expression in anyway?
Education is great for formalize knowledge. The thing is to make education a part of your own self in such a way that it becomes second nature, not something that you force. That is still a struggle for me. Refinement is also education, but education is not always refinement.
Hathor’s Tribe: Do you use the creative process to express your internal conflicts or to purge yourself of emotions?
All the time! Art is my dialogue with myself and the world I live in.
Hathor’s Tribe: If so, do you feel that art can be a kind of therapy?
For someone it could, but I don’t consider my work as a therapy for myself. Even though I use my own story and my own conflicts, I´m never private. I try to communicate it in a way that anyone could relate to it.
Hathor’s Tribe: What is your opinion about the current art movements which focus on dark imagery?
It’s funny that you mentioned that, because I find that a lot of people find my art rather dark. This was actually a surprise to me, since that was not my goal in the onset. In all my imaginary work I set out to tell a story. Mostly I credit this to my background as a set designer.
On the other side – with the world as it is today, it is probably no wonder that my images might appear a little dark.
Hathor’s Tribe: Do you make art for yourself, or do you have a market in mind?
My art starts within my own mindset. I never set out to target a market as such; commercial success has never been a factor in the choices I’ve made for my life. Sure I would like the market to accept my art on it’s own terms, that would for me be a much greater satisfaction.
Hathor’s Tribe: Do you believe that art has a higher purpose, other than to decorate a room?
Most definitely!
Hathor’s Tribe: If so, please explain?
Art – when it’s good - should change you and the world around you, by changing our perceptions. It should expand your horizons a bit, by showing you things you did not see before.
Hathor’s Tribe: If you could meet any artist from the past who would it be?
Hieronymus Bosch. I think that his work is so contemporary that it’s hard to believe that he lived more than 500 years ago.
Hathor’s Tribe: In what way do you want to be remembered?
I would love to be remembered as someone who changed the world for the better.

Please list your links here:

www.aminabech.com
www.myspace.com/aminabech
www.videoscenography.com
Art Face Off; www.http://artfaceoff.com/vote_on_art.php?ID=7275&PID=26007

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Interview with Anais Petra

2007-02-23T21:29:33Z

Hathor’s Tribe: Who is your muse, who inspires you?
Anais Petra: I don't think I have a muse. There are many people/events/views that
have inspired me, but all my art comes spontaneously. I don't feel a
source.
Hathor’s Tribe: Are you a visual artist, writer, or musician or film maker?
Anais Petra: I am a visual artist, writer, and musician.
Hathor’s Tribe: Do you work in other creative venues?
.Anais Petra: I volunteered doing sound engineering for a company that makes
children stories. They had old reel to reels.
Hathor’s Tribe: What artists have influenced your work?
Anais Petra:Coil, Sappho, Tori Amos, Sheila Nicholls, Marta Wiley, Anaïs Nin, Ani
Difranco, Frida Kahlo, Proust.... many, many artists...
Hathor’s Tribe: At what age did you have an interest in art, and when did you first
realize you would be an artist?
Anais Petra:My mother tells me I was singing and drawing in the dirt as soon as I
had the ability. I don' remember when I started, so I believe her. At
tea time when I was a little girl I was questioned as to what I
wanted to do when I grew up and I said an artist.
Hathor’s Tribe: Do you plan out your work before you do it, or does it evolve
organically?
Anais Petra: It evolves on its own
Hathor’s Tribe: Is there a mental process? do you have a question to ask or answer?
Anais Petra: There is not a mental process, unless you count the trance state I
often am in when composing music. I do sometimes find the answers to
questions in my songs or books, but at the time I write I am not
consciously out to *do* anything.
Hathor’s Tribe: If you have had formal training, do you feel your educational
process hindered your artistic expression in anyway?
Anais Petra:
Hathor’s Tribe: Do you use the creative process to express your internal conflicts or
to purge yourself of emotions?
Anais Petra: Yes. I will go to my piano on a terrible day, and pound out the
tension. My neighbor says he can always tell what mood I am in by the
music he hears me playing.
Hathor’s Tribe: If so, do you feel that art can be a kind of therapy?
Anais Petra: I find it to work better for me than a therapist.
Hathor’s Tribe: What is your opinion about the current art movements which focus
on dark imagery?
Anais Petra: I think I may fall into the dark imagery crowd, at least with my
music and writing (My painting tends to be very happy). My opinion is
that it is good to allow yourself to feel how you need to feel to
transcend the experience. If that means writing 100 records of anger
and sorrow then it was necessary. I think it is much healthier to
expose "dirty" things than hide them with smiles. When people know
it's there, they can fix it.
But, I like my little ponies too, so I believe in balance.
Hathor’s Tribe: Do you make art for yourself, or do you have a market in mind?
Anais Petra: I make it for myself. If I ever find a market I'll be happy though,
since that would give me more resources to do what I love to do.
Hathor’s Tribe: Do you believe that art has a higher purpose, other than to decorate
a room?
Anais Petra: Yes.
Hathor’s Tribe: If so, please explain?
Anais Petra: I think it helps people feel, which in a plastic society where so
many people lead expressionless lives (work mindless repetitive jobs,
go home and watch tv, sleep, repeat) is quite important. Too many
people are cut off from themselves and the world. I also find it
healing.
Hathor’s Tribe: If you could meet any artist from the past who would it be?
Anais Petra: Jhonn Balance, of Coil
Hathor’s Tribe: In what way do you want to be remembered?
Anais Petra: In a complicated way.

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Interview with Elektra

2007-02-20T18:30:58Z

Hathor’s Tribe: Who is your muse, who inspires you?
Well, at this very moment there is one, and I have created numerous new things that left me feeling very satisfied with myself (and that’s something!), but I am keeping the name to myself. In the past there were also muses, but none of them were alive anymore. So this is new and exciting and has actually much more possibilities than the dead ones…also ‘cause the person is not a fantasy and the inspiration comes from real life, not something I make up in my twisted artist’s mind, haha! To be continued…

Hathor’s Tribe: Are you a visual artist, writer, dancer, musician, or film maker?

Well, I am all of the above mentioned, ahum…Film maker being something I am still exploring, and find extremely fascinating, for it combines so many disciplines! The weight just shifts: one period I am more focussed on music, then I am more focussed on photography, then I am more focused on dancing, and so forth. It simply depends on so many factors! So people actually ask me if I ever sleep…I don’t understand! I see myself as a lazy person, actually…One of the quotes being “A time enjoyed wasting is not wasted time!”, I forgot who originally said that.

Hathor’s Tribe: Do you work in other creative venues?

Yes, I am a creative consultant for an Independent Film Publishing Company, that stands in the top 5 of most important ones in the Netherlands. So I go to Filmfestivals and see tons of films and choose which ones are interesting for us, among other things. I stopped translating film scripts, for that precision work drove me crazy and my love for language could not save that relationship.
I also hope to return to acting soon, for I miss it incredibly! It has always been a big part of my life and even won me prizes when I was still a schoolkid in Estland. I especially was good at improvising in front of a large audience. I guess it was just surviving mechanism at work, haha!

Hathor’s Tribe: What artists have influenced your work?

I guess I would be a big fat liar if I would say ‘ none’…
Another problem is that I am very bad with names…
Throughout the quarter of a century that I have been residing on this planet I have seen, met, read and heard so many! And they all inspired me in a way, I think. Be it contemporary photographers like Liina Siib from Estland and Roger Ballen from South Africa, till Leonardo da Vinci, Frida Kahlo, Virginia Woolf and even Bukowski. (Or how about Andrej Tarkovsky, Jan Svankmajer and Sergei Paradzanov?…) The list goes on and on…
It’s all a matter of : “Does their vision touch me?” and “ Do they leave me thinking?” When they do I always seem to slip into a personal crisis, for I am challenged to remember what I forgot I wanted to be since I was born. The intensity of that desire. My friends even gave me a nickname in the past because of that necessary self-destructive behavior of mine: phoenix. I also hope that that nickname helps me to forget all I learned and just CREATE after being reborn once more!

Hathor’s Tribe: At what age did you have an interest in art, and when did you first
realize you would be an artist?

Well, actually I was composing music before I could even stand or talk! And I was painting before I could write…and being on stage since the age of 4 also does influence your choice in some way. Besides all that I was born from two crazy artists, who were both in the artist scene of the then Soviet Russia, the lovely Leningrad (now St. Petersburg) and the Opera House was literally my babysitter. So I never really stood still by my choice of ‘becoming’ an artist, also ‘cause my whole life I have said that you can only be born as one. Combined with incredible optimism from my parent’s art friends (to illustrate: I performed the whole ‘Giselle’ ballet on my birthday…yes, ALL of it! and I was very serious about it! and I knew the choreographies and music of all major classical ballets by heart. I could sing every single instrument from a ballet like Swan Lake for instance. So during my own representations I would fuss greatly about the ‘perfect’ light, the ‘perfect’ sound, my costumes…actually, now I think of it, poor parents of mine…I was such a slave driver! the result just HAD to be PERFECT! so they forgave me, I hope…also because they knew how many hours a day I practiced for that perfect result...) and we are talking here about a child under 5 years of age!
actually, my first real realization that I was an ‘artist’ really hit me hard not that long ago…I realized that even though I have those two sides to me – creative and scientific – I could never live so ‘organized’ as is required in the scientific world, and art helps also to preserve my essence . I do call myself a ‘dysfunctional’ artist though…Yes! I use art as an excuse for my shortcomings, haha! Gods forgive me…
I think that I will join on what Peter Ustinov said few months before he died. He said: “Now that I have grandchildren, I really must decide what to do with my life!”
I think that at the age of 72 I still will have no idea of what I want to become…I am pretty sure of it! I will always be ‘on the outlook’ and in the meantime doing what’s best for the moment and just being what I am best at: me. (And also doubting whether I am a ‘good enough’ artist and whether the world out there truly needs to see my creations…)

Hathor’s Tribe: Do you plan out your work before you do it, or does it evolve
organically?

I tried to ‘plan’ in the past…I still try actually. But it never works! In fact, all that planning leaves me feeling incapable of creating! Just the idea drives me crazy! But since I am trained in self-punishment since an early age, I am still trying, haha! But in the end it all comes to the simple fact that planning a creation becomes an act similar of doing the dishes…you never seem to enjoy it when you have to do it, ‘cause that’s ‘a part of everyday life’…Needless to say I am hell to live with…Every single day is unpredictable in its rhythm. Nothing is planned, all is one big chaos. (I call it my ‘creative mess’ by the way.) But when you look back at it all, you do see some sort of plan you had no idea of actually existing…!

Hathor’s Tribe: Is there a mental process? do you have a question to ask or answer?

Sometimes I do, yes. I am working on my second album right now, and my albums are always a journey, I try to tell a sort of story. I do try to leave more questions to my audience, than answers. I love to create that space in my creations, where the audience also becomes the creator themselves, and creates their own truth. So you will never find me explaining what I exactly mean! Perhaps if I will not burn all of my diaries and note books before my death, some historians will have something to re-chew one day! That is if they find me interesting enough…Guess I will be burning them anyhow, ahem…

Hathor’s Tribe: If you have had formal training, do you feel your educational
process
hindered your artistic expression in anyway?

ONE BIG Y E S !!! Educational facilities make art an institution, like prisons and marriage, if you ask me for examples. They try to submit art to rules. I could get away with anything, all I had to do was act as if I was ‘brilliant’ and ‘un.under.stood’ and I could never stick to any of the assignments. And how I tried!
So I ended losing respect for my teachers and actually starting hating the whole thing! Plus I was always arguing with them on how my work was not how they-taught-art-to-be. The good thing about it was that I actually doubted whether I was good enough, so I worked even harder…Not for someone else’s approval, but for my own pride and improvement.
Besides all mentioned it was pretty early in life that I discovered that most teachers in educational facilities for art were themselves failed artists. So when someone with real vision and potential happened to become their student, they could not hide their discomfort of being so heavily confronted with their own shortcomings. So they acted like little kids who broke the doll they could not possess, for it was never theirs in the first place. I always pitied them in a way…Luckily I did find teachers waiting on my path who helped me to stop re-inventing the wheel and actually use my time for better purposes. Those people were also the ones who actually forbade me to put one step at the above mentioned institutions. All very respected names, so here’s your paradox and a scream for change!

Hathor’s Tribe: Do you use the creative process to express your internal conflicts
or to
purge yourself of emotions?

Tricky question…for where is that thin line when art ceases to be art and starts becoming therapy? We artists are such emotional, touched with fire people, that you almost shout : “Both!” And step back for where it that thin line…? Do you see it anywhere? I know I do, but I am not telling….that kind of thing.

Hathor’s Tribe: If so, do you feel that art can be a kind of therapy?

To quote a fellow artist (who’s also a dear friend):
“Art without audience actually becomes therapy.”

So the answer is ‘yes’. Art has proven to be essential in psychotherapy and they still discover all of its benefits. But then again, an artist is not a patient.

And speaking for myself: I actually NEED a session once finished working…!!!

Hathor’s Tribe: What is your opinion about the current art movements which focus on
dark
imagery?

I say it’s just another hype. The humanity feels that they have finally admitted to have tasted that healthy piece of fruit Eve snacked upon a while ago, and with this current ‘dark’ movement they think they finally after all those centuries do not care of pretending to be one big chunk of all the deadly seven sins.
Don’t get me wrong, I love the dark side, very much actually. My creations show that I love my dark side and cherish it, for it literally gives me depth. It’s again the “where’s that thin line?” issue. But again, when I look at some of the ‘current dark imageries’ I become infuriated, for I feel the artist has no right to use their audience as an outlet of their hatred, and actually pretend they are the ‘mirrors’ of nowadays societies! That kind of art always leaves me feeling drained. It’s pure energetical vampirism if you ask me!
And there are other artists who use their dark side in such a way, that simply leaves me breathless…Their darkness actually has a lot of light in it, hope is always present. Hope never ceases to exist. As if the torch they have in their hands does indeed expose the surrounding darkness, but also leads the way.

I do have one thing to say to all those ‘tormented artists’ out there who seem to have this burning urge to burden their audiences with all that unprocessed garbage inside of them (the one they fail to take responsibility for and have a closer look at):
“You all scream: ‘I can kill!’
But can you also say: ‘ I can resurrect?’”

Thank you…

Hathor’s Tribe: Do you make art for yourself, or do you have a market in mind?

Well, none of the above actually. I do not make art for myself only, and I certainly do not have any markets in mind. The latter would be like ‘adjusting’ or trying to ‘fit in’. Ugh…!

Hathor’s Tribe: Do you believe that art has a higher purpose, other than to
decorate a
room?

Yes, I do. Definitely. It is a reminder to humans that the things are not the way they seem. Art gives humanity hope, it makes their heart skip a beat, it increases the awareness to look from different of perspectives. It also helps to escape from the dreadful reality of everyday routine.
But I also believe the two can live happily ever after side by side. For they also need each other. And there are as many forms of art as there are sorts of people. So art will always have a higher purpose AND be able to decorate your room splendidly! Let’s just hope your paining will not be used in a same way as a poster…

if so, please explain?

ooh! missed that…please return to number 13.

Hathor’s Tribe: If you could meet any artist from the past who would it be?

Leonardo da Vinci is the first name that jumps into my head! So be it!

Hathor’s Tribe: In what way do you want to be remembered?

For just one thing I wanted since the days I could finally express my desire in words:

“ To inspire people to be(come) their authentic selves.

Links where you can find Elektra Goncharova's work:

http://www.elektramusic.org/
http://people.tribe.net/25977541-9ec3-4a0d-bf9d-906076fa1c42

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Interview with Marta Wiley

2007-02-19T01:43:11Z

Hathor’s Tribe: Who is your muse, who inspires you?
Marta Wiley: My muses are my sister and my lovers. The ancients who walk the earth.
The magic in everyday people and things.
Hathor’s Tribe: Are you a visual artist, writer, or musician or film maker?
Marta Wiley: Artist and painter.
Hathor’s Tribe: Do you work in other creative venues?
Marta Wiley: I'm starting to do Videos.
Hathor’s Tribe: What artists have influenced your work?
Marta Wiley: My Grandmother Martha Gottfried, Cristiana Cole, Nina Pak. Kathe
Kollowitz, Sargent, Evard Munch, all the impressionists. Dali, Picasso and Andy Warhol
ect.
Hathor’s Tribe: At what age did you have an interest in art, and when did you first
realize you would be an artist?
Marta Wiley: I started painting at 2. It was my first language.
Hathor’s Tribe: Do you plan out your work before you do it, or does it evolve
organically?
Marta Wiley: Spontaneously.
Hathor’s Tribe: Is there a mental process? do you have a question to ask or answer?
Marta Wiley: It's an emotional journey into the sacred and profane. It is cathartic.
Hathor’s Tribe: If you have had formal training, do you feel your educational
process hindered your artistic expression in anyway?
Marta Wiley: No not school. But painting to make money is a double edged sword. I love
to be of service to people. I love to inspire them. The darker imagery is a hard sell. I try to
balance the darker edge with my music.
Hathor’s Tribe: Do you use the creative process to express your internal conflicts or
to purge yourself of emotions?
Marta Wiley: Yes. It is my therapy and sanity.
Hathor’s Tribe: If so, do you feel that art can be a kind of therapy?
Marta Wiley: Yes. Helps to transcend the ego and all the "identity crisis" that comes with
life.
Hathor’s Tribe: What is your opinion about the current art movements which focus on
dark imagery?
Marta Wiley: I used to think that all good art dealt with death. I do tend to get gothic. But
lately I think depression is boring. I think all the darkness can be just as cliché as all the
happy fluff. It's really the ability to blend the light and the dark which inspires me.
Pleasure and pain balanced just right will give you an exquisite feeling of bliss, even
rapture.
Hathor’s Tribe: Do you make art for yourself, or do you have a market in mind?
Marta Wiley: For myself first. I also sell to the home decor market. I have found that if I
stick to the classics I have better luck. Floral's, figurative, mythology of all kinds, and
nature.
Hathor’s Tribe: Do you believe that art has a higher purpose, other than to decorate a
room?
Marta Wiley: Not for the masses. But for select few who appreciate art it can change your
life.
Hathor’s Tribe: if so, please explain?
Marta Wiley: I just saw an Artemisia Gentileschi's painting of Judith Slaying holofernes.
Judith was a Jewish widow of noble rank in Bethulia, a town besieged by the army of the
Assyrian general Holofernes. She approached his tent as an emissary and captivated him
with her beauty. He ordered a feast with much wine. After he passed out in his tent,
Judith and her maid Abra saw their opportunity. Judith decapitated Holofernes with his
sword and smuggled his head back to Bethulia. On seeing her trophy, the townsfolk
routed the leaderless Assyrians. The story is an allegory picturing Judith as Judaism in
triumph over its pagan enemy.
I saw the movie about her life and I remember how it moved me inexpressibly. But seeing
the painting for the first time at the phoenix Art Museum was like looking into a window
of time or a portal into her soul. Her essence will always be imbued in that painting and
that realization made me tremble in my shoes.
My art will outlive me. As this painting outlived her. I like that thought. It comes back to
Identity. while the masses are savagely trying to reproduce themselves at all costs, artists
can immortalize themselves quietly and sometimes with even more meaning than carbon
copy of the self.
Hathor’s Tribe: If you could meet any artist from the past who would it be?
Marta Wiley: I would like to meet Leonardo da vinci. Not because of all the hype these
days around him. But because I feel he was an emissary of light in many ways. I would
like to meet Kathe Kollowitz also and Artemisia.
Hathor’s Tribe: In what way do you want to be remembered?
Marta Wiley: I want to be remembered as a Picasso of our times, but in the feminine
influence. I like what Gandhi and John Lennon and Martin Luther King did also.
Revolution through a peaceful means.
I want to influence mass consciousness, mass change on a global scale through awareness
and light.
I want to influence "responsibility" to our environment, our children, our animals, our
planet.

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Erica Steiner Painter

2007-02-10T16:48:45Z

It is not often that I find an abstract painter who’s work really moves me.

Here is one Sister of my soul who's work is quite inspired.

Some of her designs remind me of Yantras, Mandalas, or drawings of the Chackras.

There is something magical about Erica Steiners work. It has elements that remind me of the art nouveau period.

But there is a softer dreamy quality to her paintings. I found her on MySpace, here are some links to see her work:

http://www.ericasteiner.com/paintings.html#

http://www.myspace.com/ericasteinerstudios

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Queen Of Hearts

2007-01-18T23:00:54Z

Hathors Sister Album Queen of Hearts:
http://cdbaby.com/cd/hathorssister1

posted in Hathors Sister - 1 reply

New Website for Hathors Sister

2007-01-18T22:58:13Z

Please visit our new website:

http://www.hathorssister.com/

posted in Hathors Sister - 1 reply

Shrine To My Heart

2007-01-18T22:53:59Z

Shrine To My Heart
Our second Album:
http://cdbaby.com/cd/hathorssister2

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All Hathors Sister

2006-10-28T05:51:03Z

On this page all the albums are together:
http://www.cdbaby.com/all/hathorssister

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Hathors Sister first Album

2006-10-28T01:46:16Z

Hathors Sister by Nina Pak & Marta Wiley:
http://cdbaby.com/cd/martanina

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View Taras art

2006-10-26T01:12:43Z

Tara has her paintings on her MySpace page.
http://www.myspace.com/taragreer

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View the art of Marta Wiley

2006-10-26T01:07:12Z

Marta has art in many places on the web,
This is her personal website:
http://www.martawiley.com/

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View the art of Nina Pak

2006-10-26T01:04:11Z

Nina Pak has a new Website:
www.dreamloka.com

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