Tag: interview

A conversation with Fiona Grady. When light activates art.

Uncategorized July 28, 2017

Fiona Grady (born 1984, Leeds) is an abstract artist whose practice recognises the relationship between architecture, installation art, and decoration. She plays with light, surface, and scale; often using traditional mediums in a modern context. Her geometrical pieces work as atmospheric printed stained glasses that change with the light of day, emphasising the passing of time and the ephemeral nature of the work itself.

The concepts of repetition-discontinuity or inside-outside work here, altogether, by creating systems, apparently static, that interact with their surroundings as if they were alive. Is in the process of reflection, when the light enters through the windows and touches the skins inside the room- walls and bodies-, the moment the artwork becomes unlimited.

Grady studied BA Fine Art at the University of Wales in Cardiff before completing a Masters degree in Fine Art at Wimbledon School of Art (UAL). Grady has been short-listed for several printmaking prizes including Neo-print Prize 2014, Bainbridge Open 2012, and Clifford Chance’s Survey of MA printmaking 2011. She currently lives and works in London.

Image courtesy of The Art House, Wakefield and Axis

Could you describe your artistic process?

I create large site-responsive drawings on walls, windows, and floors using sequences of dispersing geometric shapes. The drawings are spatial systems composed from repeating intervals that expand in proportion or direction. The use of repetition is a means to set in place an unconscious balance or understanding that can be interrupted by the introduction of a changeable factor.

What kind of feelings, ideas, or emotions do you wish to communicate with your artworks?

My work is site-responsive; when I approach a new installation I consider the function of the site, it’s architectural features and the purpose of the project. I aim to create pieces that have motion within a space, either through the movement of the shapes I introduce, or the interaction with outside factors such as daylight. I don’t seek to tell the viewers how to feel, but I purposefully choose colour palettes that respond to the loudness or quietness of their venue.

Repetition occurs in my motifs and placement. I use geometric shapes as they have rules attached to their forms, by using them repeatedly I can explore their restrictions and introduce subtle changes that allow the artworks to move or grow.

Cathedral, 2016

What are the possibilities of working in the wall vs. the traditional canvas?

I’ve always considered my primary practice to be drawing. When studying I trained as a printmaker rather than a painter so I’ve never felt a strong inclination to work on a traditional canvas. I began working directly onto walls during my Masters, partly led by my admiration of the artist Sol LeWitt. I found that a wall drawing can only ever be the perfect size as you are restricted by its physical layout. In addition, creating site-specific works introduces a range of factors that are out of your control, these limitations can help determine and influence the final result. I find these challenges exciting.

Field Drawing, 2015

Image courtesy of The Art House, Wakefield and Axis

Who or what inspires you?

The artists that have the most influence on my practice are Sol LeWitt, Agnes Martin and Daniel Buren. Each of them has a very strong sense of identity and utilises the transformative qualities of art. For Sol LeWitt his use of geometry is inspiring, his works are puzzles that are never really solved, only interpreted by their viewers/makers. Agnes Martin’s use of colour is almost spiritual, her exhibition at Tate Modern was very powerful. Despite the simplicity and subtleties of her paintings, I find them moving. On the much bolder scale, I am fascinated by Daniel Buren’s early line paintings that he installed in public spaces, many without permission, to question where art belongs.

Shutter, 2016

What are your future projects?

At beginning of July, I’m having my first solo exhibition in Germany at a space called Adhoc in Bochum. Each year they invite a selection of artists from around the world to create a site responsive artworks for the gallery. I will be making a series of wall drawings using geometric forms. I’m really excited about the opportunity to work abroad and keen to explore a new art scene to meet the artists there. I also have a couple of solo projects later this autumn. I’ll be making a series of new works on paper and a digital artwork for a crypt gallery in Hastings as part of Coastal Currents, an annual art festival. It’s going to be a challenging space to work in as it’s a listed building but it’ll be a great canvas for my drawings. Plus, I’ve been invited to present work for Coventry Biennial. The details are still secret but what I can say is that it will be first time I exhibit wall and window drawings together. It’s going to be a busy and fun year!


 

Front cover image: Umbra Slip, 2017
Created for Sid Motion Gallery

Interview with Marem Ladson: “Writting songs is a way of healing”

Uncategorized July 17, 2016

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I found her voice inside a small shop in Madrid during the Enjoy Pelayo St celebrated last April. Marem Ladson sat in a stool with her guitar and since the first minute she started singing her songs I immediately fell in love with her sound. Marem has a profound and unique style, like an old folky soul, that doesn’t correspond to her age at all. I just couldn’t stop thinking how good and special she was. I believed I was in front of a very talented new artist that deserved to be widely known. This is why I’m so happy that I got her to answer some questions for the blog.

If you ever have the chance to see her play, please just sit in the front row and feel her magic.

Who is Marem Ladson? I am an 18 year old defined by the coming-together of American and Spanish roots. I’m a half time student of International Relations, since I’ve always been interested in different areas like politics, history and cultures of the world, and a full time singer songwriter, because it is the way I express myself.

Where do you find beauty? In nature and in simplicity.

What kind of feelings do you wish to communicate with your songs? When I write songs, like Hemingway once said, I try to write hard and clear about what hurts, it is a way of healing. I try to communicate just the way I feel, my worries, my thoughts… Sometimes disappointment, others rage, love, fear…

A song that you love and wish you had written: Hotel California by The Eagles

A fictional character that inspires you: Alexander Supertramp because of his brave and daring spirit, his longing to discover the world and also himself.

Could you tell us about your future plans? I’m releasing my first single this fall with Gran Derby Records and next year my first album! I will keep on studying international relations at the Complutense University and, at the same time, writing songs.

Thanks to Gran Derby Records for the photographs 🙂

Interview with Kristin Texeira: “Nostalgia is a story I’m always trying to tell”

Uncategorized March 6, 2016

Kristin Texeira is a young abstract painter originally from Massachusetts and currently based in Brooklyn. I discovered her work scrolling through Instagram and I immediately fell in love with her colors and her unique sensibility. I don’t know how I got there but sometimes the internet gives your beautiful surprises. Texeira’s work firstly reminded me to Wes Anderson’s pastel palette, but it is her combination of colors with a specific personal memory what makes her work an absolute original world. This is a sincere universe you would not want to leave and that is easily to find related to.

Her artworks can be understood as an inventory of memories. Each color matches a person, a place, a conversation, a smell, a kiss, or even childhood reminiscences. Her oil paintings in paper are proofs of what we were. Nostalgia is preserved in her imperfect geometrical pieces -but full of narrative content-, not in a sentimental way but with the aim of understanding ourselves. Kristin Texeira is turquoise, light green and pale pink. What color is your story?

I paint to provide proof—for myself and others—of existing in certain moments in time. I paint to capture, document, and preserve memories. I translate the essence of moments through color by mixing up the poetics of people and places.

(Kristin Texeira)

How much can we learn from ourselves through artworks?/ ¿Cuánto podemos aprender de nosotros mismos a través del arte?
 
Most of my pieces begin as free-writes. Sometimes as the mind flows I’m lost in a sea of rambles. Occasionally, however, I discover that a particular memory surfaces more often than once. This is how I know it’s important and needs to be recognized. I try to pick apart these trends and understand what the threads behind these memories are. That usually leads me to painting series.
texeira 14-20
 
Also, specific colors seem to find me for certain reasons. When I first started painting I would always mix a particular blue to fill in the background of self portraits or still lives. Later in my career, I did a project investigating the colors of my grandmother’s home where I spent much of my childhood. I discovered the blues of her living room matched the blue that I always subconsciously mixed. Art allows you the space for secrets of the past to seep out and surprise you.

La mayoría de mis obras empiezan de una manera libre. A veces mientras la mente fluye me pierdo en divagaciones. De todas formas, ocasionalmente, descubro que un recuerdo concreto sobresale más de una vez. Así es cómo descubro qué es lo importante y lo que merece ser señalado. Intento desmenuzar estos fenómenos y comprender cuál es el hilo que une estas memorias. Este proceso normalmente me lleva realizar series de pinturas. De la misma manera, determinados colores parecen encontrarme por alguna razón.

Cuando empecé a pintar siempre mezclaba un azul especial para rellenar el fondo de los autorretratos o naturalezas muertas que hacía. Más tarde durante mi carrera realicé un proyecto en el que investigaba los colores de la casa de mi abuela en la que pasé la mayor parte de mi infancia. Descubrí que los azules de su salón hacían juego con los azules que inconscientemente había mezclado.

El arte te abre la puerta al espacio en el que los secretos del pasado se filtran y te sorprenden.

04.+la+maison+de+charlotte_11+x+14+inches_oil+on+paper_2015+copy
 

What role plays the emotion of nostalgia in your work?/ ¿Qué papel juega la nostalgia en tu trabajo?

Nostalgia is a story I’m always trying to tell. It is at the start of each piece. It is the reason why I paint. Colors come to mind when I interact with people and places and I used these colors as markers of time. I mix colors specific to a moment to create a gateway that allows me to revisit the memory again and again.

Finding a remedy for nostalgia is my motivation to travel back in time to uncover thoughts before they collect too much dust and to shake them out onto paper. Or even to steal nostalgia from the present to stick it down on paper and save it in color before it fades.

La nostalgia es una historia que siempre estoy intentado contar. Se encuentra al comienzo de cada obra. Es la razón por la que pinto. Los colores vienen a mi mente cuando interactúo con personas y lugares, y uso esos colores como marcadores temporales. Combino colores que pertenecen a un momento concreto para crear un portal que me permita revisitar ese recuerdo una y otra vez.

Mi interés en viajar atrás en el tiempo es encontrar un remedio para la nostalgia, con el fin de sacar a la luz pensamientos antes de que cojan demasiado polvo y de sacudirlos en el papel. O incluso robar la nostalgia del presente para fijarlo al papel y salvarlo en colores antes de que se desvanezca.

If you could time travel what would you prefer: relive an old memory or discover a time you never lived? /¿Si pudieras viajar en el tiempo que preferirías: revivir un recuerdo o descubrir un tiempo que nunca has vivido?

I feel lucky enough to be able to travel back in time via paintings or old sketchbooks and I’m happy with my present place. I am curious about the idea of parallel universes though. Somedays I feel like I’m missing someone or some place and I can’t exactly explain what. I think about decisions in life that I’ve made and how when I made a choice maybe life split and now it overlaps and I still feel the strong emotions from a path that I’m not currently on. So, if I could, in some crazy way, I’d like to explore other layers in the universes of my own life.

Me siento muy afortunada de poder viajar atrás en el tiempo a través de mis pinturas y de mis viejos cuadernos, y estoy feliz con mi tiempo presente. Aun así tengo curiosidad por la idea de los universos paralelos. Algunos días siento que echo de menos a alguien o un lugar, no puedo explicar exactamente que extraño. Pienso en las decisiones que he tomado en mi vida y cómo cada vez que tomé una decisión puede que la vida se escindiera y ahora mismo se sobrepusieran esos dos caminos. Todavía siento esa emoción fuerte del camino en el que no estoy. Así que, si pudiera de alguna forma loca, me gustaría explorar las otras capas del universo de mi propia vida.

balon+red

 
Where do you find beauty?/ ¿Dónde encuentras belleza?
 
 Little conversational exchanges with strangers.
Stories swapped over dinner tables.
Open spaces.
When I loose track of time.
En pequeñas conversaciones con desconocidos.
Intercambios de historias durante la cena.
En espacios abiertos.
Cuando pierdo la noción del tiempo.
 

A fictional character that inspires you/ Un personaje de ficción que te inspire.

Eloise Wengler. She is one of J.D. Salinger’s characters from his short story “Uncle Wiggily in Connecticut”. I’m not entirely sure why I love her because she is described “jaded” and “unhappy”. But, her language is so clever and sarcastic and sharp. I think mostly I feel bad for her. She married a man because of a book that she finds out he never read. And I imagine how different things would have been if she could have ended up with the boy who thought being able to touch her stomach was the most beautiful thing in the world.

Eloise Wengler. Ella es uno de los personajes del cuento de J.D. Salinger, El tío Wiggily en Connecticut. No estoy muy segura de por qué me encanta, ya que en realidad ella es descrita con los adjetivos “hastiada” e “infeliz”. Pero su forma de hablar es muy inteligente, sarcástica y aguda. Creo que principalmente me siento mal por ella. Se casó con un hombre por un libro que luego descubre que nunca se leyó. Imagino cómo de diferente hubieran sido las cosas si hubiera acabado con aquel chico que pensaba que tocar el estómago de Eloise era la cosa más bella del mundo.
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“Well, wudga marry him for, then?” Mary Jane said.
“Oh, God! I don’t know. He told me he loved Jane Austen. He told me her books meant a great deal to him. That’s exactly what he said. I found out after we were married that he hadn’t even read one of her books. You know who his favourite author is?”
Mary Jane shook her head.
“L. Manning Vines. Ever hear of him?”

(J.D. Salinger)

You can follow Kristin Texeira’s work here
All images belong to the artist.