Category: Art

Question & Answer with Performance Artist, Paul Waddell

Following his November performance of “The Radical Choice to See What You Are Looking At” at the UCO Melton Gallery, artist Paull Waddell sat down with curator of exhibitions Kyle Cohlmia to discuss his work, the current direction of performance art, and the future of the contemporary art scene.

Kyle Cohlmia: How did you get into the genre of performance art?

Paul Waddell: When I was in high school I read “White Noise” by Don Dellio and was allowed to do a post-modern art project for extra-credit. That lead me to make “strange noise” music and listen to Captain Beefheart and watch Frank Zappa’s films. I had a group called “Partially Hydrogenated,” and we freaked out a school assembly. I also saw a retrospective of Paul McCarthy’s large-scale installation and his performance artifacts.

KC: What comes first, choosing the objects you work with or the content of the piece?

PW:Sometimes the object inspires the content, and other times I’m thinking about a subject and I start to see the potential for a meaning within the context I’m creating in a certain object.

KC: Do you plan out your actions ahead of time, or go into each performance with a more meditative, in-the-moment mentality?

PW: It is really about balancing both strategies. I have to be prepared with ideas and materials for specific actions, and I must be open and responsive to the audience and other changes around me. I have often made the analogy that it is like a karate match in which I know why I’m fighting, and I have trained for all the moves, yet I don’t know what the combination of moves will be until I’m in the fight and responding in real time, using all the pieces I have planned when the audience is ready and adapting to the specifics of the members of the audience.

KC: For this particular piece “The Radical Choice to See What You Are Looking At,” you used tents on which the exterior represents a log cabin with the word “home” written on the front. What is the significance of the tent, and specifically, the tents you chose for this performance? 

PW: I choose every object in the performance because I see a potential in that object to have multiple “reads” or possible meanings for the audience. The tents in this piece refer to the thousands of homeless people living in tents in Los Angeles. The particular tents are made for children, and I think that things designed for children carry both nostalgia and optimism about the future. So, positioned in the context of the performance the tents represent the fact that the future could be homelessness and insanity. 

KC: This piece was also about mental illness. How did your “character” or persona/actions in this piece include awareness for mental illness in regards to homelessness?

PW: That is a very difficult question as I can’t speak for the homeless. I do feel that many more people are on the verge of homelessness then our culture really wants to see. Around 30-35% of those experiencing homelessness, and close to 75% of women experiencing homelessness, have mental illnesses. I think it is important for someone visiting LA to know that the nicer the tent the more recently homeless the person. Most people who come to LA are there to follow a dream of being some kind of an artist. So, for me, homelessness is a very real possibility when a young artist moves to LA; they should know it is.

KC: How do you integrate humor into your pieces? What is the significance of using humor in performance art?

PW: Humor can trigger laughter and that creates an openness in the audience to contemplating ideas in new ways. It is easy to learn about something new when you can laugh at it. Although I do speak in my performance most of the humor is in my actions. By manipulating common commercial objects, I gain access to the audiences’ expectations and hopefully confound them.

KC: How do you see performance art in the larger context of the contemporary art world?

PW: Although it has its limits, performance art is a form that lets an artist immediately address a current issue, or to bring an old issue into a contemporary context potentially with no material cost and no barrier to entering a current dialogue. Performance is type of communication that is available to every human being.

KC: What trends do you see developing in the contemporary art world? How do you see the future of art developing in Oklahoma and beyond?

PW: There are major shifts happening in art all over the world. Cities that have been the center of art seem to be losing their hold on it. Oklahoma is very interesting in that a lot of complex ideas are finding an audience here and people are actively trying to create a viable contemporary art scene. It’s important for a young person to understand that they are responsible for building their audience. Artists need to engage in self-sustaining practices and need to understand about promoting their work to be the important activity that it is.

KC: What advice would you give as advice for an emerging artist wanting to get into performance art? Do you suggest a formal education? What resources do you suggest? 

PW: Have a job that is outside of the arts. Don’t expect people to know how hard you work on performing and go out and do it. Work really hard to understand everything that interests you as deeply as possible. Make observations about the world. Care about culture and the people who it represents. Put yourself in a position so that real people can respond to what you are trying to do.Through my experience, I’ve learned performance only really exists at the moment when an audience sees or experiences the action. Read about performance art. Internet search the history of performance art and try to understand the motivation of the artists that came before you on the timeline. Go to school to learn about art and perform on the street in the busiest place in town. Get yelled at and find a way to work with the people who are yelling at you.

To keep up to date on Waddell’s latest work, follow him on Instagram @wpaulwaddell.

The UCO Melton Gallery is open to the public Monday-Thursday from 10 a.m.-4 p.m. or Fridays by appointment. To schedule an appointment, contact Kyle Cohlmia at or 405-974-2432.

To see a complete list of all UCO College of Fine Arts and Design events, visit

#CFADWorks: Jessica Craddock

From her picturesque Colorado ranch, College of Fine Arts and Design alumna Jessica Craddock shares her journey to becoming the founder and owner of The Artist Market Co.

After graduating from the University of Central Oklahoma in 2010 with a B.F.A. in Painting, Craddock first learned the skills of gallery management while working for notable Oklahoma City artist Suzanne Wallace Mears. She soon opened her own pop-up gallery, an experience which fostered her interest in learning to more effectively market her art. After several years of experience at local marketing firm Public Strategies, Craddock launched her business The Artist Market Co. to teach fine artists the necessary business skills to successfully market and sell their work. As a painter, entrepreneur and business owner, Craddock helps her fellow artists to make a living while doing what they love.

To learn more about Craddock and The Artist Market Co., please visit

Question and Answer with Painter, Erica Bonavida

Written by Kyle Cohlmia, curator of the UCO Melton Gallery

One of my favorite parts of the role of curator at the Melton Gallery is working with living artists. I love the way in which each artist is different; hearing about their unique approaches to the craft is an exciting experience. Additionally, it’s always an honor working with University of Central Oklahoma alumni who know the art department (many of whom comment on the once again experiencing the distinct smell of the paints from the painting room) and received instruction and inspiration from our very own faculty.

Erica Bonavida stands in front of her painting.

Erica is no exception. Now a professional artist working in the OKC community as a part of Oklahoma Visual Arts Coalition and Fringe: Women Artists of Oklahoma, Erica is also UCO alum. As a student, she was named to the Dean’s Honor Roll from 2007 – 2014 and received the Freshman Achievement Scholarship in 2007.

Her large-scale, realist paintings invite the viewer to look at textiles from an intimate vantage point. The detail of texture and colorful fabric might remind you of a personal memory or relic from your lifetime. In addition, the fluidity of Erica’s lines creates a concentrated sense of movement, as if you could actually touch or feel the objects she has painted.

Erica created a new painting titled “The Dressing Room,” directly inspired by two costumes from the UCO Costume Shop. This collaboration is notable, as visitors will be able to see the artform of costume design highlighted through oil painting.

I asked Erica some specific questions about her work and time at UCO. To learn more about her content, process and past & current inspirations, read our Q&A session below:

Kyle Cohlmia: Your style is unique to other still-life painters I have seen in Oklahoma. How did you start painting textiles? In addition, how has your style developed since you were in college?

Erica Bonavida: My choice of subject matter regarding still-life was inspired by an undergraduate painting assignment to paint a still-life of something you are obsessed with. I had spent so much time on the fabric portions of the previously assigned still-life that it occurred to me that I was completely fascinated by the idea of capturing the nuances of fabric. It took off from there and become the subject of my senior work and subsequently my professional work. Over time my style has become more refined, more detailed, and developed into my own particular view of realism without being necessarily photorealistic.

KC: Oftentimes your paintings are of an object or piece of fabric/textile that looks as if it’s recently been used, worn, laid in, sat on, etc. Do you have stories of these pieces and how they came to be as you paint, or do you like to keep the narratives up to the viewer?

EB: Absolutely! There are many stories behind the fabrics, especially the worn ones, that I paint. Many of them come from my own childhood such as a worn and tattered quilt, handmade dresses, and vintage baby clothing. I like to elude to their history with the title of the work but I also leave it open enough that the viewer can relate their own narrative to the piece. My hope is that it elicits a response that recalls a tactile experience from the viewers own history.

KC: I love the sense of movement in your pieces. What are some techniques you use to create the lines and shadows that reference the texture and wornness of the fabric you paint?

EB: Movement is a very important part of my work. I have a sculpture background in addition to painting and I find fabric to be an interesting way to marry those aspects of 2D and 3D. I spend a lot of time arranging the composition to give it movement and to show off every facet of a particular textile that I am attempting to capture. I spend a lot of time observing the textiles and studying how they are woven to give a particular texture. Each requires a unique approach in order to capture that texture with paint. I consider them to be puzzle to solve and that keeps the process fresh and interesting for me.

KC: Similarly, what is your process like? Do you take photographs of what you paint first? How long does it take you to complete a typical painting?

EB: My process begins with the selection of the fabrics. I look for textiles that coordinate in subject matter and color palette while offering a variety of textures. From there I set up a still-life and seek to show multiple views of the chosen fabrics. I like showing the backside of things. I think it’s interesting to see how things come together. The process of setting up the still-life can take as little as minutes or as much as days. I take many photos and choose my favorite composition to work with. I paint from the photograph but keep the subjects close by for reference. Once the majority of the painting has been done from the reference photo I put it aside and make visual changes based on intuition.

KC: This can be a tough question to answer, as there are so many great artists out there, but who are a few of your personal influences from the artwork?

EB: I’m influenced by a lot of artists. I spend a lot of time just looking at work that’s being produced right now. Everything from traditional still-life, figurative work, murals, to abstraction. Right now, I’m loving just about everything that comes out of RJD Gallery in New York. One of my favorite artists showing there is Jackee Sandelands-Strom. She has incredible acrylic paintings of tattooed hands. I follow the photorealist work of Frank Oriti as well as Omar Ortiz. I also adore Shana Levenson. I’ve only recently found her work but I really enjoy how she uses pastels in her lace dress paintings. I can really relate to how she views color. One of the artists I’ve followed the longest is Anne-Marie Kornachuk. I could see myself integrating a figure in a similar way.

KC: Can you describe a favorite memory from your time at the UCO Art Department? What skills did you develop at the school that helped you become the success you are today? 

EB: Some of my favorite memories of my time at UCO are the late nights and long afternoons in the studio painting alongside my classmates. It was the first time in my life I had had the opportunity to spend that much uninterrupted time honing a skill and I loved the easy-going atmosphere and camaraderie when others were around. The most useful thing I learned that has served me well as a working artist is how to be professional, pay attention to detail, and prepare for everything. The final semester really sets you up with the practical knowledge on how to install your work as well as how to make the process as smooth as possible.

KC: What is one piece of advice you would give graduating art students who are interested in pursuing a life as a professional artist?

EB: Go in to your career with the understanding that you are an independent business and your art is your goods. Brush up on how business works. Learn as much as you can about marketing. Understand your clients and build a cohesive brand.

Erica Bonavida will be exhibiting in the Krottinger Family Gallery Nov. 1-Dec. 15. The opening reception is 5:30-7:30 p.m. Thursday, Nov. 8. Special thanks to Alyssa Couturier-Herndon from the UCO Costume Shop who helped coordinate the lending of costumes for Erica’s inspiration of her newest piece “The Dressing Room.”

For a complete listing of UCO College of Fine Arts and Design events and performances, please visit

Question & Answer with Sculptural Artist, Stacey Holloway

Written by Kyle Cohlmia, curator of the UCO Melton Gallery

Stacey Holloway, artist and Assistant Professor at the University of Alabama, Birmingham, visited UCO’s campus last week to install her sculptures for the Melton Gallery’s current exhibit “Flight of the Elephant,” a project spearheaded by UCO Design Department Chair, Amy Johnson.

A small scupture of Amelia the elephant walking on stilts The story of “Flight of the Elephant,” created by Johnson and Sam Ladwig and illustrated by Jime Wimmer, Adam Coe and Semin Park, narrates the migration of a creative and determined elephant, Amelia. Ladwig, who worked with Holloway at the Herron School of Art & Design, knew she would be a perfect fit to produce works directly inspired by their story.

When Holloway arrived to the Melton Gallery, she hopped out of her van and cheerfully pulled out her electric drill, which she subsequently did not put down for the rest of the day. Her polished and meticulous technique for creating sculptural work was apparent as she began to un-drill a large wooden crate system that she built by herself to safely transport her work from Birmingham to UCO. As I watched Holloway drill together eight-foot tall stilts, hang a flying elephant from the ceiling and piece together a miniature scene of an iron-cast herd, I saw Amelia’s story come to life.

A large sculpture of Amelia the elephant on stilts alongside smaller tableaus depicting the elephant herd

Prior to Holloway’s arrival, I asked her a few questions in order to get a better sense of her work. Our Q & As are below, highlighting her inspiration for this particular exhibit and work in ecology and visual storytelling. 


Kyle Cohlmia: Is each installation a part of a larger story of the elephant, Amelia? Were you directly inspired by the design work from Jime Wimmer and her collaborators Adam Coe and Semin Park?

Stacey Holloway: Yes, to both of these. I love the story of Amelia that Jime created, and I really wanted to make sure that I’m illustrating the story correctly, but in three-dimensional form. The idea of flight is something that shows up in my work quite often. Flight, for me, is a representation of something that we strive for; something that we achieve.

KC: Do specific parts of these installations serve as metaphors for larger issues? If so, which parts (stilts, wings, etc.) and what do they represent?

SH: Stilts and wings have always represented the idea of growth for me. Stilts are so interesting because they are used for both entertainment and in building. I first began putting animals on stilts within my work to illustrate the idea of having to learn to walk all over again; not fearing change or having to start something new. Everyone worries about change, but usually you learn, gain or achieve something new from change.

KC: How do these installations compare to your past works (in both content and process)?

SH: I’ve often portrayed the idea of flight and narratives in my work, but I consider myself a visual storyteller, so collaborating on this project was perfect. Following Jime’s story, I am able to exhibit work that illustrates a more extensive story/idea than what I usually do. I am also extremely intrigued by interspecies friendships and often depict different animals interacting with each other. The idea of two creatures (with different physical characteristics and capabilities) using their combined attributes to make their “herd” stronger is a concept I often use.

KC: What draws you to the subject of ethology?

SH: I use animals in my work because their specific attributes can be used as metaphors of human nature. As a child, my mother and I volunteered at a wildlife rehabilitation center, rode horses together and our home was practically a zoo. My family and I have strong empathetic connections with animals. I had such unique childhood experiences with animals—nursing a flying squirrel back to health to helping mom train and raise a disabled cockatiel. I actually wanted to be a veterinarian as a child, but was drawn to art at an early age. It wasn’t until graduate school that I found that I could use my interest in animals to translate my ideas to my viewer.

Humans are not so different than other animals; we just have more direct ways of communicating with each other. Animals have their own methods of communication; body language,  sounds and scents are used to declare disfavor, profess love, announce dominance and express pain. Just like other mammals, human growth can be intimidating and exciting, which is typical; however, we spend a great deal of effort masking this from each other.

I’m often drawn to herd animals. I’ve been particularly interested in exploring the notions of adaptability and acceptance because of my nephew’s struggle with social autism. Through my research, I have found that interspecies adoption and friendships have become common occurrences, so I often use one “outsider” herd animal and embed them into another herd, either exaggerating the anxiety and fear of the “outsider” or posing them in a way to express their desire to be accepted.


“Flight of the Elephant” will be at the Melton Gallery through Oct. 25 with an opening reception on Oct. 13 from 5:30-8:30 pm. The gallery opening precedes musical performances by the UCO Wind Symphony presenting the world premiere of an original score by Scott McAllister. Performances are at 7 p.m. 8:30 p.m. at Mitchell Hall Theatre. To reserve seats for the performances, visit or call the Mitchell Hall Box Office at 405-974-3375.

All donations and 50% of art sales during the exhibit directly benefit WildAid, an organization that raises awareness of the elephant poaching crisis, supports lawmakers in banning ivory sales and measurably reduces consumer demand for ivory.

The Melton Gallery is free and open to the public 10 a.m. to 4 p.m. Mondays-Thursdays and on Fridays by appointment. For more information about the Melton Gallery, visit

For a complete listing of UCO College of Fine Arts and Design events and performances, please visit