Why Michael Dergar is Fighting For Inclusivity in Art

Orgánico gallery in D Emptyspace by Michael Dergar

Michael Dergar is an impressionist modern artist, who’s made a significant impact on the lives of disabled artists in the US.

His passion for transformation and inclusivity are represented both by the work he does and the artwork he creates. Using colorful, rhythmic patterns, he creates impactful acrylic pieces that communicate his vibrant desire to create more inclusivity in the art world. His work truly is for the community he serves, with 50% of exhibition profits going back into creating more inclusivity.

“While I am painting, my textures, colors, and designs awaken another part of me that connects me with another world where time does not exist.”

This week, we chatted with Dergar about how he manages his art foundation work while simultaneously working as a commercial artist.

Explore Michael Dergar’s Art Galleries.

If you want to get a sense of how Dergar curates his galleries, you can now experience them virtually on D Emptyspace:

Orgánico / Vivo / Textures and Color / Beauty Collection / PERVAZ collection

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

How did art come into your life? And what made you decide to make a career from it?

Deep Blue Sea! by Michael Dergar.
“This is a representation of Nature and the opportunity of life! Dedicated to my dear collector MM”

I discovered my passion for the arts by helping artists with disabilities. I found my calling when I created the Academy of Special Dreams Foundation — a nonprofit who brings support, public awareness and recognition to artists with disabilities.

During my time helping artists, I became one myself. I painted privately from 2015 until recently for international art collectors. And after 10 years of providing services and financial support to artists through my foundation, I decided to go public with my art and launch into a fully-fledged career as an impressionist artist.

My personal motto is “I paint to help!” Most of my profits go towards the support of my foundation and other causes to create a more inclusive society within the art world. Being able to help others is something I’m deeply grateful for.

You founded the Academy of Special Dreams Foundation to help artists that have disabilities. What’s the easiest and the hardest thing about doing the work you do?

The most difficult thing in our able society, I find, is to bring people to understand that disabled artists exist and deserve to be included in society — regardless of our disability. As it stands, people (artists among them) with disabilities in our society don’t often enjoy equal opportunity, awareness or inclusion. And that’s at the core of what we aim to change.

Artist Michael Dergar pictured at an Academy of Special Dreams Foundation Art Event

The work that I do as an artist coupled with my volunteer work as a Founder/CEO of the Academy of Special Dreams Foundation keeps me humble and grateful. Without fail, it reminds me every single day that you don’t need to be rich or famous to make a difference in someone’s life.

I feel extremely fortunate that I have the ability to make a real difference in the world. To touch the lives of others. It brings peace to my heart! And it’s what I consider to be real wealth!!!

Beauty Collection by Michael Dergar

The textures you create are beautiful. What technique do you use to achieve the effect?

Ahh well, that’s my artist’s secret! Just kidding! As you’ve noticed, my signature technique is created through texture. Using multiple controlled layers of condensed acrylic paint and acrylic paste on canvas, I slowly build up a layered depth. To bring varied shapes and interlocking lines, I apply the paint emphatically with spatulas, spray cans and my hands.

I like to connect colors, movement, and textures to represent the individuality of the art collector that I am painting for.

My inspiration for my artwork comes from my fluid feelings. It is an interpretation of people’s energy and emotions.

When working with disabled individuals, do you find technology is changing the way we create art?

In part, yes, especially in photography and film. Personally, I think it’s a positive change. Technology provides many digital tools, venues to promote art and make opportunities reachable for many people with and without disabilities to be able to showcase their talents to the world. The D Emptyspace app is a great example of this.

Textures and Color by Michael Dergar

How do you set up an exhibition? Do you have any tips and tricks you can share?

Go out there and ask! You have to talk to people! Beyond that, it’s all about self-promotion and putting yourself out there.

Set up a portfolio, make postcards with your art and go to your local city hall to request public space. Donate art to benefit nonprofit organizations…

Use your art to make a difference! That’s something I’m very passionate about — it’s just a bonus that it also happens to be a great way to promote your work.

La Mexican by Michael Dergar. “This painting represents leadership and pride.”

Marketing your art is a vital part of making art financially viable. How do you market/sell your own art, and that of others (via your foundation)?

Our foundation does not sell art, instead, we enable artists to stand on their own two feet through our free services. For more than 250 artists, we provide a community, the chance to win scholarships or get financial support, and we connect them with buyers when requested.

Negotiation is between artists and buyers. We don’t require a commission or get involved in the transaction. The foundation simply provides an online presence and financial support so people get to know our artists for their talents and not for their disabilities.

In a personal capacity, I promote myself via social media. I do this by creating my own marketing videos. I’ve been lucky as an artist — people like what I create. I have several art collectors who buy my work regularly.

I also collaborate with organizations in the USA and Mexico who are interested in holding what I call “inclusive art exhibitions”. From those exhibits, I donate more than 50% of the total profits towards improving inclusivity in the arts as well as cultivating public awareness.

Reunite by Michael Dergar. “Reunite is an interpretation of waiting for a new beginning after a long and difficulty journey.”

When are your next show dates?

I’d like to extend an invitation to all readers to attend our next exhibition on October 10th, 2019 at the Los Ángeles City Hall in LA. We’ll be featuring some talented disabled artists who work with the foundation. You won’t want to miss it!

If you’re in Turkey this October to November, please join me for a personal exhibition for which the proceeds will benefit those living in the community with disabilities. Click here to contact me for more details.

And in Mexico for November 2019, we are sponsoring an inclusive art exhibition in Oaxaca. It’ll be in collaboration with the famous artist Maru Pombo and will be hosted by Hotel CasAntica.

These exhibitions are a testament that we all can make a difference. I repeat is again, I paint to help. If I can make a difference with my talent, I will. And I encourage you to do the same! Art has no borders! Art is a universal language that brings people together. Let’s use it.

Explore Michael Dergar’s Art Galleries.

If you want to get a sense of how Dergar curates his galleries, you can now experience them virtually on D Emptyspace:

Orgánico / Vivo / Textures and Color / Beauty Collection / PERVAZ collection

PERVAZ collection Michael Dergar

Download D Emptyspace for iOS: https://apple.co/2MhsxCs

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

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What It Means To Be Broken With Artist Kurt Caddy

What It Means To Be Broken With Artist Kurt Caddy

Kurt Caddy’s photomanipulation gallery in D Emptyspace

Kurt Caddy is a visual artist, a trained theologian, and a dreamer. When the team at D Emptyspace stumbled upon his artwork, we were immediately struck by his incredible use of color.

“Caddy photographs ordinary and even mundane images of places that feel worn, broken, or unresolved. He then uses layers of color to transform these small scenes into abstract pictures of beauty, wonder, and metaphor.”

Sarah Bernhardt, curator

Caddy lives on a farm in Missouri, has eight children, and is constantly in search of a way to express the point at which pain and beauty meet in our everyday lives. This July, he is an artist in residence at Yellowstone Theological Institute in Bozeman, Montana. His lectures will be on theology and the arts, the role of goodness, truth, beauty, and theological aesthetics. He will also conduct workshops and exhibit his work.

Note from the writer: As someone who identifies as an agnostic, I was worried this interview would be too focused on the Bible, Christ, and theology. I worried that I wouldn’t relate to Caddy (a major problem for an interviewer and a writer!). But as you’ll see from the words that follow, Kurt Caddy’s wisdom, calmness, and respect for all, is abundant in the way he creates and lives. Although the words that follow contain some mention of religion, it should not deter you from experiencing his unique (and beautiful) perspective.

Did art inspire you from a young age or is it something you found later on? Do you remember that first ‘wow, I can make something’ creation moment?

Looking back, I’ve been this way my whole life. I didn’t ‘all of a sudden’ realize I had this huge thing. I’ve never been ‘trained’ to create art. It’s all been my innate way of thinking in terms of color, and shape, and texture, 3D, and expression.

My mom still has a Christmas ornament that I made when I was in first grade. It’s just string that’s dipped in glue and sculpted like a snowman, but I didn’t think “ I’m going to be an artist” at the time. I grew up in a very practical way; go to school, get a diploma, go to college, get a degree, get a job, and so on.

Flashing Sea by Kurt Caddy (Oyster shell pigment and watercolor)

Let’s get a little bit further into inspiration and where yours comes from. How would you describe it? Is it an outside force or something that comes from within?

I think it was interesting that you asked the question, “is it internal or external?” The reality is, it’s both. It’s both almost simultaneously. My goal isn’t to find the ultimate inspiration but rather to get in sync with it. To meld it with whatever is stirring in me. There is something outside of me that’s bigger than me, that I’m trying to connect with.

The word “inspired” means “to be breathed into”. That’s what inspiration feels like to me.

The Hebrew word for breath, or spirit, inspired spirit is “ruak” which means “to breathe in”. In Genesis one of the Bible, God made Adam and he “breathed into man’s nostrils, and man became a life-giving being.” This breath of God inspired him. That’s the core meaning of the word for me.

Flashing Sea by Kurt Caddy (Oyster shell pigment and watercolor)

You’ve served among Native American communities. Has your experience influenced your art?

About 10 years ago, I went to a Native American reservation to work with the Lakota people for the first time. It was Pine Ridge Reservation in South Dakota, a beautiful place. My life at the time was in turmoil. My wife and I were fostering a little girl named Kate who came to us at three weeks old. We never knew from week to week, whether she was going to be taken or if we could finally adopt her. (It took three and a half years before we finally did). We were on an emotional yo-yo, there were loads of sleepless nights, tears, fear, and a festering brokenness.

That’s how I arrived at the reservation.

And somehow in this spiritually mystical way, the brokenness of my own experience collided with the brokenness of the Lakota people. I don’t know how much you know about Lakota Native Americans, but it’s a terrible part of our history. Basically, 100 years ago, people were in the way of what we (the new arrivals) wanted, so we drove them to the brink of extinction… And here I was on their reservation with a group of missionary students trying to ease the suffering of a cultural trauma that spanned generations.

That’s when my particular brokenness with this little girl collided with their brokenness, and something welded us together.

This Is The Day by Kurt Caddy (Photograph with digital color)

I felt this surge of creativity. I would wake up in the middle of the night and write a poem in the dark. I suddenly started taking portraits of Native American kids that were good in ways that they hadn’t been before. It was clear I was seeing things differently.

One afternoon, I got this desire draw (which was weird, because I hadn’t drawn in 15 years). I sketched out this Eagle head with a Lakota shield in the background. In that moment I thought “this is could be useful. I could use this picture to tell a story about people that nobody knows about. The Lakota people are forgotten. But people will come and see art.”

Lakota Shield and Eagle Sketch by Kurt Caddy

That was a huge turning point. I ended up doing an advocacy exhibition and I’ve not looked back.

Religion is obviously a huge part of your life, how does that tie into the theme of brokenness you’re exploring?

One morning when I was praying, I asked the Lord, “how does one know when they’re healed?” And I felt this presence say, “you know you’re healed when you’re when you’re ready to be broken again.”

Oh, my gosh, not exactly the most encouraging thing I wanted to hear! But this is what life is, it’s a cycle, it’s connecting with the brokenness of others, moving through your own brokenness, and being broken again. That was a big realization for me and the theme repeatedly appears in my work.

Thirst No More by Kurt Caddy (Oyster shell pigment, watercolor, and gold leaf)

Your photo manipulations are close-ups of various textures, what materials are you most fascinated by?

I’m enamored with the concept of concrete. It’s a thing that’s all around us, a thing that nobody pays any attention to. We walk on it, your building is made with a bunch of it, you come into contact with it all the time. It surrounds us. It’s common, it is ordinary, and it’s often broken, cracked, torn up. Our school just replaced several sidewalks because they were all broken up. I was taking pictures of the broken concrete and now it’s gone through a cycle, it’s all brand new and textureless.

I’m fascinated by the places where they rip up carpet and the glue shows through. As my kids would say, that’s my jam!

It’s from everyday scenes that I find ordinary, broken, unresolved kind of places and bring them into a world where I can transform them, where I can change them. I don’t want it to stay what it is; I want it to be something better than a gray piece of sidewalk that nobody pays any attention to.

So I layer digital colors together. And suddenly, you find yourself gazing intently at something you never noticed before. I think that’s how I raise my children. They come to us in this unresolved place with sorrow and pain and hurt and agony. And we just keep putting layer of love, layer of love, layer of love, until one day you’re like, “boom”. And that’s the process. It takes time, but it’s worth it.

And you paint as well, how does that process work?

Painting takes so much time. And then I don’t do myself any favors because I like to make my own paint from scratch.

I start with minerals, dirt, and ashes. I start by breaking down something that is whole. It’s is an ancient technique in Japan called Nihonga that was made famous in the US by Makoto Fujimura (one of my biggest inspirations).

Still Waters by Kurt Caddy (Oyster shell pigment, watercolor, and gold leaf)

For example, there’s only one element that makes white: oyster shell. It’s called Gofun in Japan and is made by pulverizing a hundred-year-old oyster shell and then mixing it with hide glue. And that’s how you make the pigment.

At one point, that oyster was a living thing, and now it’s not. And I’m crushing it, pulverizing it, beating it, breaking it.

Doing all these things to resurrect it. Somehow this sorrow of death and ultimate brokenness transforms into something new and beautiful. That is that’s a metaphor that stays with me whenever I work.

I’ve started painting over my photography prints, something that’s been pushing me as an artist in a really great way.

Your family is pretty unconventional, what’s the full story behind that and how do you juggle life as a family man, a pastor, and a visual artist?

I have three biological kids, four adopted ones, and one that adopted us. So when our family gets together it’s 13 people (including spouses)! My adopted kids all came from trauma and really hard places. So they came to us broken and they came to us hurting, but they came to us.

And I thought “can something beautiful come from all this pain?” That’s the question that drives me.

I have so many interests that I don’t feel like I juggle everything, but rather that it juggles me! Somehow, between work, family, art, and my never-ending lists of projects, I find balance. My wife always exclaims, “is there is there ever going to be an end of the things that you’re interested in?!” It keeps me busy, but I enjoy it.

Is there an artwork you are most proud of? Why?

The Lakota people have helped me understand the value of symbolic things. Most of their regalia is very filled with symbols. And so if you see a shield, or a spear, it has a meaning. Even the bead patterns are saying something beyond the pure aesthetic

For example, the pattern above means what’s happening above is reflected below. In all my work, there’s usually a horizontal line, and two colors playing off of each other. Red is a color of sacrifice. Green is kind of a hope. Gold and yellow indicate a higher plane happening. Blue is water, movement, spirit, sky.

Infinite Grace by Kurt Caddy (Photograph with digital color)

This is my father-in-law’s driveway. That’s it. You can’t get anything more common than Arkansas driveway. But here it is, transformed with color. Starting out in a dark red underneath you have the sacrifice of Christ, and then the horizontal line symbolizes a sort of bringing together before exploding into blue, or what I call Grace. I feel like that grace is infinite, and that it’s unending.

What I love about the work above, is that it’s taken something ordinary, something broken and old, and turned it into an expression of Grace. It creates a new dialogue.

You’ve worked as a campus pastor for 22 years. What’s that been like?

I’m don’t overtly do all the right ‘spiritual’ things, instead, I use my faith in the context of life, and that really shakes things up a bit. For example, I tell my students, “When I paint, it’s worship,” and they say “No it’s not, worship is singing.” Then there’s a great opportunity to open a new dialogue.

Once, I asked students, “How do you draw hope?” Then I asked, “What color is hope?” Abstract art is finding a way to paint that feeling you have. Poems, sonnets, art, all that creative intuition, that’s something I try to teach my students about.

Grace Like Rain by Kurt Caddy (Photograph with digital color)

Living in a rural area, how do you share your work with others?

I’ve really been enjoying D Emptyspace! It’s just a cool way to share my art and show it to others in context. Plus I can make my work look massive — I wish I could print 8 or 10 feet high in real life! It’s really neat to see my art in a virtual world that I have complete control over — a lot of people have been really really impressed with the visualization.

I also do a lot of Instagram because it’s great to reach people, but it’s always hit and miss with the algorithm. It’s a really flat, limited space that doesn’t really work unless I create things to specifically fit in that space. For example, if I want to share a panoramic work, it ends up looking very weird on Instagram. But in this app, your work shows up as a panoramic, just like you intended, which is pretty cool.

Emmanual by Kurt Caddy (Photograph with digital color)

Some parting thoughts to ponder on…

I used to think the goal of life was to be happy and feel good about everything. But you try, and achieve, and search and think “why didn’t that make me happy? Why do I need more money? Why do I need more of this, more of that? And why am I never seem to be content?”

I remember reading an interview with Tom Brady, the successful American football quarterback. He’s won a Superbowl like, five, six times, and he’s the best guy ever to millions of Americans. He once said in an interview, “You know, I hope this isn’t all there is to life.”

Are you kidding me? He’s got more money than he knows what to do with, a beautiful supermodel wife, and well looked after kids. I mean, if that guy is saying “I hope this isn’t all there is to life,” you have to listen.

It always seems to be (at least in religious and spiritual circles), a paradox. A brokenness where we find we find joy and sorrow.

There is no real joy without sorrow. You don’t get the mountaintop without the valley.

You can follow Kurt Caddy on D Emptyspace by searching @kurtcaddy

Canvas prints are available for purchase via Caddy’s Instagram

Download D Emptyspace for iOS: https://apple.co/2MhsxCs

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

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One Californian Curator’s Quest to Represent Diversity

One Californian Curator’s Quest to Represent Diversity

Linemen Series on D Emptyspace

Joseph Abbati is an artist and curator who’s committed to representing the diverse artists of his San Francisco base. He currently curates themed exhibitions at the State of California building for the senator in office. His exhibits bring together a diverse group of artists on subjects such as housing, nightlife, artists over 50, the Bay Area Asian diaspora, LGBTQ Pride, the Global Climate Action Summit, and Latinx culture.

But Abbati isn’t limited to the skill of curation. He creates artwork that explores controversial topics like “Artspeak”, LGBTQ fetish postings, and the striking stand-out poses that populate the feeds of Instagram influencers. While his art leans towards a bright pop aesthetic, the topics Abbati explores indicate his wry sense of humor.

So, read on to find out how he became a high-profile curator, what he wants when looking for artists to feature, and his ironic musings on an art world that takes itself just a little too seriously.

Explore Joseph Abbati’s Art Galleries.

If you want to get a sense of how Abbati curates his galleries, you can now experience them virtually on D Emptyspace:

Body + / Linemen Series / Art Speak

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

What were your early years as an artist like? How did you discover that you wanted to be a painter?

I consider myself more of an artist than a painter. At the present, I’ve been using paint as a medium along with digital vectors. And I use photography to produce tapestries and prints on metal. I’m more multi-disciplinary when it comes to materials.

I started painting when I was a teenager. I had an older cousin that was a painter and she saw that I was artistically inclined and began teaching me to paint. That ultimately started my path to becoming an artist.

Graphic Studies Series by Joseph Abbati

You both create and curate artworks. How did you get involved in curation (especially at such a high level) and do you prefer one activity over the other?

I enjoy both artwork and curating. It all started thanks to an atmosphere of collaboration. Someone at our local Senator’s office saw my work at an exhibition and invited me to put on a display of my art in their building. They liked the work I brought to the office and I suggested curating another exhibit for them with San Francisco Bay Area artists.

The State of California Building has about 10,000 square feet and large open walls, perfect for displaying work. It was a great way for the Senator to reach out to his constituency while filling the offices with Bay Area art. We’ve continued this partnership for over two years with two new exhibits each year.

Artwork is my personal discipline. Curation keeps me in touch with the local art scene and developing new relationships within it.

Tell us a little bit more about your curation work in the senator’s office. Do you find it challenging? How do you balance diversity? And have you ever had pushback on a piece you thought was perfect?

Body + Gallery in D Emptyspace

There is always a challenge when organizing an exhibit. When I put out a call for submissions I want to reach as many people as possible so I can gather the most diverse segments in our community.

A visitor to one of our exhibits asked me why there were no female Latin artists in the exhibit. I had put out the call mistakenly thinking I reached out to enough of the community. But sometimes a particular segment doesn’t respond. So I needed to change the way I reached out. Now I target specific groups within the community. And in October I am curating a Latinx-based exhibit.

I’ve been fortunate to work for a Senator that does not pushback or override my choices. When we had artwork that was nude or sexual in nature I grouped them together strategically in a separate room but there was never a question about whether or not we’d hang the artwork. He and his staff have been very supportive of my efforts to represent the diverse community of artists we have in the San Francisco Bay area.

Among other things, your “Artspeak” Series reveals how difficult it is to describe the visual language of art with a written one. Where did your inspiration for this series come from? And have any brave art critics attempted to describe this series?

Artspeak on D Emptyspace

“Artspeak” comes from a collection of sentences I’ve been saving while reading art reviews, press releases and artist bios. I noticed there was a language used that seemed very obtuse at times. I found these tropes very amusing and saved them, not quite knowing what I would do with them at first.

Then I thought many of these sentences could be applied to almost any artwork so I started to create paintings that served as backdrops to them. I haven’t shown the entire series yet in an exhibit. I just started this series earlier this year and now have one in a group exhibit titled “Language and Letters.”

I noticed when people viewed the painting they seemed to miss the humor I was trying express until I explained the premise. When artwork references a question asking “Is it still possible to forge social autonomy from capitalist dominance in the psycho-economic framework of semiocapitalism?,” it can be intimidating.

By moving these descriptions into another context by questioning what is being said in the art world, it shows us how difficult it is to actually have words to describe a visual language. It’s also amusing to read with an absurdist point of view.

Can you talk us through your recent Linemen series? I’m curious, do you choose famous “influencers” as your models? Or rather unknown men without social media presence?

From the Linemen Series by Joseph Abbati

Some of the influencers I have used for the “Linemen” series are famous amongst the Instagram community. Others are models or “wannabe” influencers.

Their body language is what I found interesting … the way they pose and the attitude they exude.

I started doing these loopy lined figures by drawing them on my iPhone in Sketch for a study. Once I saw what they could represent I then started working on them in Illustrator where my vector drawings could be scaled to my work. The figures are about contour. Without seeing specific facial features or clothing we are already programmed to understand what they mean.

You’re involved in the LGBTQ art scene in San Fransico. How has the artist community grown and changed over the years in your eyes?

“Abonimatrix,” photography on aluminum by Joseph Abbati

Living in San Francisco is difficult for many artists. The LGBTQ community is still very strong here but artists within that community are finding it increasingly difficult to find housing and studios.

When I first moved here it was a relatively inexpensive city to live in. That brought a lot of creative types to the city for decades because it was cheap and had a very open attitude towards different lifestyles. Now that the city is a tech dominated with a lot of money coming into it, artists are being priced out of living here. That’s been the biggest change I’ve seen in the last decade.

As a curator, I imagine you have lots of artists approaching you to display their work. Do you have any do’s and don’ts for artists trying to get curated?

When I put out a call for submissions, I ask for artists to submit up to three pieces. What I prefer to see from artists is a cohesive grouping because I like to give each artist their own section of wall space.

When I get submissions that do not relate well to one another either in technique, subject, or point of view it’s difficult for me to understand what the artist is trying to say. I like to hang pieces that are immediately recognizable for that individual artist. Those work the best for what I am curating.

How do you choose the topics for your curated galleries? Is it based on your own interest or do you have a process?

Joseph Abbati being recognized for his work at the California Capitol Senate floor in Sacramento

We theme our exhibitions to speak sometimes to the congressional work the Senator is doing, and sometimes to subjects I’m interested in exploring. Our first exhibit was on “housing.” The Senator was working on a bill to make housing more accessible because — as I mentioned above — it’s a big issue in the Bay Area… especially for artists. I put out a call for submissions to artists here to see what they were thinking about when it came to the subject.

Since then, we have also done exhibits exploring “Nite Life”, “Queerky” and “QueerEyes” for LGBTQ artists, “eARTh” for the Global Climate Action Summit, “Advanced” for artists over 50 years, “East on West” for artists of the Asian diaspora, and “We Belong- Pertenecemos” for Latinx based artists opening in October.

From the Artspeak Series by Joseph Abbati

Do you have any career plans for the future in art or curation? What’s next?

I have submitted a proposal for a new body of work exploring queer bodies for 2020. This work uses the 50,000+ photographs I collected on Tumblr for a site I curated for eight years. The site has since been taken down when they stopped allowing “adult material” on their platform. By using some of these photographs as my subject material, I can now show them online because they are Illustrations or paintings.

It seems odd to me that a painting of the same subject is acceptable but a photograph is not. They speak about the same thing but our social norms have determined how we can look at it. As for curating, I am beginning to work with other venues in 2020, but with planning three to four exhibits a year and working on my own artwork, I have enough on my plate at the moment

We love what you’ve been doing with D Emptyspace. What’s your process been like using it to curate virtually?

When I downloaded the D Emptyspace app I saw it as a way to do some curating online. I have photographed the spaces I use for my exhibits and Photoshop the artwork into them to help me plan for my curation. I see a great opportunity for D Emptyspace to allow curators to customize the wall spaces they use on the app to help with planning and to also make their exhibits mobile. I also see it as a good opportunity for myself as an artist to visualize my work hanging since I have limited wall space. It would also help me create mobile exhibits I could share for proposals and promotion.

Do you have any upcoming exhibitions where we can see your work in person?

“Multiverse”, 2019, acrylic on board and canvas, 34″ X 30″ by Joseph Abbati

I’ll be working with Art Attack SF to bring a queer based art program to their gallery for the Pride festivities in June 2020. The gallery is located in the Castro district, the “gayborhood” of San Francisco. We’ll be kicking off the month with an exhibit of queer artists and be programing different activities throughout the month to help celebrate. It’s a way to engage the LGBTQ community with the art scene. It’s open to everybody, so come down and show your support!

I just received an invitation to do a one-man exhibit in 2020. The date has not been set yet but it will run for a month some time in the spring. I’ll be posting more information on my Instagram account.

Follow Joseph Abbiati on Instagram or check his website for the latest news.

Download D Emptyspace for iOS: https://apple.co/2MhsxCs

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

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