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Braille puzzles to tactile paintings: this Chennai art exhibition has an inclusive display - The Hindu

Tactile tigers, sculptures that sign, and a Braille puzzle on a canvas. 

At Apparao Gallery today, accessibility leads the conversation, for artworks - some interactive - by 10 artists with disabilities that occupy the otherwise conventional gallery space that Chennai’s collectors frequent. An abstract, panelled work and realistic portraits of the national animal of India, complemented by an experimental series of acrylic flora that spills over canvas frames, kickstart the display that do not follow a narrative per se. Mediums are aplenty - from acrylics and clay to paper and cloth make an appearance through canvases that hope to catch the collector’s eye. Dubbed a sensory art exhibit, the display hopes to cater to senses other than just sight and in essence advocates inclusivity even from a viewer’s perspective. 

The artists who mostly hail from Chennai and Tamil Nadu are part of Kai Rassi, a not-for-profit organisation that leads vocational art programmes and creates inclusive spaces for artists with disabilities. And this marks their fourth formal exhibition. As the display opens, each of them stands guard next to their respective artworks, eager to fill the audience in on their idea behind each concept, while busy interacting with fellow artists who they share space with. For founders Divya Rao, Kadambari Narendran and Indira Reddy, the display is meant to be more than just ‘disability-driven’. Divya says, “Then, the buyer who comes in is not looking for anything more than just donating money. We wanted to change that. We wanted to make them aware that they are also getting something beautiful in return.” The idea is to make galleries want to collaborate with each of the artists in an individual capacity.      

Midway, a series of 11 clay sculptures fashioned by students from the Mary Clubwala Jadhav School for the hearing impaired, makes for an interesting break in the narrative. They make one pause, and pay attention. Each sculpture is a hand mould with the imprint of each students’ hand. They depict letters from the American and Indian sign language, paired with pictures of students signing them, and read “We are Hear”: a witty take on the very disability that ostracises them. Visual artist Shreya Chajjed who led this particular project says, “They were really excited about the medium, and went about it very smartly. We rehearsed with them before making the final models.”   

The showstopper perhaps is the work by UK-based, partially-blind artist Clarke Reynold, accompanied by leaflets with patterns that denote each alphabet. The viewer can use this leaflet as reference to interpret the words on the canvas. The takeaway is the message. The collaborative work is put together through a virtual workshop with students from Lady Andal IB, Yein Udaan and girls from Prem Vihar.  

One of the works on display | Photo Credit: Special Arrangement

Aishwarya is elated. The hearing and speech-impaired artist, who specialises in many mediums of painting, has worked with fine paper-cutting this time. The delicate, concentric circles which are sometimes embellished with gilded paper, takes her nothing less than a week of work. As for Lokesh whose penchant for animal forms has been established through his acrylic works, made signs to the interpreter who translates, “The national animal of India has always fascinated me. Sometimes, I see photographs of these big cats and try to trace them onto canvas.” He points to a black-and-white series of canvases with bulls in motion and says, “But when I think of Tamil Nadu, bulls come to mind.” He is hearing-impaired.

For Anthony, who has been a carpentry and art teacher for the past 34 years with a special school in the city, art equals functionality. The unusual canvas frames on which acrylic paintings of flora spill out, came out of the need to be unique. “I wanted to do something that is a little different, which will look good in a home,” he says.  He had polio as a three-month old baby. An independent artist, he strives to remove the stigma around people with physical and intellectual disabilities. 

Betsy’s acrylic works speak of minute skill. Serpentine shadows fall on a path laden with trees. A tactile version of the work, by Access for All, accompanies the frame. Pavithra’s abstract series is a study on gradation of colours, blue being her muse. Siva’s line drawings on the other hand have already gained him a good following and recognition, says Divya. 

The display will be on till April 2 at Apparao Gallery, Nungambakkam

This content was originally published here.

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Urban art exhibition planned in Weymouth to celebrate 'Banksy boom' | Dorset Echo

The showcase, called 'GREED', will be on display at 11 St. Nicholas Street from Friday, April 7 until Monday, April 10.

The exhibition will comprise of subversive and urban art created by more than 70 renowned artists on a 14 metre wall. 

'GREED' is being organised by a newly-formed art collective based in Weymouth, whose aim is to create a grassroots art scene whilst shining a spotlight on local and international artists. 

It will feature paintings, photography, film, brandalism, sculptures, performances and public live art, with orgamisers wanting to celebrate 'revolutionary and alternative' culture.

The four-day event will also see performances from bands, poets and musicians along with a series of talks, workshops, activities and film screenings.

All of work on display acts as social commentary and marks what is known as the ‘Banksy boom’ which has spawned a wealth of artists and activists who want to respond to a wide range of subjects, from the cost-of-living crisis to gender politics.

Included in the exhibition are world renowned artists Spelling Mistakes Cost Lives, Foka Wolf, Subvertiser, My Dog Sighs, Wefail, Frank Riot, Haus Of Lucy, Hats Richardson and Guy Denning along with local artists Bod and Sock Oven and street photographers, Paul Russell and Si Jubb.

Artist BOD, who will be displaying work at the exhibtion and is one of the organisers of the event, said: "Since moving to Weymouth four years ago, I've been completely overwhelmed by the vacuum of culture here.

"There's a couple of galleries with 'safe' art but the more interesting art around here has been hidden away on social media mostly.

"So I decided to pull together a large group of artists for four days in Easter as a kind of 'exposure therapy' for this dormancy in the hope of inspiring others to do more challenging art in the area.”

Andy Smith, an artist and activist who is involved in the Weymouth project, added:  "Art has always acted as a mirror to the world; as we continue our descent into apocalyptic consumer capitalism and political greed we’re going to see more and more artists reflecting the social struggles we’re all increasingly facing on a day to day basis."

This content was originally published here.

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Scuttled/Transformed art exhibition available for viewing at Carson City Community Center through July

Marietta Sophie Paul fills her prints and recycled-material collages with repeated patterns that create active scenes and narratives.

Paul’s show will be in the Community Center’s Crowell Board Room, from March 6 through July 6, 2023. CCAI will host a reception for the artist on Wednesday, March 30, 5:00 – 6:30PM with an artist introduction at 5:30PM. The Community Center is located at 851 E William Street, Carson City. The Crowell Board Room is open for all the city’s public meetings.

Marietta Paul said, “The ‘Scuttled/Transformed’ series came out of my desire to eliminate waste, and in turn, create beauty. I was disturbed by the vast amount of squandered paper from my printmaking discards and finally landed on the idea of cutting up rejected prints to create collages. While on my morning walks, I noticed myriad soda & beer cans littering the side of the road. I found the colors compelling and gathered hundreds of cans over the miles walked, not as a good citizen keeping the streets of Carson City clean, but rather as an artist obtaining materials to incorporate into my collages.”

Paul learned her trade as a metalsmith while during a silversmith apprenticeship in the UK. Returning to the states, she attended the University of New Hampshire and earned a BA in Psychology in 1983. She established her business, Bench Designs, working in the jewelry trade as a goldsmith in 1984.

She became skilled at cloisonné enameling & hand engraving. As one who “uses the same techniques as her medieval counterparts,” she was invited by the Ringling Museum of Art to lecture on the techniques & tools used to create objects in several exhibitions: “Waking Dreams: The Art of the Pre-Raphaelites”, “Bedazzled! 5,000 Years of Jewelry” and “Gothic Art in the Gilded Age.”

The Ringling also exhibited one of her silver and cloisonné chalices, with the tools used to fabricate it, alongside the Medieval & Renaissance treasures, highlighting the bridge between craftsman past & present. Expanding her skills, Paul now takes printmaking classes at Western Nevada College and frequently combines her prints with recycled metal materials to create collages. She lives in Carson City.

CCAI is an artist-centered not-for-profit organization committed to community engagement in contemporary visual arts through exhibitions, illustrated talks, arts education programs, artist residencies, and online activities.

The Initiative is funded by the John Ben Snow Memorial Trust, Nevada Humanities and the National Endowment for the Humanities, John and Grace Nauman Foundation, Nevada Arts Council and the National Endowment for the Arts, Carson City Cultural Commission, U.S. Bank Foundation, Kaplan Family Charitable Fund, Southwest Gas Corporation Foundation, Steele & Associates LLC, and CCAI sponsors and members.

For additional information, please visit CCAI’s website at .

This content was originally published here.

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In Pictures: See Inside a Gargantuan Graffiti and Street Art Exhibition in Hong Kong, Stacked With Works by Basquiat, Kaws, Futura, Lady Pink, and More

When “City as Studio” opens today in Hong Kong, it will mark the arrival of the biggest exhibition of graffiti art the city has ever seen. Arrayed across the shopping complex of K11 Musea are more than 100 works that track graffiti’s stunning trajectory, springing off the subways cars of New York and highways of Los Angeles to emerge as a global art and market force. 

The show has as its curator Jeffrey Deitch, the artist, writer, and gallerist who isn’t just the latest guy to bring graffiti art to Hong Kong, but is quite likely the first.

Deitch, who grew tight with the genre’s leading artists in the mid 1970s when he moved to New York, had accompanied Dondi, Futura, and Zephyr to Hong Kong in 1982. The artists painted a parking garage, which eventually became the I Club, marking the Wild Style pioneers’s first-ever visit to Asia.

Fab 5 Freddy, Return Of God To Africa (1984). Photo courtesy of the artist.

In curating “City as Studio,” Deitch told Artnet News, “I wanted to focus on artistic innovators and include artists whose influence continues to be felt.”

Hence the inclusion of downtown New York practitioners such as Jean-Michel Basquiat, Rammellzee, and Kenny Scharf, Wild Style innovators including Futura and Lady Pink, and Los Angeles leading lights such as Chaz Bojórquez and Mister Cartoon. Today’s street art scene is also represented by works from Kaws, Aiko, JR, and Osgemeos. 

Deitch himself is excited to present a number of paintings by Martin Wong, the Chinese-American artist who documented New York street life with poetic realism, and an avid collector of graffiti sketchbooks.

Martin Wong, Untitled (Bicycle Boy) (1997-98). Photo: © Estate of Martin Wong, courtesy of William Lim c/o Living Limited, the Estate of Martin Wong and P•P•O•W, New York.

While the exhibition launches in time to coincide with Art Basel Hong Kong, it also marks the 50th anniversary of hip hop, of which graffiti forms a key element. Alongside the artworks, “City as Studio” has gathered historic photographs by the likes of Henry Chalfant and Martha Cooper to situate the art form within the then-burgeoning movement. Its curator, too, has had the opportunity to reflect on graffiti’s, and in turn hip hop’s, continued influence.

“I start my catalog essay with the observation that the Wild Style graffiti that was invented by teenagers in the Bronx, Brooklyn, and Lower Manhattan might be the most influential art movement since Pop art,” Deitch said. “You see street art around the world influenced by these innovations. The three linked creative forms: hip hop, Wild Style graffiti, and breakdancing defined a remarkable cultural moment and they continue to resonate.”

See more artworks from the exhibition below.

“” is on view at K11 Musea, 18 Salisbury Road, Tsim Sha Tsui, Hong Kong, through May 14, 2023.

Jean-Michel Basquiat, Valentine (1984). Photo: © Lisa Kato, courtesy of Paige Powell.

Kenny Scharf, BLOBZIC (2018). Photo courtesy of the artist.

Chaz Bojórquez, Mr. Lucky (2019). Photo courtesy of the artist.

Haroshi, Mosh Pit (2019). Photo: © Genevieve Hanson, courtesy of the artist, Jeffrey Deitch, and NANZUKA.

Lady Pink, TC5 in the Ghost Yard (2020). Photo courtesy of the artist.

KAWS, UNTITLED (NICOLE MILLER) (1996). Photo: Farzad Owrang, © KAWS, courtesy of the artist.

Rammellzee, SIGMA-BATTL’S A GO (ca. 1985). Photo courtesy of the Estate of Rammellzee.

Gusmano Cesaretti, Chaz Running (1973). Photo: © Gusmano Cesaretti, courtesy of Gusmano Cesaretti.

Henry Chalfant, Mad PJ (1980). Photo courtesy of the artist and Eric Firestone Gallery.

Keith Haring / LA II, Untitled (1983). Photo: © Adam Reich. LA II Artwork © LA II / Keith Haring Artwork © Keith Haring Foundation, courtesy of K11 Collection.

This content was originally published here.

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Artist Interview: AURAGRAPH

By: Andrea Moor Music Journalist

29-year-old Laredoan Carlos Ramirez, otherwise known as Auragraph, is a creative that’s made wide strides in their respective fields. Initially playing guitar in most of the bands they worked with in their adolescence, their encounters with music would change drastically when they moved up north for their undergrad. Having studied at UT Austin for film, Ramirez had nothing but pleasantries to claim about their time living in the capital.

“I really liked my experience at UT. When I was there, there was a lot of collaboration. In my film courses, everyone was so creative and a lot of them are now out here in L.A., like me. I still see a lot of them from time to time. I’ve been able to apply what I learned during those years, to working in film on the music side. The projects I’m working on have really become the best of both worlds.”

Auragraph staring at the camera while sitting on the floor | Image Credit: Alex Kacha

Is Austin truly as great as it claims to be?

“I miss Austin a lot. It was mostly experimental, and I had to build myself from the ground up. Its changed a lot but every 10 years or so, I feel people say the whole, ‘Oh, you missed it in its prime’, to feel special. I remember there’d be $3 shows on Thursdays for students at Spiderhouse. Swan Dive also did things like that. Whenever that happens, it’s always cool. When there’s a stream of new stuff in the DIY space, there’s constant innovation. I was able to find my voice there.”

Still have the same number from the valley?

“I still have the same # from high school, which is both a good and bad thing. Everyone knows where to reach me, but the trade-off is that I’ll just get spam calls from a random 956 number on a Tuesday at 9 a.m.”

I argue that if it falls under the ‘956’ area code, it’s the valley. Do you consider Laredo the valley? 

“People from Laredo don’t claim the valley. I guess since we’re so dispositioned from a place like McCallen, it doesn’t count. So, I’ll be taking a strong stance on the ‘no’. If I said it was, I’d get canceled. Someone from McCallen would just be like, ‘What the hell?!’”

Any spot from there that stands out?

“Last time I was in Laredo, I drove down for the holidays. For Mexicans, Toño’s is my parents’ spot. Every time I go down there, we’re at Toño’s. It’s a great, no-frills type of place.”

You’ve lived in Texas, you’re now in California. How would you describe the two?

“I associate Texas with a very experimental scene. It’s super big land-wise. You have deserts, mountains and fragments of the sea. California is like that also but condensed. I think since both states are so vast and occupied with such different people, it’s obvious what sounds are from where. I think geographically, certain places have certain sounds…If I had to showcase Texas to someone, I wouldn’t know where to bring them. Do I show them the nature, the arts, the culture?”

Auragraph looking down on a keyboard | Image Credit: Alex Kacha

You’ve worked with different labels, how was each like?

“Finished my record for Auragraph with Hiraeth Records. Before this, it was ambiance. This was faster, denser bpm. I’ve worked with 猫 シ Corp (Japanese for Cat System Corp), and they were big on supporting even though they’re more of the Vaporwave sound. Did tapes with Midwest Collective, and now I’m with Dais Record after reconnecting.”

How has it been like working with George Clanton’s and Neggy Gemmy’s label, 100% Electronica?

“They’re an amazing label and collective. Especially during the lockdown, they were being prolific in their stuff at a time no one really was. We were doing 3D videos, live streams with tons of visuals and I released Metamerism with them. Their dog Jacob is cool, too.”

Is there a certain sound you strive for on Auragraph?

“I don’t like genres since it’s like a pigeonhole. A very broad sense of what I am is an experimental, electronic mask.”

How’s your process of curating Auragraph?

“I feel like I try to make every project different. I’ve done some with a more industrial, darker tint, and some with more of an acidhouse or dancier-type tint. Whenever I finish a record, it’s surreal because you’re nearly done. I don’t give in to doing all of the mini-changes. It’s sort of my philosophy. I love releasing, I love mixtapes. Once it’s out, I’ll sort of forget it, blackout and just move on. I pass through, and it’s like a love-hate relationship. It definitely winds me up to keep on making.”

Auragraph listening on headphones while tampering with equipment | Image Credit: Alex Kacha

Best way to listen to Auragraph?

“Getting into a sort of a meditative trance, it can be outside in nature, free of distractions and just allow the music to take you wherever. I know that I enjoy listening to records that take me beyond my initial state.”

You’ve worked on film projects such as Into the Ether, is it true that a bobcat was spotted during filming? 

“That was my friend Marc’s project and I played a minor role behind the scenes taking photos, so I did not know that. Growing up, I was a part of the skate culture, so I’ve always been taking photos of my friends. Nowadays, I’m able to apply that and take headshots for Auragraph or take pics for shows. Still, I’ll need to text him to confirm that.”

Do you know that our school mascot’s the bobcat? I’m getting the inkling that everything’s connected.

“Sounds familiar. I do recall having this band with a guy who went to Texas State. We’d take turns commuting back and forth and staying at each other’s houses for rehearsals and shows. San Marcos is a cool spot.”

I know you’ve worked on different projects regarding screen and film, can you tell me about how you started it out?

“I started out with Kyle Dixon and Michael Stein back in 2018 or 2019 on Valley of the Boom. I’ve learned a lot from working for them. Working in picture and film, I want my work to be cinematic in a sense since there are no words. It’s crazy knowing that all this stuff has mingled into my day-to-day life.”

Auragraph facing away from the computer, looking towards a computer | Image Credit: Alex Kacha

Working since season 3, you’re a score-mixing engineer for Stranger Things.

“Yes, it’s a big project. Typically, we work on it for nearly a year. Season 5’s on the way and it’s so busy, and we’re all working simultaneously to piece this project so there’s no time to really look back on it and have time to really think. The whole experience really is a gift.”

Any New Year Resolutions you’ve stuck to?

“My first resolution was no sugar, got into at least 20-25 days, think I broke it on a pastry. It goes back to wanting an overall healthier lifestyle that can help my mental health. This year, I’m really open to many experiences and opportunities. If a friend wants to approach me with a show opportunity, I want to say yes more and see where these types of experiences can take me.”

Auragraph standing and facing the camera, illuminated by orange lighting | Image Credit: Alex Kacha

When should we expect you to tour Texas?

“Maybe in the summer or, better yet, in September when everyone’s back for school. Perhaps I can set some dates aside to hit a couple of spots in California and come down to Texas, or even to San Marcos.”

Featured Image from Alex Kacha

This content was originally published here.

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Veterans art exhibition to be held in Weymouth town centre | Dorset Echo

The Veterans Hub, based in Weymouth, is collaborating with Got Your Six UK to host the event from Saturday, March 25 to Friday, April 7 at vintage barber shop Barberista, on St Thomas Street in Weymouth.

The exhibition will consist of a range of works including art, photography and poetry, all created by past and present armed forces personnel and their families, as well as a number of professional artists, some of which are still serving.

Tara Coyles-Gould, resident counsellor at the Veterans Hub, who also runs veterans' organisation Got Your Six UK, said: “The idea for the exhibition was born out of a therapy session with a veteran who had lost his spark and wanted to get back into artwork but lacked the motivation. 

“I initially suggested displaying veteran art in The Veterans Hub Community Cafe, but after a discussion with Andy, we decided to run a large-scale event that could showcase the amazing talents within our military community from across the country.”

The artworks come from the imagination of the individual and although there is no theme, expressions of mental health experiences, realities of war and honest accounts of serving are amongst the content.

Ms Coyles-Gould added: “We're also promoting the therapeutic benefits of creative activities, and how they can be used as a way to express uncomfortable emotions that might be difficult to verbalise. 

“Men in particular find it hard to talk about their experiences, but art can be a great way to release and resolve internal conflicts and distress. 

“Men’s mental health is a passion of both Got Your Six UK and The Veterans Hub because of the devastatingly high number of male suicides amongst both military and general population.”

The Veterans Hub, based in Weymouth, is a community project with the intent of providing a safe and secure location for veterans and their families to come together in an environment that would enable them to socialise in a non-clinical setting in order to provide peer to peer support for each other.

Got Your Six UK, is a UK-based organisation which promotes the mental health and wellbeing of the military community through support and wellbeing events. 

The exhibition is open to the public and free to view, with some of the artwork available to purchase.

You can view the exhibition at Barberista from Saturday, March 25 to Friday, April 7 from 9am to 7pm Tuesdays, Wednesdays and Fridays; 9am to 8pm Thursdays; and 8am to 6pm Saturdays. It is closed on Sundays and Mondays.

For more information visit: https://www.facebook.com/profile.php?id=100089843650721&locale=en_GB.

This content was originally published here.

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SXSW 2023: Artist Interview With Lola Tried

By Avery Viers Local Music Director

The last time I spoke with Lauren Burton of Austin-based band Lola Tried, I had freshly been appointed as KTSW 89.9’s Local Music Director only one month prior. Unsure of what to expect when meeting the band, I scavenged the internet to absorb all of the information I could in the midst of my nervous frenzy.

I was about five seconds into our introduction before my nerves were put at ease. Burton, along with her bandmate and longtime friend Ray Garza, exuded a genuine and enthusiastic energy throughout our discussion that could not be missed.

When I had the chance to catch up with Burton again recently, I couldn’t wait to hear what the band had been up to. I was anxious to discuss their recently released single, “Black & White,” and chat about the band’s invitation as an Official SXSW Artist for this year’s festival.

I called Burton the Monday evening following her birthday weekend. She shared that she had spent some time at her barn, where she enjoys riding her horse – which she fondly refers to as her “baby boy” – and that she saw PUP at Stubb’s Amphitheater.

“PUP is my favorite band in the whole world! My biggest influence ever,” said Burton. “I’ve seen them like four times; I have all of their records. They’re the reason Lola Tried exists.”

We chatted a bit more about PUP’s tour with Joyce Manor before jumping into the topic of this year’s SXSW music festival. I asked Burton whether the band was excited to perform, as well as whether it would be their first year as an Official Artist.

“It’s our third!” she said, “It’s funny. My SX experience started when I was sixteen; I had just moved to Austin and gotten my driver’s license. My mom was working for a nonprofit that helped find housing for the international musicians coming over. She would literally go, ‘you need to go pick up this band from England from the airport and just cart them around.’”

“My mom knew me,” Burton continued, “I was a good kid. I never drank. She literally had to be like, ‘Lauren, you don’t have a curfew. You can go out sometimes.’ So, these poor f*ckers had to sit in a car with me while I drove them around in downtown SXSW traffic. I also got the opportunity to develop these friendships and relationships that are beautiful. I still keep in touch with the folks I met [THROUGH SXSW] from fifteen years ago that changed my life. There were international bands from Spain, the U.K., and Germany. I got to see how real bands worked; bands that weren’t massive.”

“I would go to local shows all the time,” she said, “but it’s cool to see middle level bands – like Joyce Manor – where they’re known, and they’re touring, and can make it their full-time job. Seeing these bands interact and how they handle business was really cool. I also learned how to sneak into every single venue that they played. I remember I couldn’t get in to see Waxahachie because I wasn’t twenty-one and they were playing at Cheer Up [CHARLIE]’s. I literally jumped into the brush of the scaffolding at Mohawk and climbed up that cliff and watched them play like a weird-*ss bat.”

“SX has always been really special because of the touring bands that come through and the friends that I get to see that I haven’t seen,” said Burton, “I love giving all of the bands recommendations and getting to tell everyone all of my favorite spots. You get to see people experience the city. Plus, being on bills with your buddies and getting to see them play amazing shows is great.”

After wrapping up our discussion on SXSW, I was eager to ask Burton what was new with Lola Tried since our last talk.

“We actually have two new band members and I’m really excited!” She said, “It’s been really fun. After our original lineup switching up, we decided to say, ‘Okay, let’s get two new members. It’s gonna be great.’ Since bringing them on, the exchange of ideas has been so fun. When I started with this band initially, I had never played a show or committed to rehearsals or been a part of a true unit. Joining a team was definitely a moment of extreme vulnerability for me.”

“Jeff and Gianni – our bass player and our drummer – are so open to any new idea,” she continued, “I absolutely adored our original lineup, but this new journey has been super fun. Writing has changed; I don’t come in with things prepared anymore. I think a part of it is the Imposter Syndrome of thinking, ‘I have to have a perfectly crafted song to present to you guys, like a powerpoint ,because if I don’t you guys are gonna see through me.’ Learning to drop my guard and riff in a jam session is special, especially since it wasn’t always a thing. The new stuff that we’re releasing we have fully written together. Gianni and Jeff come from completely different musical backgrounds, so having them play with us has brought a whole new element to the band.”

I was curious to ask Burton about the songwriting process of the band’s newest single, “Black & White,” given the song’s themes of grief and loss.

“‘Black & White’ is honestly a pretty vulnerable song for me for a couple of reasons,” said Burton, “The less impactful reason is that it’s a ballad. For me, I like instant gratification and don’t like patience or having to wait. When we started playing the song, Jeff and Gianni had to stop me to slow me down and told me that it could really be something. ‘Black & White’ taught me patience. Being vulnerable in that way musically was interesting because I’d never written a ballad before.”

“A lot of my songs come from anger,” she continued, “that’s just how I write. When I’m feeling an intense emotion like anger, I’ve always felt motivated in my songwriting because it feels like the only way that I could get out my thoughts. I always thought, ‘I can handle feeling depressed. I know how to cope with anxiety because I experience these emotions a lot.’ But I don’t get angry very often; songwriting has been the main way for me to verbalize my fury.”

“But this song wasn’t that,” Burton said, “I think that’s my second point of vulnerability; my partner’s best friend died in May of last year. He was just a dream. He would have this laugh that would echo for days. There were two hard parts in terms of writing [BLACK & WHITE]; when I was writing the song, I realized, ‘I’m gonna have to deal with some real feelings here… and they’re not anger. They’re grief.’ I talked with the band to tell them I wanted to release something about grief and how I handle it.

“Ultimately, the song is about watching my partner grieve and feeling like I can’t do anything about it. There has been quite a lot of grief in our household over the past year. Another aspect of the song, though, is about wondering when the right time to grieve actually is. It’s harder for me to be vulnerable through sadness than it is for me to be vulnerable through anger.”

Burton mentioned the band’s upcoming projects as well, joking about its stark contrast to the preceding single.

“I’m switching up the tone a little bit,” said Burton, “For me, it feels so much more dynamic and it’s really fast paced. The drum parts are killer! After playing it on stage, Jeff had to leave for a second to go throw up and got right back on to play the next song. The song is called, “Don’t Care At All,” and it’s about work burnout that has been so impactful to me, especially working in tech. The layoffs, friends losing jobs, and even just the crumbling economy as a whole really makes you realize that you’re seeing some fundamentally wrong things going on in your field. [DON’T CARE AT ALL] is about experiencing a burnout so devastating and getting to the point of realizing you couldn’t care less about any of it. I really hope that people like my friends that lost their jobs will listen to it and go, ‘Ah. Thank you.’

Lola  Tried will be performing two sets as an Official SXSW Artist on March 12 and 13 at Hotel Vegas and one set at The Velveeta Room on March 18. Follow Lola Tried on Instagram to stay up to date on official set times, future shows, and newly released music here: @lolatried

This content was originally published here.

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I think the first three albums, Morbid Tales, To Mega Therion, Into The Pandemonium, have aged very well. news.creativinn.com/0ac8ddc0

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Mormon Church condemned for photoshopping painting of Virgin Mary to cover her bust and shoulders  | Daily Mail Online news.creativinn.com/fd5e1380

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Salon du CAL 2018 - Art Exhibition news.creativinn.com/bed2f180

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Beijing art exhibition focuses on traditional culture news.creativinn.com/77c58900

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The Duke and Duchess of Cornwall brought George and his two siblings — Princess Charlotte, 7, and Prince Louis, 4 — to the Sunday service as they all completed the walk together. news.creativinn.com/b9909d70

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What I can develop and share can be healing for somebody else," said William Demps, an artist and author living at the complex. news.creativinn.com/b4675070

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African art exhibition in France news.creativinn.com/72cd33c0

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Preparing to be installed for an art exhibition. news.creativinn.com/6d29c370

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🎨 by George,” the Prince and Princess of Wales captioned their Instagram post, which showed a painting of a reindeer with snow on its nose and two birds lounging on its antlers and back. news.creativinn.com/ae9546c0

[creativinn]

" Barbara said: "Ah sorry to hear that, I loved his chat as he painted RIP. news.creativinn.com/a87cf8d0