Bruno Walpoth Hanako (2021, Nutwood) by Bruno Walpoth My works are more a portrait of myself than the model WORDS BY EMILY TRACE | TORONTO | STUDIO SESSIONS APR 14, 2023 | ISSUE 10 In his studio based in Ortisei, Italy, sculptor Bruno Walpoth carves human figures out of blocks of wood—namely limewood or walnut. Inspired by his interactions with the people around him and driven by his persistent desire to create, Walpoth made a complete commitment to his craft 15 years ago. Though he works with live models, his creations don’t always imitate the model. Noted for their intimate yet evasive facial expressions, the viewer might just catch themselves reflected in a sculpture’s gaze.

Parallax: Chief Xian aTunde Adjuah Chief Xian aTunde Adjuah INTERVIEW ─ On redefining Black sonic ownership and the cosmic pulse of Stretch Music Words by Samir Jaffer ISSUE 16 | NEW ORLEANS | ELLINGTON Multi-instrumentalist, producer, Chief, and Grand Griot— Chief Xian aTunde Adjuah’s life and times have long transcended any singular definition, whether personal or professional in nature. A veteran of the creative landscape, Adjuah’s versatility and vast mental bandwidth are remarkable to witness. Hearing him speak, it’s apparent that his uniquely industrious work ethic is grounded in an insightful personality defined by his heritage, thoughtfulness, tact, and warmth. His 2015 album Stretch Music , a vibrant, high-vibrational fusion of genres upon which jazz has historically left its imprint, has just been republished and given new life after the long, winding decade since its initial release. At its birth, Adjuah’s effort was hailed as a boundary-breaking, multifaceted piece of expression that drew in both jazz aficionados and casual listeners alike with bombastically lush soundscapes and deliberate, sharp compositions. Stretch Music is the album that precedes five out of Chief Adjuah’s six GRAMMY nominations; in essence, the record was the foundation for Adjuah’s current run of critical acclaim. That said, the Stretch Music era and the success that has come with it were itself laid on Adjuah’s extensive foundational work, harking back to the start of his independent career in 2002, and even further back to his teenage tutelage under his Jazz Master uncle, Big Chief Donald Harrison Jr. Chief Adjuah by Maya Iman With the ten-year deluxe reintroduction of Stretch Music , Adjuah treats listeners to three new songs, all of which are original to this new edition of his seminal album: “Take Off Your Cool”, “Shared Stories of Rivals II”, and “Back 2 Back”. While all three additions to the Stretch Music canon feel aligned with the original record’s genre-blind sound, the debutants truly add a new texture. All at once jarring, inspiring, riveting, and soulful, these textures are informed by years of Adjuah’s learning and leadership in his spaces, reshaping the complexion of the decade-old fixtures on the project. “Take Off Your Cool” unfolds the way a fleshed out, patiently paced novel does—full of subtle tonal shifts that carry our ears and minds along for a gentle yet anamorphic stroll through the world which the song constructs. The song also features jazz genre-bender Robert Glasper, whose piano playing lights the way as one journeys along the song’s exquisitely curvy road. “Shared Stories of Rivals II” is concise and intentional, garnished with warping, wandering instrumentation—a stark change from the previous track. The emotion gleaned from listening to the song is moody, complex, and gorgeously shadowy, like feeling the eyes of a rival leering at you from around the corner. One might imagine that the composition feels somewhat like a score you might hear when watching a film depicting the nuanced ebb and flow of a relationship between begrudgingly respectful, competitive contemporaries. Chief Adjuah by Maya Iman “Back 2 Back” is a track unabashed about its genre-blending properties. Hi-hats, birdlike flutes, and bass reminiscent of the gravelly hum of an 808 drum machine clearly nod toward Chief Adjuah’s hip-hop influences. The track showcases Adjuah’s range and is a character-filled final flourish on an album which is as powerful and enticing now as it was a decade ago. Until now, and certainly going forward as well, Chief Adjuah has consistently reclaimed and redefined the fields of music and industry he inhabits. His advent of the Stretch Music App, an interactive media player, predates the explosive rise of music streaming, setting it apart from the mainstream streamers like Spotify and Apple Music. His music, influenced by the sonics of New Orleans jazz royalty and the cultural groundings of his Afro New Orleanian, Black Indian background, embodies both lineage and innovation. His past collaborations with Adams Musical Instruments in crafting trumpets to his own specifications, followed by his pioneering of the eponymous Adjuah Bow exemplify his drive and unaffected bravery in blazing a trail unique to himself—and for those who follow. The titles of some of his post-2015 records, alone — Diaspora, Ruler Rebel, The Emancipation Procrastination, Ancestral Recall — testify to his inclination to reclaim and redefine the oppressive and contrived narratives historically imposed on the Black diaspora. Stretch Music is no exception, as the title has become the name of Adjuah’s record label while the music on the album itself defies sterile convention by creating a platform for all of Adjuah’s influences to roam free, loud, and in vivacious fashion. Chief Adjuah by Maya Iman Ever the craftsman and visionary, Chief Adjuah is an artist cemented in his convictions. His work to address a glaring lack of equity behind the curtain of the music industry manifests in his pursuits with Stretch Music, the label. His determination to bridge the gap between genres is clear in his varying, illustrious discography. Adjuah’s belief in the power and majesty of the African and Mother-Country diaspora is on glorious display in his willingness to share the parameters and history behind his status as Grand Griot of New Orleans and his Chiefdom of the Xodokan Nation of Maroons. With a finger in every conceivable pie, Chief Adjuah manages to maneuver around the stifling conditions of musical tradition, on stage and in the boardroom. Interview Clip

DENVER — AiR TOUR — Issue 8 Erik Schlobohm DENVER — AiR TOUR — Issue 8 “Starry Night” by Erik Schlobohm Erik Schlobohm sM | One social issue that your art speaks to the most? ES ── I believe the social issue my art speaks to the most is depression. Having worked in mental health for 20 years, I try to help people by creating art that makes them happy. I utilize bright colors and try to create a beautiful world on my canvases that provides the viewer with a sort of sanctum from their stressful existence; thus, providing a visual vacation. I like to paint colorful scenes from the world that surrounds us, while incorporating the natural world to make the viewers of my art feel more connected to the earth, which, I feel, increases joy. I feel that my art is therapeutic. Continue the AiR tour in print: ISSUE 9 | ISSUE 10 Sign Up to K eep Up! Our newsletter brings you the best in the visual and performing arts. Exclusive interviews. Global coverage. Local perspectves. sM | What is your takeaway from the experience of working in-studio at Immersive Van Gogh Denver? ES ── My takeaway is that once people experience being immersed in beautiful artistic masterpieces, it invigorates their interest in the creative process to a higher degree. As a resident artist at the exhibition, I have had a lot of people show interest in my artistic process. People will stop for extended periods just to watch me paint, or to ask questions about the process. For children especially, witnessing an actual artist at work connects them with what they just observed in the exhibition. Having this direct interaction with the community also motivates me to continue creating art that can be enjoyed by all. The art residency, in conjunction with the Immersive Van Gogh experience, is a wonderful idea not just for the artist, but for the patrons. sM | What inspiration do you get from artists around you? ES ── The inspiration I get from other artists is when someone creates a piece that changes my perception of what is possible; I enjoy being surprised when viewing art. When I view work that just floors me, I try to imagine how much personal sacrifice, blood, and sweat must have gone into creating it. I’m also inspired by hard work. I know that I’m not alone when I become tired and frustrated with a piece that is challenging me, I know another artist somewhere else is going through this same thing. Great art inspires me to be a more creative artist. PREVIOUS NEXT

Is Ballet Racist? Nicholas Rose by Bastian Bochinski Throughout the years, ballet has evolved—but how much exactly? WORDS BY NICHOLAS ROSE | BERLIN | DANCE MAR 21, 2023 | ISSUE 9 I wouldn’t go as far as saying that ballet itself is racist: a plie or a tendu doesn’t discriminate against someone for their colour. Nor would I say that only selected individuals can partake in these very easy-to-do steps. I do believe white people, throughout history, have had a huge pull within ballet politics, and most certainly discriminated against the individuals who have wanted to be a part of this very artistic but divided world of ballet, primarily on the basis of aesthetics. This art form was built and continues to thrive off of Eurocentric standards of beauty. These standards include having a tiny waist, a long neck, skinny legs and arms, arched feet, straight hair—and most definitely white skin. Without these attributes, one can only assume that the dancer will not be successful. To be more concerned about how someone looked in a tutu, versus the way the dancer was actually dancing in the tutu, says a lot. Ballet capitalises off of this narrow demographic, and so it’s no secret that these standards and “aesthetic,” direct where the money goes. Not everything is “beautiful at the ballet,” especially for those who don’t meet these Eurocentric aesthetics.

Jun Yang by Jeremy Lewis by Georgia Gardner Lighthouse Immersive's Artist in Residence Program “My favourite part of this whole experience was getting to meet so many clients, including Google’s co- founder and our Lieutenant Governor in California.That was really exciting and I felt really lucky.” Jun Yang , San Francisco Resident Artist 5.3 The Lighthouse Immersive Artist in Residence program was designed to give visual artists a unique opportunity to showcase their work within Immersive Van Gogh exhibitions across North America. Artists are invited to create work during their residency around the theme of Vincent van Gogh all whilst surrounded by a community of art enthusiasts at the onsite venue. This gives local artists an opportunity to build connections, create networks, collaborate, and share work with other artists and the general public. We spoke with the Project Coordinator Kelsey Sewell about the motivations behind the project and Jun Yang, San Francisco’s outgoing resident artist about his experience over the course of his residency. “I come from a background of theatre and supporting the arts,” says Sewell, “I’ve noticed that my friends and co-workers in the arts have suffered from the lack of opportunities due to the pandemic. This program is unique as Immersive van Gogh is unique. We are personalising the van Gogh experience to these cities across North America. I think it is important that this program is something we can bring to local communities.” The Artist in Residence program invites artists into Immersive van Gogh venues. A portion of the venue will be used as a studio and gallery space for the length of their residency and take inspiration from Vincent van Gogh’s body of work. Artists will be able to create, showcase and sell their artwork on-site, as well as connect with attendees from the local community. The program is designed for participation, which ranges between 4-6 weeks. Artists will be present at van Gogh venues for approximately 40 hours/week. "It started with Corey ( Co-Producer of Immersive van Gogh) wanting people to come to the venue to connect with the local part of this exhibit." Lighthouse Immersive is not doing a national call. Instead, in each of the cities where Immersive van Gogh exhibits take place, the call for artists will be restricted to that specific city. Yang, the current Resident Artist, is a San Francisco-based artist. In terms of where the idea for this all started, Sewell continues, “ I think it started with Corey Ross (Co–Producer of Immersive van Gogh ) wanting people to come to the venue to connect with the local part of this exhibit. We’re trying to reinvigorate the local arts and culture community.” In terms of expanding the Artist in Residence program, Lighthouse Immersive has created a new website portal, containing information on the Immersive van Gogh production, the Artist in Residence program and how to apply. This portal will have a permanent place on the smART Magazine website. Lighthouse Immersive has incorporated the production’s generic information about Immersive van Gogh for attendee’s, with specificities about the application for those interested in the residency. The production has also launched their New York call for artist applications, as well as their call for artists in Charlotte, North Carolina. In San Francisco, a new resident artist will be launched by the end of May. "This program is unique as Immersive van Gogh is unique. We are personalizing the van Gogh experience to these cities across North America." Yang shared his highlights and challenges of the program, as his term with Immersive van Gogh comes to a close: “It was unique dealing directly with the public as you need to feel very comfortable and confident with yourself. People will often interrupt your work and take pictures of your materials, asking what paint you use.” The artists in this program would have to be comfortable with getting both positive and negative feedback, distractions as they work, and the premise that their role in this project contains an element of performance. A creative challenge to this residency is the rewarding pull to change your work to fit the space. This can be taken literally, as in forming portraits of van Gogh’s face itself, or figuratively, such as an artist reworking their existing subject matter to a style that resembles van Gogh’s thick brushstrokes. While it is a rewarding experience, Yang admits to some anxiety in being a performance artist. He explains that he feels his art has an un-aesthetic quality when he is creating his base layers, that he does not necessarily want viewers of his artwork to see. As a result, he has learned to paint quickly, to avoid judgements on his unfinished work. Yang has held his position in San Francisco for the last twenty days, and has created almost twenty paintings during this time, which is almost a painting a day, but he works on different pieces simultaneously. The high intensity atmosphere is one that he says motivates him to create so many works. In terms of what he thinks should be done differently in the program from the artist's perspective, it would be beneficial to have the option of a small area sectioned-off from the public, while maintaining an open and inviting space for those passing by, as it can be hard to focus. As for Yang’s favourite aspect of the residency, he feels that the community engagement role has been the most valuable. He explains that in San Francisco, most people are Covid-19 vaccinated, and he is fully vaccinated, so it means he is not threatened by meeting people, which is very special. To further enhance the Immersive Van Gogh VIP experience, the artists will be called upon to create a small piece of art of their choice, such as a small art sample or framed print of their work, preferably pre-created or with the ability to produce large quantities on site to then be gifted to the VIPs. Artists’ material expenses for this project will be covered, subject to approval by a company representative. A large privilege that the Artist in Residence program offers, is that throughout the pandemic, the artist is given the opportunity to grow a following, which for Yang, included prestigious clients. “During this pandemic, I didn’t have many opportunities to be a part of events like these. My favourite part of this whole experience was getting to meet so many clients, which include Google’s co-founder (Sergey Brin) and our Lieutenant Governor in California, (Eleni Kounalakis). That was really exciting and I felt really lucky.” “I started art full time five years ago when my parents passed away. So it was my therapy. I wanted to get my hands dirty and express my feelings." The additional promotional opportunities also include digital publicity, such as the opportunity to be featured on the Immersive van Gogh social media pages, as well as a profile article on smART Magazine. “I started making art full time five years ago when my parents passed away,” Yang continues, “so it was my therapy. I wanted to get my hands dirty and express my feelings. I created it for myself, not with the idea in my head that I wanted to sell my works.” While discussing his beginning process Yang confesses he had not thought much about his audience, or cultivating his art into what he thought viewers might like. In this mindset, he never felt like he had to try and change his viewers perception of what they thought about his art. Yang is a self professed “night owl”, as he believes he is his most creative at night. This led him to creating owls, because he identifies with them habitually, and was inspired by each owl having their own unique beautiful design. By creating these owls, it brought him a lot of attention from those who love animals, as well as art. People started giving him suggestions and ideas on other animals he could paint. He says he feels a connection to painting them because we, (the human race) also share this earth with them, therefore, they deserve the same societal recognition for the value they uphold. Over the last two years Yang has felt that he has been unable to ignore all the political current events happening in the world right now. It has had an impact on himself personally, and within his art. Specifically, when it comes to his own gender identity, and recent racial conflicts. In conjunction with living through this pandemic, Yang’s style of painting has changed a lot. His current artworks have been more figurative, abstract, and more expressive. He tells smART Magazine that his followers, audience and artworks are now based all over the world, obtaining international recognition.

Delali Cofie Delali Cofie Towards a new visual perspective on the global African diaspora WORDS BY AMBER SOLBERG | TORONTO | VISUAL ARTS FEB 23, 2023 | ISSUE 11 Delali Cofie is a storyteller. As a Ghananian-Nigerian photographer currently studying and living in Toronto, Cofie’s work connects the essence to the image via panoramic visual storytelling. Working primarily with analogue photography, Cofie’s method of artmaking is, in of itself, a link back to West African Studio photography stylization from the 1950-1980s. His perspective centers real people, backgrounded by civil architecture, natural lighting, nature, and quotidian life. In growing his practice, Cofie is also learning to use his voice in how to direct the storytelling narrative of his photography more strongly. A Place of Ours (2022), Cofie’s most intimate collection, showcases his emerging vision of African identities. Featured in Toronto’s CONTACT Photography Festival in 2022, A Place of Ours is a multi-layered exploration of what home means to the artist and to those far away from it. The new decade holds much promise for Cofie’s work, as he continues to search with his lens for the focal point of humanity in an increasingly technological world, creating space for the local and the international, the native and the diasporic. sM | Many of your images feature a single person...

Toronto Summer Music turns 20 TSM Finale INTERVIEW ─ Outgoing Artistic Director Jonathan Crow joins Cannopy for an exit interview before another violinist takes First Chair Words Eva Stone-Barney ISSUE 15 | TORONTO | HUBS & HUDDLES CANNOPY x Jonathan Crow Violinist Jonathan Crow has been the Artistic Director of Toronto Summer Music for nine years, just one year short of half of the festival’s lifetime. The implications of a relationship that long are immense—Crow and the festival have grown and learned a great deal from each other, they have overcome obstacles like the pandemic, and have expanded far beyond what audiences might have expected of them. As he prepares to take his final bow at the end of this summer, he first must see the festival through one final edition: their 20th, no less. When it was founded back in 2006, Toronto Summer Music (TSM) was a chamber music festival, but it’s hard to say whether that label is still appropriate. Originally, they programmed concerts by small ensembles and soloists over the course of a couple of weeks. Twenty years later, the festival now takes over the Royal Conservatory of Music’s Koerner Hall and the University of Toronto’s Walter Hall for an impressive four weeks, and involves large scale performances of dance, opera, and orchestral music. ReGen (July 12,19) It’s a far cry from their humble beginnings, and hasn’t been without growing pains—audiences who may have come to expect a certain brand of performance from TSM have had to adjust to the scaling of their events. Last year, this included appearances by Les Arts Florrissants and Amplified Opera, and this year, will involve an opening concert by the ensemble Cappella Mediterranea. This expansion has felt completely natural, though, particularly given the international reputation and magnificent scale of Koerner Hall, says Crow. Having a venue of its caliber available to them has helped draw artists from around the world, making TSM a “destination festival.” For TSM, success has meant reconciling with the fact that they are no longer what they once were—who they are, and what they offer to audiences every summer, has changed substantially. Missing (July 24) With that being said, audiences have continued to sell out their concerts, which suggests that lovers of classical music in Toronto aren’t too averse to change. July and August are fairly quiet months in the way of performing arts in Toronto, observes Crow, which is part of what has led to TSM’s highly devoted audience. He has delighted in seeing the same faces in the crowds year after year. He points to this as having been one of the highlights of his tenure at TSM: the opportunity to become part of a community of music lovers in his city, to welcome people into the cool, crisp concert hall on balmy July evenings, checking in year after year with patrons who have come to feel like friends. The TSM community has also been strengthened by the festival’s educational components—both their summer academy, and their community music program—which Crow takes great pride in. L-R: Alison Au (July 21), Nightingale Sonata (July 22), Jaden Izik-Dzurko (July 23), The Last Castrato (July 29) Crow, who is also first violin of the Toronto Symphony Orchestra, likens the running of a festival of this scale to the functioning of an orchestra. It’s an organism in which roles are well defined, a unified vision is absolutely crucial, and the whole is always and inevitably greater than the sum of its parts. As Crow steps down, another violinist will move into the role of Artistic Director: William Fedkenheuer. A coincidence, that the festival will see two consecutive violinists-turned-artistic-director? Perhaps. But there is something to be said for the knowledge and skills he and Fedkenheuer share, which Crow has brought to TSM, and Fedkenheuer is sure to bring in the years to come. Here, I am thinking especially of their ability as chamber musicians to communicate almost wordlessly; to adapt mid-performance; to work flexibly, creatively, and compassionately with others; and to strive endlessly towards the beautiful. 20 Years of Toronto Summer Music in 20 Photos. Toronto Summer Music 2025 runs from July 10 to August 2nd.

The Choreography Within A Dancer Reclaims His Body by Finally Sitting Still WORDS BY MARTIN AUSTIN 07-Nov-22 One hemisphere of my pelvis is above and in front of the other. I imagine it floating there in my body, untethered, out of my control. Every morning I sit at the edge of my bed and grip my right knee to “pop” my leg back into the socket; as my pelvis always wiggles away from me while I sleep. I wasn’t born this way. In my first year at The Ailey School, I was invited to audition for the junior touring company, Ailey II. I was so eager to impress that I brought my arabesque much higher than my body could accommodate. A sharp pain shot through my body, one that I ignored without a second thought exactly as I had been trained to do all my life. Looking back, I wish I had heeded my body’s warning. But how could I have known? At that time, considering the possible consequences, or even considering anything beyond the world of dance, proved difficult. In fact, my world outside of dance – anything outside my own body – had always...

SAN FRANCISCO — AiR TOUR — Issue 10 Paola Reyes Melendez SAN FRANCISCO — AiR TOUR — Issue 10 "Woman on Display" by Paola Reyes Melendez Paola Reyes Melendez sM | Given your longstanding involvement with the Precita Eyes Muralist Association, what role do you think murals play in unifying and beautifying elements in a community space? PRM ── Murals play a vital role in representing and connecting with the community; that is the beauty of public art. It is a reflection of how we see our environment, involving culture and a collective voice. Most murals are seen by local residents and workers, which mends the gap in accessible art for all. Murals are a living art form that invites people into a space with proud, vibrant colors singing “We’re here.” Continue the AiR tour in print: ISSUE 9 | ISSUE 10 Sign Up to K eep Up! Our newsletter brings you the best in the visual and performing arts. Exclusive interviews. Global coverage. Local perspectves. sM | How has Frida Kahlo's defiant expression of her cultural background influenced the notion of "identity" in your works? PRM ── Frida Kahlo has created an unforgettable image of her roots, celebrating Indigenous Mexican culture and pride. As well as being a communist and feminist artist. Since moving to San Francisco, I have found a large community of strong Mexica individuals who have been able to connect to my indigenous ancestors and be proud of being a Mexican woman. However, the ongoing struggle with violence against women urges the country to step up and provide more resources to investigate, prosecute, punish, and provide reparation for gender-based violence. This has pushed me further to unite strong individuals to demand all our voices be heard in hope for progress will be passed down to future generations. sM | What is one social issue that your art speaks to the most? PRM ── My artwork tackles the evolving climate crisis and its relationship to our daily lives. With this complex social issue, I hold a mirror up in the hope to inspire the fight against climate change. Since nature has a special place in my heart, the feeling, enjoyment, and respect for what the earth has to offer is like no other; this feeling began when I visited my first waterfall and was in awe of the sight. PREVIOUS NEXT

Off the Record: Amaia Miranda Amaia Miranda INTERVIEW — In her latest album, the Spanish songwriter finds the sound of presence mixed into the hues of the past Words by Amelia Johannsen | Illustration by Dane Thibeault ISSUE 16 | BARCELONA | ALT.ITUDE As a parent and artist, I often think about what my children will take from our experiences as a family and within the atmosphere of our home. I hope they will absorb a lasting sense of freedom, curiosity, and wellbeing from our messy playtime in my ceramics studio. Perhaps they’ll develop a distinctive perspective based on the music drifting in from the kitchen. Establish a sense of belonging from our walks in the woods and afternoon concerts in the park. All these moments settle quietly into memory, only to resurface years later, in ways that none of us can predict. I was struck by such reflections after discovering Spanish singer-songwriter and guitarist Amaia Miranda. Her music carries a richness drawn from childhood impressions, serendipity, and quiet playfulness. These elements help to shape songs that feel both intimate and alive. Amaia Miranda by Carla Pérez Vas Miranda’s childhood was cradled by the sounds of her hometown, Bilbao, in Northern Spain. Add to that her eclectically musical household, family afternoons at jazz festivals, and local concerts coloured with the rich hues of flamenco. What makes inheritance so powerful is that it’s rarely about instruction. It’s about atmosphere and feeling. It’s like telling a child that this is important versus letting them sit in it, letting them feel the weight of a room and the goosebumps along their arm. Years later, when they pick up a guitar, that atmosphere still lives within them. Miranda’s music seems to sway within the very fabric of this memory. But inheritance alone doesn’t explain Miranda’s latest album, Cada vez que te veo lo entiendo ( Every time I see you I understand it ). It’s more lived-in, more present, more grounded in the now. Miranda’s songs often carry traces of the rooms where they were recorded: a washing machine whirring in the corner, or the green parakeets of Barcelona — where she now calls home — chirping faintly through an open window. She doesn’t edit these things out. Instead, they become part of the music, reminders that art is never sealed off from life. These ambient sounds give the songs a sense of intimacy, as if you were sitting beside her while she plays. This is what I admire about her art: she trusts the accidents. In my own practice, I’ve learned that the best work rarely comes from careful planning. It often arrives sideways, in a mistake I decide to play around with, or in a line I didn’t mean to write. Miranda embodies this. She reminds us that accidents are not flaws to be corrected but rather openings into something more alive. Even the way listeners hear her work becomes part of this process of arrival. She describes this as her happiest album, yet some listeners who don’t speak the language may hear in it a lingering sadness that has been weaving through her first two albums ( Cuando se nos mueren los amores and Mientras vivas brilla ). That gap between intent and perception is another kind of inheritance. We never receive things exactly as they were given; instead, we mishear, reinterpret, and translate them into our own terms. In that sense, the audience becomes another beautiful accident, shaping the life of the work in ways the artist can’t control. Serendipity also plays into the ways Miranda engages with tradition. Her songs don’t just tell stories about family—they participate in a conversation across generations. (The album cover of Cuando se nos mueren los amores is a photo of Miranda’s mother, taken by her father when they were around Miranda’s age). While most songs on Cada vez que te veo lo entiendo are sung in Spanish, two are written in Euskara, the ancient Basque language from her childhood. It is a language loosely bound deeply to identity. Straddling northern Spain and southwestern France, the Basque Country is both political and cultural. Here, Euskadi refers to the Basque Autonomous Community within Spain, while Euskal Herria encompasses a wider identity—uniting Euskadi, Navarra to the east, and the French Basque region across the Pyrenees. More than geography, it represents a shared Euskara language and heritage that transcends borders. When we hear Miranda sing in Euskara, we’re not just hearing a language—we’re hearing a lineage, the persistence of heritage, something intimate being carried into the present. Amaia Miranda by Carla Pérez Vas And this isn’t just personal; it’s cultural. Spanish folk music has long moved in cycles of forgetting and revival. One generation lets it fade into the background, while another brings it forward again, blending old forms with new sensibilities. Miranda joins that cycle, inheriting tradition but reshaping it through her own modern instincts. Her music reminds me that an artistic life isn’t only built through disciplined practice or the right connections—it grows out of what surrounds us. Yes, 10,000 hours of practice can help you achieve technical proficiency , but technique alone can’t convey feeling or create resonance. The experiences we carry into our work are what move us, and that’s what resonates with others. As a parent, this comforts me. My children will not remember everything I plan for them. Perhaps they will mishear me. And maybe that’s the point. The true legacy of art is not about control but about presence. To be present in the room, to leave traces behind, and to trust that the accidents and atmospheres will carry forward. Interview clip:

DENVER — AiR TOUR — Issue 9 Kellsie Moore DENVER — AiR TOUR — Issue 9 “The Starry Rocky Mountains” by Kellsie Moore Kellsie Moore by Erika Arlee sM | How do you think the AiR residency program, and this exhibit, fits into the artist community in Denver? KM ── This residency is a phenomenal opportunity for local artists! This has been an incredible way to reach more of my community than nearly any other show. The Immersive Van Gogh Exhibit makes art an accessible and memorable experience that expands the appreciation of what it takes to create emotionally evoking works of art. Because it is a new and different way of experiencing art, it brings in more and different people beyond the gallery crowd. This exhibit brings the community together and allows for more people to become art fans, and now collectors of original pieces! Continue the AiR tour in print: ISSUE 9 | ISSUE 10 Sign Up to K eep Up! Our newsletter brings you the best in the visual and performing arts. Exclusive interviews. Global coverage. Local perspectves. sM | What were you able to accomplish in your residency? KM ── Live painting with a crowd was a new experience for me and, it honestly gave me anxiety for the first couple of days, but after adapting to the situation, the people became a new source of inspiration for me. It’s been exhilarating to see people’s reactions to my work in real-time, to share the process of what I’m doing and have them enjoy seeing the transformation as the piece gets finished. It’s helped grant me a new perspective and freedom with my work! Dedicating this consistent time to creation and painting has shown me so much more of what I’m capable of and unlocked a greater vision for where I want to take my career as an artist. sM | What inspiration do you get from artists around you? KM ── I am constantly soaking in inspiration from artists around me. Some artists from the past — like van Gogh, Monet, Renoir, Cezanne, Degas — but also contemporary artists that I find in some of my favourite galleries or on Instagram. I adore watching people’s processes and appreciating how different and unique our styles are. It’s beautiful how a dozen people can paint the same thing and you’ll get a dozen different expressions every time. sM | How has the pandemic transformed your mission as an artist, and priorities as a creative? KM ── The pandemic obviously forced change and a massive slow-down for most people, which in some ways dampened creativity and inspiration; however, it also allowed for a deeper awareness and stillness that opened the door for new ideas to come in. I actually used this time over the past couple of years to dive in and create more. It opened up a desire and commitment within me to take less unnecessary middle steps in my life and really begin creating at the level I want to be at now. Art cultivates connection, showcases beauty (which is subjective), discusses ideas, communicates meaning and reveals part of the human spirit in every brushstroke. PREVIOUS NEXT

DENVER — AiR TOUR — Issue 9 Nina Stewart DENVER — AiR TOUR — Issue 9 Art by Nina Stewart Nina Stewart sM | What inspiration do you get from artists around you? NS ── The community of artists within Denver, Colorado creates a very driven and innovative energy as a collective. Overall, the community inspires me to push my artistic skills both traditionally and within the new opportunities of technology. I feel energized in imagining beyond the constructs we have had in the past by creating in ways that will grow our collective in the future. I’m often reminded by the presence of other artists, being authentic to themselves, how important it is for us all to share our unique stories. I’m prompted to ask myself: how can I most Continue the AiR tour in print: ISSUE 9 | ISSUE 10 Sign Up to K eep Up! Our newsletter brings you the best in the visual and performing arts. Exclusive interviews. Global coverage. Local perspectves. authentically and sustainably share my story? What legacy do I want to leave behind? How can I contribute to making the world a better place with the resources I have? The artists I am around push my creative drive and love of life. sM | What have you accomplished in your residency? NS ── In my residency at Immersive Van Gogh , I pushed myself out of my comfort zone, had beautiful interactions with people, and created five new paintings. I often have a habit of being an introvert; the residency pushed me into being open to all kinds of energy exchanges that I wouldn’t always be open to. Because I was open to interaction, there were moments that I cried, laughed, loved, imagined, and collaborated with so many people. I am grateful for all the people that I was able to meet, and all the raw human stories that were shared. Since I was given the privilege of painting full-time, I was able to make more paintings than I usually would as well. Overall, I feel very accomplished within the experience and I am grateful for the opportunity. sM | What social issue does your art speak to the most? NS ── I believe that, in America, the capitalistic infrastructure makes a lot of money off creating insecurities, depression, sickness, and division within our society. Growing up in the lower-middle class, I understand how the lens we are taught to see ourselves in is often detrimental to our physical, mental, and spiritual health. I focus my art on spreading the message of self-love, self-acceptance, truth, unity, and unconditional love. We are too often taught that our worth is based on temporary material gain, and my goal is for my art to teach people that they are enough for simply existing. I believe that the social issues of separation and insecurity amongst the people must be addressed for the longevity and integrity of humanity. Follow Nina Stewart on Instagram: @ninalouise_art, or visit her website: www.ninalouise.art . PREVIOUS NEXT

BOBBY BAZINI’S PEARL Bobby Bazini The Montréal singer-songwriter’s latest recording is a work-from-home gem with a DIY aesthetic smART MAGAZINE | MONTRÉAL | HOMEGROWN JUN 30, 2022 | ISSUE 12 WFH sM | How did recording an album in a familiar and intimate setting liberate the creative process for you? BB ─ I've always gone far away to record but I realised that there was this great studio and this great producer ten minutes away from me. The studio is called The Tree House and I work with this amazingly talented producer named Connor Seidel. We had way more time this time around. Back then, I recorded in London, which was great, but I was always there for just a little bit. The creative process had to be within this certain time. When I was working here, I was always at home. Having that connection, that proximity, allowed for a more free and creative process.

Randell Adjei Randell Adjei by Ella Mazur Ontario's Poet Laureate WORDS BY MADELEINE KANE | TORONTO | PERFORMANCE APR 11, 2023 | ISSUE 6 In April of 2021, Ontario legislature appointed orator, performer, artist, and Scarborough native, Randell Adjei , as the first Poet Laureate of Ontario. Growing out of a childhood of adversity, Adjei immersed himself into the world of expressive writing and spoken-word poetry, and was driven to motivate others towards the enlightening liberation of art in all of its forms. As the founder of the R.I.S.E. (Reaching Intelligent Souls Everywhere) initiative, Adjei extends the limitless power of poetry, dance, music, and expressive art to Ontario’s youth. His approach to poetry is to break free of learned convention and emphasize the healing benefits of connection and vulnerability, while nurturing a safe space for communities to embrace artistic expression. In a Zoom call from his home in Toronto, sat in front of an enviable collection of books, Adjei speaks out on accessibility to the arts, the importance of representation for young Black artists, and the courage it takes to create authentic poetry.