Niklas Meijer Interviews Stacy Reed

Recently, I was asked for an interview by fractal-enthusiast, Nik Meijer. Nik and I have co-administrated 2 important fractal communities together and he has become a good friend of mine. So it is with pleasure that I share the interview that follows, which was intended for publication at the deviantArt community.
Nik: When did you start expressing yourself artistically?
Stacy: I was very young when I first began to mimic the art I saw in my books. I really enjoyed puzzle books and used to draw mazes for my mother when I was about 3 or 4. That progressed into illustrating my own stories at the age of 6. I always knew I wanted to create with my hands. I remember my father had a box of wood scraps in our garage and I felt this overwhelming urge to make something out of them. Of course, I was too young at the age of 7 to use a chisel or hammer… I think he would have rather me focus on music instead of art. He was a musician and bought me a violin for my 7th birthday.
I loved music; he turned me on to the classical genre, Mozart, Beethoven… I was very fond of the violin, but I think I was a little too young to want to dedicate myself to it.
Nik: Did any of your other siblings or parents share the same creative imaginations as yourself and your dad?
Stacy: My mother was very crafty, she was always sewing, knitting, quilting, baking; it wasn't until I was a teenager that I learned she could also draw very well, and we took some painting lessons together. She always encouraged me to be creative… I come from a long line of creative women. My grandmother and her mother both paint quite well. I'm blessed to have inherited their genes.
Nik: Did you take a lot of art classes through your schooling or did you mostly devote your free time too it at home
Stacy: Art was something I excelled in, even in grade school. So my mother insisted that I take art classes in Jr. High and high school. She also encouraged me to take extra-curricular painting lessons and we took some ceramics classes together. My family moved around a lot so I was always the new kid. I think I was able to make new friends by showing off my artistic capabilities. I have to say that I was very lucky to have studied under a variety of artists with different skills and insights during my high school years.
My grandparents wanted me to go to college and paid for me to attend the Institute of Arts here in Flint. It became a problem in my marriage so I quit. I began working harder on my art at that point because of the praise I received from my instructors. When my marriage ended, I was forced to go back into the work force and that's when I realized how desperately I needed a degree. I went back to school and obtained a degree in Graphics. So yes, I'd say that I've had plenty of formal training, but I do devote a lot of my free time to my art.
Nik: You got your start in traditional mediums, when did this transfer into digital art
Stacy: I don't think I ever really gave up on traditional art, but rather incorporated digital art into my artistic repertoire. It began in the mid 90s when ironically, it was my mother who gave me my first computer. The first thing I did with it was to open up MS Paint. I think I painted a woodsy landscape at night… there were monochrome pine trees and one pixel stars ha-ha. My love for the digital medium grew when I began to collect flyers for raves and parties because there was always some weird psychedelic computer art on them. The more time I spent on my computer, the more compelled I was to use it to make art. Knowing this, an online friend of mine sent me a fractal application because he thought I might be interested in the artistic aspect. I was mesmerized. It was love at first site.
At the time, fractal programs didn't do much of anything; they just animated color rotations and zoomed in/out. I didn't really know how I could expand on that to create my own art, or make my own artistic statement. I continued to create traditionally, but those were hard times in my life. I was working hard, trying to make ends meet and attempting to make my place in the world. I had a lot of new-found freedom after my divorce from my controlling husband. I think I went a little wild and my art was placed on the back burner while I tried to find myself. Eventually, I got a job as a graphic artist for a car magazine and I was given a Photoshop license. That day changed everything. I started doing web design, skins, and so forth. Funny thing, speaking of skins, I created one for Real Jukebox Player now has over 300,000 downloads and is one of their most popular. I haven’t skinned in ages though. Not my cup of tea these days.
Nik: Digitally what is your cup of tea these days, you have made quite a name for yourself in the fractal art community.
Stacy: Fractals are my cup of tea now, certainly. Software authors have created stronger and more interactive fractal applications since the first one I ever played with. Everything about fractals intrigues me, it's not just the way they look, and it’s the concept of infinity, the concept of balance between polar opposites and the way that the artist can now manipulate the fractal to realize their artistic vision. However, I don't feel that fractals alone are adequate in portraying my vision. I usually manipulate them to make them uniquely mine. I know some “fractal purists” out there might cringe to hear that, but I believe an artist should use all the tools available to them… whatever it takes to express them selves adequately. I admire the pure fractal, but always feel compelled to change it somehow, to enhance it digitally in the attempt to make it uniquely mine.
Fractals are only one part of my digital artistic endeavors. I like to use many different applications. For instance, some of my earlier digital artwork was done in Bryce. I also like to do vectors, paintings, collage's, etc. I don't limit myself to any one traditional medium, why limit myself to one particular software? I'm pretty open-minded when it comes to art. I like many different types, from sculpture to pixel-art (which is something I haven't yet tried), but because of my love for computers, I've always been an advocate for digital art above all. I'm glad to see it is finally getting some long-deserved respect from leaders in the art industry world wide.
Nik: Do you have a particular style when it comes to digital art?
Stacy: I don't try to have a single style, but I can see some similarities in my digital work, even though it encompasses a wide range of tools. When I create, I get lost in what I’m doing. I am totally entranced. I think that in losing ones self in the process of creation, an individual can gain enlightenment… well, for me it is a time to reflect on what is important, make decisions about things, and it's not because seeking answers is my goal, but because when I stop thinking with my conscious mind, the answers just come to me subconsciously… the act of creation is a very introspective time for me. So naturally, my art often reflects my current emotional state, or it reflects topics that interest me.
It's hard to develop one style when I am constantly moving from one medium to another. I think, in some ways, it is a hindrance to my progression as an artist. What is the phrase, “jack of all trades, and master of none?” I worry that because I like to dabble in many different mediums, both traditionally and digitally, that it will take me longer to master any one genre. But I just can't devote all my time and energy into pursuing one type of art just for the sake of mastering it. I'd get really bored.
Nik: Is there a method to the madness, do you approach things differently or always start from the same base when creating art
Stacy: No. Can’t say that I follow a set of rules when it comes to digital art. I think it depends on what has inspired me, and what steps I need to take to execute my vision
I think I prefer to plan out steps in advance, but there are times when I am lacking inspiration that I do a little trial and error. It's those times that I learn the most about the ins and outs of the software application that I am using. So even the mistakes are worthy of doing.
Nik: How does your traditional art knowledge play into your digital work when creating?
Stacy: It's interesting that you should phrase the question that way, because I feel that they feed on each other. There is a constant interplay. My traditional experience has taught me pay attention to details when creating digital art, details like the play of light and shadow, depth perception, balance, positioning… and color theory comes into play most often as I feel it is one of the most important parts of creating a theme or an atmosphere.
Now, on the flip side, my love of fractals has entirely influenced my traditional work. I tend to do a lot of patterns, geometric shapes, psychedelic swirls and whatnot. Even in sculpting dragons I use my knowledge of fractals when creating scale patterns. I simply cannot escape my love for fractal geometry.
Nik: Are there any types of art or artists that inspire or influence your work?
Stacy: Oh certainly! I am passionate about MC Escher’s work. The man was a genius, there's no doubt about it in my mind. While playing around with a few integrated scripts in Apophysis, I came upon an interesting fractal formation. It instantly reminded me of Escher's idea to create an infinite pattern in a predefined shape. He did some phenomenal woodcuts, as you might recall called “Circle Limits”. The one in this series I liked most of all is “Heaven and Hell” in which the patterns of interlocking angels and devils start out large in the center but then get smaller and smaller into infinity. I love the balance, not just in the black and white shapes, but in the symbolism as well. Also, if one stops to think about what it means in terms of the infinite, spreading not from one location in a single linear direction as math would sometimes like us to imagine it, but in all directions at once. That idea really sparks something inside of me.
I'm also really fond of Georgia O'Keeffe because her love of nature is like my own. She was very adept at painting what she saw and she appreciated the patterns, the colors and the vibrancy of plant life. Sometimes when I view her art, I think it looks very fractal-like, though I know that wasn’t her intention. Fractals and nature have a lot in common. I see fractals everywhere. They're universal.
Nik: Do you think there is a common misconception of fractal art and digital art in general versus Traditional Art?
Stacy: Oh for sure! The most obvious misconception is that digital art is easier and therefore less valid than traditional art because the computer does all the work. It's snobbery. There are so many digital artists who put blood, sweat and tears into their artwork and it shows. Then there are those who click random buttons and proclaim their “art” a masterpiece. It's the same in any medium, no matter what it is. I've seen some incredible paintings and I've seen some I don't care for too much. I think art is relative to the viewer and the artist themselves. I'm all for enlightenment, controversy, and expression no matter what the genre might be. It doesn't even have to make a statement. Art is what it is.
Nik: Is there something you want your viewers to see in your images if anything?
Stacy: There is always something I want them to see and I hope they see something else too. There are lots of ways of looking at a picture and fractals are definitely no exception. I find a bit of symbolism goes a long way. I try to lead people into thinking or seeing what I want them to see right away by the words I use in my description or the actual title of the piece, but I hope that push in a general direction will get the viewer thinking and asking questions about the symbolism of certain aspects, shapes, colors, textures. I hope that they will be able to see something of themselves. Fractals have an interesting ink-blot-test effect. People see different things. I hope that the general feeling I was trying to evoke comes through above all.
Nik: What kind of art pulls you in, what do you look for when viewing the work of other artists
Stacy: I tend to cycle through phases. I like so many different types of art that it would be impossible to list them all. I guess I'm mostly drawn into artists who express themselves in a unique way. I love the contrast of white and black found in inking art, vectors, fractals, paintings and so forth… I'm taken in by swirling patterns too. I have a love for oriental art, modern art, art nouveau, and abstract.
But no matter what, I will always respect a piece (and the artist) more when I can tell that time, skill and effort went into the making of it.
Nik: As an artist and part of a community as big and productive as DA, do you feel it is important to give back?
Stacy: Absolutely, though sometimes an individual's giving can go unrewarded and unnoticed, or even taken for granted in a community of this size. It's important for one to remember that the true act of giving is a selfless endeavor. If a person donates time, resources or services to another person or people, they should do it without expecting anything in return. The pleasure that comes from giving back to the community should be of most importance to the giver, not the recognition, popularity, or good press it is likely to produce.
Nik: Any last parting words for people getting into digital art and all artists alike
Stacy: Creating is therapeutic in many ways, so I encourage every artist to follow their instincts and create in the ways that seem natural to them. We are all unique and we will want to express ourselves in different ways and different mediums. If you feel strongly about something, try to incorporate your passions into your artwork because it will give it a life of its own. Don't pigeon-hole yourself. Life is too short to keep making the same piece of art over and over. You have an infinite number of possibilities before you… every time you open your eyes, every time you pick up a brush, every time you sign online. Life is about exploring those possibilities, so explore. Live. Look. Look closer. Then show the world what you see.