Mock Artist Talk +2
Q. The recent project ‘Survived Socialism’ in the Window at Airspace Gallery [15-21 October 2012] exhibited new sculptures which had a minimalist approach. Was that intentional or did it develop that way?
A. The works themselves had actually been in development since the beginning of the residency in August and kept developing right up to the date of the project. They were initially pictured as they are now, with minor changes to the piece ‘Survived Socialism #2’ [see image] being more solid and covered in panel. This changed because in order to help the audience see the pieces recycled steel-frame tables, the sculpture had to visually reveal those frames. Also, it was getting tiresome making sculptures in a rectangular shape having done so already, and the piece ended up not being completely covered by wooden panels.
If the finished pieces came out minimalist then it was not deliberate but involved a working process that continues to explore how to apply selected themes and [such as nationalism, European identity, nostalgia] into a three-dimensional format.
Q. It was mentioned in the press release that the use of the found exotic rugs allocated the sculptures space and time. How else were they important to the pieces?
A. The foreign rugs were meant to act as plinths to the pieces, because personally the standard white plinth was too familiar and possibly bourgeois. The rugs are homely, comfortable and whilst recognised by several viewers, they are just as unfamiliar to others and the work becomes about the memories of these objects.
By using something ‘against the grain’, the pieces stood out as visually unique. An inspiration for them probably came from American artist Kirsten Stoltmann (b. 1968) and her piece ‘Chrome Tumbleweed on Southwestern Rug’ (2007) [pictured] featured in the ‘Abstract America: New Painting and Sculpture’ exhibition at Saatchi Gallery in 2009-2010 which I invigilated during work placement. Whilst we are two different artists exploring different things, the piece became one of those wake-up calls that “you could do anything, use anything”: the same feeling that overcame me upon learning about American proto-Pop artist Robert Rauschenberg (b. 1925 d. 2008).
Q. Any plans for future sculptures since this project? Will the ‘Survived Socialism’ series continue and how can they develop?
A. The steel was actually harder to acquire and use than was previously thought so chances are it will not be used again. But a return to wooden frames as well as panes will likely be a way forward for the series. Also, the shapes the series pieces take will likely alter to look more architectural and modernist, and possibly develop to use more colour – still dark tones like black, grey, brown and such – but nevertheless this series will be continued. The time between intervals will be developed as the series progresses.
