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Art Talk on the Edge: Interview by Brian Sherwin

I wanted to share an recent interview done by Brian Sherwin for his blog "Art Talk on the Edge" http://theartedge.faso.com/blog/86053/art-talk-on-the-edge-interview-with-artist-todd-m-casey

The Art Edge with Brian Sherwin

Art Talk on the Edge: Interview with artist Todd M. Casey

This article is part of an on-going interview series on The Art Edge. The series will include interviews with artists, art dealers, curators, and other art world professionals. I have interviewed hundreds of artists in the past: James Rosenquist, Mark Ryden, Michel Craig-Martin, Sylvia Sleigh, Norman Carlberg, William T. Wiley, Chet Zar, Aleksandra Mir, Mark Staff Brandl... the list goes on. I have also interviewed my fair share of art dealers in the past: Edward Winkleman, Caryn Coleman, Fraser Kee Scott, Martita Slewe, Monique Meloche, Jan Wentrup, Steven Krul, Sara Nightingale, and so on. This wave of insightful interviews will continue on The Art Edge.

The Shamrock by artist Todd M. Casey

Artist Todd M. Casey was born and raised in Lowell, Massachusetts. His paintings have won many awards, most recently the Aileen and Manuel de Torres Award for Still Life from the Salmagundi Club. His work can be found in collections throughout the United States. I recently caught up with Todd in order to learn more about his art, studio process and thoughts about art marketing.  

Note: Informed Collector stated the following about Todd M. Casey's still life paintings: "Still lifes composed of historical objects resonate with Old World charm. Beautifully rendered paintings with an elegant, warm, quality of light that conjures up the feeling and scent of antiquities." The Shamrock by Todd M. Casey (shown above) was awarded Best in Show in theAugust 2014 BoldBrush Painting Competition. The Shamrock was selected by judge Tim Rees. 

Brian Sherwin: What can you tell our readers about your background? For example, did you attend art school?

Todd M. Casey: I did attend art school. My journey has been a little all over the place as I have felt it is hard to make a decision to go down only one path in art. I started drawing at a very young age, I think around 5 or so. My brother was a pillar in getting me into drawing, as he’s 3 ½ years older than I am. He had some nice early success and my competitive nature made me want to do art as well.

Throughout elementary and Jr. High I had won a bunch of awards in art. It wasn’t until high school that I started to take art seriously though. I won first place in an art show that was sponsored by the U.S. Congress in which they flew me down to D.C. where I met my congressman.

In the fall of 1997 I began college at Massachusetts College of Art and Design and majored in Communication Design with a concentration in Illustration.

BS: Where did your art journey take you after attending Massachusetts College of Art and Design?

TMC: After my graduation, I eventually moved to NYC to pursue a career as a freelance Illustrator. Very discouraged with my results, I then thought that a career change in the arts could actually be a better road.

This then lead me to San Francisco where I attended the Academy of Art University with a focus on 3D Animation. Again, I was not fully satisfied and I switched to 2D Animation and then Concept Art/Illustration. It was at the Academy that I finally found what I was looking for. I met Warren Chang for a class called Heads and Hands and it really opened the world to me for studying in an Atelier system.

BS: I know of Warren Chang. Warren is a fantastic artist and instructor -- he is certainly a good influence to have as a painter. I assume he continued to help you find a solid direction as an artist, correct?

TMC: He recommended me to seek out Max Ginsburg and Jacob Collins as I told him my plans to move back to the east coast. So, I did. I moved back to NYC and studied with Max Ginsburg at the Art Students League of NYC on weekends and nights. During the day I studied with Jacob Collins at the Water Street Atelier. Under Max I learned a very direct approach to painting and under Jacob I learned the classical approach.

I finished my studies in 2010 and have been showing professionally since. I keep in touch with all these great painters (Warren, Max, Jacob) as they influence my thoughts and I look to them for guidance in my career.

BS: Everything comes together in the present... where your work is at 'in the now'. With that in mind, what can you tell us about your current? For example, do you explore any specific subjects or themes?

TMC: My artwork is not about any big grand idea in particular. I’m always striving to create a mood and captivate the viewer. I collect a lot of antiques, as objects that are weathered tend to have a little more life to them. Right now I’m considered a still life painter. However, I’d love to get into doing some large-scale narrative paintings.

BS: I look forward to observing those large-scale paintings... but I must say that your still life paintings offer a solid sense of narrative based on what I've seen. In a sense, they tell a story... I imagine it takes a great deal of thought to achieve that form of visual/ narrative impact with a still life painting, true?

TMC: I’m a big proponent of taking your time to do any type of artwork. I feel that the integrity of a work of art can be compromised by painting under pressure. The artist must take his or her time in order to do something great. It takes a lot of time for me to fully flesh out an idea and let it come to fruition.

BS: Can you offer an example of your time-focused process?

TMC: Sure. Take for example the still life painting that won me the BoldBrush Best of Show award. It was in my head and worked out mentally and visually for roughly 4 years before I painted it.

Concerning time and process in general... when I start a painting, I try to bring a narrative into the work. It could be about a story or even just about a mood. I try to identify what it is I want to say, literal or poetic. I normally do a tight drawing on paper, which can take up to a couple weeks. Then I transfer it onto a canvas and begin painting in light washes.

BS: You mentioned drawing. My understanding is that you are primarily an oil painter... do you work in / exhibit other mediums regularly? What attracts you to oil painting?

TMC: I only paint in oil and paint on either stretched linen or oil on board. There is something about the layering in the medium, the brilliance of the color and the control that makes it feel better than other mediums. However, I love to look at art in all mediums. I also love to draw in pencil, charcoal and even pen.

BS: Let's jump to the business side of art. Do you have any art marketing or exhibit tips that you would like to share based on your personal experience?

TMC: When exhibiting it is important to consider the context in which you surround yourself at all times. The fellow artists in your gallery should be of similar level of expertise, price, notoriety, etc, as you. Research the gallery. Ask yourself if it is truly in your best interest to show there.

Often I see galleries that have over a hundred artists represented at one time! How are they going to sell your work with such a flood of artworks? Go small and make the relationship good. You want a gallery that promotes you regularly... not one that promotes you sporadically due to time constraints. Find a gallery that works with you and that will promote you as an artist.

BS: Do you have any closing thoughts about your direction as an artist?

TMC: If a painting can move just one person then I feel that my job is done. It is my intention to give the world something beautiful and add to it with great things. I am honored that you wanted to interview me. Thank you for letting me share my story.

I hope you've enjoyed my interview with artist Todd M. Casey. You can learn more about Todd and his paintings by visiting www.toddmcasey.com.

Take care, Stay true,
Brian Sherwin - Editor of The Art Edge

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