Throughout the winter and early spring of 2015, I will be residing and working in Rekyavík, Laugarvatn, and Hrísey, Iceland.I have always loved being outdoors and find that that is where I am most comfortable. I like to roam. Having lived and worked in so many different places has affected my practice to the end that it has become an immensely pivotal facet of the discourse surrounding my current bodies of work.
Binary, 2014, Gouache on wood panel, 8” x 8”
The concept of the “artist studio” has a broad range of meanings, especially in contemporary practice. The idea of the artist toiling away alone in a room may not necessarily reflect what many artists do from day to day anymore. Describe your studio practice and how it differs from (or is the same as) traditional notions of “being in the studio.”
My studio practice right now involves a lot of physical migration and travel. I have been attending and working at artist residencies for the past two and a half years. Additionally, my most recent bodies of work are representative of this nomadic way of living.
What unique roles do you see yourself as the artist playing that you may not have envisioned yourself in when you first started making art?
Many artists I know are amazing multi-taskers, evolve quickly, and are constantly asking questions. I suppose when I first started making work, I already knew this but was not fully aware of how necessary these characteristics are to maintaining a fluid practice. I have always had these characteristics ingrained within me.
When do you find is the best time of day to make art? Do you have time set aside every day, every week or do you just work whenever you can?
When in the studio, early mornings are my best time to make work. I get up at about 5:00am and start working in the studio by 6:00am or 7:00am. I work until afternoon, take a break, and then work until 5:00pm. I then spend the evenings working on administrative tasks or reading. My dog is my alarm clock and lets me know when it is time to take a break. She is very insistent, but kindly so.
Could you paint that campfire? … No, it is too beautiful., 2014, Gouache on wood panel, 8” x 8”
How has your work changed in the last five years? How is it the same?
In the past five years, my work has changed drastically in how I represent content and palette. How I consider the narrative structure of my work has evolved immensely. This said, my work has always concerned place in some manner, and I have always been interested in painterly concerns and materiality.
Are there people such as family, friends, writers, philosophers or even pop icons that have had an impact on the work you do?