Briefly describe the work you do.
My work is about where I came from, where I am now and where I want to be. I think about the malleability of memory and its role in fantasy and reality. I think about what it means to be here at this time; all the unseen things that connect me to nature, and all the things I can see that does not. What I have chosen as truth over memories, are materials and objects that stay constant as memories change and fade.Even materials that have been transformed and weathered by time, reveals more than the secrets they are capable of keeping. The materials I use are selected for texture, colour and pliability; some carry significant meaning while others have lost its value. Through the process, they are all leveled out to form new objects that sit in the middle of understanding.
Tell us about your background and how that has had an influence on your work and on you as an artist.
Philippines have always haunted my memories. It is a country full of contradic- tions and every thing seems to be fighting to live and destroy. It is hot, sticky and teaming with all sorts of life both beautiful and grotesque. The cycle of life in both inanimate and living things is fast and enduring.I was born in Manila and spent my first years there. The collection of memories from that time has been my barometer for colour and texturally exciting.
The concept of the artist studio has a broad range of meanings in contempo- rary practice. Artists may spend much of their time in the actual studio, or they may spend very little time in it. Tell us about your individual studio practice and how it differs from or is the same as traditional notions of “being in the studio.”
I’ve had many different types of studios and have moved due to outside factors that usually have nothing to do with what’s happening in the studio. This con- sistent instability of space, have changed the meaning of studio from a physical space to a state of mind. To be in the studio is to be in the mind frame of making, the process of making or in the mode to act on inspiration.
What roles do you find yourself playing that you may not have envisioned yourself in when you first started making art?
Because an art career is so elusive and not easily definable, I was never really
sure of what I was getting into. I did not have a mentor or someone that gave me insight to the long road ahead. I just knew that I wanted to make things with my hands and express ideas through tangible forms. However I can say that I would never have predicted that being an artist which is by nature a solitary occupation, would take me out of my shell and get me comfortable with being uncomfortable.
When do you find is the best time to make art? Do you set aside a specific time everyday or do you have to work whenever time allows?
I have set days dedicated to art and if I get up early enough, I start the day with a thirty minute run to clear my head. This sets the tone of the day to one of produc- tivity and positive intentions. In the evenings or weekends, I set aside time to do adminstrative work that is the hidden side of art.
How has your work changed in the past five years? How is it the same?
The last five years have been so fruitful and it leaves me wanting more. The pro- verbial fire has been lit and I am excited about where my work is heading. I am more confident than ever before and the unknown scares me far less than it did before.
How have people such as family, friends, writers, philosophers, other artists or even pop icons had an impact on the work you do?
My work is a regurgitation of everything I take in with intention as well as the stuff that makes its’ way subconsciously. Perhaps it shows in a big way and others ap- pear as a speck on the surface of my work. I embrace all these things and I trust the filter I’ve developed during my lifetime.
Have you ever been pulled in the direction of a pursuit other than being an artist? What are your other interests?
I have recently began to run, I am an emotional home cook which means I make great meals when I am happy, I have always been interested in sartorial styling, feminist issues and other just causes, but I can do all these things and more as an artist. All the possibles end with art.
Kuh Del Rosario is a visual artist currently based in Vancouver, BC Canada. She graduated with a BFA in Painting at the Alberta College of Arts in Calgary, AB Canada. Born in Manila, Philippines, she immigrated at an early age to Canada, signifying a personal event that has inspired her practice profoundly.
Del Rosario was involved in the administration and management of Dynamo Arts Association, an artist run studio and project space. In conjunction, she was part of a curatorial team, SHIP based out of the Dynamo project space.
Del Rosario has exhibited across Canada in solo and group shows. Her past work includes installation, painting, video and performance, distilled from her mainly sculptural art practice.
Most recently, she joined the arts collective WAEV, consisting of a small group of artists and designers based in Vancouver. Currently, Del Rosario’s work can be viewed at the Kit & Ace shop as the featured artist (May-July 2015). In October 2015, Del Rosario will be participating in the Tokyo Design Fair with the WAEV collective.
All images copyright of the artist and used with their permission.