Here, Tindel talks to CommonCreativ about the South, painting fast and promoting himself as an artist and designer.Read More
Review "You Make Me Feel Special"
AtlantaArtBlog.com (link to original article)
Some little boys like dangerous little toys: pocket knives, matches, homemade explosives. Toy guns sometimes offend, but they inflict no damage. A really dangerous toy can poke out your eye. The little boy knows this but thinks, “A little pain is worth it to be able to watch the progress of a good puncture. Besides, who needs two eyes when one will do?”
When the danger-boy grows up he may become an artist like John Tindel, who is now showing mixed media works on paper at the Kai Lin Art gallery. The pictures have sharp edges, suggest troublesome thoughts, and interfere with productive activity. Some pieces use a form of caricature to depict young men who were probably also danger-boys, but who seem to have traded in their illegal fireworks for that adult toy called hard drugs.
Tindel’s pictures sometimes deploy words within the frame, and they usually bear interesting titles (for example, “My First Skull.”) None of Tindel’s words make explicit reference to methamphetamine, but plenty of implications appear, such as pictures of crystals forming out of clouds, and one danger-boy picture being titled, “Blame it on My A.D.D.” (Atlanta Art Blog doesn’t know much about methamphetamine, but the Wikipedia article on that drug says that a form of it is sometimes prescribed for attention-deficit/hyperactivity disorder. Slang names for the drug include “cloud,” and “crystal meth.”)
The pictures don’t give the sense of glorifying drug use, or suggesting that the use of methamphetamine could inspire artistic work, spiritual revelation, or anything positive. The danger-boys, and one danger-girl (titled “She Was a Hallucination”) have wide-set, large eyes that suggest a capacity for deep thought, but are surrounded by prematurely aged and discolored skin. These are the eyes of young people exhausted by life at compulsive hyper-speed. Hope for them is in peril.
One sharp edge to these pictures is that most of them carry the hand-lettered message, “You Make Me Feel Special.” The works also include some lush watercolors of floral arrangements with no references to danger-boys or crystals and clouds—these florals, too, carry the lettering, “You Make Me Feel Special.” It’s almost as if Tindel is in the middle of sketching out a line of greeting cards to be marketed to addicts and their friends and families. That market had better love irony.
The pictures include visual references to African masks, Shamanic power animals, and holy men. It’s another trait of the danger-boy to mix up a bunch of flavors and see if the final product is edible. In fact, Mr. Tindel displays in these pictures how adept he is at creating unusual combinations. They may begin carelessly but they end by showing that the danger-boy is someone curious about mortality, and someone who fits in with his nervous friends and family.
The John Tindel exhibit, “You Make Me Feel Special,” is on view at Kai Lin Art through September 6, 2013.
AtlantaArtBlog.com reviews my recent works on paper at Kai Lin Art Gallery. Show runs through mid september so go see it while it is still up. Thanks AtlantaArtBlog.com for the great writing and perspective. Boom!
I had an odd story to tell with this work, and this review kind of gives it a plot. -TINDEL
Great Review by Jerry Cullum for ArtsATL.org on "Baptism by Fire" by TindelMichi at Barbara Archer Gallery. Read original article on ArtsATL.org here.
Review: TindelMichi looks back to render new South in “Baptism by Fire” at Barbara Archer Gallery
December 14, 2012
In their collaborative identity as TindelMichi, John Tindel and Michi Meko have been trying to represent a different, newer South by borrowing images for their artworks from an older one — though not that much older. In practice, their works are as puzzling and paradoxical as the newer South itself, and the paintings, drawings and sculptures in “Baptism by Fire,” at Barbara Archer Gallery through January 5, are no exception.
TindelMichi's "Cotton Belt Route"
In fact, it may help to read the show counterintuitively, from the smallest and least image-laden work to the largest wall pieces. The works titled “Tindel Pattern I-IV” and “Michi Pattern I-II” are abstract exercises in geometry in which the artists worked separately on the same general idea, on six 14-inch-square wood panels. Each of Tindel’s panels explores a different approach to patterning; Michi’s (he goes by “Michi,” never “Meko”) overlapping circles are structurally similar because they were produced by scorching the wood on a stove burner.
Nothing in the tightly rendered paint of Tindel’s patterns is intrinsically linked to “white Southern culture” any more than Michi’s inventive woodburning approach necessarily implies “black Southern culture.” Or if there are such implications, they need to be modified immediately in light of the tightly rendered figuration of Michi’s adjacent watercolors, altered minimally by Tindel’s geometric overlays. These pieces include three that could be read as politically charged: in “Rescue,” faceless state troopers drag away a man attired in a suit and tie, and in “Pixie Stick,” a uniformed officer wields a baton while restraining a police dog. In both cases, the ironic titles are meant to defuse or displace the easiest interpretation of the image. In “Boy’s Life,” Michi imagines how his father would have appeared had he been one of the Scouts featured on the cover of the Boy Scouts of America’s magazine, “Boys’ Life” — something that would have been impossible in his father’s adolescence. But this historically loaded picture appears next to an amusing and nearly meaningless portrayal of Tindel’s small son jumping into the air.
Tindel and Michi are being artists together in a South that is one generation removed from conditions that would have made the emergence of the TindelMichi collaboration inconceivable. So this mix of neutrally or ironically distanced past and lovingly rendered present is a deliberate strategy.
However, their strategy emerges organically from the act of collaboration, and is as much unconscious and intuitive as it is intentional. This explains the difficulty of making complete sense of paintings that feel resolved but defeat any attempts at definitive interpretation.
How, for example, are we to read the lattice-top pie, martin gourds and children in tree swings of “Relics,” appearing in the same painting if not the same picture plane as the text “this thing of darkness I acknowledge mine” (“quoth Prospero” is inscribed elsewhere in the painting to indicate that this is a Shakespeare line, from “The Tempest”), close to a machete-wielding figure from Hale Woodruff’s mural of the Amistad rebellion, overlain by a stenciled Confederate flag? It’s possible to make up a story involving the aspects of Southern culture shared by both white and black (the juxtaposition of blond-haired little girl and barefoot African-American boy on the tree swings being a clue in that direction), and their overall place in a past in which a different “thing of darkness” needs to be acknowledged more than the Caliban of Prospero’s original declaration.
Likewise, it’s possible to extract a reasonably coherent allegory from a work such as “Cotton Belt Route,” in which a black maid dumps out a container of wrapped peppermint candies such as were found on the living room table of every Southern woman of a certain age, while other assorted markers of a bygone but recent South surround the vintage logo of the railroad’s “Cotton Belt Route.” But in such works as “Our Faithful Hooch II” the allegory scales off toward semi-intelligibility, as Scarlett O’Hara, looking askance at a crow (or is it a raven, or a blackbird?), dominates a painting in which other birds perch on telephone wires and a child swings unaware and unharmed from the branch of a tree that contains a large hornets’ nest. As in “Detritivores of a System,” where a bottom-feeding catfish overlays a riverboat, a mansion, random black faces and a complex polyhedron, each image taken individually suggests a symbolic or allegorical meaning. Taken together, though, the composition begins to resemble the logic of a dream rather than a straightforward allegory. (It would be a well-structured dream, however; Tindel and Michi pointed out in a gallery talk that they use such things as repeated groups of three or seven as devices to keep the paintings visually organized.)
Perhaps “Baptism by Fire” could be read as a psychological portrait of Tindel and Michi as they come to terms with the South together and apart. “M. Dixon” is an impressive collaborative wall sculpture with imagery ranging from a black Union soldier to an apparently appropriated piece of signage reading “My Favorite Things,” with vines and cotton bolls in between, and time-worn fragments of architecture uniting the disparate visual elements. Despite its quintessentially Southern content, the work has a clear kinship with “The Bird Kachina” and “The Plow Kachina,” which derive their inspiration but not their appearance from the Navajo kachinas that Michi experienced in the desert Southwest.
Despite the South’s own Native American inheritance, nothing could be less Old — or New — Southern than a kachina, except that Southern travelers have been seeing kachinas for generations, and the sight has informed their own personal symbolism. The South has always contained currents of global culture, but until recent decades these influences arrived in the region one Southerner at a time, as with Michi’s recent travels.
Now the currents have merged into a continuous flood, but that is another story, and Tindel and Michi individually as well as in their identity as TindelMichi are mostly engaged with the story of how the South’s past cultures survived even as they morphed into the genuinely amorphous cultural forms we find in the present.
Race often factors into duo’s art
By Felicia Feaster For years now, the artists John Tindel and Michi Meko have been simpatico collaborators. This dynamic duo has teamed up to offer a vision of art and the bumpier byways of Southern history mixed up with a more urban contemporary reality of hip hop and graffiti art. Often identifying themselves as “two fat Southern boys who paint,” their work has a self-effacing charm, a refusal to take themselves too seriously, even when they are tackling serious topics like remembrance and race.
Because Tindel is white and Meko black, their work has often factored race into their art-making. Sometimes they are jokey, poking fun at racial schisms in the manner of hip, young artists living in a more enlightened age. But they can just as often assert the presence of a color divide. Their latest exhibition at Barbara Archer Gallery, “Baptism by Fire: New Work by TindelMichi,” is no different, addressing the South, race and culture at every turn. Working in a style that could be described as graffiti rococo, the artists embellish their canvases with fussy, decorative curlicues and flourishes alongside edgier drips and chunky swabs of paint that bring to mind the palimpsest of city life where movie posters and paint, advertisements and graffiti all coexist.
“Hell or High Water,”a painting on canvas, is the first work in the show and succinctly sets the tone for the spirit of what’s to come. In their characteristic color scheme: sepia-tones and soft, bleached indigos that give their work an automatically weathered, vintage patina of daguerreotypes and faded denim, the artists bubble up a whole litany of Southern touchstones. The work features a mammy lurking in one corner, a lawn jockey and cotton bolls. But next to that historical evocation of the South, is a more contemporary one featuring monster trucks and a black college marching band player. Drips of paint, silhouettes of cherubs, a doily-like decorative flourish endow the scene with a wispy, almost nostalgic quality — the South emerges as something both beloved and sinister.
The show balances paintings like “Hell or High Water” and what looks like a commentary on old South sexual exploitation in “Cotton Belt Route,” with works on paper and sculptures. Sculptural works physically conjure up the past in their juxtaposition of weathered wood and tin, leather and metal which give a tactile impression of time’s passage. The massive sculpture “M. Dixon” conveys the darkness of Southern history. A leather harness suggests field work and the painted image of a uniformed black man behind a dangling length of chain summons up unpleasant associations with violence and enslavement. The piece shows the duo’s flair for mixing materials and styles, from wooden window shutters to a tangle of metal wire formed into a kind of nest for the white clay birds that perch on this and other works.
The work in “Baptism By Fire” occasionally brings to mind a far milder, more vague, gloves-on version of the provocateur and skeleton-rattler Kara Walker known for a similarly storybook take on Southern history. You get the sense the artists are trying to render the South in all its complexity, but “Baptism By Fire” made me long for a bit more of the fighting spirit or humor these artists have shown in the past. Perhaps the contradictions in the work just amount to the circumstance of living in such a troubled region where a nightmarish Dixie past can coexist with the progressive modern South the artists call home.
“Baptism By Fire: New Work by TindelMichi”
Through Jan. 5. 11 a.m.-6 p.m. Thursdays-Fridays; 11 a.m.-5 p.m. Saturdays. Barbara Archer Gallery, 280 Elizabeth Street, Atlanta. 404-523-1845, www.barbaraarcher.com.
Bottom line: Two clever local artists mash up a vision of Dixie past and present in sculptures and paintings with a real physical presence but some vaguely executed ideas.
I Make Art In Atlanta: John Tindel
Published on May 17, 2011 by Molly Coffee
Enter John Tindel. Voted one of the Top 50 Most Creative People in Atlanta by CommonCreativ Magazine. He is a resident of the suburbs of Atlanta by way of Opelika, Alabama by way of Panama City Beach by way of the University of South Alabama. His artistic abilities span many disciplines and he is constantly evolving his style. A well-known force in the Atlanta art scene, he is the founder of BIG LIKE MOFO fashion, and the other half of TINDELMICHI with Michi Meko. His impressive client list includes Jack Daniels. CW Network, Jose Cuervo and Scion Toyota Motor Company just to name a few. As a working artist in Atlanta, he had a lot of opinions to offer about young artists not being able to find work.
Coffee: You have had quite a journey through the south before ending up in Atlanta. How do you like living here creatively? Tindel: Seems to be my comfort place. I go to other cities and they inspire me for their new qualities and visuals, but when I come back here, I seem to go inside my head a little more. Hide out and try to paint something. The suburbs have been nice to me creatively.
C: You have worked pretty closely with Michi Meko (TINDELMICHI: Two Southern Boys Who Paint) but recently took a 3 year hiatus to work alone. How do you grow as an artist working with someone like Michi and what eventually brings you back together? T: When do you get a chance to argue about a color, or a line or an object. The collaboration allows us both to have a dialog with each other and transfer that verbal discussion into visual pieces. Creatively it is great. It is part competition, part mutual admiration and greatly the desire to out do him. This leads to the progression of our individual work, as well as the collaboration mutating its own presence as a comprehensive style.
C: You have taken part in exhibits outside of Atlanta. Has this been a struggle for you? Do you see differences in other cities to the scene here in Atlanta? T: The struggle of shows outside your town are the logistics of it all. How am I going to get these huge wood paintings to New York. How am I going to get them home? Most cities end up basically the same at the core of the art scene. I havent made it out to LA (mostly logistics of it all) and New York was fun, because of how old and structured the art scene is there. However, I am not one to comment much on an art scene. Most scenes are filled with talkers, not collectors. I am trying to make this a career, so I like to find the collectors. Buying artwork from an artist is supporting the arts.
C: Our streets are filled with graffiti and other urban non-traditional forms of art. Do you think things like this should be inspiring for even the most traditional of artists? T: It is beautiful color combos, intriguing design and usage of line, perspective and all other traditional art things. Usually the wall it is on has its own qualities of old brick or metal. It has many layers to its visual appeal. I think a traditional artist would do good to look deep at some of the great graffiti pieces around Atlanta.
C: Has growing up in the south shaped the artist that you have become? T: Yes. I get to be close to my history as an individual. I get to hear my grandparents tell stories of their life. I get to see it. Since Life seems to influence totally, this is my life and influence.
C: What has been your impression of the Atlanta art community’s strengths and weaknesses? T: Strengths: There is a shitload of amazing artists here that are hustling and trying to make a living at it. Weekness: There are not enough artist hustling. You dont have to follow the traditional route of making it as an artist. There are not enough galleries that can keep up with the modern artist and their ability to utilize all the technology and marketing that today is available if you learn. Underneath this cities dirt is a goldmine.
C: You have constantly evolved your style in non-traditional ways including the use of a razor blade. What would your art teachers from college think? T: I only took two or three art classes in college. I didn’t really start painting until right after college. I killed it in those two classes though… ha.
C: Do you have suggestions for artists in Atlanta on how to make it as an artist? T: Learn to build a website! One that you can update and keep alive with your art hustling. I think that is square one. Find people that buy art, and make sure you develop a good relationship with them. Keep the folks up to date on how you are progressing and any achievements in your field. Show your folks that they made a good investment in your work. Offer commissions. Show your shit off. After that… make something.
Digital Oldschool Books
(Give me a second to get the books on the shelf. I am only a one man wolf pack. I am trying to figure a way to have the publications open in new windows or even over the screen, but that may take a second to make this experience a bit easier and better.)
Check out the latest publications! Home of the My Art OCD Volume series. Enjoy.
Sunday Southern Art Revival team up with the City of Atlanta's ELEVATE project to create large scale iconic mural. A new landmark created for the city.Read More
What is Four Coats Project?
“Four Coats” is a semi-annual mural project sponsored by the City of Atlanta. This project will utilize four walls in the public space, with new murals created every three months. The intention of these murals is to increase interest in public art by simultaneously accessing and promoting the Atlanta art scene. These walls will be curated on rotation between four Atlanta based galleries: Whitespace, Marcia Wood, Get This!, and Beep Beep.
While separately each promotes different artists and aesthetics, together the galleries also represent four major arts districts in Atlanta: I45 (Inman Park, Fourth Ward, Little Five Points), Westside Arts District, Castleberry Hill, and Midtown. Involving these galleries in the selection of artists raises the quality and esteem of the murals, while their reputation as curators brings both local and national press to the project and to Atlanta.
Detail of the mural in progress. Learn more about SSAR at southernartrevial.wordpress.com
Who is SSAR (Sunday Southern Art Revival)?
The Sunday Southern Art Revival is a collaborative group of Atlanta based artists that evolved out of several sessions or meetings. The meetings were for an active exchange of art making, sharing ideas, stories, techniques, recipes, a few beers, and an appreciation of each other’s work. Employing only a few rules and an intense willingness to experiment with the ways and means. Five Southern Gentlemen collaborating on “making Stuff“ became a serious commitment, creating exciting work that informed and challenged each other artistically. The process we employee is very much like having a visual conversation with one another, stories that lead to stories, that lead to a bad joke and so on. The work is all in reaction to our surroundings and one another. With that said the rules have been; one, it must be fun, describing what we are doing sounds a bit academic, we are having fun; two, whatever time amount of time you have, this rule really lends it self to rule number one, each member as member other hats they wear, jobs and solo art careers, kids, family, dogs, chickens, every member contributes what ever amount of time they can; three, the piece comes first not every member needs to work on every piece, this has been a very active process, but we try to maintain some insightfulness in to what we are doing, and in trying to be considerate to the work and each other most of the time.
Where is this bad-ass mural being created?
We are creating the mural at the corner of Nelson Street in Castleberry Hills Art District. You will see the large scale piece covering the window front. Not sure of the address at the moment, but you will see.
This program is supported in part by the City of Atlanta Office of Cultural Affairs
CommonCreativ Magazine announces John Tindel as one of the Top 50 Most Creative People in Atlanta!
Thank you to the folks at CommonCreativ and the ATL. Much appreciated, and I am only getting started. If you would like to read the issue online, click here or on the magazine to the left. My section is on page 90.
If you get a chance, like my artowrk on facebook. I use it to post the day to day of art making. LIKE IT!
TindelMichi’s Relics, a battlefield of symbol and story, form and flatness. Relics marks the return of TindelMichi as an art-making pair after a three year hiatus where the painters explored work independently.Read More
"Two Fat Southern boys that paint" mesh grandma's traditions with urban flavor.
by Kimberly Turner Toss Mentos into a bottle of Diet Coke and you will find yourself with a frothy geyser. Throw hot water on dry ice and - BAM! - instant fog. Bring John Tindel and Michi together for a tag-team painting session, as fate did five years ago at a rainy Dogwood Festival, and the reaction rivals the most explosive candy blast.
Read the article from the actual magazine issue below...
“Drawing influences from the soul” an open dialogue with John Tindel. Interviewed by Phokus for FINK Magazine.Read More
TindelMichi—Election for "Cring of the South"
By Susannah Darrow
John Tindel and Michi Meko prepare for a historic election, culminating on November 1st at Art Department Gallery. The collaborative duo is breaking their ties as TindelMichi to compete head-to-head for the title of “Cring of the South”—while poking fun at the political climate we are seeing in the presidential debates. I met with the candidates at Tindel’s home studio last week as the two were getting into the swing of the election.
Click below for a demonstration:
T: We’ve been dipping bottle rockets in paint and exploding them. Fireworks.
M: That’s how you get a good splatter.
T: I like the firecracker. It’s kinda innocent. —TindelMichi
In their “campaign materials” and in their upcoming live debate, the artists use popular rhetoric and manipulative tactics to malign the competition and win the votes. Tindel and Michi discuss how they plan to prove themselves as individuals and not just as members of a collaborative:
I am planning to out paint and out think John. I am out concepting him. I am going to get the people behind me. I’m battling the big 50% that goes to the galleries. I’m not afraid to take the big 50%. My other topic is Black Liberation Theology. Those are my political agendas. I’m rallying the people. I’m battling pork barrel galleries. —Michi
John Tindel became heavily involved in the world of imaginary expansion at a very young age. As his talent and ability to create progressed, Tindel began tackling social, economic, and creative issues with his unique imagery, highly admired wit, and a hunger for a better life. Exploring the Southern United States for inspiration, Tindel was exposed to a lifestyle of values, hard work, pride, and authentic homemade fried chicken and biscuits. —The Campaign To Elect John Tindel
More paintings. Better paintings. Voter fraud. —Tindel
M: We wanted to do our older style—us just battling each other. I am doing my new style.
T: So introduce something. Michi is going to beat me with wit.
M: I am introducing something new.
T: I want micro-celebrity…I guess that is like YouTube celebrities. The ones with no money. —TindelMichi
Check out the live debate and election results at Art Department Gallery on Sat. Nov. 1. (Art Department shares its space with The Bureau, the new bar/restaurant at 327 Edgewood Ave.) Be sure to vote beforehand for either “candidate” at the Whiskey Thump blog.
Meet Designer/Artist John Tindel
He’s part of the upcoming Zenith show at Midtown’s Kai Lin Art Gallery. The show is an organic and seasonal tribute to nature-inspired imagery, the cosmos, and all things Fall. And Tindel himself is a tribute to all thing Southern… for the most part. Born in Opelika, Alabama, raised in Panama City Beach, and schooled in Mobile, Tindel is now an Atlanta man, working, designing, and painting as one half of TINDELMICHI: Two Fat Southern Boys That Paint. With a name like that, you know we had to talk to Tindel and get his Creative Eye perspective.
SCOUT: How might people know you? TINDEL: I always like figuring that question out. Hopefully it is from the art. I have been painting in Atlanta for ten years now, and my artwork has literally mutated during those years. I think people have enjoyed watching the evolution. Creating art is my aesthetically-pleasing O.C.D. Some folks say they have seen me paint live at various events. Some folks have been to the shows and exhibits. Some folks know me as the dude that is arguing politics in the back of an event. Right now though, it is probably as the TINDEL in TINDELMICHI: Two Fat Southern Boys Who Paint collaboration.
SCOUT: Describe your work to someone who has never seen it before. TINDEL: The best way I can describe it is as a layering of design, wit, dialog, illustration and self developed artistic techniques. With the color palettes that I use, it could be described as straight Martha Stewart on acid. I love getting political. I love writing thoughts on paintings. I love making work that is simply an experiment in design. All these things show up within the layers of each piece.
SCOUT: And if you weren’t an artist, what would you be doing? TINDEL: That’s a tough one. The more I make art, the more I feel that this art thing is an O.C.D., something that is going to happen whether I want it to or not. So, to imagine that I didn’t have the ability to be creative would be heartbreaking. I would be a farmer or carpenter.
SCOUT: If you had to pick, what is your favorite project you have done thus far in Atlanta? TINDEL: Favorite project would have to be pulling off Redneck Graffiti exhibit in Castlberry Hills with Michi Meko. It was a great exhibit. We had 100 lbs. of fried chicken, fresh artwork and Paul R. Jones sitting on the floor eating a full plate of food with us. It was a good spread. That was back in 2004, and it seemed like it kicked off a new pride in the South, in the culture and artwork that can come from the area. I have had hundreds of other great moments, but that stood out to me as a turning point.
SCOUT: What is your earliest memory of design? TINDEL: I remember telling my Mom when I was little that I wish I could go around to all the stores and make them new signs that looked better.
SCOUT: Birds, Dorothy, shapes, you have a lot of interesting subjects and mediums. What is your personal favorite? TINDEL: My favorite subject is text. Artistically adding dialog to a piece is tricky and one of my favorite things to do inside my pieces. I love working on wood with either acrylic or aerosol enamels.
SCOUT: Where in Atlanta do you go to get new ideas/find inspiration? TINDEL: Realistically, my backyard. But, I also like going to the Mattress Factory studios to paint in Michi Mekos’ studio. A good conversation can spark worlds of ideas.
SCOUT: And where do you go to unwind with a good drink and good company? TINDEL: I have two kids that are 1 and 4. What is unwinding with a good drink and good company? I think I’ve heard of that.
SCOUT: Your favorite “curious find” in Atlanta? TINDEL: There is a replica of the Statue of Liberty on Buford Highway. So if you can’t make it to New York, just drive up Buford Highway.
SCOUT: Another local Atlantan that inspires you or your work? TINDEL: Michi Meko. He is the MICHI in TINDELMICHI. We both have been strengthening our personal styles in order to make our collaboration stronger. The direction he is going is inspiring and gives me some things to think about in my own work.
SCOUT: You are such a Southern man, can you tell us your favorite Southern food? TINDEL: This is going to make me very hungry. Fried okra is my favorite. With a close second being my Grandma’s field peas.
SCOUT: Mmmm, keep talking. And what are you currently working on? TINDEL: I like to work on a bunch of paintings at once when I go to paint. I just finished up some great pieces for a show I have at Kai Lin Gallery. Also, trying to finish up a few commission pieces while working on a sculpture made out of Kudzu vines for a TINDELMICHI exhibit at Marietta/Cobb Museum of Art at the beginning of next year.
SCOUT: Finally, a shameless plug of where people can go to check out more of your creations? TINDEL: For the Art of John Tindel go to www.johntindel.com. For TINDELMICHI go to www.thecreativelife.com. To see it live, come to ZENITH, September 17th at Kai Lin Gallery.
Visit Scout Mob to check out the original article.
Inspiration is a tough thing to isolate for me. I draw my inspiration from the heritage where I live, from my children and from the lines and colors that are put down on the canvas. They all seem to merge when I paint. I really just clear my head and then wait for the signals. Playing off each move I make in a painting, playing off mistakes I make in the painting and layering all that visual dialog into a full creation.Read More