pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com. multimedia artist Leslie Supnet creates drawings and animations that are honest, gentle, and delicate. Click here to visit the featured portfolio.
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Posted by pivotartgallery on March 18, 2013
The 11 Question Interview Series continues with artist Clint Enns sharing his thoughts on cinema, history, and video games. Learn more about the artist and visit pivotartgallery to see the featured portfolio. Interview with Peter Hayes.
PH: How did you first become interested in exploring film, cinema, and photography?
CE: I first began making films in 2006 and I was an avid cinephile for many years before that. The first film I made was for the One Take Super 8 Event in Winnipeg, Manitoba – an event where filmmakers shoot a roll of Super 8 and the first time they are seen is unedited in an audience full of people. My partner, Leslie Supnet, pushed me into making it and I had a blast. Since that time I haven’t been able to stop making films.
I began taking photos in 2010 when my friend Ashley Gillanders, a Winnipeg photographer, shared a disposable camera with me.
In 2011, I made photography a part of my practice while taking a course titled The Practice with Toronto filmmaker Mike Hoolboom at York University. The course was about exploring cinema and our practice through Buddhist philosophy, which may sound cheesy, however, the course was totally amazing.
PH: Can you articulate what you are looking for when creating your work?
CE: I really believe in fun formalism, that is, entertaining films and videos that explore and experiment with the formal elements filmmaking. I attempt to make works that not only experiment with form but distance themselves from the supposedly “boring” world of avant-garde film. I am interested in experimenting with the medium itself and its underlying structure. Currently, pursuing a Masters degree in Cinema and Media Studies at York University has lead me to theorize about medium specific explorations.
PH: What is most satisfying to you about the creative process?
CE: In general, I love making films and videos, however, the most satisfying part is when a work breaks your expectations and you produce something better than you imagined it would be. It doesn’t happen very often, but when it does it is like “Oh shit, I made that it. Awesome!”
PH: If you have artistic/creative role models, who are they and how do you relate to them?
CE: The support and camaraderie of the Winnipeg film community means the world to me. There is definitely something happening there. Filmmakers and video artists like Michael Snow, Guy Maddin, Shana Moulton, Wendy Geller, George Kuchar, James Benning and Owen Land have had a huge influence on my own practice, specifically their use of humour. I think the use of sound in Benning’s work is incredibly clever and humorous.
On that note, I believe humour and satire is an effective form of critique. For instance, consider the way in which Owen Land makes fun of Hollis Frampton in Wide Angel Saxon or the structuralists in Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles, Etc.
Some people take art making too seriously. Relax, it’s only art.
PH: How does your study of mathematics influence your work?
CE: Mathematics has helped me to develop problem solving abilities. In addition it has provided me with an interest in abstract structures.
On a practical note, it has provided me with the ability to write basic code and at the very least it has provided me with the ability to hack other peoples more complex code.
PH: Your work references history and specifically film history while adding a contemporary twist. What specifically about film inspires you as opposed to, for example, painting history?
CE: Cinema speaks to me more than painting. I like how the field is fairly new and rapidly evolving.
Some people view seminal avant-garde films as sacred, however, to me, they are another database of found footage. With that being said, I reference historical works in order to develop a dialogue between my work and the original. It is also a chance to pay homage to the my favourite films and filmmakers.
PH: In addition to appropriating imagery and technology, how big a fan of video games are you? Thoughts on the evolution of gaming technology?
CE: I like video games, however, I wouldn’t consider myself a gamer. I am more interested in game art and game technologies than I am in playing video games. I am convinced that the evolution of gaming technologies, especially in regards to game art, is directly linked to our understanding of the underlying structure of digital video. Furthermore, I feel that video games provide us with a better reflection of contemporary culture practices than television at this point. In regards to my own practice, I view video games as another source of found footage.
PH: Where do you want to see your art career in, say, ten years?
CE: I hopefully will be alive in ten years. If I am there is a good chance I will be making making, watching and writing about films and videos. In addition, I will continue to be an active member of my local film and video community.
PH: How do you feel about contemporary art and your contribution to it?
CE: I believe strongly that making contributing to the experimental film and video scene means more than just making experimental films and videos. To me this taking part in the community through writing, programming, interviewing, reading, theorizing and watching. If artists aren’t interested in each other work and aren’t creating dialogue, how can we expect others to be interested.
PH: What is the most important thing you want viewers to come away from your work with? What, if anything do you want them to learn through your work?
CE: My videos are experiments and explorations. With that being said, they aren’t intended to be instructional. I hope people enjoy them.
PH: What can you add that would help us understand you and/or your work better?
CE: If anyone has any questions about my work, feel free to contact me.
Posted by pivotartgallery on March 7, 2013
The Bay Lights is a monumental light sculpture inspired by the 75th anniversary of the Bay Bridge. Artist Leo Villareal will network 25,000 individually programmable LED lights to create patterns across the western span of the bay bridge. It may be the world’s largest LED light sculpture!
After it is officially lit on March 5, 2013, it will be on display every day from dusk to 2 a.m. for two years, viewable from San Francisco and points north.
More info here: thebaylights.org
Posted by pivotartgallery on March 1, 2013
pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com. Video artist Clint Enns explores a wide range of topics in his work: from cinema, to technology, to spirituality. Click here to visit the featured portfolio.
Posted by pivotartgallery on February 17, 2013
Public call: Day of Museum Solidarity – March 4, 2013
Call on museums and galleries across the globe to demonstrate solidarity with threatened Bosnian cultural institutions.
February 20: Sign up to participate
March 1: Take action, upload image
March 4: Promote the collective action
Organizer: Dr. Azra Aksamija and the international platform www.cultureshutdown.net
March 4, the date of this Day of Museum Solidarity, marks the six-month anniversary of the Zemaljski Muzej’s closure. This crisis in Bosnia-Herzegovina requires political, economic, and institutional solutions. By participating in the Day of Museum Solidarity, you will make an important and much needed contribution to resolving this crisis. This call is supported by CIMAM and more than 40 museums, galleries and universities across the globe. To participate, follow the simple directions provided on the CULTURESHUTDOWN website.
Posted by pivotartgallery on February 14, 2013
ArtistMarketingResources provides their artist readers with news and information about art careers, calls for art and exhibitions. Regular updates to the blog make the site a valuable tool for anyone looking to stay informed about calls for work and other art related news.
Check it out here: artistmarketingresources.com
Posted by pivotartgallery on January 9, 2013
As a celebration of the inspiration and creativity that went into the Tell us a Tale Short Story Competition, Fluster Magazine and Armida Publications put together a collection of the 20 best short stories submitted by authors (published and unpublished alike), the world over. The stories are diverse in scope and theme and were inspired by photographs in Fluster Magazine’s Flickr Pool.
Posted by pivotartgallery on November 19, 2012
1.How did you first become interested in photography?
Desde el comienzo de mi proceso artístico la fotografía ha estado presente, ya fuera como dato inicial, como apunte rápido en mis desplazamientos, como material dispuesto a ser intervenido manual o digitalmente, como pieza capaz de construir un lenguaje en movimiento cuando se utilizan imágenes en secuencia ó como instancia final funcionando como retazo, como fragmento de la presencia de un objeto, un pedazo de circunstancia, de realidad.
Photography has been present since the beginning of my artistic process. Either as an initial idea, as a quick sketch, as material ready to be modified manually or digitally, as part of the language when using moving images, or as the final work functioning as a fragment of the presence of an object, a piece of circumstance, of reality.
2. If you have artistic/creative role models, who are they and how do you relate to them?
Mi proceso artístico se ha basado en la fotografía como herramienta para el estudio de fenómenos naturales y culturales. En la que investigo el concepto de espacio y la relación entre objetos, borrando las fronteras de los espacios públicos y privados. En donde lo fotográfico puede darse como condensación de un hecho performativo o viceversa, o lo escultórico puede anteceder o promover lo fotográfico. Estrategias que permiten, dentro de las dinámicas urbanas, desdibujar y replantear continuamente su concepto, en un diálogo siempre abierto de imágenes encontradas y construidas. Un encuentro absurdo entre ready-mades y lugares comunes.
My artistic process has been based on photography as a tool for studying natural and cultural phenomena. In which I investigate the concept of space and the relationship between objects, erasing the borders of the public and private spaces. Where the photo can be seen as a condensation of a performative act or vice versa, or sculptural can precede or promote the photographic. I use strategies that permit, within urban dynamics, blur and continuous rethinking of concepts, in an always-open dialog of images both found and constructed. An absurd meeting between ready-mades and common places.
3. What is most satisfying to you about the creative process?
Dejarme sorprender por lo que descubro en el proceso, como las ideas se materializan y adquieren un carácter único, muchas veces indescifrable solo hasta el momento que se conciben.
Del mismo modo es impactante cuando las ideas se materializan tal como las imagine, y siento como libero mi mente luego de realizarlas, son retos pendientes que debo resolver antes de continuar y seguir creando.
Es emocionante como lo que creas puede afectar tu realidad inmediata y porque no decir permite crear nuevas realidades.
Allowing myself to be surprised by what I discover in the process, as the ideas materialize and acquire a unique character – they are often indecipherable until they are conceived.
Similarly satisfying is when ideas are materialized as I imagined them, and I feel like I can release my mind after making them – they are challenges that must be resolved before proceeding and creating more.
It is exciting because what you create can affect your immediate reality and why not create new realities?
4. What do you learn through your work?
Realizar mi trabajo, me permite no solo reflexionar sobre el modo en que el ser humano se enfrenta al mundo y las estrategias que construye para personalizar su habitar, sino como desde mi experiencia inmediata puedo catalizar mis propias vivencias y hacerlas comunes, reconocibles. Una especie de espejo donde el espectador, puede reflejar su existencia.
My job allows me to not only reflect upon the way in which human beings face the world and create strategies to personalize their habits, but also on my immediate experience that could make them common and recognizable. A kind of mirror where the viewer can reflect their existence.
5. Do you use tools other than photography for looking at various cultural phenomena?
La fotografía es una herramienta fundamental en mi trabajo, ocupando diferentes estancias e involucrándose simultáneamente con prácticas escultóricas y performativas donde el video y el stop motion han hecho parte de esta búsqueda dentro mi lenguaje artístico.
The photograph is a fundamental tool in my work, occupying different roles simultaneously with sculptural and performative practices. Video and stop motion have also played a role within my artistic language.
6. Your photography reveals different types of patterns in our urban environment – both in public and private spaces. Do you find that working in series helps you define those patterns? Do you always think in series as opposed to say, individual images?
Estos registros reflejan un interés marcado en lo serial, en lo reiterativo, a veces presente en una misma toma, en otras la serialidad se presenta en múltiples tomas buscando aprehender la temporalidad de los eventos y acontecimientos sencillos e inasibles, incidiendo constantemente en el comportamiento mudo de una cultura a través del rastreo minucioso de sus cuerpos, de sus muros desnudos, de su arquitectura oculta para muchos, visible para pocos.
Así mismo la serial se vincula simultáneamente a un problema de identidad, ser gemela es una historia propia, una realidad vigente y no contingente, donde se pone de manifiesto un ambiente homocigoto, donde la relaciones interpersonales, parten de un mundo compartido, dosificado en partes iguales, homogéneo y regular en sus formas, pero diverso en colores y texturas.
Some works reflect a strong interest in serial and reiterative phenomena, which can be present in the same shot. In other cases the seriality comes in multiple shots and describes the temporality of simple and ephemeral events. I constantly stress the dumb behavior of a culture – which is hidden for many, visible for a few – through careful tracking of bodies, bare walls, and architecture.
Also the seriality is linked to an identity issue. Being a twin is its own history. It is a reality which reveals a homozygous environment where relationships that begin from a shared world, dosed in equal parts, homogeneous and regular in form, can be different in color and texture.
7. What is your process like? Do you start with an idea, or do you happen upon a scene that resonates with you and then begin to photograph it? How do you know when an idea is worth pursuing?
Los procesos de creación varían de acuerdo a las especificidades de cada obra y su contexto. La mayoría de las imágenes encontradas o construidas son producto, de encuentros fortuitos al caminar por la calle, puede ser un arrume de bultos de pasto, hombres uniformados en su rutina limpiando las calles que forman patrones, gestos, actos, inclusive mis propios sueños.
Analizo el día a día como si quisiera desmantelar lo que se esconde en los quehaceres comunes, para catalizar la vida y descifrar el comportamiento humano, porque hacemos lo que hacemos y como lo hacemos.
Algunas veces puedo mantener una idea en mi cabeza por mucho tiempo meses , a veces años antes de concebirla o materializarla. Lo comparo con el entrenamiento de una bailarina o un gimnasta que ensaya sus pasos en la cabeza, día tras día, hasta que llega el momento de hacerlo publico. Es un entrenamiento mental, que luego se materializa.
My creation processes vary according to the specifics of each project and its context. Most of the images, found or constructed, are the product of chance encounters while walking down the street; they can be masses of grass, uniformed men routinely cleaning streets that form patterns, gestures, acts, and my own dreams.
I analyze daily life and try to dismantle what is hidden behind the common chores, catalyzing life and deciphering human behavior, why we do what we do and how we do it.
Sometimes I keep an idea in my head for a long time, months, sometimes years, before fully conceiving or realizing it. I compare it to the training of a dancer or a gymnast who rehearse their steps in their mind, day after day, until it comes time to make it public. It is mental training, which is then materialized.
8. Can you talk about your time in Madrid and how it informs your work? Were there major differences to your experience in Colombia?
A diferencia del proceso y las dinámicas de creación un poco mas marcadas en la formación artística colombiana, donde se construye un marco teórico e investigativo al rededor del proyecto a construir, antes de concebir una imagen o en una obra. En Madrid encontré un campo de acción mas flexible, sin pautas establecidas donde la obra puede surgir de un proceso creativo mas espontaneo, menos pretenciosos, que puede confluir en una reflexión teórica o viceversa.
It was a different process with a different dynamic of creating. Colombian artistic training emphasizes a theoretical framework and research around a project to be built, before you conceive an image or a new art piece. In Madrid I found the scope more flexible, without established guidelines where the work can come from a creative spontaneous process – less pretentious, available to converge in a theoretical reflection, or viseceversa.
9. How do you feel about contemporary art and your contribution to it?
El acto de crear, inherente al ser humano, cualquiera que sea su disciplina y su rol en el mundo, equivale a un compromiso con la sociedad y su contexto inmediato. Ser artista es ser biógrafo de su época,
Es fundamental de acuerdo a los intereses de cada artista reconocer la época mediática en la que nos encontramos ya sea para trabajar desde allí o reflexionar desde la distancia anacrónica, siempre siendo conscientes del lugar geográfico y cultural en el que nos encontramos, somos artistas, somos biógrafos de nuestras épocas. la colectividad es sincera y es vital , la noción de autoría cada vez se diluye en una época en la que todo se copia, se edita, se transforma y en donde la “nuevas” ideas surgen de la reflexión de lo existente.
The act of creating, inherent to the human being, whatever its discipline and its role in the world, is equivalent to a compromise with society and its immediate context. Being an artist is to be a biographer of time.
It is essential (according to the interests of each artist) to recognize the media age in which we find ourselves and either work from there or reflect it from an anachronistic distance. We always need to be aware of the geographical and cultural context in which we find ourselves: we are artists, we are biographers of our times. The collective is sincere and it is vital to have the notion of authorship which is increasingly diluted in an age where everything is copied, edited, transformed and where the “new” ideas come from reflection of what exists.
10. What is the most important thing you want viewers to come away from your work with?
Las lecturas pueden ser múltiples al contemplar mi obra, todas son validas, mi interés no es imponer un significado, pues no existe una sola manera de ver ni de vivir el mundo.
Para mi es vital todo lo que brota desde allí, desde ese primer encuentro, es allí donde la obra finalmente se completa, es el espectador quien le otorga un sentido propio desde su contexto, desde su experiencia. Lo que me impulse a crear es una reflexión sobre nuestra sociedad contemporánea y el comportamiento humano, la enajenación, la soledad, el sin propósito, el encubrimiento, la manipulación mediática y el espectáculo.
The interpretations of my work can be multiple; they all are valid. My interest is not to impose a meaning, because there is no one single way of seeing and experiencing the world. For me it is vital that everything which comes from there, from that first meeting, is there where the work finally is completed, when the spectator gains a proper sense from its context, from their experience. What drives me to create is a reflection on our contemporary society and human behavior, the alienation, loneliness, doing without purpose, concealment, media manipulation and strategies of the spectacle.
11.What can you add that would help us understand you and/or your work better?
Mi metodología no se aparta de lo onírico. Sin embargo son los espacios, el habitar colectivo, el comportamiento humano, la realidad latente y cotidiana lo que inspira mi trabajo.
Es una continua transacción con la realidad, para entender mi trabajo hace falta tan solo mirar a nuestro alrededor y reflexionar.
¡Girar un poco mas la cabeza de lo acostumbrado, detenerse unos minutos más, repetir y dudar.
My methodology does not depart from the dreamlike. However spaces, collective living, human behavior and everyday life inspires my work. It is a continuous transaction with reality – to understand my work it is necessary only to look around us and reflect. Turn the head a little more than usual, stop a few minutes longer, repeat, and doubt.
Posted by pivotartgallery on November 4, 2012
pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com. Adriana Mosquera photographs our modern-day urban experience. Click here to explore the featured portfolio.
Posted by pivotartgallery on October 17, 2012
A Coup d’Espace project curated by Steven H. Silberg and Neil C. Jones
Dates: October 12 – November 9, 2012
Location: 2023 Massachusetts Ave, NW, Wash, DC
Curated by: Steven H. Silberg and Neil C. Jones
Participating artists: Jesse Morgan Barnett, Scott Blake, Patterson Clark, Jarrett Davis, Samantha DiRosa, Gary Duehr, Mark Geil, Julee Holcomb, Ryan Hoover, Miyakawa, Michele Montalbano, Matteo Pasin, Jessica Rowshandel, Sarah Sachs, Ali Seley, s/n coalition, Eric Souther, and Erika Stearly.
Opening Reception: October 12, 6:00-8:00pm
Palimpsest is a Coup d’Espace project curated by Steven H. Silberg and Neil C. Jones. which explores the constant layering of information in contemporary society and the impact technological advancements have on the ways we represent and receive information.
As digital texts—documents, photographs, video—become ubiquitous, we adapt to new ways of reading, adjusting to the layers of information these digital texts contain. In recent years, the QR code has become a common way of relaying additional information, allowing users with the correct technology to access additional data in everything from advertisements and museum exhibitions to business cards and printed books. But what if the QR code became the contemporary representation of information, displacing the original information? It wouldn’t be the first time that newer “text” has superseded the old. Throughout the history of the written word, parchments and vellum have been scraped clean of their original text and reused. Over time, that original text (the scriptio inferior) resurfaces through natural means or scientific research. An immediate relationship between the original text and new text is constructed through their juxtaposition.
Palimpsest alters the experience of viewing individual works of art by forcing viewers to experience the works through the mediation of this new technology. Artwork selected for the exhibition has been documented before being whitewashed or otherwise obliterated. A QR code, which links to the original documentation of the artwork, has been placed on the surface of each individual piece. While the individual works already address the layering of information, the very act of viewing the exhibition will force viewers to experience the layering and mediation the works address. Including work in a range of media—painting, photography, video, and sound—Palimpsest asks what these new methods of representing information mean for artists and their work.
ABOUT THE CURATORS
Steven H. Silberg is an image-influenced, pixel-based cross media artist with a background ranging from photography to book conservation. Working in print, video, and interactive installation, he engages new media as a literalist. For him, the pixel and structure of the digital image is as important as the composition and content. Created in Baltimore, his work has been enjoyed regionally, at venues including Baltimore’s Artscape, the University of Maryland, and the Delaware Center for the Contemporary Arts; nationally, at the University of Texas, Dallas, Missouri State University in Springfield, MO, and Orange Coast College in Costa Mesa, CA; and internationally at the Third Beijing International New Media Arts Exhibition and Symposium. He was selected as the Winner of The Washington Post’s 2010 Real Art DC competition and has been selected as a semi-finalist for the 2012 Trawick Prize. Silberg received his MFA from MICA in 2004 and his BFA from the University of Delaware in 1997. He is a Lecturer in Foundations, concentrating in Photography and Video, at UMBC.
Neil C. Jones is a photographer and faculty member at the Maryland Institute College of Art and Anne Arundel Community College. His work has been exhibited nationally in Atlanta, GA, Baltimore, MD, New York, NY, and Washington, DC, and internationally in Heidelberg, Germany, and Lacoste, France. He holds an MFA in Photographic and Electronic Media from the Maryland Institute College of Art , an MA in Digital Photography from the Savannah College of Art and Design and a BA in English Literature from the University of Delaware. In 2012, he was awarded an Individual Artist Award for Photography by the Maryland State Arts Council.
ABOUT COUP D’ESPACE
Coup d’Espace is WPA’s member-generated programming series. By inviting member artists and curators to plan installations, exhibitions, and events in its office project space, WPA provides a venue for unusual collaborations, exploration of new concepts, and the production of new and experimental work. Coup d’Espace allows artists and curators to utilize the WPA office as a laboratory or workshop space, to introduce new and in-process projects and present challenging ideas.
Posted by pivotartgallery on October 9, 2012
I went to visit Sol Grotto at the UC Berkeley Botanical Gardens this past weekend. It is, according to the designers website, a “…spartan retreat—a space of solitude and close to nature where one is presented with a mediated experience of water, coolness and light .”
I found it be be a contemplative space filled with the sounds of a running stream and amazingly lit with light streaming in through the glass tubes. Definitely worth a visit.
It is also hard to escape Solyndra’s role as a controversial bankrupt company. The installation re-uses 1,368 high tech glass tubes that would otherwise have been destroyed. For more info, see the website here: rael-sanfratello.com.
Posted by pivotartgallery on October 2, 2012
pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com. What stories can a face tell? visit the featured artist page to experience the paintings by Arizona artist Mike Frick.
Posted by pivotartgallery on September 16, 2012
a really great magazine/website that we have recently partnered with. Fluster is a creative project about personal expression, culture, and reportage from many different perspectives published in both English and Italian. It is a great site full of photography, interviews and art. check it out at: flustermagazine.com
Posted by pivotartgallery on September 12, 2012
pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com. explore glitch art and the new aesthetic. videos, games, and software by Nick Briz.
Posted by pivotartgallery on August 17, 2012
The 11 Question Interview Series continues with artist Inga Pae sharing her thoughts on photography, art, life, and more. Learn more about the artist and visit pivotartgallery to see her featured portfolio.
1. How and when did you first become interested in image making?
I discovered photography at age seven, developing prints in the bathtub with my father in Estonia. Based on reading numerous artist bios, it turns out that many of us caught the bug this way in the 70s and 80s.
2. Who are your role models and how do you relate to them?
I value the visions of many individuals who specialize in the field of photography, and the list is constantly increasing as I view new work. A few of my long time favorites include David LaChapelle, Phillip Toledano, Julia Fullerton-Batten, Julie Blackmon, and Jill Greenberg, just to name a few. In comparison, I recently “discovered” magnificent projects by Brian Christopher Sargent, Matthew Gamber, and Odette England.
Quite often I think to myself: “I wish I would have thought of that, it’s brilliant!” While I don’t wish to imitate anyone, I am selectively picking up on other artists’ insights and approaches to certain projects. Art succeeds and stays alive that way. A kernel of sensibility or perspective is passed on from one person to another and evolves in the process.
3. What is most challenging to you about the creative process?
In theory, a process starts and ends. For me it doesn’t end and this is a challenge. A project keeps moving in my head long after it is finished and new visual solutions keep popping up. It could take a year of incubation before a concept feels ready to shoot. I have learned to “just do it”, get it out of my head and on paper. With a few projects, I am now thinking of “sequel” work to deepen the study.
4. Can you describe your process? How do you make the images? Are they all digital? What tools and techniques do you use?
Yes, I use digital cameras. I am old-fashioned in a sense that I try to get everything “right” in the camera at the time of capture. I do minimal post-processing.
5. Much of your work has a narrative feel to it. How intentional is this? How do you come up with the situations in which your ‘characters’ appear – for example in the series “There is a Field”?
I think it is intentional. We know most of the time what we are seeing in a photograph and how it makes us feel. But what is the story? And we keep staring at the image as if the story is just about to reveal itself in full. There is room for fantasy and interpretation.
I draw influences from a wide variety of gestures in the contemporary culture– lines in a play, song lyrics, text messages, specific movements from a dance performance, for example.
6. Your overall aesthetic is clean and clear and bright. What are your motivations behind this?
Less clutter. Less is more. Our (visual) lives are so busy. Have you noticed that when you go to a museum, it feels as peaceful as standing on a mountain top? I think it’s largely because of high ceilings and a lot of white space – the sparse space gives you room to breathe.
I have thought of adding more “layers” to images, but keep coming back to the fact that all the layers are in the viewers’ mind.
Simplicity of a photograph has always compelled me to keep looking. An image can be clear the same way that language is. A word is precise, but its meaning can change based on the words around it. When a person looks at an image, they will always think of themselves, their own life experience. And even that perspective can change daily.
7. Though in a larger sense, most art can be seen this way, do you see your work as autobiographical?
Absolutely. I think there is a big difference between academic knowledge and experiential knowledge. The latter is what I draw from – it feels authentic to work that way.
8. What are your goals as an artist? Where do you want to be in 5 years? 10 years?
As the cultural and economic landscapes are changing, I am not sure if the traditional success milestones are as desirable in the future as they used to be. I am focusing on how I feel, rather than where to be in terms of achievement. (Of course, they tend to go hand-in-hand.) I currently feel as if I am in the middle school and happy to be learning, exploring. In five years, I would like to feel as if I am college graduate, comfortably getting a “hang of it”. And in 10 years I’d like to feel that I am well on my way – completely comfortable in my skin artistically, fulfilled with the quality of work, peaceful about my creative process.
9. How do you feel about the contemporary art world and your contribution to it?
When I hear “contemporary art”… I immediately think of art museums. I could spend days browsing exhibits and installations, not even come up for air. I find comfort and sincere joy in that type of immersion.
Specific to contemporary photography, I am an active contributor and consumer through contests, portfolio reviews, exhibits, and open studios – at many different levels. I believe it keeps the craft moving forward and encouraging everyone to evolve their work to new levels.
10. What is the most important thing you want viewers to come away from your work with? Who is your ultimate audience?
I would like the viewers to feel “in the know” and “connected” when they view the work. I want it to feel accessible, yet intriguing to new collectors — people who are opening up to different types of work and aesthetics. I believe that there is a crop of new collectors currently emerging, making the art scene a fun place to be.
11. What can you add that would help us understand you and/or your work better?
Perhaps I can tell you where the idea for the image “Gossip” came from. There is a magnificent monolog by Father Flynn character in the play Doubt. He explains to sister James that if someone goes on a high rooftop, stabs a pillow… and thousands of feathers spread wide and far….. one could never put ALL of them back. That is gossip.
Posted by pivotartgallery on July 11, 2012
The Museum of Contemporary Art, Los Angeles has announced that it will launch MOCA TV, a new video channel for original contemporary art and culture programming, in July 2012. It will be part of YouTube’s new original channels initiative, announced in October 2011, to create one hundred new original channels with narrow content. MOCA is reportedly the first contemporary art museum to associate with a major media company in an online video-programming venture of this scale, and MOCA TV is the first contemporary art and culture channel to be included in YouTube’s new initiative.
Posted by pivotartgallery on July 1, 2012
CreativeMornings is a free, monthly breakfast lecture series for creative types. There are chapters in 29 cities across the world, including San Francisco. Some have dubbed it “TED for the rest of us”.
For upcoming events, and a great video archive of past talks, check out creativemornings.com
Posted by pivotartgallery on June 23, 2012
pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com click the link to see Inga Pae’s bright, light photographic vision.
Posted by pivotartgallery on June 18, 2012
pivot art gallery is pleased to present the next artist portfolio in the ongoing series at pivotartgallery.com
click to see this months’s featured artist, Matteo Pasin’s video investigations – fascinating contemplations of the world around us.
Posted by pivotartgallery on April 16, 2012
SOUVENIRS FROM EARTH, founded by Marcus Kreiss and curated by Alec Crichton, is an international Cable TV station, broadcasting in France and Germany with a program showing art, video art, film, music, installations and performances. If you are not there, you can still check out excerpts from the curator and a list of the many artists who contribute online here: souvenirsfromearth.tv or watch in online here: playtv.fr/television/souvenirs-from-earth
Posted by pivotartgallery on February 26, 2012