Interview

Interview Inside Artists Spring 2019

Where do you draw inspiration from when making new works? Do you find this differs whether creating ceramics or works on paper?

Yes, it’s very different whether I work on paper or creating ceramics. The work on paper is imagined, related to the principles advocated by surrealist artists, drawing from an inside and /or a beyond place, a magical world that I would like to call the realm of my art. This process is then repeated with variations as a form of meditation, where in this practice I become a vessel to express some forms of universal truth about beauty and art. The work in ceramics is balanced and grounded with Earth. It is a secondary contemplation, one with the material and the craft: The realization of drawings becoming totemic objects radiating and filling the space. 

 

Oil on Paper #1080

Oil on Paper #1080

Tell us more about your sculpting process; do you make preparatory sketches for your ceramics, or are the forms created more organically?

As mentioned earlier many of my drawings are ideas for my painted sculptures. At first, I mount the object like a vessel with coils, following literally the dimensions created by the lines of the drawing. The piece is then slowly dried during a period of months, then glazed before multiple firings at high temperatures. Once the ceramics as attainted the glazed appearance of finished stoneware the décor is applied with pigments in wax to allow a polychrome transformation. To paraphrase the painter Josephine Halvorson who said color is what gives identity to form, encaustic paint enables me to create what I imagine as polychrome sculpture from my ceramics, giving a reality to my imagined pictorial worlds.

In addition, I think my ceramics look very organic and handwork with coils certainly qualifies as a living process. However, formally the objects are always built after the instructions of the drawing given as blueprint.


Through social media you have been sharing new works daily; can you tell us more about this and how it informs your practice as an artist?

 As for many artists it all starts for me with a drawing. Furthermore, in my views the core of one’s practice is often rendered visible through the drawing. During Frank Stella 2015 retrospective in the Whitney in New York I was stunted by how tellingly his drawings were. In my opinion everything of Stella’s art is in it. My hope that my feed is likewise readable by my audience on social media, without precondition. In a way I would like to share my work at the ideation, at the source. This task can leave me vulnerable and push me to refine continuously the meaning of my content through the practice of drawing.  

 

Is there a piece of work you’ve created that particularly stands out in your mind, and why?

Ceramics pieces like #050 or #051 are landmarks in my practice as they open for me a viable path for the realization of my concepts related to polychrome sculpture. It is a journey where color contributes to the spatial discourse of my objects. In addition, I like to imagine those surfaces as abstract paintings extending the conversation.

 

Ceramics #051

Ceramics #051

Are there any pieces you’re currently working on? Do you have any upcoming exhibitions?

We spent time talking about drawing and their meaning to me. In terms of ceramics production, I work on many pieces simultaneously. Some are at coils level, some are drying, some are in the glazing stage and other are painted with encaustic colors. For most of my pieces the process of production can last a few years from start to finish. Next to this practice I also paint, draw and collage, working with oil, tempera and encaustic.

 With regards to showing I will be participating at the Superfine Art Fair in New York upcoming May.

Arstydad

The use of social media to share content in various fashions has become so prevalent today that artists cannot ignore this tool to disseminate rapidly images related to their practice. Those platforms allow them to impact and extend their audience with sometimes powerful network effects.

With this awareness and on a dare with my daughter I started my feed @arstydad a user name created after reflecting lightly on my age and practice.

From the start I draw parameters to organize and narrow the tool for the specific of my project. The first is a unique daily post. Then I wanted to share drawings only. I could describe those proto concepts written with color and graphite pencils as blueprints for my objects in space. This method shares a vision at the origination of the creative process, as seeds for my followers to contemplate

Currently tags and comments are fluid with only a date to pinpoint the drawing in time. Those parameters are subject to change as I develop further my project. To view and follow my feed visit Instagram @arstyday.

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My practice

In his book Art Since 1940: Strategies of Being, Jonathan Fineberg presented the art of the last six decades of 20th century as a series of responses, made by men and women to the conditions of life encountered during their time. What struck me most in his view is that making art for those artists was at best a strategy of coming to terms with their moment in history.  

This idea of artmaking as a strategy of being resonated and took for me the form of a contemplation around shapes and colors practiced through many media. Currently it is drawings and paintings on paper as well as encaustics on ceramics sculptures that dominate the work.

 As principle I seek to keep in mind the guideline that where I am, is my studio. This attitude enables me to create a proactive mental space transcending physical locations. My practice is free of most external constrains as my work is not geared primarily towards the production of events such as commercial or institutional showings. I rather see it as a creative process where reified objects and images remains as witness. Those of course are to be shared and collected.

Working on a color pencil drawing in Windrift Hall 2018

Working on a color pencil drawing in Windrift Hall 2018