Sean Flood is a former street artist turned fine artist and somewhat of a local celebrity in Boston. His dynamic paintings of urban scenes and cityscapes are a reflection of his roots in construction and graffiti art. Flood harnesses the inherent intensity of graffiti, using line and form to build his paintings like the high-rises he depicts. Fresh off two very successful solo exhibitions at Kobalt Gallery in Provincetown and Childs Gallery in Boston, Sean sat down with us to discuss his art, his experiences, and his musings on how he got started as an artist.
HOW OLD WERE YOU THE FIRST TIME YOU PICKED UP A PAINTBRUSH? AND A SPRAY CAN?
I was a pencil guy from an early age – drawing as young as 8 years old – because painting scared me. I actually had my first show at 9! The Priscilla Beach Theatre [in Plymouth, MA] hosted a show – so it was coffee and hors d’oeuvres and then my doodles and cartoons on view.
I picked up a paint brush and a spray can – both probably around 15 years old.
[ezcol_1half]Sean Flood, American (b. 1982), Construction Chaos, 2014, Oil on Panel, 48 x 38 in.[/ezcol_1half] [ezcol_1half_end]Sean Flood, American (b. 1982), Abington Woodshop, 2011, Oil on canvas, 46 x 32 in.[/ezcol_1half_end]
WHAT WAS THE MOST EXCITING ASPECT OF BEING A GRAFFITI ARTIST?
Oh, definitely the rush of trying not to get caught. Then seeing it the next day, knowing you had gotten away with it. There’s a speed to graffiti art.
DID YOU EVER GET IN TROUBLE WITH THE AUTHORITIES FOR YOUR GRAFFITI ART?
Yes. I’ve been arrested three times, spent a couple of nights in jail, paid fines, had a probation officer, etc. One time I was painting the pier on Old Orchard Beach in Maine, during a camping trip, and I’m painting away and don’t notice a cop next to me until he taps on my shoulder.
I had to do community service sometimes. One of the best punishments I got was painting a mural for Boston City Lights – a dance studio in the South End. That was a great gig for a graffiti artist.
WHEN DID YOU DECIDE TO MOVE FROM GRAFFITI ART TO FINE ART?
It was really about getting caught, and I moved to painting to try and stay out of trouble. I was good at graffiti art, bad at getting away. Graffiti art continues to influence my technique though. At first, I would try to include hidden graffiti in each of my paintings, but now I just take inspiration from the quick technique and shapes of graffiti.
WHY CHOOSE THE CITY AS THE PRIMARY SUBJECT OF YOUR ARTISTIC IMPRESSION? AND HOW HAS YOUR EXPERIENCE IN CONSTRUCTION INFLUENCED YOUR ARTISTIC VISION?
I’ve always been interested in buildings. My dad has been a builder in Boston his whole life. For me, growing up with that and working with him over the years has really drawn me to architectural subject. The perspectives and deep space alone excite me. In school, I tended towards figurative painting, but nowadays, I’m more drawn to cityscape paintings – there is more room there for me to develop ideas than with figurative painting, for now….
[ezcol_1half]Sean Flood, American (b. 1982), Patient View, 2014, Oil on panel, 28 x 48 in.[/ezcol_1half] [ezcol_1half_end]Sean Flood, American (b. 1982), Myrtle Stop Brooklyn, 2014, Oil on canvas, 48 x 60 in.[/ezcol_1half_end]
DO YOU PAINT FROM OBSERVATION OR IMAGINATION?
When I started out doing graffiti, I was focused on using the alphabet, and these raw, expressive marks. With my cityscapes, I’m trying to infuse some of that same expressive abstraction into my observed settings. Actually, right now I’m working on some paintings that are much more of a fleeting glance of a scene, a quick impression. There’s more room for imagination there.
WHERE WOULD YOU SAY YOUR ART IS GOING NOW?
In the short term, I’m hoping to get some inspiration from an upcoming trip to Europe. I’m headed to Rome, Naples, Venice – for the first time, Umbria, Basel and Ireland. I’m going to see the shows while I’m travelling – the Biennale for example, but also I’ll hopefully get a chance to paint some new places for me.
WHO IS YOUR FAVORITE HISTORICAL ARTIST?
In school I always liked Giacometti [Alberto Giacometti, 1901-1966], because of his expressive lines. He builds up forms through all of these different lines.
This is a tough question though. I mean I saw Van Gogh’s work in person in Amsterdam, and I was like “holy shit.”
Watch below to learn more about Sean: Video courtesy of Chris Engles
For the full interview watch here:
An energetic young Dutch couple, Iris Tonies and Arnout Krediet, run an innovative art school called ESTUDIO NOMADA, located on one of the twisting stone streets in the heart of Barcelona’s historic Gothic Quarter.
The “nomad” studio offers workshops for individuals and families who want to spend a week or two exploring Barcelona and environs with creative local types who will show them local art destinations through the eyes of the artist. Drawing and painting classes, as well as a museum visit or two, are included in the workshop in the city. But that’s not all! The school has just opened an artist residency program in a stunning historic macia in the nearby wine country of Penedés. A day in this lovely setting, surrounded by vineyards (lunch and wine tasting included!), can be added to the workshop, which is hand-tailored for the visitor by Iris. There are stops to sketch or paint the enchanting vineyards and olive groves, along with a visit to a fantastic family-run winery. All of Spain’s cava, the champagne of Catalonia, comes from this photogenic region, an hour outside of Barcelona.
The price for this unique experience, all art materials and museum admissions included, is 50 euros per person per day in the city, and an additional 80 euros for the vineyard/art tour.
To see the lovely wine-country location, take a look at the website for Residency Mas Els Igols and be sure to check out the A.I.R. artist-in-residency.
Carrer de la Palma de Sant Just, 7
Arnout Krediet | Founder @ Estudio Nómada
Official Estudio Nómada website
Although my partner U.B. and I are both artists with a keen appreciation of art history, when our family booked a week-long visit to Umbria during our ten-year-old daughter’s spring break this year, we wanted to do something other than the typical visit to churches and art museums.
We spent a memorable morning at a Craftsman Workshop in the famous ceramics town of Deruta. You’ve no doubt seen, or bought, some of the pricey and precious plates, espresso cups or soup tureens made by the artisans of Deruta, with their traditional swirls and griffon shapes meticulously painted on glossy high-fired porcelain. When we learned that we could make our own at the authentic, no-frills ceramics studio called MAIOLICHE ARTISTICHE GORETTI, we said, “Sign us up!”We loved that it was off the beaten path of ceramic factories. The husband-and-wife team of Umberto and Vania were extremely patient with us beginners. Their passion for their craft, which has occupied them for 25 years, shone through. Umberto was delightful with our daughter Stassa, who modeled low-fire bowls, which she personalized for our dog and our cat. In the meantime U.B. and I focused on the fine art of centuries-old decoration of dinnerware. Vania made sure that we followed the rules, after we “pounced” the design with a bag of charcoal onto the unfired white plate or cup. If we put a stroke of light blue rather than a stroke of the dark blue on that wing of the griffon, she would smile and firmly let us know that, no, THIS is the right color for that feather on that wing: SEMPRE (ALWAYS)! Then she would scrape the stroke away with a sharp knife, and we would do it properly.
We thought that the €70 per person price tag for a half-day session was quite reasonable, and afterward we couldn’t resist buyingsome of the Gorettis’ own (admittedly more professional) serving dishes and bowls. But our own creations are our real treasures.
Via Vincoli 7/9
06053 Deruta PG
Tel. +39 075 971 0048
EDITOR AT LARGE
CHIEF FASHION CORRESPONDENT
Anna Paula Goncalves
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