AN INDEPENDENT CHANNELTheory Magazine is an arts and culture publication based in Bozeman, Montana. We feature talented artists, writers, musicians and filmmakers from the area, and from around the globe. Our open call for submissions is always extended, to let everyones voice be heard.
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Look closer and if you look closely enough, you can see into the past.
Ewa Fornal, a Polish artist currently based out of Ireland, can be described as an interpreter to the streets.
Fornal’s work consists of paint and plaster scrapings that have been collected from peeling walls, streets, and abandoned buildings. She transfers the scrapings to blank canvases and juxtaposes the weathered scrapings with a minimal and clean backgrounds. She analogizes her work to an older woman who has spent much of her life applying and re-applying makeup to cover her past and the ‘cracks’ that come with time. She compares this applying and re-applying to the repairs and layers that the walls and streets have endured over time. Her work aims to unpeel the layers of history and uncover the stories and true essence of the buildings and walls around us.
Posted on: June 27, 2013 by Sara Nelson
Interview with painter Hattie Bowen from Theory Magazine Issue Three.
“Stranger 01 Descends,” acrylic and oil on wood panel 30”x30”x2”, 2012
Who is Hattie Bowen?
That is a deep question.
The perfect question right after you graduate college.
I know, right? It’s like who am I? What am I doing? I’m a Montanan, through and through, but I’m also not a Montanan at the same time. I’ve lived here my entire life, and I’ve always felt like I don’t belong here at all. It sounds horrible, because there’s a lot of really awesome things about Montana that I really like, but living here is my enemy. I don’t want to sound cynical, but there is just such a lack of diversity here. I need to get out of this little fishbowl that is Montana.
Posted on: June 14, 2013 by Brian Thabault
Born in New York and bred in the studio, CJ Nye describes her world as a hybrid of experience and rationality. Her work is poignant and purposeful, with every mark made for a reason.
Posted on: June 12, 2013 by Sara Nelson
Nathan Ira is a performance artist. His primary medium is his actions and body. Unlike other mediums of art, performance art is difficult to archive. The art happens in the moment, it is defined by the viewer as it happens. A person can watch a video, or view a photograph, but nothing will match the experience of being there and witnessing the performance as it unfolds. A video cannot recreate the atmosphere and tension in the room or the physical reactions of the audience.
You Deserve a Flower
One of Nathan’s ongoing projects is called “You Deserve A Flower.” It is an attempt to positively impact people’s lives. Nathan began the project by wandering the streets and giving people flowers with a note saying, “For whatever you are dealing with, you deserve this.” He makes the moment fairly personal by only carrying one flower at a time. The note attached to the flower has an email address on the back. Nathan chronicles any responses the email receives on the project’s blog. The project gained international attention through the press, and has since grown to involve other people who are volunteering to hand out flowers.
Posted on: June 11, 2013 by Brian Thabault
Nobody gives a shit about your art. The average amount of time spent looking at a piece in a gallery or museum is around four to seven seconds. The traditional formats just don’t fucking cut it anymore. At best, they blend in with the millions of advertisements blared at us incessantly. At worst, they’re just boring. Face it. You’re competing with YouTube and The Lorax in 3D for the attention of generations increasingly tweaked out on Adderal and smart phones. As for your big opening, for most, it’s just an excuse to go out and socialize, except for a few that will feign interest in your work in the hopes that they can interject and waffle on about theirs. These are the ones that dream of hitting it big in the art world; those ambitious individuals that look forward to the day they can have an unpaid intern take a piss on a canvas and sell it to a Russian oil tycoon for a few million. Oh, and the economy is collapsing.
Posted on: April 30, 2013 by Brian Thabault
A recent graduate of MSU School of Art, Aaron Murphy is taking his skills in technical drafting and applying them to three dimensional art. Aaron grew up in San Antonio, Texas where he was introduced to woodworking by his father, who built all the family’s furniture. He also dabbled in welding and woodworking through classes in high school. After graduation, Aaron found work right out of school as a computer draftsman at an engineering firm that designed security systems for prisons. After working for around seven years as a draftsman, Aaron moved to Bozeman and returned to school where he turned his attention to sculpture. Upon completing University, Aaron became involved with Others: Bozeman Contemporary Art Coalition, a group of recently graduated artists who share a collective space and organize critiques and exhibitions. I caught up with him at his house to talk about his work and life after school.
“Cubic Knot,” steel, 4’ x 3’6” x 2’6”, 2011
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Posted on: April 24, 2013 by Brian Thabault
If These Walls Could Talk
How old were you when you did your first tag?
First memory of a tag. I was really into it in middle school. That was when I really started recognizing graffiti. That whole aspect of all this art covering walls and stuff. I got into looking at it, the visual aspect of it. I don’t know that, if in sixth grade, I would have been willing to go bomb walls or do that sort of thing. I started messing around with it on paper in middle school. I’ve been drawing and painting for as long as I can really remember. Middle school was the first time I picked up the pen.
Posted on: April 12, 2013 by Brian Thabault
With a geological sense of time and a physicist’s conception of space, painter Robert Royhl’s work reveals the landscape. Some of those landscapes depict the observable, but some also portray lingering features of impacted elements or the tell-tale markings of supposed histories.
Stand in front of a Royhl work and fall into a world where past and future meet. Feel your way around his paintings, holding onto nothing and everything. Each visit with his work is a journey tracked by an inner true north. His tapered, honed visions are compressed and folded, sensed and unforeseen, peeled-off accounts told in a jangling resonance that push your mind through the encyclopedic documentation of one place, but of all time.
“Along The Indian Trail Ridge”
“My landscapes are inhabited by the visible and the tangible, but are haunted by things both invisible and no longer visible,” Royhl says. “In my recent work, I am expressing the presences and the absences in this world. My paintings work along the outer edges of the visible spectrum toward the unseen. As time passes, forms ripen, bloom and pass away. This world is a symphony of flowering pulses and holes. Matter and energy come together and separate. No form is static. All is in flux.”
Posted on: April 6, 2013 by Brian Thabault
This is the last page comic (a crowd favorite) from Theory Magazine Issue Two by the multi-talented Tammi Heneveld, and surprisingly enough, she doesn’t even smoke weed! (anymore.) Bonus stoner points if you can find the tokin’ Santa Clauss.
Posted on: March 11, 2013 by Brian Thabault
Artist interview with Jade Lowder from Theory Magazine Issue Two.
Let’s start with your background in art. How did you begin to paint.
I always drew from a really early age. My mom always brags about how she has this picture that I drew when I was four. It’s of Godzilla crushing telephone poles. I don’t know if she even has it anymore, but she’s always like, “That’s the first drawing he ever did.” I started out drawing cartoons and comic books. I mimicked Alex Ross, who is this really great comic artist. I got into him when I was in middle school. Then I started drawing comic books and making up my own, seeing images and manipulating them. Similar to how the Renaissance painters always copied the masters, I would copy comic book art. Comic books were huge for me when I was a kid, even into high school and starting college, I drew a lot of comics. I still read a lot of comics. I’ve got them lying all around here: BPRD, Hellboy. A lot of Mike Mignola. I’m obsessed with it.
Posted on: March 10, 2013 by Brian Thabault