Phil Toy eries Contemporary Art Peripheral agazine 49 SPECIAL ISSUE cafes, office foyers, public places as well as, increasingly, providing pop- up entertainment and hopefully challenges for audiences. I prefer the notion that the role of art is to allow individual expression through which expression may touch the hearts and minds of many; that it may hold a mirror up to us through which we may reflect on relationships, personal and sociopolitical and economic, that somehow we find liberating. Returning to your question about the role of humour, in addition to my tendency towards satire, we talked earlier about my work process of trying to keep in mind the role that can be played by being humorous and playful. It seems to me that allowing humour to have a role provides a healthy opportunity to look at myself as well as the world around me. Over the years your works have been showcased on several occasions, and will be again in your upcoming solo at the Gallery Zeitgeist, in Berlin. One of the hallmarks of your work is its ability to create a direct involvement with the viewer, who is urged to evolve from a condition of mere spectatorship. So, before leaving this conversation, we would like to pose a question about the nature of the relationship of your work and your audience. Do you consider the issue of audience reception a crucial component of your decision-making process, in terms of what type of language you use in a particular context? The are many audiences who may see my work, from members of the general public walking by, to those who have a sustained knowledge or interest in visual art, in addition to other artists and peers with who I may have a critical discourse. There is also a less tangible audience consisting of other artists and writers who may, in fact, be long dead or extant but I may never have met them but, nonetheless, have influenced my development. Sometimes, when I am critical of my own work, I have considered it too literal. At
other times, I may have considered it, or parts of it, too obscure. In this sense, there is a debate to be had and a dynamic one at that. When I gave a talk about my work at Spike Island in Bristol last November, I tried to achieve a balance between setting the scene of each piece of work. I talked of the context without over explaining or trying to suggest a particular interpretation. In terms of my own ego and ambition, I am aware that there is a professional audience made up of other artists, curators, writers and collectors and I would care to be taken seriously by them by extending my practice and contributing to critical debate. Interestingly, the exhibition in Berlin is in a privately owned art centre rather than a white cube commercial gallery. The location is superb, so I will take into account how to present work in the space that will reach out to people passing by as much as a more professional audience. In terms of the development of my work, I see it as a kind of research which may take a number of paths and directions - ultimately heading for a focused arena of creative activity - and this process pulls my decision-making and language along behind what is, certainly at times, experimentation which may succeed or may fail. In practice, then, there is a dynamic at work which continues to evolve. Thanks a lot for your time and for sharing your thoughts, Phil. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? Thank you for giving me this opportunity to share my thoughts with you. As you know, the issue of categorisation is one of considerable importance to me and increasingly in recent times, I have thought that I have not pushed my exploration with sufficient rigour to push it against what may be seen as an almost inevitable outcome. What I mean by this, is that there may be a particular challenge for me in producing a piece of art that cannot be categorised. Of course, this is an impossible task in the sense that, if we see something which is completely beyond our comprehension, we will rapidly search our personal filing systems within our minds to find associations which will permit us to quickly categorise anything we see. That said, I suspect that I want to make a piece of art where chance plays a role so that objects, images or text are selected at random and fused into a single piece or installation that is, somehow, coherent, so that it does not present as surreal or disorganised but allows belief: what do I believe this to be? Another aspect of my work that I would care to develop is the role of text and I would not be surprised to find a satirical edge pervading through those texts. The kind of literary fiction, poetry and other forms of writing that I like present a sense of meaning that is felt, but at the same time, literally out of reach as though there is an invisible bridge of energy connecting different elements that somehow produce a complete picture. In my mind and in my studio, I have the elements to start new work but, much like a writer writing a work of literary fiction, once the characters are created and develop form and substance, they might just take over and decide where the story is going. Thank you again for this opportunity to share my thoughts. agazine Contemporary Art Peripheral eries Special Edition SPECIAL ISSUE 50 An interview by Josh Ryder, curator and Melissa C. Hilborn, curator design by Dario Rutigliano, curator [email protected]
Books, Brazil nuts, Bath Salts (From Things Beginning With ‘B’)
SPECIAL ISSUE 52 Rejecting any conventional classification regarding its style, Brigitte Dietz's work draws the viewers through an unconventional and multilayered experience. The central theme of her work is the paradox of the human being living alone in community and in her body of works that we'll be discussing in the following pages she accomplishes the difficult task of exciting the observer to „finish“ the painting by himself, to motivate his imagination to create his personal image in a specific situation: we are very pleased to introduce our readers to Dietz's stimulating and multifaceted artistic production. Hello Brigitte and welcome to Peripheral ARTeries: we would start this interview with a couple of questions about your background. You have been artistically productive since your schooldays, specially supported by your professor Bernhard Epple and later by Traugott Notz. How did these experiences influence the way you currently conceive and produce your works? And in particular, how does your cultural substratum due to your studies of classical philology inform the way you Brigitte Dietz Lives and works in Heidelberg, Germany Peripheral ARTeries meets By painting, I try to explore the paradox of the human being living alone in community. Whom are we representing and who are we in reality? Already in our personal lives, we have troubles to answer this question in a satisfactory way. The diversity of humanity is the variety of its individuals. They differ not only from each other, but also show their 'manifold faces'. As a portrait artist, my task is to discover consistently this difference in every personality. My responsability is to pick it out as a central theme. In order to achieve this, not only the facial expressions, the colours and „moods“ are important, but also the confrontation of every personality with their own contexts. The abstract parts on my paintings however, I often begin by softening up the archetypical geometrical forms, I put on the canvas before. After that and within these forms, I create ideas to design the painting. The subleties operate as counterpart of the basic forms. On this stage, my paintings receive the „character“. Expressions and spaces get introduced into the formation. My aim is to excite the observer to „finish“ the painting by himself, to motivate his imagination to create his personal image in a specific situation. The painting works as a peg on which to hang the personal interpretation of the observer. By this means, the difference between the personality and its self-portrayal appears in a specific suspence. An interview by Josh Ryder, curator and Melissa C. Hilborn, curator [email protected] agazine Special Edition Contemporary Art Peripheral eries
Photography © 2015 by Steven Pearse Conway
Buber Ben Gurion, from the authentic encounter series
55 SPECIAL ISSUE Brigitte Dietz eries agazine Contemporary Art Peripheral relate yourself to art making and to the notion of beauty? Hello, thank you very much for having me. In fact, these are the three main sources that drawed me towards painting. Bernhard Epple, my teacher at secondary school who later on became well known, supported my eagerness to paint. He helped me to develop my artistic foundation. Traugott Notz has been my portrait drawing teacher at an adult education centre since three decades. He shows me, again and again and with all required strictness, my drawing mistakes by drawing portraits from life models. So I am learning a lot by him. And my studies of classical philology, besides learning greek and latin, opened the door to philosophy and classical art fort me. The results of your artistic inquiry convey together a coherent sense of unity: before starting to elaborate about your production, we would suggest to our readers to visit http://www.globalartleague.com/brigitte -dietz.html in order to get a synoptic view of your multifaceted artistic production: while walking our readers through your process, we would like to ask you if you think that there is a central idea that connects all of your work as an artist. Well, you already insinuated it. My central artistic concern is less an idea but a question: How am I, a single person , connected to the community, the human beings around me, the political consesus? What are the interdependencies of my social surroundings? By posing this question, again and again, I always get different answers. The answers are my paintings. My paintings do not try to be a general truth or rule or wisdom. But they are true too: in their specific moments. In the moment I paint them, and in the moment somebody looks at them with all honesty, paintings deliver a certain truth, that always might be different but are certainly true during this specific moment of looking at them. I do not compare my paintings to a philosophical book for example, where the author claims, that it is true what he wrote inside the book, regardless if somebody reads it or not. I do not claim that for my paintings. Regarding social questions, there is simply no eternal truth, so I do not try to give an eternal answer. Every glimpse of authenticity between human beings is strongly connected with the element of surprise: You can not plan it, but it might happen. I sometimes get surprised by my own paintings,when I look at them after a while. I think this question about athenticity is more or less behind all my paintings. The body of works that we have selected for this special edition of Peripheral ARTeries and that our readers have already started to admire in the introductory pages of this article has at once captured our attention for the way
SPECIAL ISSUE 56 you have captured subtle aspects of the personality of your characters, providing the visual results of your artistic inquiry with autonomous aesthetics: when walking our readers through your usual process and set up, would tell us how do you select the subjects for your portrait series? The personalities, I selected for a painting, fascinated me somehow. Without that, the portrait would probably not be very „alive“, it would appear „constructed“. I really need that very personal thrill that drives me to paint them. And that can be a problem sometimes: Let us say, you have to paint somebody, for example by a comission. The main challenge is here, to get into a close connection, in order to develop some affection. And the best trick in order to achieve this, is to get engaged with the biography of the sitter. Did you ever read a boring biography? Probably not! So in case, you find a person really boring, and frankly, that happens sometimes on first sight, ask him about his life. And that is how I set up a creative process.With this little trick, it is impossible to paint boring people. Well, at least for me it worked. You are a versatile artist and your media include oil painting, mixed technique, collage and pastel: what are the qualities that you are searching for in the materials that you combine in your works? Well yes, I work with different materials: oil paints, acrylic, collages. Actually I work with everything you can glue on a paperboard or a canvas. Specially for collages, there is a wide range of useful qualities: the material itself, newspaper, tree bark, metals, potatoe nets etc. If you take a look for example at my Joseph Beuys-collage, you can see that I just used materials, no colours! Actually, I just agazine Special Edition Contemporary Art Peripheral eries Virginia Woolf's Death, Triptych acryl oil collage 2,40 x 1m
57 SPECIAL ISSUE used materials that were used by Beuys himself in his installations. For Beuys, materials had a special significance, e.g. every day used objects are „basic things“. Some things had a symbolic value like felt, fad or copper as energy source. So just using materials he used for that portrait collage, I figured maybe I could get closer to him and his broad art concept through the materials. I use collage pretty often. But normally in combination with colours. For example painting my Virginia Woolf triptych, I felt I need big chromaticity. So I used oil and acrylic paints. The faces, I always paint in oil. „Virginia Woolf's Death“ is a huge triptych. I painted it in order to tell her story; about this woman at the end of the victorian era in her intellectual Brigitte Dietz eries agazine Contemporary Art Peripheral , 2016
SPECIAL ISSUE 58 surroundings with the suicide as the inevitable and therefore tragic consequence. In the first two parts of this painting, my collages describe daily events back then. In the third part, that is about the death, I glued the suicide note to her husband in shape of her profile on the canvas. I thought this discreet third portrait would be a contrast to the other two fully painted portrait heads in the painting. Because in a way, death is tragically about dematerialisation. In a way, I used extra material, the collages, in a symbolic context in order to express an dematerialisation process. But this paradox-seeming procedure of the use of materials, worked out quite well in this case. So, the material gives me a huge variation of qualities at hand, and I challenge myself to choose wisely. I am agazine Special Edition Contemporary Art Peripheral eries Triptychon, Martin Buber
59 SPECIAL ISSUE constantly collecting materials that I might use for a future painting. I enjoy that. As you have remarked once, your aim is to excite the observer to „finish“ the painting by himself, to motivate his imagination to create his personal image in a specific situation. Rather than attempting to establish any univocal sense, you seem to urge the viewers to elaborate personal associations: would you tell us how much important is for you that the spectatorship rethink the concepts you convey in your pieces, elaborating personal meanings? I think it is not so important for the spectator, to actually rethink the concept. When people are talking to you at exhibitions, you notice, there are countless ways of looking at a painting. I really enjoy these talks, some people try to classify the style, others judge it: too colourful, too big, too boring etc. But sometimes there is somebody who really is wondering and begins to ask questions honestly. Then, the element of surprise we already talked about, kicks in: the viewer makes observations by himself, shows emotions, scrutinized himself. These are really exciting moments, because it enables me, to discover new things and perspectives in my own paintings. As I said, the element of surprise concernes the spectatorship as well as the artist. So, looking at paintings is perhaps more about being interested and open minded rather than rethink an arstist's concept. Red is a quite recurrent tone in your pallette and we have really appreciated the vibrancy of thoughtful nuances of your pieces, that are often marked out with intense tones as Günter Grass and Christian Morgenstern . However, other Brigitte Dietz eries Contemporary Art Peripheral agazine
SPECIAL ISSUE 62 works as Welles & Chaplin shows that vivacious tones are not strictly indespensable to create tension and dynamics. How did you come about settling on your color palette? And how much does your own psychological make-up determine the nuances of tones you decide to use in a piece and in particular, how do you develope a painting’s texture? Selecting colours, I actually do not follow a strict rule or scheme. I am very pragmatic about that: What colour suites a certain expression? For example, the originl sample of my double portrait of Welles and Chaplin was a black and white photography. I became instantly excited by this intimate snapshot: Two titans of world cinema, sitting next to each other with a glass of whine. They both show a cautious body language getting to know each other. That is a subtle occasion. You can not use the colour red for it. Whereas Grass does not make this silent expression. There lies a certain energy in his genius and he shows that, not only in his drawings! While referring to reality, your paintings convey a captivating abstract feeling: how do you view the concepts of the real, the authentic and the imagined playing out within your works? Well, reality is not something that is, but something that happens. If I know something, for example, that this person agazine Special Edition Contemporary Art Peripheral eries
63 SPECIAL ISSUE Brigitte Dietz eries agazine Contemporary Art Peripheral Günter Grass, Acryl, Collage auf Leinwand
SPECIAL ISSUE 64 agazine Special Edition Contemporary Art Peripheral eries Christian Morgenstern
65 SPECIAL ISSUE suffers from something, that does not mean that it is real. It could as well be imagined. But if that,what I know, happens, then it is real. But an authentic experience includes always an element of surprise, that I can not foresee or plan. Reality is strongly connected with time, you see? Nature itself does not tell us, if something is authentic or imagined. But we know that something is real, when it happens. In German we use a term for it: „bewähren“, that means something like to prove of value. The word „bewähren“ applies „Wahrheit“, and that means truth. So the real differs from the imagined by happening. And that happening is authentic. And only this action decides whether someting is right or wrong, for that specific moment. Your artwork are pervaded with images rich with symbolic features, as Nehru & Gandhi. German multidisciplinary artist Thomas Demand once stated that "nowadays art can no longer rely so much on symbolic strategies and has to probe psychological, narrative elements within the medium instead". What is your opinion about it? Morever, would you tell us something about the importance of symbols in your imagery? I have to say, I by myself, am neither a big fan of pure symbols. A painting, conveying its message just via symbols can be very boring to be honest. Well not always obviously. Sometimes it genius. For me, symbols can be very Brigitte Dietz eries Contemporary Art Peripheral agazine
helpful to underline somethig or to put something in an interesting context etc. And that can be very exciting. But there is no general scheme or rule of how to balance narrative, psychological and symbolic elements. With every new painting there is a new challenge to figure it out. But yes it is a big question. In the introductory question you remarked that by painting, you try to explore the paradox of the human being living alone in community. Mexican artist Gabriel Orozco once stated, "the artist’s role differs depending on which part of the world you’re in. It depends on the political system you’re living under". Not to mention that almost everything, ranging from Caravaggio's Inspiration of Saint Matthew to Joep van Lieshout's works, could be considered political, do you think that your works is political, in a certain sense? what could be in your SPECIAL ISSUE 66 agazine Special Edition Contemporary Art Peripheral eries Nehru & Gandhi, from the Authentic Encounter series
opinion the role of Art in the contemporary age? Of course, like every human being, the artist too is dependent and connected to his political context, above all concerning the question of liberty and freedom. But to talk about an artist's role, is perhaps a bit too much. Which role should that be? I think for an artist as well as for every human being that is no politician, the challenge is not to play a role, but to find authentic moments. But off course: We in Germany, are alleged free. And we are allowed to express whatever we want to. But, concerning liberty, there are other, very personal qualities too: psychological issues, fashion, economic pressure, moral issues etc. For example, Joseph Beuys tried his whole life to emancipate himself from his determinents. To put it with a lot of pathos: Creating art as well as living a human life, is a lifelong struggle for B-Site Festival / Error 404 502 410 & “Dust”/ Manheim 2015 / Germany eries Contemporary Art Peripheral Brigitte Dietz agazine 67 SPECIAL ISSUE
SPECIAL ISSUE 68 agazine Special Edition Contemporary Art Peripheral eries chaplin's burden, mixed media (oil, acrylic, collage) on canvas, triptych 240cm x 100cm, 2016 freedom. So if Gabriel Orozco means that by politics, I would partly agree. Over the years your works have been exhibited in several occasions, including your recent participation to the group exhibition at Galerie Melnikow, Heidelberg, Germany. One of the hallmarks of your work is the capability to create a direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we
69 SPECIAL ISSUE would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decisionmaking process, in terms of what type of language is used in a particular context? Off course, means of expression affect the viewers. At least, they are supposed to. But what counts is, to surprise the viewer. The problem is as already Brigitte Dietz eries agazine Contemporary Art Peripheral
agazine Special Edition Contemporary Art Peripheral eries SPECIAL ISSUE 70 mentioned: To think I can plan a 100% certain surprise would be ridiculos. Because I, the painter, am not the only one who is involved in the painting. The viewer has to invest some energy too. In order to achieve the latter, there are of course possibilities for painters. The first thing my painting should do is awaken the viewer. Everything schematic, structured and 100% planned out, without risks, without being surprised by yourself producing the painting, leads to viewers who fall asleep. And sleeping viewers will not experiences anything surprising. But if my painting on the wall manages it to awaken the viewrs, then, surprising experiences are possible. Even I, who painted it, can be surprised again. Thanks a lot for your time and for sharing your thoughts, Brigitte. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? Thank you very much. Well, I now began with a new series „authentic encounter“, some paintings of this series you already mentioned. In this series, I began to express facets of human cooperation. That is a very exciting topic for me and I think I will stick to it for quite a while. I am eager to see, where this topic will lead me. An interview by Josh Ryder, curator and Melissa C. Hilborn, curator design by Dario Rutigliano, curator [email protected]
71 SPECIAL ISSUE Brigitte Dietz eries Contemporary Art Peripheral agazine Albert Einstein acryl oil collage 70cm x 1m
My work examines the numerous layers of the body affected by chronic pain, as it relates to spinal health. This includes the physical, psychological, and emotional impact that chronic pain has on different individuals. I engage with the complexities of the human anatomy through objects that exist, or could exist, on the figure. Each piece allows for the consideration of how the object affects the wearer/viewer and how the wearer/viewer affects the object. My responsiveness to the spine as a subject initiates through my own chronic back pain and the knowledge that spinal issues are very common. Most people with back pain are constantly aware of the role the backbone plays in supporting their body and facilitating movement. Comfort/Confine is a full body casing that considers the broad, restrictive isolation placed on the body when an individual deals with chronic pain. I utilize the copper yarn as a reference to the nervous system: an aspect of my own chronic pain that can be debilitating. Here, the body has defined mobility, only capable of reaching where the textile allows. The materials chosen to create these objects are thoughtfully considered to reflect these ideas. I explore how a material references different layers of the body, what properties the material has, how it can be manipulated, and what impact it will have on the body as it is transformed into a garment or panel construction. The techniques and materials I choose are familiar to us through our understanding of apparel and the function of specific textiles. I utilize that familiarity to engage with the viewer and encourage them to question what those garments could mean. The textiles that exist on the body consider what it is like when you are forced into an awareness of your own body. Sometimes that is through pain or injury, but that awareness can also come from places of confidence and self-consciousness. I encourage the viewer to approach the work and consider what awareness they have when imagining the comfort/discomfort of wearing the garments. Nicole Benner Lives and works in Atlanta, GA, USA
Sentience, Incubator Gallery, Kranzberg Arts Center, St. Louis, Missouri
SPECIAL ISSUE 76 Experimenting with a wide variety of materials, artist Nicole Benner's work rejects any conventional classification regarding its style, to examines the numerous layers of the body affected by chronic pain, as it relates to spinal health. Drawing from her personal experience, Benner addresses the viewers through a multilayered experience and as in her body of works that we'll be discussing in the following pages, she successfully attempts to trigger the spectatorship's perceptual parameters, with a deeper focus on a complementary dialogue between materiality, content and the encounter with the viewers. One of the most impressive aspects of Benner's work is the way it accomplishes the difficult task of utilizing the familiarity of the materials she combines in her works to encourage the spectatorship to elaborate personal associations and interpretations: we are very pleased to introduce our readers to her stimulating and multifaceted artistic production. Hello Nicole and welcome to Peripheral ARTeries: we would start this interview with a couple of questions about your multifaceted background. You have a solid background and after having earned your BFA in Sculpture you nurtured your education with a Master of Fine Arts with emphasis on Textiles, that you received from Southern Illinois University, Edwardsville: how did these experiences influence the way you currently conceive your works? Hello, and thank you for having me. When working through my undergraduate degree, fibers and fabric manipulation was formally new to me. I had been sewing clothing and costumes since I was very young, but everything I knew about working with fibers and fabrics was primarily self-taught. Toward the end of my undergraduate studies, I was dedicated to exploring sculptural forms through felting, knitting, and crocheting, while simultaneously researching whatever I could about historic and contemporary textile Nicole Benner Lives and works in Atlanta, GA, USA Peripheral ARTeries meets Nicole is a textile artist and Lecturer in Textiles at Georgia State University in Atlanta. She received an MFA in Textile Arts from Southern Illinois University Edwardsville and a BFA in Sculpture from the University of Central Missouri. Her work has been featured in the international publications, Fiber Art Now and Surface Design, and is part of the Crossing Generations: Past, Present & Future exhibition at the 2017 Surface Design Association Conference in Portland, Oregon. Nicole is also a current artist of the 2017-2018 Walthall Fellowship in Atlanta, GA. An interview by Dario Rutigliano, curator and Melissa C. Hilborn, curator [email protected] agazine Special Edition Contemporary Art Peripheral eries
Nicole Benner
Comfort/Confine Detail, Crocheted metallic yarn
79 SPECIAL ISSUE Nicole Benner eries agazine Contemporary Art Peripheral artists. Moving toward my graduate degree at SIUE, I was welcomed into a community of amazing mentors and artists. There was always a productive and positive challenge brought forth in every discussion, and it was that constant dialogue that kept me motivated. This experience allowed me to fearlessly jump into new ideas, new materials, try, fail, and problem solve confidently. That has definitely carried through to my current practice. Additionally, I had the time and incredible resources to absorb as much as I could about the multifaceted world of textiles. I spent a whole semester focusing primarily on learning new techniques. This led into my exploration of working with a more interdisciplinary approach, because I did not want to focus on one material or process, but explore the same conceptual ideas through different means. This stands true to my current practice. I will find a material I am really motivated by and weave it into my conceptual ideas working with chronic pain and the human anatomy. Your works convey a coherent sense of unity, that rejects any conventional classification. Before starting to elaborate about your production, we would suggest to our readers to visit http://nicolebenner.com in order to get a synoptic view of your work: in the meanwhile, would you like to tell our readers something about your process and set up? How much importance does spontaneity play in your work? In particular, do you conceive you works instinctively or do you methodically elaborate your pieces? I would have to say a little of both. When working with a range of materials and techniques, some ideas move fluidly from brain to hand, and other times I need to experiment with a material and process an idea from hand to brain. In turn, I will spend time working on a piece that I know has a clear direction, while simultaneously experimenting with new techniques in different materials. It essentially keeps both sides of my brain busy, and that is how I enjoy working. I would say it is rare for me to have only one piece in progress at a time. When working on a piece that requires a lot of repetition, such as crocheting skeins and skeins of yarn in Comfort/Confine, I will have another methodical, and tedious piece going as well. This was the case when constructing Brace. With this piece, I was manipulating corset-making techniques into a brace form that extends from under the bust, down to the ankles. The brace itself being made out of aluminum mesh, I was searching for a way to construct the piece safely for a person to wear. So, I very methodically created hand sewn French Seams so all of the rough edges were hidden. I am also particularly interested in traditional textile techniques that we associate with domestic items and clothing. I like to form associations between the object and the viewer with this familiarity, and that is often a jumping off point for my experimentation. You are a versatile artist: the spectrum of the materials that you combine in your works include silk gauze, steel, cotton, organza and we have appreciated the way you explore the tactile contrasts that you obtain with such variety of materials: Michael Fried once stated that 'materials do not represent, signify, or allude to anything; they are what they are and nothing more.' What are the
SPECIAL ISSUE 80 properties that you search for in the materials that you combine? In particular, what does appeal you of fibers? Materials play a key component in my work. I would say they are responsible for half the narrative I am putting forth, at least. There will be times when a material jumps out at me and I spend time considering how to incorporate it into my work, but more often, I am judging a material based on how I associate it with the human anatomy. When I am talking about the numerous layers of the body affected by chronic pain, I often begin by connecting a material with a physical layer: muscles, nervous system, skeletal structure. I look for materials that represent a hard and soft quality as reference to strength and weakness. I am especially drawn to materials that are transparent and allow the human form to be seen when the object is being worn. When working with an ethereal transparent material like soft silk organza, I will establish the “strength” in the technique I use, since the fabric is seemingly so delicate. That is true for Plaited Constraint. The piece is very structured, but constructed from a delicate, “soft tissuelike” fabric. In regard to what about textiles appeals to me, I would say the tactile quality of textiles is something I have not found in other media. When I began working with fibers and felting, I knew it was a medium I was truly in love with. Partially, I believe my deep childhood interest in making clothing and costumes jump-started my captivation. Every aspect of textiles requests that I touch the material, or I am intrigued on a level that requires I get closer to the fabric. So, while I work in a range of materials, textiles and textile processes remain my constant. With my agazine Special Edition Contemporary Art Peripheral eries
81 SPECIAL ISSUE Nicole Benner eries agazine Contemporary Art Peripheral Comfort/Confine
SPECIAL ISSUE 82 focus on the human anatomy, this media lends itself effortlessly, but I am engaged in the different processes and the rich history of textiles as a whole. As I mentioned before, I utilize materials and techniques as an association between the viewer and the object. Regardless of an individual’s background, every person has an association with textiles that allows them an immediate entrance into my work. For this special edition of Peripheral ARTeries we have selected Comfort/Confine, a full body casing that considers the broad, restrictive isolation placed on the body when an individual deals with chronic pain. What has at once captured our attention of your artistic inquiry is the way you provided the visual results of your analysis with autonomous aesthetics: when walking our readers through the genesis of Comfort/Confine would you tell us your sources of inspiration? How did you develop the initial idea? While my whole body of work originates from a place of personal narrative, I do research and listen to the experiences of other individuals dealing with chronic pain. Comfort/Confine is a piece closely associated to my own experience with spinal health because it originated while I was dealing with a rough stint of severe back pain. Without getting into too much detail about the medical side of it, disc issues in my lower spine can cause severe nerve pain to travel down my leg. Additionally, it can cause spinal alignment to be off and create severe muscle spasms. At this time, I was focused on a type of pain that controls my whole body, not just my back. Beyond that, it controls what I am able to do all together, and to have that amount of control out of my hands, I found harrowing. So, I refocused that pain into my work, and problem solved how to put these feeling into a piece that would demonstrate the experience I was having at the time. Equally, I was problem solving how I could work from the comfort of my bed. With that, I began crocheting a dimensional form, fitting the contours to my body. Thoughtfully, I was working with a metallic yarn that I had found some months before, and it was the perfect fit for the material relationship I wanted for this piece. I chose to crochet because of the close association everyone has with this technique. Whether it be a blanket, hat, scarf, or stuffed animal, each of these elements is something we associate with comfort. While the yarn is truly soft and light, the metallic quality translates visually to something that may be hard and heavy. As the piece evolved, I knew it needed to not only encompass the body, but extend beyond the feet. On one hand, this is a personal space, a cocoon, and the circular footprint isolates the individual. On the other side, the piece is restrictive, and that pain or loss of control extends beyond the physical and into that individual’s larger space. This was the duality I wanted to create with. As you have remarked in your artist's statement, your responsiveness to the spine as a subject initiates through your own chronic back pain and the knowledge that spinal issues are very common: how would you consider the relationship between everyday life's experience and your creative process? How does direct experience fuel your imagination? As I mentioned in regard to Comfort/Confine, part of my creative process is finding control agazine Special Edition Contemporary Art Peripheral eries
Comfort/Confine
Plaited Constraint, Hand dyed silk organza
85 SPECIAL ISSUE in an uncontrollable issue. At this point, my spinal issues have become a part of my studio practice. I arrange my working space in specific ways to add comfort, and I consciously stretch and make sure I am not hunched over my sewing machine for too long. This is an additional reason I usually have multiple pieces in progress at the same time. I am aware of what I need to do to take care of myself, to prevent or ease pain while still working. So, even when my back decides to cooperate, the awareness and that direct experience is still present. Making is my way to control it. It is a journaling process, and a way to tell a narrative I know many people associate with. I would say, in turn, I am never lacking a story to tell, but maybe my materials cannot keep up! I believe when I am having a stint where pain is minimal, that likely reflects in the work I am making at the time, whether it is referencing strength in materiality, or focusing on a specific physical layer that is very controlled. Ultimately, my experience reminds me of my ability to problem solve, find a positive, and focus on making. We daresay that Plaited Constraint provides abstract feelings with a tactile sense of permanence, to create materiality of the immaterial: how did you come up with the idea of this captivating artwork? As I have mentioned, I like to work with materials and processes that people have an association with. Plaiting is a technique used heavily in basket-making, but it is also used as decorative elements on pillows, and in the small “finger trap” toys so many of us are familiar with. I was able to immediately draw parallels to this technique being traditionally used to make vessels and how chronic pain takes over the body and there is an encompassing feeling of being stuck in one’s own skin (vessel). Part of my practice digs into research about chronic pain in regard to spinal health. It is an issue I deal with constantly, so I never lack reference, but I have also read numerous studies that note 80% of the population deal with back issues at some point in their life. I found that number staggering. Chronic pain tends to be a hidden ailment until it affects your ability Nicole Benner eries agazine Contemporary Art Peripheral Plaited Constraint Detail
SPECIAL ISSUE 86 to stand or walk properly. When I was approaching this body of work, I was considering how to shift the emotional perspective of what is happening on the interior and bringing it to the exterior. While no one can see chronic pain, the physical and emotional side of this issue move into your larger space. It is reaching beyond your head agazine Special Edition Contemporary Art Peripheral eries Brace Detail, Wire mesh, steel, nuts and bolts
Brace
How Would You Rate Your Pain, Silk gauze, yarn, thread
SPECIAL ISSUE 90 and beyond your toes. Ultimately, I approach this piece just like the others: I am identifying one more layer of the body affected by chronic pain. For Plaited Constraint, that layer is not as much a physical layer as it is emotional. Despite to clear references to tactile reality your visual vocabulary, as revealed by the interesting Underarm Brace, has a very ambivalent, almost ethereal quality. How do you view the concepts of the real and the imagined playing out within your works? How would you define the relationship between abstraction and representation in your practice? When talking about the interior workings of the human anatomy, it is not always as simple as drawing a spine, muscle structures, etc. Often, the emotional impact and how I interpret an experience comes forward as being very abstract. I talk about the multiple layers of the body affected by chronic pain. I would say I can easily draw parallels between representation and the physical layers, and abstraction and the emotional layers. Depending on the origin of a piece, I then look for a balance between abstraction and representation to better understand the narrative. In the case of Underarm Brace, I began with representation: a type of brace used to treat scoliosis. Then the abstraction came forward by forcing a delicate material that references muscle and soft-tissue to make up the surface material of the brace framed in steel. It pulls back and forth between functional and nonfunctional. If the viewer was to imagine wearing the object they would have to consider the discomfort of the brace, but also the inability to move for fear of damaging the seemingly delicate fabric. I avidly try to find a balance between the abstraction and representation, the emotional and the physical in order to clearly translate a narrative. You use familiar materials to engage with the viewer and encourage them to challenge their perceptual and cultural parameters. The power of visual arts in the contemporary age is enormous: at the same time, the role of the viewer’s disposition and attitude is equally important. Both our minds and our bodies need to actively participate in the experience of contemplating a piece of art: it demands your total attention and a particular kind of effort — it’s almost a commitment. What do you think about the role of the viewer? Are you particularly interested if you try to achieve to trigger the viewers' perception as starting point to urge them to elaborate personal interpretations? While my works originate from a place of personal narrative, I am very engaged in the role of the viewer. While a large portion of the population deals with some form of the chronic pain, I also acknowledge that many people do not. In particular with the objects that exist on a human form, I hope to encourage the viewer to input themselves into the position of the figure and consider the way they would feel if they were wearing that object. Both physically and mentally. Through the familiar materials and the human figure, I try to engage with all viewers so they can input their personal agazine Special Edition Contemporary Art Peripheral eries
Circulate Silk gauze, silk organza, cotton thread, PLA plastic
Circulate
93 SPECIAL ISSUE interpretation. I enjoy hearing people acknowledge a similar understanding of the piece as my experience, but equally, some interpretations may come from a place of anxiety, or pain that comes from an accident. I find those additional personal interpretations to inspire beyond even my original intention. Over the years your works have been showcased on several occasions, including your recent participation to Crossing Generations: Past, Present, & Future, at the Hoffman Art Gallery, Portland, Oregon curated by Jane Sauer. One of the hallmarks of your practice is the capability to create direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context? Chronic pain is a universal physical issue. My work begins from my narrative, but I always say originates, because I want the work to extend beyond me to a place where different individuals can input themselves into the work, and interpret from their perspective. To do this, I believe I have to consider audience reception through different stages of my decision-making process. As I have mentioned in previous questions, drawing people in with a familiarity to materials come from my own experience, but it also comes with research on how specific fabrics and techniques are used for different items in different places. Thanks a lot for your time and for sharing your thoughts, Nicole. Finally, would you like to tell our readers something about your future projects? How do you see your work evolving? I consider the works that exist on the body to be fresh with a lot of room for evolution and growth, so currently, I am doing more in-depth exploration into crocheted forms. Simultaneously, I am focusing on the way these works are activated. The human figure plays such a huge role in these works, and the experience is much different when the piece is on a human vs. on a mannequin. When I collaborated with Arica Brown and Consuming Kinetics Dance Company, I saw Comfort/Confine activated in a way that I am really interested in. Since then, I have shown the video documentation of the performance Molecular Memory, alongside the object and I am digging into how performance and this form of documentation have the potential to elevate the objects. I hope to have more of these ideas incorporated into my portfolio in the coming months. Thanks so much for this opportunity. Nicole Benner eries Contemporary Art Peripheral agazine An interview by Dario Rutigliano, curator and Melissa C. Hilborn, curator [email protected]
Aby Mackie is a Barcelona-based artist whose wall-based sculptures are unified through a materials-led methodology combining storytelling and social commentary. Recurring themes can be identified as materialism, consumerism, value and memory. Each series investigates the interconnectedness of these themes through the language of materials. Often in Barcelona, the contents of entire homes are either thrown onto the streets or auctioned off at Encants Vells market upon the death of a final occupant. The creation of Mackie’s work is driven by the selection and repurposing of objects and textiles from these two practices in order to explore ongoing cultural concerns. This roots Mackie’s artistic process in the everyday existence of the unrecognised, uncelebrated, unknown lives of Barcelona’s residents. Mackie is captivated by the unobvious silent material witnesses to a life lived; a worn bed sheet, a stained tablecloth, a moth-eaten gown. Such artefacts bare the marks and physicality of human nature, possessing a poetic power. They are simultaneously valuable in their uniqueness and worthless in their deteriorated, decontextualized state. Each piece created from these objects is therefore both the artist’s personal expression of the hidden memories embedded in the original items, and a way to explore the recycling and re-contextualising of meaning and value in contemporary society. The experience and memories of others, imagined and real, fuse seamlessly with Mackie’s own through the salvation, destruction and discordant juxtaposition of materials. A rich mix of influences can be seen through Mackie’s work in terms of concept (the found object sculpture of Picasso, Miro, Tapies, Grau-Garriga), techniques and materials (Anatsui) and subject matter and aesthetic sense (Basquiat, Schwarz), inviting the viewer to create their own connections and interpretations and encouraging a personal storytelling through materiality. Aby Mackie Lives and works in Barcelona
Wall based sculptures (work in progress). Mixed media. Embroidery, stitch and paint. 2017
SPECIAL ISSUE 96 Hello Aby and welcome to Peripheral ARTeries: we would start this interview with a couple of questions about your multifaceted background. You have a solid background and after having earned your first class BA in Textile Design from the Nottingham Trent University, you nurtured your education with a Masters of Arts in Fine Art, Photography and Methodology. How did these experiences influence the way you currently conceive your works? In particular, how does the relationship between your cultural substratum dued to your English roots and your current life in Barcelona? My English roots are very firmly planted in the duality of growing up with creative parents (my father is a clock maker and my mother studied ancient history) whilst growing up on a council estate in Leicester. My childhood home from the outside was a council house like any other, yet inside it was a magical place filled with grandfather clocks, antiques and curios, music and books. Barcelona, for me, is a place like the inside of my childhood home, magical. It’s steeped in history, architecturally rich and abundant in creativity. From the very first time I ever visited Barcelona it felt like it was home. Whilst I studied a design (textiles) degree I always made artworks as my final pieces throughout my course, finding the challenge of making art whilst fulfilling a design-led brief, exciting. This led to a masters, researching into comparative studies between design and art methodologies. The influence of My BA in Aby Mackie Lives and works in Barcelona, Spain Peripheral ARTeries meets Born in 1977 in Leicester, U.K. Aby Mackie earned her first class BA in textile design at Nottingham Trent University, followed by a Masters of Arts in fine art, photography and methodology. It is from this place of material and technical diversity that her work has evolved over the years. Aby is a dedicated diarist who has written every day for the last 27 years. Her work is about a life lived, often self portraits that make direct and indirect reference to her diaries and subsequent moments, specific events and days gone by. Aby Mackie's experience with art started at a young age; inspired by her clock-maker fathers' technical drawings and crafting of clock movements. This led Aby to study various arts and crafts practices; from jewellery making to pottery, metal sculpture to B&W photography. Her passion for vintage textiles can also be accredited to her antique collecting fathers' influence as well as her mothers passion for ancient history and stuffed snakes. The influence of vintage textiles is evident throughout her work. Aby moved to Barcelona on a whim in the summer of 2004. She has been running a successful design business for almost ten years, that has continued to evolve into the company that it is today. She now has a shop, 'Aby Mackie ShowRoom' in the Poblenou district; where she sells her converted designs, collections of vintage clothing and exhibits her latest art works. An interview by Josh Ryder, curator and Melissa C. Hilborn, curator [email protected] agazine Special Edition Contemporary Art Peripheral eries
Aby Mackie photo by Daniela Leal
Bust. Mixed media, assemblage.'soldier on' 2017
99 SPECIAL ISSUE Aby Mackie eries agazine Contemporary Art Peripheral Textile Design upon my current artistic practice is evident, and an ongoing questioning between an art and design practice prevails throughout my creative practice. Your works convey a coherent sense of unity that rejects any conventional classification. Before starting to elaborate about your production, we would suggest to our readers to visit http://abymackie.crevado.com in order to get a synoptic view of your work: in the meanwhile, would you like to tell to our readers something about your process and set up? How much importance does play spontaneity in your work? In particular, do you conceive you works instinctively or do you methodically elaborate your pieces? I practice a material-led working methodology, sourcing unique items from the local flea market, Encants, as well as from the streets of Barcelona. I follow my gut and collect objects that excite me; from agricultural machinery to horse paraphernalia, thread bare bedding to sailors hats. Often these items will hang around my studio for months, if not years before inspiration strikes. I work very spontaneously and instinctively. Work often evolves from an object or material, teasing the subject out of its depths to create a starting point. The work, ‘Moda in Dystopia’ began from the carefully folded and tied pile of teatowels from the 1950’s. The fact that they are teatowels already creates a very clear language, talking of women's work, domesticity and femininity. Whilst the object or material itself provides an instinctive starting point to my work, the pieces then usually evolve methodically and more often than not laboriously, from that point onwards. You are a versatile artist and your practice is marked out with captivating multidisciplinary feature, ranging from book arts, social and community art engagement practices, textiles, mixed media, installation, public art, and greenspace. What did address your current approach? And in particular, when do you recognize that a technique or a material has exhausted its expressive potential to self? My current material led approach using mixed media and textiles usually dictates the end context, as site specific installations and public art pieces. As the materials used in my work are often street-sourced I like the collaborative aspect of exhibiting work in a street-art context and outside of the usual gallery space. Work created for this end purpose is non-commercial and free to the intrepid viewer. The majority of my work, which is extremely labour-intensive, is intended for site specific installation. I find that the very nature of the materials that I employ provides endless possibilities as each object is unique and has a materialistic quality that is totally original. These one-off materials combined with a technique that develops from the object itself, means that the range and combination and possibility of technique and material remain new each time. I use various textile techniques as my starting point; embroidery, appliqué, wrapping, weaving, quilting, stitching and so on, or I use fine art techniques on the textile itself; painting, printing, collage, photography, drawing etc. I tend to have multiple bodies of works in progress simultaneously as the material I’m using has to be sourced, often from Encants, and it is down to luck and perseverance which can sometimes takes years - such as the sculptures using horse collars or the series of