Welcome to issue 264 of Landscapes at the Easel, a series in which artists reflect on their workspaces. This week, Los Angeles artists found freedom in small spaces, escaping the stress of studio routines and reveling in the sunsets outside their windows.
Want to participate? Check out our submission guidelines and share a little bit about your studio with us via this form! All mediums and work spaces are welcome, including your home studio.
How long have you been working in this field?
Eight months.
Describe an average day in your studio.
I’ve tried (and failed) to create a routine around my art making. For the same reason I’m not good at finding work, I’m not good at sticking to a single lifestyle in the studio. Once I released this pressure—which was having a negative impact on my work—I realized that if I just showed up in this space and started playing with clay, painting panels, or tufted rugs, I would find myself stuck in in a process that lasted several hours. . Now, I just set myself tasks that come up every day, maybe with a specific task in mind, maybe not, throw in an episode Talk about art Podcast or soundtrack evilor boykeep working as long as you feel good.
How does this space impact your work?
If the picture doesn’t make it clear, I’m a bit of a hurricane in my space. The fun thing about this studio is that it’s a building filled with other little hurricanes, so I don’t feel too bad when I spill something or splash the walls. I think that freedom, and knowing that I’m in a building dedicated to art-making, helps me feel less precious about my own creations.
How do you interact with the environment outside of the studio?
My buildings are an important part of my artistic community. I’m one of about 35 artists at Mohilef Studios in Los Angeles, which is also run by artist Canyon Castator. We have open studios, private tours, constant visitors, and I often drop by my studio neighbors to ask questions or chat. It led to creative collaborations, gig invitations and more.
What do you like about your studio?
In addition to the sense of community, I love the light, the smell of everyone’s art, the plants everyone keeps, and the fact that the artists have pets and children working with them. The idea that this place feels like an extension of all of our sense of self, our home, and our most vulnerable expressions is a very powerful realization.
What do you wish was different?
PARKING.
What is your favorite local museum?
We are close to two branches of the Museum of Contemporary Art and I love them. The Olafur Eliasson show now playing is absurd and beautiful. They also do a great job of engaging the Los Angeles art community by hosting markets and other events outside of traditional large museum programs.
What is your favorite art material to work with?
This year I started taking up oil painting and fell in love with it. It has become my third main medium and coexists with my ceramics and textile practice. My love for them varied and sometimes was unequal. The nice thing about this is that if I’m about to collapse, I can divert my attention and stick my hands in the wet mud or shoot the yarn all over the place.
Brea Weinreb, Los Angeles, California
How long have you been working in this field?
Three years.
Describe an average day in your studio.
An average day in my studio starts from 8am to 4pm. Whenever I start, I always take an hour or so to review the previous day’s progress and map out what I’m going to do today, usually over coffee. Sometimes I also read, sketch, clean, or write during this time. It’s really like a mental warm-up before I start painting. Once I start painting, I work for six to eight hours. I like to work on many paintings at the same time so that I don’t overthink or overwork on one piece. Normally, I listen to music, but lately I’ve started playing TV shows in the background, which helps me forget what time it is.
How does this space impact your work?
My studio feels like home to me. I set it up to feel comfortable so I can take a break, which makes me feel more relaxed while painting. I have three large windows and the LA sunsets always bring out amazing colors and I love seeing them next to my paintings. The light in my studio plays an important role in how I express light in my paintings. There is also a fire escape with a very inspiring view over the mountains.
How do you interact with the environment outside of the studio?
My studio is located in an artist-run space called Mohilef Studios. I also help co-manage the building, so the community is a big part of my daily life. I spend a lot of time talking to my studio neighbors. This proximity to other artists helped me narrow down the scope of my practice, especially since I was working in isolation before moving here. We also plan events, gigs and studio visits for each other, so collaboration is an important aspect of having a studio here.
What do you like about your studio?
People and light.
What do you wish was different?
Like many painters, I wish I had more wall space!
What is your favorite local museum?
Norton Simon Hotel in Pasadena.
What is your favorite art material to work with?
Oil painting, eternal.
Aaron Ross, Los Angeles, California
How long have you been working in this field?
Three years.
Describe an average day in your studio.
I usually start working around 8:30 in the morning because the morning light is so beautiful then. My studio is in an enclosed porch connected to my house in Hollywood. I share it with two rabbits who lie at my feet while I paint. There are lots of windows to let the sunlight in. I typically work two to three hour shifts, working on other projects in between meetings. Since I use enamel paint, I almost always do multiple coats at the same time because of the long drying times. Plus, I found that each part informed the other, so there was a nice interplay. i almost always listen Kexilua local college radio station in Los Angeles, but sometimes I listen to podcasts or playlists. It just depends on my mood.
How does this space impact your work?
It’s a relatively small space, so it taught me how to work within the confines of the environment. It’s limiting in some ways, but I’ve found guardrails to be very helpful to my creativity at times.
How do you interact with the environment outside of the studio?
I live in a very old neighborhood that was built in the 1920s for Hollywood stars. There are many actors and directors, but not many painters. Sometimes I feel like a bit of a novelty, but I think people enjoy having me around.
What do you like about your studio?
It’s very unconventional as far as artist studios go. I don’t know if I’ll ever work in a concrete box again.
What do you wish was different?
Once the sun goes down the lighting is terrible. This severely limits my working hours. Also, while I’m happy with what I’ve done here, I’d really like more space.
What is your favorite local museum?
Contemporary craftsmanship. The Peterson Automotive Museum is also great.
What is your favorite art material to work with?
One Shot Sign Painter Enamel.
