Tiffany Bozic Painter e-mail: info.tbozic@gmail.com URL: http://www.tiffanybozic.net//

FP: Your work is a combination of being grounded in botany/zoology/biology and yet also exists in the realm of a somewhat dark fairytale place...What initially drew you to natural scenes and where does the earthly part end and the imaginative part begins?
TB: Until I was 5 I lived on a goat farm in Arkansas where I was given free reign to run around and play by myself all the time. I think this made the largest impact on the way that I see. For the most part I have lived in an urban surrounding since I left home at 17, although I do try to travel as much as I can to pretty far off places. I live a very extrovert/introvert lifestyle. I tend to do a lot of research to find examples to use in my work. Most of the subjects that I paint are sourced from old nature books, my own photographs taken while on these trips, as well as the research collection at the California Academy of Sciences. The more you understand the natural history of these subjects that I am painting, the more you'll understand the metaphors that I am using to tell a story.

FP: I remember when I was a child I was given a miniature microscope with different bugs encased in glass plates...this fascinated to no end...was there something when you were younger (or even recently) that drew you to this kind of animal and insect imagery?
TB: Microscopes are wonderful. Inventions. I was fascinated with nature before I can remember. In a way my paintings are the result of the conversations I am still having with my childhood. I find that I am always experiencing this great sense of shock and wonder all around me. Everyday.

FP: Likewise, the other morning I was walking my dog peacefully around the block, a sunny pastoral day, and a little finch landed on the sidewalk in front of us-- then, all of a sudden a giant black crow came out of nowhere, swooped down and pecked the little bird to death and it grabbed its broken carcass and flew away with it...totally traumatizing. One forgets that nature, even the simplest city scenes are full of violence. Your work seems to often touch on this kind of danger and emotion. Where does this come from?
TB: I often wonder myself. To be honest I can't know. All I do know is that I have this struggle inside me and there is nothing I can do to make it go away. When I close my eyes I see this life and death struggle for survival all around us. I have a responsibility to myself to paint what I truly see and feel. To ignore the struggle and pretend I don't see it would make my work pointless and frivolous. I know I am here as a craftsman, and I create a product to share that is hopefully useful to people.

FP: Do you ever dream of your work or is your work ever a product of your dreams? Is each painting you do an allegory for something? Or is there a common theme that tends to run through your work?
TB: Well, I can't remember if I have taken any visions directly from my dreams that occur at night. But all of the visions kind of sneak up on me and grow in the background of my consciousness, kind of like a form of a daydream. They can be shy though. Oftentimes when I am brewing an idea I lie down and take quick catnaps to sort of allow them to ripen. I've learned that I can't force it. Each painting is kind of like a diary entry for a great chapter that I am trying to sort through in my life. So to answer your question the constant theme is my life, which is always changing.

FP: We spoke about the SF Academy of Sciences and their artist-in-residence program...it is a truly special place. (However it does seem awful now remembering that we used to try to toss pennies onto still alligators bathing below us) I will almost miss the classical building that has recently been replaced by the new architectural wonder in Golden Gate park. Can you talk briefly about what it was like as an artist to collaborate with scientists?
TB: It was one of the most incredible experiences of my life. I feel like I am 5 again every time I spend time with my scientist friends. They are so open and curious about life.

FP: I was watching the film on your website about your process and I was amazed to see that it appeared you were painting on masking tape, or using it for masking, as well as the fact that you paint on wood...how has your technical process evolved?
TB: It's just a matter of trial and error. I was using masking tape in that short film you speak of to cover up areas of the wood, so I could stain only the cutout area. I suppose it seems pretty complicated but it is really quite simple. Having said that I haven't found an easy way to explain it to anyone. I have been developing this technique for almost 9-10 years now, averaging a good 40 hours a week. So there is a lot of time in that window to explore.

FP: Who are your influences?
TB: My community of friends and family play a very large role in my work. My paintings are very personal allegories that are based specifically around myself, or someone very close me. Recently my paintings have taken on a very different direction though, which is most likely the cause of my maternal hormones. The last body of work was created for my imaginary future children so I named the show 'Bedtime Stories'.

FP: Lastly, if you were an animal what would you be?
TB: I always play this game with my friends. We assign an animal to each other. I always hoped I would be a hummingbird or something, but I usually get assigned an Ermine or a wild cat, like an Ocelot.