q) Well, first of all please tell us a little about yourself.
a)I was born in
27 years ago, and just moved back here a few Vancouvermonths ago. For the past 6 years, I lived in Montrealand . San FranciscoAt the moment I'm working as a fulltime artist, and I'm applying for gradschool in the for Fall 2012. U.S.
q)How would you describe your work?
a)My work takes advantage of process and material. Working on large scale,un-evenly cut paper, my work unfolds upon a visible layered mark making.By availing myself to the discomfort that comes with following theintuitive thought process, I like to tread in the area betweenrepresentation and abstraction.
q) Did somebody encourage you to become an artist?
a)I never really thought that I would be able to be a fulltime artist andmake a living of it. That is to say, I didn't know it was even possibleuntil I started taking art classes in College. My plan was to pursueMathematics or Physics, only because I was decent at it. I completelyabandoned that once I discovered that it's very possible to make art for aliving...although not easy. It just so happens that the problem solvingapproach has been transfered from my education in Math and Science into myart practice.
q) What is your favorite medium?
a)I like to work on paper. Not only does it allow for direct contact, butit also holds up to aggressive mark making. It's easy to cut or add moresurface quickly, so there's a sense of spontaneity that melds well withmy process. All my work is on some sort of paper, and I use a wide rangeof mediums on top of that; oil paint, oil stick, pastels, acrylic paint,spray paint, ink, graphite, charcoal. My newest project involves workinguniquely on a tablet in photoshop, and then printing them out as digitalc-prints. It's exciting for me to start thinking about the process ofworking large scale in the physical world and living through the process,versus creating within the perimeter of a tablet and not seeing the finalproduct until it's done. Both are good.
q) Generally speaking, where do your ideas come from?
a)Basically, my ideas come from my own work. I'd like to say it's completelyself perpetuating, but of course there are aspects of my life andexperiences that come through. For example, when I was living in
, MontrealI was making work with sunny-beachy imagery. And while I was living in , I was making images that appear more wintery-christmassy. And Californianow it's sort of a mix of the two. This wasn't something I was fully awareof at the time, so I guess it was somehow intuited. I like to think of artmaking like an event over time. Within the time it takes to make onepiece, within a year, 10 years, a lifetime...that way there's a sense offailure and success built into each piece. It's the thing keeps itexciting...to see an evolution and continuous growth.
q) How long does it take to complete a piece?
a)It varies. On average, I'd say it takes 3 months. I work on many pieces atthe same time and go back and forth. I have some pieces that I've beenworking on for over a year.
q) Who are your favorite artists…and who are some artists you arecurrently looking/listening to?
a)Carroll Dunham, Josh Smith, Tal R, are some of my favorite artists. Theirworking method and outlook on the creation process are very inspirational.I just came back from LA, and there I saw a collaborative exhibition byAaron Curry and Richard Hawkins at David Kordansky Gallery. I was blownaway!
q) Are you represented by a gallery? Do you have any upcoming exhibits?
a)I am not represented by a gallery...yet. Right now, I'm working onapplications for grad school as well as residencies in
Canadaand . USA
q) Do you have any 'studio rituals'? As in, do you listen to certain typesof music while working? What helps to get you in the mood for working?
a)I don't have any rituals. I find that variety serves me well in thestudio. Sometimes I work along with music or the radio, sometimes insilence. Forcing myself to work everyday, even if I'm not in the mood, isimportant. If I just waited for inspiration, I would never make anything.It all comes from working.
q) What is your favorite a) taste, b) sound, c) sight, d) smell, and e)tactile sensation?
a)That's an odd question! I couldn't even start to answer it.
q) Do you have goals that you are trying to reach as an artist, what isyour 'drive'? What would you like to accomplish in your 'profession'?
a)The main goal is to be fulfilled within myself and to be constantlychallenged. Of course I can't live off of self-fulfillment, I need money!I'm going to grad school so that I can be a fulltime artist. To beimmersed in a vibrant and inquisitive community of other artists, gainexposure, and have opportunities to participate alongside innovativepractices....that's what I want to accomplish.
q) When have you started using the internet and what role does this formof communication play for you, personally, for your art, and for yourbusiness?
a)It plays a big part. I don't use the internet to help with my creationprocess, but it is useful in terms of keeping up with events ;exhibitions, openings, lectures. And of course, I'm always looking for newopportunities to show or apply for grants. I recently got my website upand it's nice when people contact me about my work or blog it. It allhelps to get your work seen throughout the world.
q) What do you obsess over?
q) Do you have prefered working hours? Do you pay attention to the time ofthe day or maybe specific lighting?
a)I'm definitely a morning person. I use the daytime hours to mainlythink/write. During the night hours, I am more able to let loose. Thethinking and making states of mind are quite separate for me and thingswork best when I'm capable of letting go of what seems most logical.
q) Do you do commissioned works?
a)I have in the past, but not of late.
q) Any tips for emerging artists?
a)Work work work work work
giovedì 22 dicembre 2011
sabato 3 dicembre 2011
q)Please tell us your name and where you practice.
a)Quadreria Romantico Seriale is an impersonal name: the use of the "we" is related to this choice. Our project has an european identity with deep roots in a mediaeval pilgrimage route named Via Francigena, in the apennine mountains of the north
q) Why do you make art?
a)Above all, we make art for the aesthetic pleasure to affirming our conception of being between tradition, myth and symbols. Our artworks want to be an evidence of this "act of will. Then, we make art to mark our radical, anthropological diversity from this anemic and "civilized" system of life. Each artwork by Quadreria Romantico Seriale is a relic of a re-appropriating ritual, performed among serial images and indirect perceptions generated by this immense narcotic entertainment.
q) How do you work ?
a)The oil painting is the technic more used by us. It's a discipline, a mental gymnastics, a cultural choice. We work only on pre-existent images, often taken from agencies or archives. The pics are "sampled" on computer, projected on the canvas and painted in the "obscurity", with only a directional light illuminating the surface. In these conditions, we are more concentrated on the interiority of the work. Also our progressive chromatic reduction has this same finality.
q) What´s your background?
a)We have an Indo-european backgruond, originated in Urheimat. This information is much more characterizing than to list artistic experiences, schools or academies.
q) What role does the artist have in society?
a)Usually, the artists are only entertainers. They are good citizens or "lounge rebels" perfectly functional to the actual value system: relativism, universalism, market. Maybe, the only one possibility for an artist to be more incisive is to define an integral culture. Art as social sculpture. Philosophy as spiritual strategy. Politics as aesthetic realization. Every aspect of the life is "material" to be shaped. The Doric world, as described by Gottried Benn, is an important reference.
q) What was a seminal experience for you ?
a)We don't have a "seminal experience" but we have a "seminal system", erected by ourselves day by day through actions and ideas. It creates our destiny.
q) Has your practice changed over time ?
a)Quadreria Romantico Seriale is a uniform realized for a specific mission. But sometime there are actions that require a camouflage.
q) What art do you most identify with ?
a)Where we are living it's a wasteland. Our concept is part of a perennial tradition, but our works don't identify with anything. This condition is also represented by our symbol: an hyperborean swan that cross obscure waters.
q) What´s your strongest memory of your childhood ?
a)We prefer don't talk about our private memories. We are here as artistic project: we want to be only masks.
q) What themes do you pursue ?
a)Sacredness and Oblivion. Purity and Decadence. Discipline and Apocalypse. At the end, the Quadreria Romantico Seriale pursues a form of elevation.
q) Describe a real life experience that inspired you.
a)It's our opinion that a single fact, more inspiring than others, doesn't exit. There are only different planes of perception and elaboration. Also, we believe that every kind of experience is an element of the real life.
q) What´s your most embarrassing moment ?
a)The entire modernity, with its system of relationships, is an embarrassing moment. Our daily life has become a frenetic magma where it's very difficult to find significant episodes. For many existences, often, the death is the only one moment of authentic vitality. This kind of civilization have lost the sense of Tragic, supplanted by anxiety, sense of inadequacy and "embarrassments" among an infinity of irrelevant facts. We live in a panic at low intensity.
q) What jobs have you done other than being an artist ?
a)We are all "contractors". It's curious, but this aseptic term is used also to indicate "mercenary". It's not a moral judgment, it's only an observation about the inconsistence of our language. Surely, "mercenary" is much more literary than "contractor".
q) What responses have you had to your work ?
a)We are very satisfied with the support that we receive from persons near to our activity.
For us they are the fundamental reason to continue to make art. We are proud of them.
q) What do you dislike about the artworld ?
a)Directly, nothing. The artworld is only an organism generated by anemic post-ideologies, nothing else. There is a legion of promoters which producing a mass of erudite vacuities as meetings, studies, stages, exhibitions. It's the paroxysm of the empty. Everything is undifferentiated, fragmented, "without a center", as Sedlmayr wrote. This is the cultural relativism, that's all.
q) What research do you do ?
a)Our activity is not concentrated on formal questions. We are searching to realize a symbolic style without intimacies. The QRS works are devotional objects related to an Idea above them. They are "tensions", sometime obsessions, between order and nihilism.
q) What is your dream project?
a)The extinction of the actual alienating form of civil society, supplanted by territorial communities with a strong and defined cultural identity (Ferdinand Tönnies could be an important guide). The extinction of the actual meant of "art" (as "art of the artworks"), supplanted by the Art as form of existence. Each of these events is a consequence of the other.
q) What´s the best piece of advice you have been given ?
a)It doesn't exit. There is only a long process of awareness, very often with bloody spiritual battles.
q) What couldn’t you do without?
q) What makes you angry?
a)Nothing makes us angry. But in aesthetic field (for us an aesthetic is also an ethic), we don't like what is shapeless and slovenliness: both these features are lack of style, boldness and spiritual rank. Then, we don't like the human activities without identity and ideality; what is cynically wordily, conventionally incorrect and formally friendly. This "weak ethic", aesthetically ugly, is typical of the liberal societies.
q) What is your worst quality?
a)Anyone can decide it reading these answers.
q) Dogs or Cats ?
a)Wolfs and Lynxes.
q) Making art is a lot like being on lsd. Know what I mean ?
a)We don't know. The acid imaginary is completely different from our nature. Quadreria Romantico Seriale is influenced by the gnostic cultures. For us, making art is like to ordering a legion of obscure and luminous interior creatures. It's care and rule. About lsd question, there are important exceptions near to our sensibility, like Philip Dick and Ernst Junger: artists, mystics and soldiers who lived on superior levels of consciousness.
q) What does “copy” mean to you ?
a)This modernity is founded on the "copy". As the situationists known, this time prefers the "copy" instead the "original" and the truth is a moment of the fake. In this form of civilization, it's an illusion to create new "originals". Conceptually, also QRS artworks are fakes, deviating copies. Apart from that, the important and crucial point is to realize new senses of interpretation, new methods of diffusion, new synthesis, not "new" images.
q) What´s your favorite cuss word ?