Showing posts with label Life and Work. Show all posts
Showing posts with label Life and Work. Show all posts

Sunday, December 19, 2010

Life and Work: Finn Wild

I know I'm a couple days late (sorry!), but it's time for our next artist interview! This time we're checking in with Finn Wild. Finn has spent a lot of time living on the road and/or off the grid, which I think gives her a unique artistic perspective. Like me, she paints, writes, and photographs, choosing a medium to match the inspiration. I'm quite pleased to introduce her to you!

Side note: as many of you know, I'm a professional proofreader and self-proclaimed grammar snob. I have an ongoing feud with my best friend at work because we disagree on serial commas. However, Finn has a particular grammatical-visual writing style that I think is very important, so I've made sure to carefully preserve it here. Enjoy!

How do you describe yourself as an artist?

i'm a writer & a visual artist. i do nature-inspired abstract paintings & drawings. i make zines, i wrote a novel, i take photos. i like being creative in general, in everything i do.

How do you react to the terms "visionary artist" or "folk artist," which are two of the most common descriptors for artists without formal training? Do you like them as identifiers?

i could see how they'd be useful sometimes, but in general i don't like them. as soon as you add more qualifiers you lessen the amount of people you're simply calling an artist. you narrow the definition. & i think anyone can be an artist.

What are your art-making rituals? What keeps you dedicated and in shape?

i'm an incredibly lazy artist. i find it really hard to motivate myself. i go through cycles—sometimes all i do is paint & draw, sometimes all i do is write. i tend to create a lot of work really quickly & then not make anything again for weeks. my lack of output really bothers me, & is one of the reasons i often don't feel like a "real" artist—like one needs all these mountains of things to prove it.

i try to just drop everything when inspiration/motivation hits, & treasure those times.

What are you working on now?

i started a series of paintings & drawings based on the magnified cell structure of different types of wood, & from there began making up my own cell patterns. i'm also very in love with maps & geological layers right now, & have done a few things based on those images. i take photos almost every day. lately they've been of joshua tree national park & the surrounding desert towns 'cause that's where i am. i'm writing mostly for myself right now, working through the events of the last few months, which were really intense for me.

Tell us about your background/education.

i'm self-taught, for the most part. i couldn't afford to go to college after high school, & even now i don't think going to art school would be my first choice. i sometimes feel like i would be a better artist if i had more understanding of technique & mediums, but usually i think i'd rather just make stuff than worry about learning how to do it "correctly" first. i find beauty in what just happens, what naturally comes out of people, their innate creativity & first inspirations.

Where do you get inspiration when things get tough?

for visual art: nature. i take slow walks & look at things closely. then all i want to do is draw. also, looking at other people's work that i like. with writing, it's all about reading a lot.

What does your creative space look like? Where is it? Do you share it?

i've been traveling & living in temporary situations for a while now, so i don't have a dedicated creative space. this definitely hinders my art because ideally i like to have a place where everything can be spread out & always ready.

How has the decision to live on the road affected your art work, in terms of both output and focus/subject matter?

i do less painting when i'm traveling, but i take more photos & have more to write about. i'm very inspired by plants & rocks & natural patterns, & traveling has introduced me to so many different regions with new & exciting vegetation & terrain. you can definitely look through my sketchbook & tell what region of the country i was in at the time.

whenever i'm traveling i feel incredibly inspired to make art, but feel like i don't have the time or space to do it. Then, when i'm still somewhere, i realize that that inspiration was keeping my creative life going, & even though i might have the time & space finally, i feel less motivated.

Despite the relative isolation inherent in your lifestyle, you still emphasize the importance of looking at others' work, reading a lot, etc. I've been told a lot that "you can't create art in a vacuum" and these outside influences are vital to successful art. How do you feel about this?

i'm not sure that you have to be exposed to a lot of art in order to make it, but i find it helpful. i'd also
be really curious to see what art i would make in a vacuum, though. sometimes i wish i knew what i would create without so much influence, & without thinking about the audience or finished product.

What was the darkest time for your work? How’d you get out of it?

the first couple years after high school i hardly made any visual art at all. my art teacher was very into having us copy photographs. she only encouraged us/allowed us to make very photorealistic art, which is when i found out i had some talent, & i made some decent things. after school I didn't really have the motivation or desire to sit for long periods of time simply copying an already existing image. i thought i wasn't a creative person & could only copy things, & even being good at that didn't seem very interesting or special to me.

one of my friends always carried around a little sketchbook with her, & i looked through it often. she makes really great abstract art. so then, just because i liked the idea of carrying a sketchbook around with me, i bought one & started doodling in it. it was the first time i liked images i was inventing. so i started making art again, & started loving more abstract stuff, & found my own style.

What are your current goals? Where do you see your work going in the future? Do you think you’ll try to support yourself with your craft at some point, and if so, how?



i want to focus more on painting. i want to try to keep myself motivated—i want to paint a lot, a lot, a lot. enough that i can try to start selling some work. i want to keep making zines. i'm not sure that i could ever support myself entirely with art, but i would like to get my work out there more & at least try selling things.

i also want to start weaving rugs again, which is something i did for years when i was younger, & hopefully sell them. & take more film pictures.

i thought this answer would be more focused—just paint!—but i'm not a very focused person. i want to keep making all kinds of art, & crafts, & write. i just want to do more of it, all the time.

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Wednesday, December 1, 2010

Life and Work: Matt Agnello

It's kind of hard to believe two weeks have gone by already, but here we are again! This dose of life and work comes from friend and fellow artist Matt Agnello.

I can still remember visiting Matt in Boston when we were in collegeI spent some time on the floor of his apartment putting together a handmade book of photography, and we accompanied him out on a nighttime shoot for the opening sequence to a Boston University TV show.

Speaking of college, I ask about education in these interviews for a reason: we fine arts folks end up in some interesting places. This really caught my eye in today's interview:
I think more often than not your education is tangential to what you end up doing. For me, that’s certainly true. But the basic concepts I learned about in my film classes can be applied anywhere. You learn about dramatic systems, how people react to stimuli, meaning that’s created visually instead of through prose. All of those translate to any creative or dramatic medium. It’s like learning a programming language. Once you know one, you know them all. You just need to learn a new dialect the next time around.
As you know, I don't use my degree directly at my day job, but I sure do feel like it gave me the skills I need to survive. But that's for another day. Coming up soon: contentious life decisions, turning over new leaves, and rediscovering self-awareness. But for now, enjoy a peek into another creative life! (Click the link below the video to continue reading).


As an aside, you should really check out some of Matt's work on Vimeo. It's three years old, but I've always been partial to this delightful little short film:


The Cranemaker from Matt Agnello on Vimeo.


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Wednesday, November 17, 2010

Life and Work: Elena Volkova

As promised in entries past, I'm launching a new feature on the blog: one that expands my narrative to include other artists who aren't supporting themselves with their art, who have struggled, who need to make choices every day about how to juggle life with creative work. There are a lot of artists out there producing fascinating work, and I'd like to carve out a space for unique conversation about how we do it.

Our journey starts, appropriately, in Baltimore. I stumbled across a writeup for one of Elena Volkova's photography installations and loved the humor and subversion inherent in her concept. Here we learn a little bit more about her creative life.



How do you describe yourself as an artist?
My goal as an artist is to create an experience. Using photography, I create site-specific installations that bring viewers "in the moment" and invite them to ponder the surrounding overlooked details in the environment. I follow the post-minimalist tradition in my practice, where the work is stripped down only to the essential elements; nothing extra. I am interested in the idea of creating art out of "nothing"—uneventful, familiar, mundane, everyday situations on the periphery of our lives.


What are you working on now?
I have two practices: photography and drawing. Drawing is my passion and my studio practice. I use photography to create site-specific installations. I’m currently working on a series of large format drawings of fortunes (from fortune cookies). For several years, I have been making various drawings of paper, where I'm exploring the same idea of "nothingness.” I asked my friends to send me most their most precious fortunes—the ones they consider particularly insightful—and make graphite drawings of them using a grid.


Tell us about your background/education. What made you choose to get a BFA/MFA, and was it an investment you had any trouble explaining to your family at first?
I have a BFA from MICA, where I studied photography. I fell in love with photography when I took a Basic Photo class at a local community college. After a few years working as an art teacher, I started looking at low-residency MFA programs and found an amazing professor that I really wanted to study under. Four years later, I got my MFA in Studio Arts, also from MICA.

What are your art-making rituals? What keeps you dedicated and in shape?
I have a tendency to produce a body of work when I have a show lined up. This keeps me in focus, and working constantly. Luckily, there is always something happening, and I am busy working. At the same time, I really value this "down" time when I’m not actively producing work because it allows me to think, to read, and to figure out where I'm going next. I try to keep up with my drawing practice, but it’s not at all regimented.  

Where do you get inspiration when things get tough?
A few years ago, I realized that it's tough to be a photographer who wants to produce large-scale work: it is very costly, galleries are reluctant to show it, there are problems with storage space, etc. I started making drawings because I needed a practice that would keep me working no matter what. I also think that drawing is a process-oriented medium, and photography (for me) is product-oriented. When things get tough, I come back to drawing. 

Tell us about your creative space.
I have a studio in the basement of my house, which I share with a filmmaker. We’re both interested in many other art practices, like ceramics and printmaking, so we have sort of a heaven of computers, art supplies, photo gear, pigments, ceramic glazes, clay, etc. It’s very cozy. We really love being in the space and working there. 


What's your most precious memento or piece of gear?
I used to work with this one medium format Yashica camera; it was so old that the lens had moisture trap and all images were coming out blurry with crazy light flares, and had dream-like quality. It was my favorite, but now I use only digital equipment.

What was the darkest time for your work? How’d you get out of it?
The darkest time for me is when I have too much going on. Every day, I have to juggle between parenting, my teaching jobs, housekeeping, and art making. I love all those things equally, but at times, things get overwhelming. The only way to get out of this is to wait until this period is over.  I usually do a lot of work in the summer, and I always know that some sort of break is coming soon. 

What are your current goals? Where do you see your work going in the future? You've done some traveling for your art and received a few awards and fellowships—do you see yourself eventually supporting yourself with your craft or do you want to keep teaching in Baltimore?
I don't see a possibility of being able to support myself and my family making art. The type of work I do rarely appeals to collectors, and I truly believe that art does not have to be a commodity. I found that many artists who depend solely on gallery representation have to compromise their practice to suit the art market; and I certainly don't want this to happen to me. Teaching is a great option for artists, not only because it is a noble profession, but also, because it offers some form of academic support and freedom. My ultimate goal is to teach college full time and continue to make art.

Elena currently has a show up at Hamiltonian Gallery in Washington, DC through December 4. If you're in the area, check it out!

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