Kute as fuh! @ PIQ

July 2015 | Toys R Evil

10-YEARS-TOYSREVIL

Opening July 17th (reception from 7pm) at PIQ (www.piqproducts.com) located in Grand Central Terminal NYC is group “Kute as fuh!” – where invited artists interpret “kawaii” (Japanese for “cute”, if you don’t know by now:p) in paintings and custom toys! Featured here are a few previews and WIPs to send you gushing 🙂

 

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See the original post here.

Crushing fashion, art, business and brand

JAN 2015 | KNOTWE: THE HUB FOR FIBER, TEXTILES, SURFACE DESIGN

Crushing fashion, art, business and brand into a storm of pattern, surface design and wearable art. Meet the complex kHyal™

By Kari Britta Lorenson

kHyal at Design Miami/ 2015
Image courtesy of the artist. Photo: ©Texa Gaya, Design Miami/

Fashion is irrational, expansive, a semiological beast that floods, pushes and escapes, adaptive to constraints and free expression. To use the term fashion in the broadest sense, far from just the runways of high fashion and more specifically fashion as a term referring to a philosophy, as a reflection of cultural, sociological and psychological significance that moves far beyond clothes and reflects our perceptions of change and importance. As such fashion bellows the sails of Art (pun intended); subject to its logic and governed by its insistence on innovative supplementation, cyclically caught in the act of forgetting and remembering. Every snapshot branding the hyper-ecstatic beauty of its temperament.

The field of fashion philosophy is young in comparison to the philosophies of art. Bookishly exciting for the multi-faceted connections and histories shared whether as dusty as Kantian questions of beauty, the function of the art object, or in Walter Benjamin’s anxieties for technology’s impact on the reproducibility of art and the tendency of photography to beautify the object to Anne Hollander, who states categorically “Dress is a form of visual art, a creation of images with the visible self as its medium” yet never answering why clothes are traditionally excluded from the domain of Art. Roland Barthes’s theories on the fashion system serve as a foundation for the field of fashion philosophy and is a critical read for anyone interested in this arena. Contemporary fashion theorists such as Lars Svendsen whose text Fashion: A Philosophy points to many issues that have arisen in the decades post Barthes’s era. A case in point, the fashionable fascination with reality that overtook fashion, art and entertainment in the 1990’s (think of the beginning seasons of MTV’s Real World, Benton billboards, Calvin Klein ads, heroine chic, Jenny Holzer, Barbara Kruger and YBA-er Tracey Emin in their 90’s glory). Glamour to be found in the everyday and in the appearance of a stripped down truth. Today’s Instagram and social media sharing culture a perfect innovative supplementation of this fascination.

Art and fashion are intertwined, connected like twins separated by birth but living with parallel urges and definitions of self. At art fairs and biennials this relationship is most apparent. There is one artist who is especially adept at playing on these tensions that underbelly art, fashion, celebrity and branded reality. To name this artist is slightly complex. kHyal, whose original name began transformation in 1981 from Kyle Ann Braun to eventually the trademarked pseudonym kHyal™ also uses the naming “kHyal Kouture” on social media and “MegaGlam” as an umbrella identity for all her creative work. Her process of trademarking and branding her identity began in the 90’s. It is not just her name, which is complex. She has created a labyrinth of creative work the seamlessly blends design, art and fashion through the use of bright graphic characters and patterns that fill space like an emoji rainstorm. Her characters and patterns are a visual library transferred into composite images, posters, stickers and wearable art. kHyal is photographed in her eye-popping sporty ensembles often with the location of where the performative act is taking place slapped aside the image like a fashionable ad, or her location seemingly cues an exotic editorial destination from the pages of an edgy fashion magazine. She acts as a beacon with her charismatic presence spotlighting people or a place harnessing the re-contextualizing to contextualize power that fashion and art share.

At Art Basel Miami Beach this year kHyal and her partner/collaborator Karl Heine, exploded on the Miami scene with public art installations in the Wynwood Art District and creating a whirlwind of images of kHyal’s new line of wearable art. Art fairs, biennials and gallery openings are certainly not devoid of eccentric dress or charismatic personalities, however moments captured in the resulting images from kHyal and Karl’s collaboration is very interesting. Where play starts and seriousness begins is uncertain which creates a tension for viewers. Images occasionally capture onlookers who carry the look of awe that anyone does when they see a celebrity or something so out of the ordinary it lends a pause to their actions. The deeper this work goes into the inner caverns of the art world, the greater it gets and similar to our guilty pleasure of our favorite celebrity’s Instagram account, kHyal’s cool capture merges thought provoking obsessions that beg for constant updates.

MegaGlam “I Do What I Want” Action Apparel at PULSE Art Fair 2015Image courtesy of the artist. Photo: ©Guido F. Castellanos

Q: Your work delivers so much punch! It also merges together many different elements (i.e. art, illustration, surface, product, textiles, and fashion design). This is a mixture that not many artists successfully bring together. How did MegaGlam begin?

A: I have always been a multitasker. Since early childhood, I can remember writing and illustrating my own books, painting, drawing, collaging, making dioramas, dressing up in costumes of my own design, and creating temporary installations inside and out using whatever materials were at hand. Nearby, at my grandmother’s house where I often stayed, there was always a sewing machine and workshop awaiting my creativity. Having access to these tools, and ordinary supplies, equated to my freedom from the bland structure of everyday life.

Fast forward to when I officially launched MegaGlam. I first tried to focus on one area of my output, but very quickly realized that it was destined to be a repository of multiple disciplines, blended into a cohesive sphere with a strong imprint. My psyche is best soothed by conjuring worlds that integrate cross-platform interconnectedness.

MegaGlam at Untitled Art Fair 2015
Photo: ©Karl Heine

Q: Vanessa Friedman of the New York Times recently wrote an article on Beyoncé and the idea of her as a fashion icon. In the article, Friedman critically questions what designates a fashion icon versus an icon period. Friedman defines fashion icon as someone who inspires designers (basically as a muse), has large impact influencing fashion, is loyal to a label, whose name sells fashion, and whose fans emulate her through clothing. I relate this article to your work because there is celebrity/icon play is such a powerful and poignant part of your MegaGlam work. What are your thoughts on this?

A: This is fascinating. I hadn’t read it and I know very little about Beyoncé because I don’t watch commercial television or listen to popular music. It would seem that in Beyoncé’s case, a very deliberate attempt for escalating celebrity and financial reward is being made by implementing the most fruitful marketing strategy for personal gain. I would categorize it as smart business. While I can see and appreciate that as a life designed for career success and super stardom, I am more interested in transforming the power of the ordinary into the exceptional. How amazing would the world be if we could teach every individual how to meet his or her true potential? And, to value themselves enough to be up for the challenge.

MegaGlam street fashion worn by kHyal and Karl at Design Miami/ 2014
Photo ©Gesi Schilling

Q: What would you say is on your wish list professionally?

A: I would like to integrate my art further into commercial pursuits, so the seams in my persona disappear.

Q: What is the greatest piece of career or personal advice you ever received?

A: I moved to Los Angeles when I was twenty, and got a job doing art restoration and period framing for clients like LACMA and The Getty Museum with Richard Tobey in Beverly Hills. He owned the building we worked in, and rented an upstairs studio to the artist Mendij. Mendij and I became good friends, and I still am indebted to him for the wisdom he shared with me. Much of it was philosophical, but practically, the advice that has changed my own life as a creator was to be careful with my time. That social pursuits take away time that is better spent developing work. Although, by my social media feeds, it may look like I am constantly out socializing, 99% of that time I am participating in learning and/or industry events. Otherwise, I prefer to be working.

Q: If you could collaborate with anyone (living or no longer here on Earth), big wish list kind of thing (and you can’t say Karl:), who would it be?

A: Ultra Violet (who I’ve already worked with in some capacities), Yayoi Kusama, Jeremy Scott, Karim Rashid all come to mind.

Q: How has your performance art evolved in recent projects? What are your primary concerns when you are in the act of performing? Has this changed over time?

A: I think it’s important to understand the full evolution and background of my need to perform in order to put context to recent projects. I was born terrified of other people. My social awkwardness was crippling, even in college. So I forced myself to overcome this anxiety by taking public speaking courses and putting myself in situations where I could practice interactions, and speaking in front of crowds. My art had been a silent shield throughout my childhood, but I knew that in order to move forward and thrive interdimensionally, I needed to go beyond the written word and visual communication.

In the 80s, I started a band called “The Ultra Violet Rake.” I was the sole member, and would record multi-layered MIDI soundtracks in advance. I would perform in elaborate vintage ball gowns that I bought on the cheap at thrift stores, with a boom box playing my prerecorded audio, in front of a backdrop I painted, or sometimes a more elaborate installation including video and animation. One performance consisted of running a device up and down my arms that I found at a flea market, which was also the namesake of my band, a wand with a glass rake-shaped light bulb that emitted electricity and mild sparks when it came in close contact to skin. So, in a strapless ball gown I made violet light softly crackle in streams across my skin. Doing so, made me comfortable in front of a crowd. That device, by the way, was from the 1920s and was called the Violet Ray Machine, marketed for electrotherapy.

MegaGlam Target Rainbow series

MegaGlam Sausage and Egg Smiles

Later, I did other offbeat performances, including one at the renowned La Mama Experimental Theatre Club in the East Village. Over time I streamlined these forays into what became public self-portraits, which were then shown in galleries and museums as still photographs, often heavily collaged. After decades of that work, I stopped. Around 2008, I began the work known under the MegaGlam brand, which combines all the components of fine art, design and fashion I’d ever done and blends them into a commercially viable, though sometimes avant-garde, conglomerate.
Photo: ©Karl Heine

Q: From a design standpoint, what inspires your pattern work and illustrations? The color palette is very vibrant in both your abstract or character designs. Looking at designs such as Rainbow Target Mutli or Sausage and Egg Smiles verses the MegaGlam Bubble Creatures or Weather sKwirls?

A: I’m not sure why I oscillate between characters and patterns. As a child, and young adult, I created characters as “friends” when I needed them. They took many forms, but the connecting thread is that they made me feel part of something, like family.

I have always loved color. I equate it to energy. Color fuels my brain and brings me happiness, it’s like the sun for me. I know a lot of people who feel that way about music. And, although I love music, I get obsessed with working and forget to turn it on most of the time, but I never forget to turn on the color. It’s the center of my natural ecosystem.

The color pink, and squirrels, have been driving forces in my life since young adulthood. I didn’t care about anything pink as a kid, only later. The Weather sKwirl came about one day after a conversation with my husband over weather, another topic I am obsessive about. He made a comment something to the effect, that if I felt so strongly about weather and squirrels, I should do something about it. So I went immediately to my computer and created The Weather sKwirl. For two years straight I drew and posted a different comic with this theme every day. It led to Weather sKwirl themed art, products and public art commissions. But, this weather-obsessed squirrel’s chief task was to relieve my anxiety. The expression on his face clearly illustrates that, as if passing it onto this character relieves my own stress.

Targets are double rainbows, and rainbows are targets split in half. I like to play with and invert imagery. I have been a target, and under a black rainbow, and this illustrative play helps me work out these ideas with a visual spin while bringing the color back in. It resolves conflict.Food related icons, like eggs, sausages and bacon are a long-time compulsion. I have always loved breakfast, and in my early twenties I was a model and anorexic. I was trying to disappear and reduce my visibility by not eating, but this backfired on me. I seemed to have starved in an aesthetic way that made me more attractive, which is why the modeling agencies hired me for runway work. So, back to sausage and eggs smiles. I love images of breakfast foods, then and now. And, though I don’t eat meat, I like drawing my own versions of it.

Q: How did you get your start in illustration, pattern and surface design?

A: My father was an artist and illustrator. In my formative years, I witnessed the process of creating as part of what some people did. I learned to use it as a language I felt comfortable communicating in. I was much better at making art, or consuming art and design magazines and books, than I was trying to interact with people.

Q: The I Do What I Want action apparel performance art is brilliant, you debuted the performance at Art Basel in Switzerland in June, how would you describe your process from idea to execution?

A: The “I Do What I Want” mantra comes from surviving my youth. When I was younger it meant a lot of rebellion, which lead to friction in areas I no longer need to combat. Now, it stands for being my authentic self, living honestly and compassionately.

The Art Basel Switzerland action apparel was a uniform of truth, staking my claim without pushing it on anyone who doesn’t choose to take it in. It also breaks down the hierarchy of what art is, and who can show it. So much of the art world is about exclusion, and I have always felt that quality makers can come from anywhere, using any media. It shouldn’t be about money, popularity, trends, taste or who you know. It’s about the power of the work you make. My work is always an attempt to demonstrate that concept. In this case, by creating and wearing my work, I am my own performance, and I become part of the art fair, without permission, without caring about other people’s opinions or judgments. And, I can decide to place myself in these settings articulated in any number of ways, and become sculptural. I have always felt like my body was made to be a kinetic sculpture. And, so fashion is the way I demonstrate that, and action gives it liftoff, whether subtle or intense. When I am being true to myself in this way, I reach a place of absolute confidence, and so it’s really just a remedy for anxiety. The fact that some people seem to react positively is a bonus, because if what I’m doing as a life hack to problem-solve for myself helps other feel good, even momentarily, it becomes even more meaningful because my language is being understood at some level. Of course, there are many people in these environments that look surprised, confused, even fearful of the way I present myself, and I have to laugh, because it’s just color and pattern. But, I make a mental note and use that reactional data to fuel my next initiative. I would have liked to have studied science, but my natural aptitude is in art. Still, I treat life like a science lab.

My favorite quote best encapsulates the work I do: “Art does not lie down on the bed that is made for it; it runs away as soon as one says its name; it loves to be incognito. Its best moments are when it forgets what it is called.” —Jean Dubuffet

Q: Undoubtedly, the power of the image is paramount to your work. The resulting image from your performance work, critically folds the different levels that you are conceptually hitting, i.e. branding, social media, art industry, fashion industry, the fashion icon, or just icon itself, art as social interaction/commodity, intervention in public spaces etc. What would you describe as the main influences that you are conscious of when you perform and in choosing resulting images?

A: I crosscut along a wide breadth of industries and issues, but my ambition is in building strength of character. My work is often a personal demonstration of the power of the individual. I refuse to be derailed or categorized by the typical judgments of society. Though much of my visual work can be applied benignly in a commercial aftermarket, it was born a suit of armor.

kHyalKouture_Valentine2014_900x500px MegaGlam installation  MegaGlam at Art Basel Miami Beach 2014 MegaGlam Art Basel Miami Beach and Armory Art Show 2014 MegaGlam at PULSE Art Fair 2014
Images courtesy of the artist, and by Karl Heine.

Q: Who are artists that you are interested in watching the trajectory of their careers?

A: I’ve already watched one that couldn’t get much more trajectory. I was a Matt Groening fan since the early 80s, long before The Simpsons. However, I’m always happy to hear success stories for artists I think do great work. Even when it’s not in line with my personal taste. There is already too much mediocrity in the art, design and other worlds, so it’s a win when true originality surfaces and is rewarded.

To follow more of kHyal visit: kHyaland.com

See the original article on Knotwe.

MegaGlam “A Better World by Design” Special Edition T-shirt Design

SEPTEMBER 2012 | MegaGlam Custom T-shirt in Collaboration with Teespring for A Better World by Design 2012

In celebration of their 5th anniversary, MegaGlam, our illustration arm, was commissioned to design a custom T-shirt for the 2012 conference. The T-shirts were sold online and at the conference store in the RISD Museum Lobby and at Brown University.

BWxD 5th Anniversary T-shirt

A Better World by Design: Interview with kHyal + Karl Heine

SEPTEMBER 25, 2012 | A Better World by Design

Expo Spotlight: Meet kHyal and Karl Heine
by Beth Soucy

This Sunday the 30th is the Better World by Design Expo. We here at ABWxD cannot wait to see all of the amazing projects students and professionals are working on that apply design thinking to better the world. kHyal and Karl have presented at the Expo every year since 2010 and we are happy to welcome them back this year! Learn more about their work and their involvement in ABWxD below.

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kHyal, Karl Heine and Lee Moody at ABWxD 2010

What is your connection to A Better World by Design?

We’ve been attending ABWxD since 2009, when our good friend Lee Moody of Mohawk Fine Papers turned us on to it. In 2010, we created the custom journals given to all attendees and speakers, and Karl and I were both chosen to exhibit our personal work at the art exhibit during the Gala held at The Steelyard. We’ve both been recycling, retrofitting, repurposing and upcycling since we were kids — and our work automatically incorporates the tenets of the conference. In 2011, we created custom journals for the speakers and the store. This year, we’re proud to be bronze sponsors and to create the branded ABWxD journals again. I was also honored to work with Tino Chow at Teespring to design the ABWxD “Better Future” T-shirt.

Karl and I both already had strong ties to RISD before hearing about ABWxD. My brother is a RISD alum, and although I studied art and design in Boston, the time I spent visiting him at RISD was memorable and influenced my work in ways I am still thankful for. Karl’s core company, creativeplacement, has been helping young design professionals find meaningful work for over 25 years. Karl has worked with the career development office at RISD for over 20 years, spoken at the Chace Center and other venues, and participated in portfolio reviews for many years. Since 2007, I have joined him. Our participation and support of ABWxD is a natural extension of our design beliefs and our enthusiasm for helping talented young creatives.

What will you be presenting at the 2012 Better World Expo?

For the third year, Karl will be exhibiting under his DesignerJournals brand, a company he founded to produce sustainable notebooks with all the characteristics he believes a journal for professional creatives should possess. That they should be high quality, natural materials, recycled and recyclable, and filled with unlined paper that won’t bleed when you draw or write on it with a Sharpie.

I’ll be exhibiting under my brand, MegaGlam, the illustration/character design/fashion/public art arm of my communications firm, fiZz. My product line combines those things in unique, colorful ways with an earth-friendly bent of recycled, upcycled and recyclable components.

BWxD Expo 2012BWxD Expo 2012BWxD Expo 2012

What is your business?

Karl’s core business is creativeplacement, a recruitment firm specializing in placing top creative talent in advertising agencies, design firms, corporations and companies. He founded DesignerJournals in 2009 out of a personal need to create a product he wanted to use, and that he thought other design professionals would appreciate. Karl also has a lighting design company, recently rebranded as “FreshBeam.” He was asked to exhibit his upcycled found object lamps in the 2010 ABWxD Expo Lounge.

My core business is fiZz. A full service boutique marketing and communication design firm. MegaGlam is the illustration/character design/fashion/public art arm of fiZz. It’s the art, design and fashion microgroove blend.

Together, Karl and I also founded PUSH workshops, providing design education opportunities to creative professionals at all stages in their careers. We have also produced a mobile version called PUSH Design Camp on Block Island. Karl and I are often hired to concept and produce creative events to boost economic development or to market other company’s creative services. Our work often merges the fine art and design worlds with commerce initiatives.

How do you use design to bring about a better world?

Design thinking permeates our lives in every way we problem solve and innovate. It fuels our entrepreneurial spirits and is the driving force behind the way we live, from developing sustainable products and services, to redesigning our home with vintage architectural salvage including steel cabinets from the 1940s, kitchen counters made of 1920s bowling alley wood removed from an old firehouse, and recycled shredded denim jeans for insulation. We live a fully encapsulated design life and keep the idea of sustainability in the forefront of our actions.

We are thankful to have worked with ABWxD design thinkers Andy Cutler, Tino Chow, Gabriela Baiter, Issac Blankensmith, Andreas Nicholas, Leah Chung, Hannah Bebbington and Katharine Li.

 

Mother Musing: kHyal: Biology’s Fast One

Mother Musing

kHyal is most known for her self-portrait photography and assemblage, multi-media installations, character design and fashion-based work. She was also an early adopter of technology and is part of the Women’s Internet History Project. kHyal was commissioned to create her first series of public art projects in Los Angeles in 1985, featuring original character design. Her work was chosen for “CODE”—an international juried exhibition of top artists working in digital media—at Ricco/Maresca Gallery, New York in 1995; sponsored by Microsoft, Apple, Softimage and Silicon Graphics.

kHyal’s son Tyler is twenty-three years old. He works part-time as a Technology Assistant and freelances as a Network Security Professional and Online Gaming Administrator, while concurrently studying to become an Ethical Hacker.

Artist Websites: kHyal.com and MegaGlam.com


SB: Can you tell me what you’re currently working on?

k: I’m currently obsessed with a number of things:

  1. Merging character design and fashion by creating apparel from original designs and wearing the work to art and design events. I’ve had a lifelong passion for treating my body as a kinetic sculpture and this is the ultimate culmination.
  2. A series of “corporate” character art imaged on vinyl and other substrates that are traditionally used for business graphics and tradeshows.
  3. A series of character art imaged as lawn signs that would typically bear political messages or cheap marketing pleas like “cash for gold.”
  4. A series of character designs images on household objects produced as commercial products.

I consider the first three my form of street fashion, corporate outbreak and street art.

I’ve also been combining all the work together into storefront installations, which seems to create delight and confusion for viewers. What seems like a retail store at first glance, is ultimately not open for commerce. Although, some of the products can be purchased through my online store and other retail outlets, the installations are not truly functional.

SB: Did you always know you wanted to have children?

k: No. Having a child was a total surprise. I had never spent time with young children, and didn’t have a desire to be around them, or have a family of my own. Though when I became pregnant with Tyler, biology pulled a fast one, and suddenly I was thrilled about the idea.

Some of my past work was quite dark, now the opposite is true. However, the childlike qualities people point to in my work have nothing to do with children. It’s not created for, or inspired by them, it’s simply my inner world. I think that’s a surprise to some.

SB: Did being an artist give you any hesitation about being a parent?

k: Yes! I don’t know anyone who is serious about their art career that isn’t worried about, or bothered by, interruptions in developing their work. I was no exception, and the result was that my son was incorporated into my art-making process. He had his own space in my studio and I shared materials with him. I hope that was a good experience for him. It meant making things and using his imagination all the time. I can’t think of any downside to that.

During his childhood, I also co-founded a software publishing company and an interactive/software development agency with a gallery in it. He always had a desk in our offices, and spent a lot of time during school vacations there with me, as well as traveling to tradeshows and other industry and art events. Since I raised him primarily on my own and never used a babysitter, there weren’t many other options. Because he has chosen a career path in technology, I’m thrilled that I exposed him to that world early on. He was immersed in the cutting edge worlds of Silicon Alley, the tech startups in San Francisco and all kinds of other creative influences that no doubt shaped his choices now.

SB: Do you think the experience of parenthood has influenced or changed your artwork in any way?

k: I’m not sure, except maybe that he gave me a happier life, which helped me engage in catharsis that brightened my world. Some of my past work was quite dark, now the opposite is true. However, the childlike qualities people point to in my work have nothing to do with children. It’s not created for, or inspired by them, it’s simply my inner world. I think that’s a surprise to some.

SB: Was toxicity of materials ever a concern?

k: Not really. I rarely worked with anything that would be considered toxic while Tyler was growing up, though safety proofing our home and life in other ways did become a priority.

SB: Is your son interested in art or art making?

family_portrait

k: Although he is innately creative and did attend the School of Visual Arts in New York for a couple of years, he has found his passion in ethical hacking and network security. His talent is evident in the way he interacts with technology. Still, he has a keen eye for design and often gives me his opinion and advice on my commercial work, when he happens to drop into the studio.

SB: Do you have any advice for artist parents on managing studio time?

k: I have tried having a studio away from where I live—even in recent years, now that Tyler is a  young adult—but it doesn’t work for me. When Tyler was young, having a live/work studio was imperative.

SB: Do you have any exhibitions planned?

k: Not formally, but I am always moving my design forward into avenues of distribution. My latest joy is really performance-based work where I insert myself into art events. I’m also a journalist and cover things like Art Basel Miami, Design Miami, the Armory Show and many ancillary art fairs. Now I often do that while wearing my own work—becoming, by default, part of the exhibition.

SB: Is there anything else you’d like to say?

k: I’d like to express my gratitude to my husband, Karl. We met in 2007 when Tyler was just turning 18. He has been an integral part of helping Tyler find his way into young adulthood and into a career that interests him. Knowing Karl has taught me how much better parenting is as a team, and his role has been critical to Tyler’s recent successes. Karl has also become my creative partner and we have collaborated on many projects, including commissioned pop-up stores, product design, developing content for publications in the design trade, producing creative events, and more.

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Nokia Pictoplasma Portrait

APRIL 29, 2012 | Nokia Pictoplasma Portrait

kHyal wearing MegaGlam original character jacket while drawing and stickering The Weather sKwirl™ at Nokia event during Pictoplasma New York 2011.

Nokia Pictoplasma NYC 2012

See the complete video here.

Pictoplasma Berlin Missing Link Project

APRIL 2011 | Pictoplasma Berlin Missing Link Project

We are thrilled that our Pink Yeti with Glasses was chosen as part of a group of 100 (from over 1,000 international submissions) to be projected as a slideshow at the Character Walk exhibition at Pavillon der Volksbühne, as part of the Pictoplasma Fesitval 2011 — April 6—10, 2011 in Berlin, Germany.

Pink Yeti

The Weather sKwirl featured on Ann Nyberg’s Network Connecticut

SEPTEMBER 27, 2010 | Ann Nyberg’s Network Connecticut

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Connecticut’s Weather sKwirl™

Sure there’s Puxatawny Phil, but Connecticut has The Weather sKwirl. It’s so much cooler then that groundhog and knows how to predict the weather on its own, it doesn’t need a shadow to tell it what to do. Yes, this is the proper way to spell his  name. Yes, it’s a guy and he’s pink.

His creator is kHyal of Bridgeport, Connecticut who is a brilliant designer of so many things, I don’t even know where to start and she loves the weather and creating characters, so it was a natural that the sKwirl would come to life.

I have told kHyal, to the left here, that sKwirl will become her “Andy Warhol” creation, that it will become every bit as popular as the Campbell Soup can creation or his Marilyn Monroe.

sKwirl was born early in 2010.  I visited KHyal and her designer husband, Karl around that time and she was talking about sKwirl. Here is the Network Connecticut post I did at the time. Since that interview with KHyal and Karl I have made it a point to get next to as many creatives as is humanly possible, because they see the world a little differently, probably like me. I have found that along with being a dedicated story teller, I too am a creative and feel so comfortable in their company.

Ann Nyberg

I asked kHyal is she would pose me with sKwirl after I saw him riding onthe back of “Butch” the Vizsla. Butch is owned by Gary Choronzy who is a website designer and professional geek and owner of Connecticut Websites.

sKwirl joins a whole host of kHyal’s characters which are so much fun. A huge thank you, kHyal for letting me spend some time with sKwirl, a big treat indeed.

See the full story here.

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