This is an artist’s take.
An artist interviewing artists.
The questions I want to ask.
I love process. It is a personal obsession of mine and gives me great joy. I love to know the questions people ask themselves. What drives them. What they look at. What they see. I talk with different artists, writers, and people who inspire me about their personal processes in these interviews.
VIVIANA M. CARLOS—A Latin American narrative: on palm trees as immigrants and an archive as a conversation after death.
The book is delicate and small, the quality of the paper is like a palm leaf, alive and textured, the images are faded. There is grief of a father lost and there is the politics of being transplanted.
How the journey began — The Artists’ Space by Alex Nichols
Kate is a painter—she follows the tradition of the 15th century recipes mixing and making her own paints and also works with nano particles
his studio is filled with repeating materials because for him “art repeats itself.”
“I am an unstoppable body.” That is the title of her work—and it strikes me heavily—as I watch the first second of video—her body on the pavement moving—this is it!
When Andy says—“I am examining the threshold of the wall”–he opens a wall—pulls the material out—turns it over and over—he looks at the space—the lines—the residue—and I understand we are not talking just about the material.
she is paying attention—to the interior quality of our everyday use—and reminding us of its quality—its potential—and she talks about the sloshing paint being mixed in a bowl—I too love that sound.
‘Bee eater’ and ‘Cereal dumper’—eventually the large drawing on the table will gain an official title—her narratives are open—leaving free space for someone to reveal their personal story without judgement.
A thousand pages of ink—is practice—and the physicality of his vision and passion for material is inside the sketch books—lines drenched in tar—locked in an aluminum cage—it is the “Idea” that leads him to art—and the material that binds him to it
“I like the flaws—all the inclusions… you never know what is inside until you open it.” She holds up a shell that began in an ocean that became a desert—she is speaking fast—she is excited.
It is intimate to hold a book of images the size of your palm—as if you are opening secrets—like opening the short, concise poems of Emily Dickinson—trying to tell a story but at a slant.
Dialogue is a specific material—and Daniel is looking at what is captured in a person’s spoken language—his transition from one medium to the next is linked by this material—it is his vantage point.
Often we resist endings—not wanting to exit the familiar structure we have inhabited for years—because these structures help define us—we form our identities around these structures.
Illusion—even when we know that what we see is not real, we still experience it as real
Actions precede understanding—sometimes we need to act— that action helps us understand our intention.
She is struck most by is these “women who are fearless in making their way.”
As an artist “seeing” is the practice. But it is not so simple. For example, when you first learn to draw the figure, the teacher says, “Draw what you see, not what you think you see.” You don’t understand at first
Nichols and the artists of Studio 17 are working to let their story be heard, and to emphasize to the community the crucial importance of keeping working artists within the city limits of San Francisco.