Scott D'Arcy Peripheral ARTeriesAlthough digital media allows a platform for manipulation and surrealism, physical distortions can be equally as interesting due to their 'no tricks' approach. Reflections, photographs through water and the doubling up of images in glass are good physical examples of an images temporal existence.Since my art relies heavily on an audience recognising something familiar in order to be sometimes problematic to assume a final drawninto a state of speculation. It isreading even when the work is finished, but this is what images must do to continue if they want to maintain out attention. So I embrace and play with their shifting and fluid nature, as oppose to making representations or illustrations of more solid events or concepts. phy and digital media - 2011
Scott D'ArcyScott D'ArcyPeripheral ARTeriesCassandra Hanksan interview withScott D'Arcy Hello Scott and welcome to LandEscape. I would start this interview with my usual ice breaker question: what in your opinion defines a work of Art? Moreover, what could be the features that mark the contemporariness of an artwork?It's a deceptively complex question, ever since we came to the conclusion that art can no longer exist outside of itself. Therefore there are not many boundaries left to push. Anything can be art, although in saying that, not everything is. For me a work of art is defined by its ability to convey a set of ideas in a way that captivates a viewer through sensory experience. Sometimes an emotional connection is seen as a very important aspect, but personally i think this is a by product and down to qualities within the individual and not the work in question. I think pieces that are set out to be contemporary from the start tend to be guilty of being too 'slick' or polished. This doesn't go for the majority of contemporary art, but id say it's sometimes a good indicator of an artist appealing to a built up contemporary fashion in a way. Would you like to tell us something about your background? You have studied at the Leeds Metropolitain University: how has this experience of formal training impacted on the way you currently produce your works? By the way, I sometimes I wonder if a certain kind of formal training could even stifle a young artist's creativity... what's your point?I did study at Leeds Met yes. Institutions are useful in terms of sharing ideas and co-operation. I found having people to hand very useful with my practise in particular because it relies heavily on collective and shared readings. However the downside of making work that is being formally assessed in that way means you are forced to focus on one area. There is freedom within the scope you choose. However wanting to pick something totally different up the following week is more often than not frowned upon, even though i have found that if you are serious about your art, no two things are completely unrelated. However at the time i was very much aware that this was what universities had to do in order to grade work. I made art for myself as well as my education and it did make me to value the variety, which is something best recognised early on in an artists progression between what they like to do and what they have to do.An art students creativity can be 'stifled' mostly by self consciousness, specifically when they compare themselves to their fellow pupils. The most
Scott D'Arcy Peripheral ARTeriesduring the process of creating a piece?It varies depending on the piece. There are a whole host of different techniques i use within the computer (mainly photoshop) and for the most part my practise has been a cycle of pushing images back and forth between the tangible world and digital manipulation until it is resolved. The preparation onto what engines to use in conjunction with each other requires a great deal of preparation and research, mainly around the formal elements of images but also the philosophical concerns around out perception. I also spend a lot of time scouting out locations and collecting images in order to have a more practical connection to my most common aspect of this i found is when two people arrived at similar areas. I learned the trick is not to compare yourself to your class mates, just relax and understand your practise better. The natural feeling you get is to take a different route, but this is more often than not a false sense of security.Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and After Vermeer - digital collage - 2012
Peripheral ARTeriescreative process. Lighting techniques and compositional decisions like in “Birth” is very tough and requires patience. Its an endless game of trail and error, constant observation and experimentation.Now let's focus on your artworks: I would like to start with Baroque No.7, a recent and interesting piece that our readers have already admired in the introductory pages of this article: would you tell us something about the genesis of this work? What was your initial inspiration?My initial inspiration was the investigation of the multiverse of layers and realities images exist on and the high drama achieved in baroque paintings. I found this aesthetic style to crop up everywhere, from films to fashion from a time where we couldn't have lived. It's as a kind of diachronic nostalgia, which i obviously found very interesting and decided to explore. Baroque No.7 was made at the beginning of my real use of the photography studio. Its intention was to made a new work out of powerful elements of much older ones in the hopes of creating a piece that intoxicated the viewer through visual familiarities. Leading them into a labyrinth of fake tattoos, doubled up figures and digital manipulation. Which i felt reflected our recycling of these tastes and has the possibility to build on its social conjunction. Another pieces of yours in which I would like to spend some words are After Rembrandt and After Vermeer... Although it's crystal clear that this series is pervaded by irony, I have to admit that I'm some puzzled about this aspect: in fact the irony springs from the super imposition of materials of different eras... all in all, if we admire the first version of Cara-vaggio's The Inspiration of Saint Matthew, we can recognize the angel's hand driving Sain Mattew's pen... so why an angel shouldn't help an old man to write with an iPad? I really hope that you will forgive me for this naif observation...I think that if that where the case, we would just Birth - digital collage - 2013After Rembrantd - photography and digital meScott D'Arcy
Scott D'Arcy Peripheral ARTeriesbe changing materials within the reality of the painting. Consequently the characters might then be drawn into areas of convincing fancy dress, which would be very final. In a way I am glad you're left at least a little bit at a loose end, but to clarify the irony is important in my re-contextualization of these images. By super imposing two different states in the same setting; using either surrealism of the same figure multiple times. Or alternatively by making a work that appears to be one very resolved image but is in fact two from different periods in time. It prompts the viewer to really participate in their own speculation around the work. So to finalise, the irony wouldn't have this effect if the work was a more linear one. Neither would it be as effective if everyone arrived at the exact same conclusion, it would make the images very bland and dead in my opinion. To me a small amount of confusion is the same as the right amount of creative speculation.It goes without saying that modern technology -and in particular the recent development of infographics- has dramatically revolutionized the idea of painting itself: this forces us to rethink to the materiality of the artwork itself, since just few years ago an artwork was first of all -if you forgive me this unpleasent classification- a manufactured article: it was the concrete materialization of an idea... As a digital based artist with high levels of experience both in Painting and in Photography, you would like to know you opinion about this... Id have to agree with you. Artwork did used to be a concrete manifestation of ideas, it still very much is. However I am reluctant to show any work as print or hard copies, as i believe the digital best represents my concept of the fluid existence of images. I think there are some interesting traits that appear when looking at a painting that non-tangible displays play with. That core desire to touch a realistic paintings originates from some primal urge to test the illusion of the world the painting depicts. Touching the surface disrupts that false perception; one which the artist tried to achieve in its creation. (if we are talking about high realism painting) Otherwise we wouldn't constantly remind visitors of a gallery not to touch the paintings. Upon reflection No.23 - photography - 2013dia - 2013
Peripheral ARTeries Scott D'ArcyCassandra HanksIt's that desire that is completely denied when using digital screens or projections, it makes the work not only appear more fake. But destroys the artists 'hand' and distancing a viewer from the creation process. Ironically i find this very useful when getting to the core focus of my work. Digital displays free the image from this distraction of touch and the tangible fixation of a material. If you want ideas to orbit around a particular subject as i do, a temporal medium is best. As you have remarked in your artist's statement, you have a tendency to view the world as an infinite universe of visual references, that merge over one another... I would go as far as to state that your Art help us to notice a lot of details around us, allowing us to discover the poetry inside them... I'm sort of convinced that some informations & ideas are hidden, or even \"encrypted\" in the environment we live in, so we need to decipher them. Maybe that one of the roles of an artist could be to reveal unexpected sides of Nature, especially of our inner Nature... what's your point about this?I suppose it depends what you mean by inner nature. If you mean it physiologically, i suppose you could see some overlap between that which we project onto the world from personal experience, and an images ability to deflect these experiences back to us in a more mysterious way. Thus peaking our attachment and making us want to explore it, which is exactly how it works for me. I have this huge collection of images, and when i discover something i always have this need or habit to try and attach it to some other picture. This discovery could be anything from a found image, to a location, or something i have been around for years and only just realised its potential. That's when the practical investigation really begins, even though i wouldn't go as far as to say my work is very personal. But there is defiantly After John Martin - digital collage and manipulation - 2012
Scott D'Arcy Peripheral ARTerieswould just enjoy the self gratification in the initial moments that we all constantly crave. Beyond that awards and prizes are mostly tools for academics to try and differentiate between good and bad art I guess. They wouldn't influence many dedicated artists I don't think.I do often wonder about who my art is for, if that is the same thing. The references are the most problematic aspect to wrestle with in a pieces reading. But I don't believe the work should stride to be educational through what it appropriates. A small clue in the title is enough for anyone interested in how it originated. Id say my work is for anyone who isn't to fixed on convention and likes to apply their own ideas a lot. Thank you for your time and for sharing with us your thoughts, Scott. My last question deals with your future plans: anything coming up for you professionally that you would like readers to be aware of?Id like to mention that I am currently collaborating with a hand full of artist in Yorkshire and the Midlands. Some interesting projects are mushrooming out, including some surrounding gaming culture and reconstructing films stills. It's a bit of a left turn for me as my practise has up until this point been solitary, but there will some exciting exhibitions and events for 2014 but I wouldn't like to say any more than that on their behalf. something very human about this activity of exploring, deciphering and understanding the world through the memory of images we can relate to. During these years, your artworks have been exhibited in many occasions and moreover you have been recently shortlisted for Vantage art prize... it goes without saying that feedbacks and especially awards are capable of supporting an artist, I was just wondering if an award -or better, the expectation of an award- could even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces?Absolutely not. Awards gained, or short listed for don't do it for me (although they are quite nice for a young artists status) I think most artists Upon reflection No.17 - photography - 2013Upon reflection No.52 - photography - 2013An interview by [email protected]
4#196 WinterI create objects, installations and performances that investigate the echoes of time in contemporary identity and environment. I focus on narratives and legacies left behind by families, media and technology. I use found objects, construct new objects and design sound to activate spaces, reference history and pose questions about perception. I draw on a wide variety of materials and symbols to juxtapose ideas. I play with time travel as I move between generational influences, historical myths and the future. Born in Texas and raised in San Diego, Margaret Noble’s artwork has been exhibited across the United States, Canada and abroad in Europe. Noble’s art has been featured on PBS and positively reviewed in Art Ltd Magazine, the San Diego Union Tribune, and San Francisco Weekly. She holds a BA in Philosophy from the University of California, San Diego and an MFA in Sound Art from the School of the Art Institute of Chicago. Noble has been awarded the International Governor’s Grant, the Hayward Prize, the Microsoft Global Educator Award for Arts and Mathematics and the Creative Catalyst Fellowship. Noble’s artistic residencies include the MAK Museum in Vienna and at the Salzburg Academy of Fine Art. Her solo exhibition, 44th and Landis was featured at the Museum of Contemporary Art, San Diego from 2012-2013. In 2014, she won first place in the Musicworks Magazine electronic music composition competition. Margaret Noble’s work is influenced by the beat-driven dance culture of southern California during the 1980s. This inspiration led her to perform as an electronic music DJ in the underground club community of Chicago for several years during the late nineties. In 2004, Noble branched out from the dance floor into more experimental interests and created a monthly arts showcase called Spectacle in Chicago; during this period, she performed and produced experimental works with a variety of cutting edge new-media artists. Her interdisciplinary work resides at the intersection of sound, installation and performance.An artist’s statement(USA)Margaret NoblePeripheral ARTeriesMargaret Noble
2Righteous Exploitsperformance, photo by Matt Lewis
6Margaret Noblean interview withAn interview withMargaret NobleHello Margaret, first I would give you welcome to Peripheral ARTeries: to start this interview, would you like to tell us something about your background? You hold a BA in Philosophy, from the University of California, San Diego and an MFA in Sound Art from the School of the Art Institute of Chicago: how have these experiences influenced you in the way you currently produce your artworks? Both of these educational experiences have deeply influenced my research and artistic motivations. In the instance of philosophy, I was trained to question and analyze all manners of ideas with a critical eye. I find this practice resonate with what many contemporary artists do today. They investigate ideas, put forth arguments and problem solve through form. Later, when I began my studies in sound art, I was at first pushing to learn the technical and formal aspects of creating exclusively. But, I learned immediately that a work’s ability to communicate may lack in depth if it relies on technical and formal skills alone.Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? My work starts exclusively with an idea of interest; some seed of context that is neglected, in tension or resonates as a problem. I then spend a good deal of time researching my selected topic of interest until I feel that I have something that is more refined and meaningful to express. With this specific concept in mind, I draft out ideas for forms that will express the concept in its most effective way. My forms are fluid and I often outsource pieces of the project to secure the best possible outcome. I fear having my art limited by my technical ability.Now let's focus on your art production: I would like to start with your interesting project Righteous Exploits that you have created in collaboration with Justin Hudnall and that our readers are starting to get to know in the introMargaret NoblePeripheral ARTeries
Margaret Nobleductory pages of this article and I would suggest to visit your website directly at http://www.margaretnoble.net/righteous-exploits/ in order to get a wider idea of this interesting work: in the meanwhile, would you tell us something about the genesis of the project behind these pieces? What was your initial inspiration? My work is obsessively time-based in both form and concept. I am often looking to the past to inform the present and in particular I hunt for primary documents such as letters or photos that may shed light on our experiences of today. For Righteous Exploits, I was inspired by the Ann Fabian’s book, The Unvarnished Truth which is a powerful cultural history of how ordinary Americans crafted and sold their stories of hardship in the nineteenth century. Justin and I decided to exploit our own stories (as often artists do) to see what themes of the past would resonate today based on letters and documents we could dig up from our family. The work then took shape on its own and morphed into ideas around eternal recurrence. 7Righteous Exploitsperformance, photo by Matt LewisAs you have remarked, Righteous Exploits is a chronicle of the life of your grandmother, Helen Hosmer, a 1940′s-era labor activist... so I would like to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process... Do you think that a creative process could be disconnected from direct experience?Yes, I do feel that the most honest and interesting Righteous Exploitsperformance, photo by Matt LewisPeripheral ARTeries
8#196 WinterPeripheral ARTeries Margaret Noblean interview withwork is that which is personal. However, my concern as of late is that my work is sometimes too personal and this directness has made me uncomfortable in familiar audiences. But, the conceptual problems that interest me are those that relate to my direct experiences. Working with experience gives me authority to explore freely and take risks because of insider knowledge. But, the aim is to explore the personal in such a way that it relates to the audiences that experience the work. The antithesis of this is making personal works without thinking of your audience. For me, if the work is only serving the self then it may not belong in the public sphere. I am not saying to pander or cater to audiences in a way that is compromising. What I am saying is that work is more interesting and carries more weight when it is relevant to others outside of the self.Multidisciplinarity is a recurrent feature of your art practice: your production ranges from sound to installation to performance as the interesting 44th and Landis and I think it's important to remark that you were a dancer later, during the late nineties, you were a DJ in the underground club community of Chicago for several years during the late nineties... while crossing the borders of different artistic fields have you ever happened to realize that a synergy between different disciplines is the only way to achieve some results, to express some concepts? Absolutely, and herein lies the tension. I cannot be an expert at all mediums but I do not want to limit my ideas to the mediums I am skilled at. 44 th and Landisinstallation, photo by Nathaniel Elegino 44 th and Landis installation, photo by Nathaniel Elegino
9Margaret Noble Peripheral ARTeries#196 Winteran interview withdaresay- on a physical one, as in as Tides ... Do you ever think to whom will enjoy your Art when you conceive your pieces? Do you ever happen to draw inspiration from who will enjoy your artworks?I deeply care about my audience's experience and this informs my work. I resent projects that alienate audiences and although I am interested in the contemporary art dialectic, I am more interested in work that reaches beyond this specific camp. That is not to say that I think work should be dumb downed, on the contrary, the ideas should remain gripping, challenging and provoking. But, what I would advocate for is that artists use form to communicate ideas beyond the contemporary art community. I was once told that I am a “plain speak conceptualist,” I liked that comment.So, I can execute poorly at mediums I am new to. But, that doesn’t succeed because the work is unsuccessful. I could try to master multiple forms. But, by the time I get to any type of proficiency I may loose interest in my original concepts. So for me, the answer is often collaboration or (as I mentioned earlier) outsourcing parts of a project. Artistic vision is so exciting and clear in one’s mind but so challenging to manifest as a real thing. It does often require a synergy between different disciplines. Your works are strictly connected to the chance of establishing a deep involvement with your audience, both on an intellectual side and - I A still from 44 th and LandisA still from 44 th and Landis
Live performance, photo by Mark Hamburg
12#196 WinterPeripheral ARTeries Margaret NobleAnother interesting pieces of your on which I would spend some words are Shelter and Spills, which part of an installation series that explores the fragility and futility of human interference with natural processes: one of the features of these interesting pieces that has mostly impacted on me is the way you have been capable of re-contextualizing the idea of environment, especially challenging the \"function\" of it... I'm sort of convinced that some information & ideas are hidden, or even \"encrypted\" in the environment we live in, so we need -in a way- to decipher them. Maybe that one of the roles of an artist could be to reveal unexpected sides of Nature, especially of ourinner Nature... what's your point about this?I think the subconscious runs wildly in creators and that the artistic works they make are often cryptic even to the artists themselves. I often think that I am so clear about my intentions behind a work and then once the work is finished I figure out that Shelter installation Photo by Stacey KeckSpill installation Photo by Stacey Keck
13Margaret Noble Peripheral ARTeriesan interview withthere is much more to uncover. It is kind of exciting and unnerving because I want to be very articulate about what I am planning to make. But then I find out that the work is saying more or something different. Of course, I wonder was this intention always there and I ignored it? Or, did something really new emerge?During these years you received many positive feedbacks, and you have recently won first place in the Musicworks Magazine electronic music composition competition... Moreover your artworks have been exhibited in several occasions, both in the USA and abroad, as in Europe, and you won a residency at the prestigious MAK Museum in Vienna and at the Salzburg Academy of Fine Art: what impressions have you received from the expe-riences in Europe? Did you find any great difference with the American scenario?It is a funny thing being an American artist in Europe. There are just some things about the wealth ofculture and history when trekking about Europe that makes an American feel like a child. Sometimes, I have this impulse to feverishly study European art and history textbooks before connecting with artists in Europe. But, that solution is ridiculous and makes one an imposter. So I embrace my American-ness and soak in what the old world offers, recognizing that these two worlds are different and that is interesting!Thank you for this interview, Margaret. My last question deals with your future plans: anything coming up for you that you would like readers to be aware of?I will be creating an installation for the Mediations Biennale this fall at the American satellite venue in San Diego, California.http://www.biennialfoundation.org/biennials/mediations-biennale/44 th and Landis performance, photo by Nathaniel Eleginoan interview by [email protected]
Peripheral ARTeriesThe main direction Tatiana`s works is to transfer graphic and compositional laws in the space of streets, parks, abandoned factories. For her works are important historical, architectural and landscape contexts. In the installations she widely uses colors, graphic quality, the refraction of light, spatial content, the violation of the optical illusions.The feeling of the dominant natural culture is the axis of most projects. She compare asocial environment areas, the urban places and human work directly with them, the author explores all known laws, exposing them. The natural background is becoming legislator and inspirer, and organic natural forms combined with the industrial world and the increasing globalization of nomadism - tools for translating ideas.(Russia)an artist’s statementTanya StadnichenkoTanya StadnichenkoStrikes, 2012Installation, Summer Аcademy in Salzburg
Tanya Stadnichenko Peripheral ARTeries STRIKES, installationSummer Academy in Salzburg-2012The clearness of blow depends from the shooter, from experience, whichhas been saved up on years.Today artist is a densely connected to itself with all society.The young artist has no time for mistakes, relying on intuition and analyzinga situation, it strikes new blow.The blow should be the accurate, uncompromising, exact, with clearstatement.vimeo.com/48279411
Tanya StadnichenkoTanya StadnichenkoPeripheral ARTeriesHello Tanya, and a warm welcome to Peripheral ARTeries. I would start this interview with my usual ice breaker question: what in your opinion defines a work of Art? By the way, what could be in your opinion the features that mark an artworks as a piece of Contemporary Art? Do you think that there's still a dichotomy between tradition and contemporariness? Artist for me now it's not just a creator – it's a person, who can make a difference in the environmental situation, change the areal of his habitat through the dialogue with people. I like to measure the depth of human perception; I immerse myself and people in unusual environment, for to expose factors that are absolutely impossible to see in everyday life. For example, I had a series of public-art projects in which I examined the laws of attraction and gravitation. The plane has outlived its usefulness for me. For me now the drawing, painting and photography can't show all the energy and speed of the modern world. It's a problem, that in Russia we have a huge gap between classic art and contemporary. For example, in the common art- university (like my first one) the history of art ended on the Malevich. And our education system too old, that’s why people didn't get used to think when they see the art, they just say: «Is it really art? I can do the same». Would you like to tell us something about your background? You have received a formal training, during your studies of Fine Arts, at the prestigious Institute of the Contemporary Art of Moscow. How has this experience impacted on the way you currently produce your artworks? By the way, I sometimes I wonder if a certain kind of formal training could even stifle a young artist's creativity... what's your point?In Moscow we have some new private art- institutions where artist could have some fresh knowledge and information about what's going on in the art-world now. That’s why I have 2 art- educations. After ICA (Institute of Contemporary Art in Moscow) the borders of my art-perceptions opened and I start- Cassandra Hanksed to work another way, try new materials, technology; strive for clarity of expression and multilayered work.About background I think that my motherland played an important role in my art. I was born in a little city in Siberia and I used to live in a huge vast, I walked a lot in endless fields, forests and abandoned buildings. That's the one of reason why I prefer to work with a big spaces or on the streets and public spaces with a nature, use the wind and air. Before starting to elaborate about your production, would you like to tell to our an interview withTanya Stadnichenko
Tanya Stadnichenko Peripheral ARTeriesoutput the laws of graphic and compositional to the streets, parks, abandoned factories. The historical, architectural and landscape contexts, colors, graphic quality, the refraction of light, space filling, in violation of optical laws are rather important for me.Now let's focus on your art production: I would like to start with Strikes that our readers can admire in these pages and that I would suggest them to view it directly at vimeo.com/48279411: in the meanwhile, would you tell us something about the genesis of this project? What was your initial inspiration? I did this installation in the Summer Art Academy in Salzburg, Austria. I came to study there for one mounth. And there was an atmosfere like in artfactory, where is an everybody have to do powerfull «strike» with his project. The young artist has no time for mistakes, relying on intuition and analyzing a sireaders something about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece? Basically all of my recent projects deal with temporality. It's going from the my life and social -situation when is nothing for a long time. I'm interested in the theme of the short duration of art. During last year I did nothing for «white cube» space, because I want to my projects works with people on streets and parks and the viewer can participate in the installation. I try to Strikes, detail
Peripheral ARTeriestuation, it strikes new blow. The blow should be the accurate, uncompromising and exact, with clear statement. In the installation I tried to visualize some of these strikes of the young artist as they could be in a formal vision. And it was interesting to worked with salt-space (That factory was a salt factory before the O. Kokoschka did it place for art-study). Another piece of yours on which I would like to spend some words is Labyrinth, an interesting land art work that I like very much: as you have remarked, it breaths, moves, changes a direction, cooperates with the nature... A feature of this piece that has mostly impacted on me is the effective synergy that you have been capable of establishing an effective dialog between Nature and our inner nature... Could you lead us through the development of this project?It was project about the human being with idea that «We alwayse looking for easy road, wander in search of happiness, we lose faith, we find, we rejoice or we long, we come back to old roads and we search for new ways». I cut the grass for to do kind of labyrinth, where people can sit and think about his life. But also I felt this like a big The Labyrinth, Land-art projectLife of every person - a labyrinth. We always search for easy road, we wander in search of happiness, we lose faith, we find, we rejoice wagrass. It breaths, moves, changes a direction, cooperates with the nature.Tanya Stadnichenko
Tanya Stadnichenko Peripheral ARTeries reality and start to live it's s own life, especial when I work with public-art. For example, when I did work «Adrift», I didn't expect that reflections in the water will play a significant role in the composition, and I didn't think that 40 kg of apples from the project «Juice» will exude an incredible smell, supplementing installation. And we couldn't do without mentioning Temporary Waterfall that is one of my favourite pieces of yours: I would daresay that this work sums in an image the well-known Bauman's concept of «liquid modernity». I can recognize in it a subtle social criticism... And I'm sort of convinced that Art in these days could play an effective role not only making aware public opinion about socio political issues: I would go as far as to say that nowadays Art can even steer people's behavior... I would take this chance to ask your point about this. animal which breathe, move and participate in all that process.Being strictly connected to the chance to create a deep interaction, your artworks are capable of communicating a wide variety of states of mind: have you ever happened to discover something that you didn't previously plan and that you didn't even think about before? I'm sort of convinced that one of the roles of an artist could be to reveal hidden sides of life and nature... what's your opinion about this? For sure, everey project from sketches come toor we long, we come back to old roads and we search for new Temporary Waterfall, detail
Peripheral ARTeries Tanya StadnichenkoDo you think that it's an exaggeration? And what could be in your opinion the role that an artist could play in our society?As I told in the beginning of the interview, I think that now the artist can't just sit in the studio and create an esthetic objects or pictures like 100 years ago. Now is everybody artist, everybody has a photo camera and internet. And the true artist has to be more than just artist. He must be a mirror of society, reflection of reality and «changer of time». What about «Temporary waterfall», I was inspired by book of Bauman because he indicated very clearly all social problems of our days. In my life (as in the histories of all my friends also) there is nothing stable, everything too much unreliable, and nobody knows what will be tomorrow. It's kind of the capitalism's consequence and unwillingness of people to change something in the situation. That’s why I want to do exhibition with temporary objects which will crushed during exposition.Your art practice ranges from Installations, public art as Gravitation to performance, as Limits: while crossing the borders of different artistic fields have you ever happened to Cassandra HanksTemporary waterfall, Anapa, 2013installation from series of temporary sculpturesI`ve the only here and now. There is nothing permanentit`s a «liquid modernity» time. Here is only sky and sand.I don`t know what will happen tomorrow because of speedinformation.The first work from a series of break down objects.Limits, video, 2’42’’, 2013
Tanya Stadnichenko Peripheral ARTeriesrealize that a synergy between different disciplines is the only way to achieve some results, to express some concepts? I don't have a single medium for work. I try to express idea by all possible means of expression, and sometimes all this mediums works only together. THE GRAVITATIONPublic-art- installation, Moscow-2012I feel the power of gravitation, it surrounds me.It works anywhere, anytime.I want to dip you in the sense with destruction borders of things and distorted forms.I want to levitate and break any area of perception.I measure the gravity at different locations.vimeo.com/52576741The Marked Place, public installation
Peripheral ARTeries Tanya StadnichenkoDuring these years you have exhibited your artworks in several occasions: you recently had your solo \"Tissue\" and moreover you received a grant from the Academy of Fine Arts in Salzburg. It goes without saying that feedbacks and especially awards are capable of supporting an artist, I was just wondering if an award -or better, the expectation of an award- could even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces?I'm inspired by dialogs and discussions with the audience. And every new exhibition like new competition – you never know reaction of people, but I can't work without society attantion. And every new project like explore of my own borders and opportunities and it's hard but also enjoy. Thanks a lot for your time and your thoughts, Tanya. My last question deals with your future plans: what's next for you? Anything coming up for you professionally that you would like readers to be aware of?I just received an invitation for spring from the residence «La Napoule Art Foundation» (France). I've some ideas for explore French style- garden there. And also may be I've to travel more for totally contemporary art!TISSUES, 2011-Moscow 2012There is a Own law for all elements of the Universe.We are the total model of the our planet, including all its parts: the earth, water, fire, air (wind), heavenly space (ether).The face of person in an old ages looks such as the mirror, is similar to an earth crust surface.It is possible to judge his life on mimic wrinkles of folds of the person. All stresses, pleasures, physiological and spiritual processes leave an accurate trace on us.The Earth have the similar processes, but in galactic scales - explosions of volcanoes, earth crust shifts, a tsunami, climatic fluctuations, changes of degree of an inclination of a terrestrial axis.I consider history of a universe on an example of my own family tree. Portraits of great-grandmothers, great-grandfathers, uncles, are compared with maps of those territories on which their life proceeded.An interview by [email protected]
Serene Greene 2Peripheral ARTeriesGlobal Warming