martedì 21 maggio 2013

Interview with Carl Heyward

q)For the people who don't know your work - how would you describe it ?

I am a mixed-media artist with an interest in juxtaposition of imagery and themes through various media; there is something appealing to me in the combination of fractured or fragmented images that coalesce into something new and different especially in that the "rough-edges" of the units have meaning
and can't be broken down any further as "morpheme" in language; these visual units are then put together with other, often dissimilar, morphemes producing something between the lines, so to speak; an alchemy beyond intention; the parts not distilled, but united with other units of visual meaning, information producing a higher plane of communication.

q)What are the key themes running through your practice?

Ethnicity, topical items, separation, exclusion, cultural absurdities, language-based gestures, art history what's in the news at the moment or on my mind; there is a great pleasure in improvisation which recalls my musical youth  playing in all sorts of situations, the most satisfying being jazz, space and ambient genres. Depending on the moment, the instrument, in the case of art, the paper, to guide; to be involved in the gesture and not an over-dependence on the brain; to trust self and the pure intention of involvement in the process to distill everything I know into nothing, newness, NOW toward a product that may be both beautiful and telling all at once.

q)Your favorite place on earth?

At the moment: the best of San Francisco (and that preference, unfortunately, dwindles moment to silicon moment); equally: Prague and Lecce, Italy (definitely)

q)What influences your work?

Time, feelings, joy, space, opportunity...Rauschenburg, Romare Bearden and Basquiat ...necessity.

q)What music are you into right now?

Always Miles; Henry Threadgill a composite tape FUNNY COLORED MONEY, Jack Bruce/Carla Bley: ESCALATOR OVER THE HILL, Eno.

q)Describe your thought & design process...

I like the vertical right side not know why. When I began to commit to mixed media, I had (had) a reliance on geometry and division of space which guided the visual direction of a piece. These days, that process is probably ingrained and I am less conscience about the math (upon later inspection of a work-in-progress, however, that tendency seems to remain intact). I quiet the inner critic as best I can and bounce between a series of techniques to get the work done. Self doubt and the sheer ridiculousness of making art comes up a lot before, after, and during the process and I have learned to gently tell myself "do it", without judge and jury deliberating too much. It is exciting to shift the weight of self-criticism and carry on especially if from time to time the end result is satisfying.

q)Which emerging artists are you looking forward to seeing more of?

Katrien de Blauwer a great collagist from Belgium. She has the knack for synthesizing disparate photo elements, usually portraiture, into something far greater than the parts and tells an emotional truth powerful, surprising and disturbing about existence, desire and expectation. She is great.

Jeffrey Thompson, Lorna Crane, Akiko Suzuki, Kathleen Migliore, Joan Stennick Margaret Glew, Vered Gersztenkorn; all brilliant artists who lay claim to a unique vision and a committed practice.

q)Favorite place on the internet?

most visited is Face Book for reasons of "business", as well as Art News Daily, Black Art in America.

q)Do you have any upcoming projects/exhibitions we should know about?

Finishing up KNEE(jerk) Fragmentation (mail art) Project, which began in 2011 as a face book online process; attracted 500 artists from all over the world and has resulted in 3000 pieces of art mailed as one-for-one art exchange beginning with large original works, cut-up, fragmented and mailed to participants, repeated, with some echoing the process, others designing a single card (A5 or 5" x 7") and receiving one from submitted works or one of my fragments in return. This opened up many of the artists to work in a manner or medium unfamiliar to them, to play with an aspect of mail art, to collect work from diverse international artists and to create ongoing offshoot collaborations with artists that they would not have encountered otherwise. We have participant commomerative works for all, working on traveling exhibitions, participant catalog and limited edition book to document a fun and exhausting project.

q)Tell us something we don't know - but should...

Art makes it all worth while.

q) Where can people see more of your work on the internet?