Also Known As
Cupcakes in the Lobby: Coloring Outside the Lines by Coloring In

By Angie Hargot

She’s created under the monikers Milton Elkiss, Name’s Not Dave, and simply Veit in a nod to her given name, Danielle Veit. And now, Cupcakes in The Lobby.

She’s changed her working name a handful of times, likely leaving those who have an early original thankful it was signed – those canvases will surely become the most coveted.

No need for a name? True. Because the work speaks for itself. From galleries to live painting in Wynwood nightclubs however, the 24-year-old has always exhibited the work in a mesmerizing show of an ever-evolving talent and style, curiosity-sparking inspiration and displays of pop evlolution.

Veit most recently showed in “Beautiful Trash” an exhibition at The Dancewear Gallery and painting classrooms at South Miami Senior High School, and although she’s considering showing in the upcoming Dania Beach Art and Antique Festival on Jan. 30, this year she decided to take a short break from exhibiting to focus on her chosen form of inspiration: history.

Based in Hollywood, but working throughout South Florida, Veit’s portraiture showcases locals and celebrities, in a mash-up of linework, silhouetting and color. The pieces balance the lines with hue and subject in a way that forces the viewer to consider all of the elements working both in unison and diametrically opposed. As much juxtaposed as the style, the artist is constantly reinventing herself in craft as well as focus.

In the near future, however, you may still be fortunate enough to catch Veit in one of her favorite elements: the impromptu exhibitionism of showing up at events unannounced, setting up, and just painting.

How did it all start?
When I was little I was obsessed with putting a writing utensil to everything I owned, be it a magazine where I would draw lip and eyeliner on all the models (I realize now it might not have been the most flattering look), to my walls where I would jot down hip phrases of the day like “What’s the 411?” and “WOAH” (I was big into “Blossom”). I haven’t stopped, especially when it comes to my art. The feeling of putting a pen to paper is a high for me. I also feel like every new piece is a “start.” It could be a new way to draw a line, or a new color combination. Who knows what road that could lead me down.

Tell us about your education.
I’ve always been interested in art but never the art class — they have never seemed very motivating to me. I flirted with art history for a while but I felt it was too open-ended. As of now, I’m a big history buff, my major is African-American History. My art education has just been getting out into the scene and experiencing the ups and downs for myself.

How do you describe your artistic vision?
I’ve ached over trying to pin a sustainable message to my art, maybe as to how the viewer reacts, or why I choose celebrities, but it all boils down to a meditative and therapeutic process. Each line from the pen, each glance to the reference picture saddles up with a slower breath from a hectic day’s work and a clearer vision of a path towards a calmer self. I’d like to think the movement of the lines is transformative to the viewer. When they are viewing a piece, the mind possibly forgets about the Miami traffic or that toast that you burned. This is where the viewer and I collaborate in the greater consciousness.

What are some of the challenges in your particular style? 
There was a tiff over MySpace with an artist who has a similar style. Look, we (artists) are all in this collectively. If people can’t look at it that way then we’re all doomed. Unfortunately, everything has been done before — the trick is to make it your own. As for the challenges, I find myself wanting to go bigger, to go crazier, and to experiment. The main challenge is possibly the style itself.

There’s been a lot of talk locally about the future of ‘street art,’ which you have some experience with. More surrounded Art Basel Miami Beach ’09. What do you think about ‘street art’ or ‘graffiti’ inside of a gallery?
Graffiti and street art inside of a gallery is phenomenal. It’s no longer thought of as a relic of gang life or a stain on a city. Street art carries depictions of our world today with an underlying sense of humor to it. It pulls everyday life into a sense of wonderment. It can snap you out of staleness and force you to question your world. The Art Basel of 2008 pales in comparison to the Art Basel of 2009 when it comes to street art. The city was transformed into a playground for celebrated artists!

However, as much as I applaud street art, I worry about my viewpoint in this post-modern art world. Maybe it’s as if I am a teenage girl and I think the Jonas Brothers are the most wonderful thing the Universe has ever given me…but if I flip back through years of music history I would discover the integrity and greatness of other male groups like The Funk Brothers or The Isley Brothers. The art world could just be looking at street art and graffiti as a flash in the pan band with a hunky singer.

How much of your manipulation of linework is, or is not, deliberate?
The outline and contours of the face are all deliberate. I look at the photograph and can immediately place a line where a shadow is or where an indentation on the face is. As for the thickness of the lines, I let my mind go and just kind of follow the pen. It’s all very spur of the moment. The likeness of the portrait excites me but the filling in of the lines is a release. I use varying heaviness of lines in my work. It can give the subject expressiveness and movement. The jagged and geometric-like forms that serve as a background to the portrait are in direct opposition to the movement and flow of the subject. Bright colors, triangular shapes, sharp edges…it’s almost as if they force the portraiture lines to stay within their boundaries. I think everyone can experience that in everyday life, as well.

What is the most flattering comment you’ve ever received about your work?    
The most flattering experience to come from my work was meeting my boyfriend Deryl. We met at a small art show I was having and he has been a heavy influence on my work since then. He keeps me motivated, and the option to exchange ideas is much more meaningful than receiving a flattering comment.

The most insulting?
One time a drunk friend fell into a large canvas of mine that was hanging on a wall and it crashed to the floor. I don’t blame the friend but maybe the six shots of whiskey.

What trends do you see in the local art world now and what do you make of them?
Miami’s art scene is finally banding together! There has been a surge of artists who now do live paintings along with bands who have live shows. I had never seen that before. The doors are opening wider and wider for artists down here. There is also a Rat Pack of artists that are taking over the scene, such as NFRomero, Jeff Dekal, Reinier Gamboa and Kazilla. I’m in awe of their work. I’m hoping that within the next few years, local art can surge with the education process. Our public school systems are in dire need of repair and I am hoping the art scene can marry its progressive ideas with the archaic ideas of the public school system.

And the art market in general?
If it ever implodes, someone will still find a way to call it art.

See more of Veit’s work at myspace.com/namesnotdave and cupcakesinthelobby.com.

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