The Artist's Way

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Page 01KARJ AKA YORK JULY 2021 KARJAKANY.COM Drink Up! THE We Are ARTISTSWAY BACK! Modern Art Renaissance and CreativeRebirth With The Stylings of Tavia Sharp The HAMPTONS with Art Curator Yubal Marquez Fleites Sant Ambroeus, Southampton

Page 02Letter from The Editor rtists are always pushing the boundaries. Crossing lines, testing the edge, diving in head first with complete and utter disregard. It takes a bold mind to step out into the unknown. For us at KARJAKA we're always looking into new market places, and our July edi- tion features an art haven that's quint- essential New York, The Hamptons. Following the foot steps of South- ampton's premeire art curator Yubal Marquez Fleites, we feature a day in the life of the man who brings artists' works to the ultimate stage, and the magnificent artists who explore new ground and play their part with inspi- rational aplomb. JULY 2021 KARJAKA.COM

Page 03artecollective CONTEMPORARY&FINEART YubalMarquezFleites,FounderandCurator Arte Collective - Contemporary & Fine Art - 50 Jobs Lane Southampton, NY 11968

Page 04Fleites ubal Styled by TAVIA SHARP THE Photographed by Aleksandr JULY2021 KARJAKA.COM

Page 05SOUTHAMPTON www.artecollective.com Karjaka

Page 06A DAY IN THE LIFE hen you are out East every day, it's a complete- ly different way of life. There might be a new happening or great opportunity to explore. I'm at the Gallery almost every day and a "normal day" is usually 12+ hours. I'm a US Army Veteran, so waking up early is still embed- ded in my daily routine. The first thing I do when I wake up is pray and meditate; everyday that we are in this world is a blessing it is very important for me to appreciate and recog- nize that. Jump up and get ready for my morning workout, which recently involves a walk or run around the neighborhood end- ing up at the beach. I happen to be living quite close to the ocean, so I feel very lucky to experience that, it's a breath of fresh air to bask in that morning light. After a shower, I select my attire for the day. It's interest- ing; depending on how I'm feeling is the selection I make, I'm very lucky to have a wonderful image consultant and style guru, Tavia Sharp of Styled Sharp. She has definitely been a very important factor in complimenting my personality to my style and to my business. Looking good is the key to feeling good. At the Gallery, my day is filled with visits, client calls, Sant Ambroeus, Southampton touching base and catching up with my artists, looking into our ongoing programming, planning our upcoming exhibi- tions and events, curating the artworks, meeting with collab- orators and more. In the afternoon, I usually go to one of my favorite places in the Southampton Village, Sant Ambroeus which has one of the best espressos in the Hamptons and being Cuban, we like our coffee strong. If I feel like a refreshing drink, their green juice is my go-to beverage. For a snack they have this amazing turkey, tomato and mozzarella sandwiches that I'm obsessed about and the funny thing is they remind me of the ones they used to sell in the streets of Santiago de Cuba, every bite is a ARG memory from the past, I love them. In the early evening for dinner or happy hour, there are so many great options in the Southampton Village, but a couple of my favorites would have to be Bamboo Southampton and Dopo Argento. Bamboo has a very cool and casual allure to its environment, paired with a very nice happy hour for both food and drinks. Their menu selection is quite generous and it has excellent food, from the sushi to their spicy shrimp dump- lings to their Asian fusion dishes which I have with my usual Reposado Spicy Margarita. Dopo Argento has its own unique flair that distinguishes Dopo Argento, Southampton JULY2021 KARJAKA.COM

Page 07it from its Sag Harbor sister restaurant, Dopo La Spiaggia (also one of myEastEnd favor- ites), Argento has its own dis- tinctive touch with a fresh mix of Italian and Mediterranean flavors complemented with a very delicious array of careful. ly crafted cocktails. Some of my favorites here are the Fet- tuccine with shrimp (can't say no to that black truffle sauce) paired with their “Little Plains" which is a mix of Mezcal, Re- posado Tequila, pineapple, lem- on, ginger and honey. if I'm lucky enough to catch the sunset (thank you summer for the extended the daylight hours), I love to go to the oceanfront. Seeing the day and the sun dissipate between the colorful skylines, a dance of clouds in synergy with breath- taking colors, that seems more like a work of art than anything else. This is a daily reminder that nature and the universe are the ultimate artists, and makes us realize how fortunate we are to be here enjoying its blessings and creations. * JULY2021KARJAKA.COM

Page 08ell me a bit about how it all started. How did you get your start as an Art Curator? Several years ago in New York City, an artist friend of mine asked me to deliver one of his pieces for an upcoming exhibition. When I arrived at the Gallery, the own- er, who also happened to be an artist, was rushing to finish everything that needed to get done. The opening was the following day and there was cer- tainly a lot to take care of. I put on my Producer hat and offered to help, not only aiding in multiple aspects in put- ting the show together, but also ended up curating the entire exhibition. How long have you been doing this? What was the initial inspiration behind Arte Collective? Well, this depends on who you ask. My mother would probably say since I was in the third grade. From a very ear- ly stage in life I have always been fas- cinated with art and creating in all of its aspects. My youthful curiosity led me to pay attention to the works of various artists, bask in their beauty, mystery and emotions. One in particular is my all time favorite Jean-Michel Basquiat, whose work I've been intrigued with since I was about 8 years old. The art world is a particularly com- plex universe to navigate in, especially for those who are in the early stages of their careers. For example, for under- represented and up and coming artists one of the most common and ongoing challenges is how to exhibit their work in established and highly regarded gal- leries, exhibitions and art shows. This sometimes brings the dilemma that if an artist doesn't have “enough expe- rience", development or associations, even if the talent is there, the road can be a very steep one. Arte Collective was initially inspired by this need, of giving great exhibition opportunities to artists whose talent and creations have not been discovered before. There is so much amazing talent and inspiration all around us; we just need to keep our eyes and minds open. Can you share more about the art- ists you work with? What is the com- mon denominator amongst them? Certainly! Each artist that I am for- tunate enough to be working with has something very special that distinguish- es them. As a rule, I won't curate or represent an artist whose work I would not collect myself or display on my own walls. At first glance it's the work itself, the energy that transpires from the piece, and is later validated by the artist, their concept and story, this is the key. Everything that is part of the artist flows onto their creations, their soul, ideals, emotions, faith, and appreciation for sharing with the world something that is an innate part of what makes them who they are. This common de- nominator has not only been a guiding light of mine, but a profound standard of passion and desire that has led me to meet and work together with artists in multiple disciplines from all over the world. What brought you to the Hamp- tons? What's your connection to the East End? Years ago a good friend of mine, who also happens to be a Gallerist and artist, invited me to come visit for a weekend. In that trip we visited multiple areas in- cluding Southampton, Bridgehampton, Sag Harbor and Montauk.I grew up surrounded by ocean and nature, so I was immediately taken by all of its scen- ery, tranquility and beauty. Over time I've come to make great relationships with friends and clients alike, every day I get to meet and inter act with the amazing people that are part of the community here and its hi tor For some reason I felt an instant ith the East End, in a very syner parucular way it reminded me of home and I certainly hope that I will be a part of this community for a very long time, and make it a home away from home. You opened up your new gallery in the middle of a global pandemic. What made you trust this was the right move? When the pandemic hit, I was still in Miami operating our Gallery there and all of a sudden everything came to a halt. This was a very hard time for everyone and the uncertainty that fol. lowed was definitely not easy to deal with. We were talking about an unprec our lifetim edented event in many which literally affected the whole wor and our way of life. This brought n but also t only difficult challenges, opportunity to shift, adapt and explo new opportunities. We have had great results in t gh our p? past in the Hamptons throu easonal exl activations, partnershi that the bitions and art fairs. I n permane was an opportunity to home for our Galler grammir and to bring in the fresh an d energe to fulfill t work of our artists and als increasing demand for art as a result the rise of the real estate market, whi drove countless of individuals to mo out East. Giving back through Art is a ve important for you. What are some the charities and organizations y support? I always joke around saying: “Pu pies and Kids, that's how you get me! I've been fortunate to work close with several amazing organizations, o for example is The Maestro Cares Fou

Page 09es, ot he re he ast 11- re nt tic he in ch ve ry no p- ely ne dation, founded by Entrepreneur Henry Cardenas and music icon Marc Anthony; it is a wonderful organization that, among other goals, helps build orphanages for chil- dren across Latin America, the Caribbean, and the Unit- ed States. I've been very honored to support their efforts serving as Curator and Host Committee Member of their “Changing Lives Building Dreams annual Gala in New York City. The puppies! Don't even get me started on this one. Shelter Founda- to support is the Southampton Animal the welfare of the tion whose mission is to provide for ever-growing number of homeless animals, and, in turn, nomes. Last year, we to place them in permanent caring hosted the “Barks for Art" Fundraiser at our Gallery in Southampton, this year we were happy to donate sever- al works to the Annual Fundraiser hosted by Honorary Board Member Jean Shafiroff and will also be supporting their 12th Annual Unconditional Love Gala. Please visit www.maestrocares.org and www.south- amptonanimalshelter.com to learn more about their ini- tiatives and how you can support their causes. JULY 2021 KARJAKA.COM www.artecollective.com

Page 10Besides being a Gallery owner and Curator, you are also an Artist. Any particular story about your work that you would like to share? "CUBASIEMPRE" There is one particular photograph that I took in my home country of Cuba, which is very dear to me; I usually exhibit it in the Gallery or exhibi- tions that I've done as a reminder of who I am and where I come from. "Cuba Siempre" was captured in the place that saw my mother enter this world; the neigh- www.artecollective.com borhood she grew up in, Palma Soriano is a hum- ble province in Cuba, about 40 minutes away from the more popular Santiago de Cuba located southeast of the island. Coming out of the house my Mother grew up in, and after having a simple breakfast and the black, grey, white and blue, and at the very center of it all among the sea of usual morning Cuban coffee, I headed to visit my clouds announcing the imminent squall, a ray of sunlight gazed through the cousin at her home across the way. My family has gloom and illuminated the busy neighborhood street. been part of this community for a very long time, It was in that very instant when this moment was captured, a single shot. and in that street alone there is a multitude of lin- It was not planned, it was not thought of, it came with no preparation, it was eage that still endures. just meant to be. In the very instant I was crossing the street And there it stood in time and after a while it was rediscovered, causally my eyes looked up and gazed at the long horizon, gazing upon the images of this particular journey, I remembered this occa- a storm was coming. sion and it was then when I started noticing for the first time everything that Dressing the infinite distance, it was a view had transpired. that was hard to ignore. The sky was in shades of

Page 11#GoGetThatDream This is but a humble reminder of keeping all that we have It all made sense, in a split second, the multiple elements lived present, to remember all of those who forged the way and that conform part of the essence of our roots and values where forever held. paved the path to our existence. To honor our families and their In the midst of everything that has transpired during the last lineage as they have fought with blood, sweat and tears to make our today a reality. year as a result of the pandemic, many aspects of our lives have come forth and into question. But one thing is for sure; we will This is not one; this is each and every one of us! Together, weather the storm, we will endure, we will maintain all that is being united in community and rising above any challenge. true and makes us who we are, no matter where we come from. Remember your past, live your present and create your future! Your roots and values live within; they are a part of your nature, of your innate essence. - Yubal Marquez Fleites

Page 12Five Self Portraits, Covid Series, April - August Bisque fired stoneware and mixed media on steel base, 2020 Bob yatt: 12 JULY 2021 KARJAKA.COM

Page 13The Curator's Corner THE2I st CENTURY ARTIST JULY 2021 KARJAKA.COM 13

Page 14Photographed by Aleksandr Karjaka sculptures al- ways include some sort of classical, visual/ aesthetic references blend- ed together with something conceptual and contempo- rary. You'll find lots of dif- ferent ways this happens in my work, but if you look you will always be able to figure out how I've woven these two sculptural and artistic streams together in each piece. For me it's an essential way to grapple with what it means to be alive now in the early 21st century: We are some kind of long-evolving physical beings with ancient roots and motivations, yet we are Styled by TAVIA SHARP

Page 15Woman with mask", 8" Cast resin, Brass patina, Iron rust patina, Fluorescent magenta, steel stand, 2020 www.clyattsculpture.com also heirs to a century of rap of George Floyd's tragic death Portraits, Covid Series, April - August 2020, will be on display and by July my bust has its eyes id technological progress, with closed in despair. Yet the final at Arte Collective in Southamp. products and information flying at us from all sides. My figures ton starting in August after it fin- piece, in August, saw me coming and heads hold these various ishes a run at Arts Westchester through into some sort of guard- influences in dynamic tension- in White Plains. they straddle the known and Woman with Mask also unknown, the safe and the con- came quickly, in April, 2020. It fusing. was perhaps aspirational as the The Covid year was a fruitful wind is blowing in her hair and the mask is half-off. The distinc- time for me initially - suddenly all the exhibitions and obliga- tive look of a head with mask on tions ended and I had months became an instant interest for of unstructured time to go into a sculptor who studies faces all the studio and work. My studio the time In 2018 and 2019 I was feel- is a glass refuge surrounded by plants and trees right behind my ing the tensions in the coun- house so it was safe place amid try and conceived the Shared the storms. The world still found Spaces Project working with its way in, of course, and each non-profits in ten diverse com- munities around the US. A month I sculpted a self-portrait- bust with the emotional state I small city along the Georgia ed confidence about the future, Alabama border, a farm commu- was experiencing. April was a kind of dazed confusion which some shift inside that knew we nity in Indiana, southside Chica- go-, from Berkeley to El Paso to by May had turned to something were going to come through Greenwich and Mount Vernon I this thing together and whole grimmer. June brought anger as we all experienced the horrors This series Five Self invited people to bring objects again. JULY 2021 KARJAKA.COM 15

Page 16ve EART meaningful to them and we imprinted them into soft clay I had prepared in the form of our US flag. Working with volunteers and others in these commu- nities over the course of a week or more, we made a plaster and ground Carrara marble cast of the flag suitable for wall mounting, and the piece was then gifted to the community in which it was creat- ed. The Shared Spaces Project brought thousands of Americans together to collectively create these works, popu- late them with their objects, define and celebrate a pluralistic America where all kinds of different values and prior- ities and histories have a chance to live alongside each other and yet still co- here somehow into something whole and beautiful. Though the individual works are not for sale, I created several studies in preparation for the project, some of which are still available and can be seen at Arte Collective in South- ampton this summer. Going forward I anticipate focusing on more heads and busts sculptures, in particular bringing classically sculpted realistic busts together with a changing array of cast dayglo resin objects which can whimsically reflect on contempo- rary lives and concerns. Man with Tools and Funnel will be available in the gal- lery this summer, a somewhat puzzled expression on his face, perhaps the ex- pression we inwardly have as we expe- rience all the machinations marketers, governments, the press, educators and others undertake to influence us, feed

Page 17ideas into us that will get us thinking in new and possibly improved ways. I occasionally do Portrait busts on a commission-basis. An example Saul, of one of my collectors, Hamp- tons/New York City art world figure Saul Unter, is viewable in the gallery and indicative of the blend of emotional nuance and physical presence possible in a commissioned sculpted portrait bust. Upcoming exhibitions: This December I will have works viewable in Paris at the Louvre during the Societe National des Beaux Arts exhibition, where ten artists have been selected from 40 different countries to represent diverse artistic practice all in one iconic art world location. I will be exhibiting with the pho. tographic dance works of Mikael Barishnokov and eight other American artists. After seeing my work in Venice during the Biennale in 2019, the curator of the Seychelles biennale chose one of my wall reliefs, Cscape #53, to be the center- piece of the Seychelles Biennale, Lost and Found, now being held in 2022 after We look forward to getting the art world back on its feet together this year and next - please stay in touch with the gallery to learn more about upcoming exhibi www.clyattsculpture.com two years of delays. tions and new works. - Bob Clyatt JULY 2021 KARJAKA.COM 17

Page 18Photo: Vera Franceschi Expression Body I Yenny Carruyo y story as an artist began about six years ago. While walking through the metal shop in the place where I currently work, I noticed that there were pieces re- maining from the production work that at first glance were just pieces of metal. . Still, for me, they were unique and beautiful elements, I saw beyond the amount of metal, and imagined the things I could create. 20 JULY 2021 KARJAKA.COM

Page 19Aqua,14.25"x15.5"x5.5" Plasma cut iron, powder coated, hand braided wire, 2021 www.yennycarruyo.com Focus,15.5"×18.5"×4" Plasma cut iron, powder coated, hand braided paracord, 2021 I've always wanted to do something for myself. I come from a family of entrepre- neurs and dreamers. I began collecting the many piec- es that caught my attention, among them metal spools. I knew that one day I would cre- ate something with them, and that moment came during a brainstorm with a friend, the vintage bicycle was born. However, the ideas did not stop flowing in my mind. In- spired by art, I created Alex and Bea, two cyclists connect- ed to each other through fi- bers and cables; they are static metal pieces that simulate the movement and interconnec- tion of individuals with them- selves and others. The strings also show the movement in- visible to the naked eye and the interconnection of the masculine and feminine as- pects of self; becoming one with the things we enjoy do- ing. In a sense, I like to soften the coldness of the metal with the fiber of the strings. For me, art represents the language of the heart, which is what I cannot say with words, and what my soul wants to express. This feeling became even more truthful during the pandemic; as this period showed us intense and challenging things to accept, human fragility and vulnera- bility. I realized that, in gen- eral, we tend to hide our most intrinsic or painful emotions, and often we show ourselves through a mask, using a smile even when within we are col- JULY 2021 KARJAKA.COM 21

Page 20www.yennycarruyo.com Oceania, 39"×15"×12" Plasma cut iron (Diamond plated), powder coated, 2021 lapsed or at war; these experiences inspired me to create new sculptures. The "Butterfly Woman" shows human sensitivity as well as the multiple emotions and feelings we have, through the process of accepting and honoring those emotions. Reflecting through the degradation of colors, where the darkest one symbolizes reaching our core, 22 JULY 2021 KARJAKA.COM beginning to ascend and transform from within, showing ourselves to the world with more coherence. I use butterflies as a sym- bol of metamorphosis through the under- standing of being; I also explore the bodily dispositions; in this sculpture the "stability represents, among other things, the need to build what is intimately owned. With these bodily dispositions, I intend to show the language of movement and the body as a whole, I also explored "Resolution " and "Flexibility". The first supports person- al power, our capacity for taking action, and our relationship with the world and others, this is represented in my “Runners" sculp- tures. The second disposition shows the re- lationship with dreaming, loving, playing, and changing direction at any time, this is represented in my work "Balancing out." One of my most recent sculptures is "A little bird told me", is how I explore my re- lationship with nature and the memories of childhood, thus honoring the memory of my paternal grandfather. Iron is my favorite medium. It's solid and robust, nature hides the nobility and handi- ness of this material, it represents a world of infinite possibilities. The fire in the welding process represents the internal spark, which once ignited, can fuse in a perfect amalgam creating something new in a place where the mind is lost and inspiration guides each step; the colors give life and a higher level of expression in each sculpture that I make. My artistic path will continue to explore the expression of the body and its true na- ture through dancing and outdoor activities; creating sculptures that will imply move- ment and connections. In short, through my work, I like to in- spire the connection with oneself and with others; leaving aside for a moment the world of thought and concepts to delve deeper into the realm of the heart, soul and body language that in the end never lies and it shouts what we dare not express with words. - YC

Page 212021 KARJAKA.COM 23 Photo: Vera Franceschi

Page 22The with David Rodriguez Francis am a comprehensive artist who performs artistic works and proj- ects, using essential elements of design, in order to reinterpret and decontextualize them, consid- ering the cultural environment in which I find myself. Photo:MadGonzalez 24 JULY 2021 KARJAKA.COM

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Page 24Untitled#1,60"x48" Archival paper, Edition of 10, 2021 My creative process invites me to have the opportunity to be in contact and har- mony with myself. It allows me to have the opportunity to talk to God, talk to myself and to experience a great sense of satisfaction and contact with who I am. It allows me to take a look at my inner being, my shadows, my virtues, my aspi- rations. And most of all, to be in contact with the love an empathy that I have for myself. It's a combination of intriguing complexity and beautiful vibrancy. His organic forms, vivid expression, fluid lines and delicate textures bring togeth- er magnetism and mystery. I find creativity through working. The harder I work the more creative and challenging I become. That is what in- spires me....work. Work and more work. When I “talk" to the painting, sculp- ture or installation, it opens up a space in which a dialog between the work and I myself fuse into a special kind of rela- tionship full of love, hate or compassion. I never know when that process ends. have no control of it. It has life of its own, but I do know when to let go, so that both the work and I evolve and mu- tually enhance our lives and of those that will live with what is been created after we separate. The pieces that I have produced during the last couple of years vary from the mathematical precision that they contain, to the exploration of the indi- vidual parts of the context and its basic design elements expressed in a more or- ganic and human way. It is the color pal- let and the presence of design that func- tions as a conductive thread throughout the evolution of my work including the one produced during my academic years. Right now, I am immersed in a pro- cess of examination about how our hu- manity, origins and our intimacy can be represented in the most pure and min- imal ways. The design elements, shapes

Page 25Untitled #9,60"×48" Archival paper, Edition of 10, 2021 and color fuse with each other in a subtle and some- what dramatic way. I want to awake the expectation of the viewer's desires and an intimate experience with the artwork. I end up excluding my- self from the work, allow- ing the observer to own it and experience a moment in which the can put them- selves into contact with their own essence and sensuality. I love and cherish all my work. I am so attached to it that it hurts when I let it go, but like everything that ex- ists, it has to find its own way Photo:Mad Gonzalez into the world and in life. - DRF JULY2021 KARJAKA.COM 27 Travesia, 30" × 60" Acrylic on canvas, 2020

Page 26TRAVELI Bob S Styled by Tavia Sharp

Page 27BobSchwarz NGLICIIT hwarz Photographed by Aleksandr Karjaka

Page 28never thought I would be writing about myself and my sculptures when I was 90 years old. In my youth I couldn't figure out why anyone would want to become 90, I changed my mind when I became 89. My journey into the world of art began some time ago. Nearly 60 years ago in fact. When I was visiting MOMA the sculptural work of the FRIEDRICH Russian Constructivist Naum Gabo stopped me in my tracks. I was fas- cinated by the way he weaved wire around vertical patterns to form parabolic shapes. Then and there I BobSchwarz 32 JULY 2021 KARJAKA.COM

Page 29decided to try it myself and took it up as a hobby. Over the years I've become pretty good at it. One day I accidently discov- ered that the nylon monofila- ment I was using reflected the light from a bulb in the ceiling. By running a flashlight behind a strand of monofilament, the idea came to me that if I could find a way to attach a light in- side the work; the refracted light would seem to move as the view- er moved around the object. To my delight, I discovered that as I circumnavigated the sculpture the light shining up through the many strands of monofilament created unexpected designs. As I moved around it, I was able to watch as the designs form- ing magically - seemingly out of Legendary artist Bob Schwarz in- dulges the Karjaka team out at his East Hampton homestead. Styled to perfection by Tavia Sharp, Bob 's youthful poolside manner and charm is accentuated by his dash. ing good looks and spry outfit. JULY 2021 KARJAKA.COM 33

Page 30nothing. Then, of course, it was only a short leap to the thought that if I could somehow rotate the sculpture, the viewer would be able to view the emerging arcs and sliding light patterns from a comfortable chair. It took a while to assemble the proper turntable and cabinetry, but finally, the design of my Traveling Light assemblages came into being. During my years of creating my technique as an artist, I earned my living as a television director. It was daunt- ing. In the 1960's everything was live, and every show was a tense adventure. Later on, when most shows were re- corded in tape, one was always up against the clock; the work had to be accurate and completed on time - the clock never stops. But I was good at it, and I spent 40 years grinding out soap operas, and musical variety shows like Search for Tomorrow, As the WorldTurns, Another World, The Electric Company and The Ed Sullivan Show. It goes without saying (I'll say it anyway) that this work created a good deal of stress, and being only human (I have to admit it), I fell into a deep depression. So, in order to find my sought help. Through a set of curious chances was direct- ed to a Jungian psychologist. Funny how the unconscious operates. One could call it lucky, but I have come to believe that here are no coincidences. The Buddha is supposed to have 34 JULY 2021 KARJAKA.COM

Page 31said, "When the pupil is ready the teacher appears." I certainly needed wise coun- cil - if that translates as ready, I was ready. It was not hard for me to fit into Jung- ian thought, especially the life-long quest for whole- ness. I soaked it up, and slowly, with my teacher's help, I got back on my feet. Importantly, I had learned that the rigorous disci- pline of taking hundreds of strands of monofilament and weaving them into strictly formalized shape were in fact meditations attempts by my unconscious to organize my conscious life. They were my personal mandalas - designs used by Tibetan monks to aid them in their meditations. Of course, all the objects I create have their genesis in the unconscious - as, I guess, all art does. You think you are controlling things, but when you look at what "You" have made you see that it doesn't really turn out exactly as “You" imag- ined. You wonder “Who" or "What" had a hand in it. Frankly I never know exact- ly what the piece I'm work- ing on will look like until I'm finished and I turn on the LED light. Wow! I often add an acrylic disk with a hole in the cen- I'm fascinated by my work. Sometimes at night I'll sit up ter to my sculptureto act as smoking a pipe with a couple of fingers of Woodford Reserve by an accent piece. No special my side gazing at the intricate movement of the light across the reason, it just seemed right. monofilament as the sculpture slowly turns...wondering who It wasn't until later that I the hell made it. discovered that it was akin to an ancient Chinese sym- - Bob Schwarz bol: a “Bi" disk; a thin disk with a hole in the center that most likely symbolizes infinity or eternity. Funny how the unconscious oper- ates. JULY2021KARJAKA.COM 35

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Page 33Be UNAPOLOGETICALLY Own Who You Are. You with Style. By Tavia Sharp, CEO of Styled Sharp y approach to style is simple. The goal is to stand out, not blend in. Style should be an extension of who you are and part of the image that you want to portray out into the world. By definition, the word "style" means the manner of doing something. So regardless of your age, where you live or what you do for a living, your style defines who you are. Your unique sense of style is a part of your personality and your appearance is the outer interpretation of your self expression. When styling the men for this edition of Karjaka magazine, I thought about each of them as individuals. Each one of them is a successful creative, artist, and innovator in their own right and their style should reflect that. Regardless if I'm styling a 40 year old or a 90 year old, I'm only ever thinking about one thing-- how their style is going to represent who they are in the world. Your style is like a book cover, you're giving the reader a snapshot of what's inside. So it's important to know what they stand for, what they are known for, and what impression they want to leave people with. Then I help them craft a style that communicates exactly that. And after working for over 20 years as a NYC based designer and stylist for some of the top fashion brands like Calvin Klein and Nautica and dressing celebs like Drake and Ne- Yo, it's fair to say, I know a thing or two about dressing men. The key to men standing out is all in the details. It's the cut of your jacket, that bolder color choice, or the unique accesso- ry that adds a bit of personality and finishes off your look. You might feel a bit intimidated by the idea of this and think you have to become this uber stylish guy or dress like someone you are not. I hear this from a lot of men, by the way. The truth is, style is not about being the most fashionable man in the room nor is it about changing who you are. It's about bringing out your most confident, authentic self and learning how to dress better so you can look sharp & feel sharp Are you ready to stop settling with your style? Set up a Complimentary Image Accelerator Call with me to learn how I can help you step into your 2.0 version so you can magnetically attract more of what you de- sire both personally and professionally! 37 JULY 2021 KARJAKA.COM