1: Can you tell me about your background? And what was the first artwork you made?

I MADE A PAINTING IN 1994 DURING MY TIME AS A CIVIL SERVANT IN A HAMBURG HOSPITAL AFTER I HAD SEEN “THE GREEN BALLET” BY ASGER JORN IN THE MUSEUM THERE. YEARS LATER I CAN SEE FACES IN THIS PAINTING SHOWING MY FATHER, MOTHER, GRANDFATHER, THE FACE OF MY DEAD BROTHER OR MY OWN FACE.

2: What is more important to you regarding your work: The process. The final visual outcome. The material? Or something else?

IMPORTANT IS ONLY THE IMAGE. THERE IS NO PROCESS OR PROGRESS. THERE IS ONLY ENTITY, ESSENCE, DESTRUCTION, ENDLESS ANNIHILATION AND LOVE.

3: The N-Bilder, and the progression from the more color-full and figurative works, can you tell more about them and what made you go in that direction?

WHAT I DID MIGHT BE A PEACEFUL REGRESSION TOWARDS “N”, “N” IS A BEAM, THRESHOLD, A DEADLY FREQUENCY OF LIFE AND REVELATION.

4: What influences you?

MY INFLUENCE IS MATISSE, ONLY ART AND MY ONGOING VISION OF INFLAMMABLE LIGHT.

5: What would you ask an artist in a Q&A and who?

I HAVE NO QUESTIONS TO ANYONE.

6: Can you let us in on some of the future projects, works?

I WILL STAY HOME. I WILL GO BACK TO THE SHACK. I AM FRIEDRICH HÖLDERLIN. I WILL SEE THE LIGHT AGAIN.

Link to –  Foundation for Contemporary Art Weidingen

Stuttgart Kunstmuseum Scharpff Collection

Link to artist page

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Can you tell me about your background? And what was the first artwork you made?

Alberto Tadiello. –  I think it’s the same background of my generation’s one. It’s made of school, catechism, family, summer jobs, music lessons, a few mountain walks on Sundays, etc. When I was five, I drew a lion in a closet because I had broken a mirror and I wanted to fill the door remained white and empty. The lion was one and half meter tall. What fate the lion had, I really don’t know!

What is more important to you regarding your work: the process? The final visual outcome? The material? Or something else?

I find quite hard to get the proper answer. In some way, all is important. How ideas take shape. The process. The research. Some glances around. The persistency. The error. The system. Many dreams. Compromises. And the list could go on. But it’s a sort of “physical dimension” that seems to me most significant. It’s a basic ability, instinctive, directly linked to the stomach. A grip which makes a work a work of art. This is an aspect that gives me also a more accurate sense of my own limitations in respect to the work itself. It’s something that, in a certain sense, I can control and I cannot control. A challenge, that comes beyond my individual guidance and occurs between the work and the viewer. It’s a physical experience without any real contact involved. Like a “long-distance” electric shock.

The new body of works, the sand paper. I would love to know more about them.

Have you ever seen a blooming cherry tree? Have you ever dip your head inside its flowering? Did you ever look at a flower meadow from the ground level? Think of something feverish, vivid. Of a sanguineous temperament. Of incandescence. Of metal substances’ colours, becoming increasingly bright and hellish at elevated temperatures. Of sunspots. Imagine something that has to do with smog, pulverization, atomic shatter. And again, focus of something at its maximum point of brightness, of fullness. Just before crumbling away, reduced to dust. I believe that Pale carry all these elements and imageries inside. Technically, they consist at now of five framed sandpapers treated with waxes, glues, sprays and cosmetics. They show a vigorous amalgam of reds, magentas, carmines, blacks, crimsons, violets, plums, greys, burgundies, pinks, whites, browns. Golden slivers.

Your installations and sound. Can you tell us more about them?

I have always worked with sound, using it like a sculptural material. Over the past few years, I’ve mainly focussed my research on use and manipulation of very low and very high frequencies, vibrations, high-pitched whistles. These “polarities” interest me for a sort of epidermal effect, for the unavoidable sculptural result created by them inside an empty space. On a stage, just before a concert, there is a extremely strong energy. There are speakers, idle musical instruments, electric cables, … there is a deep aesthetic and visual component, impossible to ignore. I like to think it would be enough to increase the reverb, feedback and the output of the amplifier, and the stage could play by itself in a growing loop.

What influences you?

The Nature. Some days ago, I was climbing in the Dolomites area when I saw some particular lichens. You’ve to imagine a wrinkled lichen that forms rings and fragmented spots on vertical rocks, at high altitude. Their colour tells about extreme warmth and freeze, about South sunlight and centenarian snowfalls. In their reds and oranges appears a bit of yellow and brown, always leaving trace of an oxidize primeval shade. I keep thinking of this sort of fossil crystallization. Of these jewels, these dignified concretions. Of their minimum thickness that succeeds in tracing a script. This is just one of the images I’m taking along now.

Can you let us on some of your future projects, works?

Of course. I have in mind new sandpapers works. A great sculptural project that it’s hatching in the middle of the thoughts for a long time. And, in the meantime, the summer!

Link to Gallery T293   

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Can you tell me about your Background? and what was the first artwork you made?

– I grew up in the industrial part of western Germany, same city where Josef Albers grew up. Ohh..I really hate this guy!
I can’t remember my first artwork, but I remember what happened very well. It was the most difficult what I had done up to that point and it made me forget everything around me, nevertheless it was also the easiest and most natural thing that I got to know up to that point.

What is more important to you regarding your work: the process. the visual outcome, the material – or something else?

– All of it. At first I think about the material. It is the first reference to the emerging image. After that it is important to me to completely lose myself in the process up to the point where I exit the image. A stroke is a stroke. What you see is what you get.

Some paintings are framed others are stapled directly to the wall – why?

-I believe thats its quiet important to point out that the first thing I have in my mind is space and architecture. A room is always the carrier and everything else should be a carrier for the new painting as well. Sometimes its better to frame pictures to have them communicate with the viewer more easily. Sometimes its better to staple them directly to the wall…I guess people would explain it as a site specific way of painting it start when you investigating the surface of an image more intensively.

What is the thoughest part of being an Artist?

-Sitting in a restaurant, sipping red wine, looking down on my dirty clothes, really dont know how to handle all the Girls.

What influences you – can you tell more about that?

– Girls – No.

Can you let us in on some of the future Projects, work?

Developing a few new series..thought about painting jet-lagged, ah..there will be a groupshow at Michael Thibault in L.A. and a soloshow at Quadrat museum, Bottrop.

Solo Show at: Jan Kaps – Gallery – Cologne

Peppi Bottrop:

LIVES AND WORKS IN DÜSSELDORF

1986 BORN IN BOTTROP, GERMANY

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1: Can you tell me about your background?

I was born in Odense in 1988, happy childhood, worked odd jobs trying to keep student counselors of my back.
started making paintings at 17 in the cellar of my old apartment.
then i was accepted at the royal danish academy of art.
That’s pretty much it, I think.

2: What is the process and Material in your work ?

The process is basically from painting to painting. Sometimes they feel like football players constantly being taken on and off the bench. Some need to dry up, so they are put aside for another one, you know? It’s very fluid actually.
The materials I work with at the moment are watercolor, ink and gouache on thin ,raw cotton fabric.

3: What is the Idea / concept behind your art?

Hmm, it shifts a lot. But I guess at the time I try to work a lot with stuff that I know pleases me visually and to challenge these tendencies and preferences I have. For example; painting a perfectly shaped square in the middle of the canvas. Then I remove the canvas from the stretcher, and when I put it back together I have stretched the canvas to the point that the square has lost its shape. Also because the canvas shrinks when I apply watercolors.
I find it interesting to try and force a certain strictness into a material that cannot really handle this ambition.
My ideas at the moment is, trying to stray away from a typical kind of compositorial painting, and to treat the painting much more as a surface where something has happened.
Visible or not i see view them as used pieces of fabric, or something that were once a part of something else.

i am constantly shifting between pure intuitive abstractions found in the process of painting, to concrete inspirational sources either from memory or stuff I notice in my surroundings. Like textures of walls, weird bus-seat designs, etc.

idea, concept, pushing stuff forward.. its all the same to me really..

4: What is the Worst thing about being an artist?

Ah! That is definitely looking for stuff. I don’t keep a particularly tidy studio, so half of my time spent there is spent on looking for things that I’ve misplaced.
Also moving large paintings around. For some reason I always feel like an idiot while doing that.

5: Collectors – Gallerist – ”art investors” – Good, bad or …?

Some good, some bad, as in any context I guess.

6: What would you ask an artist in a Q&A ?

What do you do beside making art? I find that interesting when you know people in the art world their work kind of becomes their persona, so when you get to know them on a personal level it’s a fucking relieve that they enjoy playing squash or collecting magic cards.

Link to Gallery

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6 Questions for Eli Ping

1: Can you tell me about your background?

My parents were hippies and raised my siblings and I in the inner city of Chicago. I studied political theory before focusing on art.

2: How do choose the material ?

Materials follow from an idea or theme. 

3: What is the Idea / concept behind your art?

I’m interested in how objects function as phenomena – in how form might be a record of becoming and how that process continues with the viewer.

4: What is the worst thing about being an artist? 

I don’t regard the challenges that an artist encounters as extraordinary. 

5: Collectors – Gallerist – ”art investors” – Good, bad or …?

Its reductive to think of the art market in terms of outcomes. The market is a process that enables and encompasses diverse objects, relationships, and experiences. However, many potentialities aren’t expression in the market, or rather, they are expressed negatively – through their exclusion. 

6: What would you ask an artist in a Q&A ? and Who ??

There are many artists whose work I admire, but I don’t want to ask them anything.

Composite (New Synthetics) – 2014 – 48 x 72 inches

Heat polished hydroponic film

Link to Artist Page >>>

Link to Gallery current show at >> twentyfourseventhreesixtyfive

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1: Can you tell me about your background?
Grew up in New Jersey, And sincerely feel my experience as a child being driven around in a car through Jersey’s sprawling landscapes inspired me. Both my parents went to Pratt, My dad for Architecture, and my mom for printmaking. My sister is a performance/ musician/ comedian/videographer.

2: How did you decide to use Bee Bee Guns ?
I use Bee Bees, because I love them as pure non-descript little orbs, like atoms, molecules or just simple building blocks as if they are the egg or seed of somethings origin.

3: What is the Idea / concept behind your art?
Something about design and how that rules our bodily experience. Finding viscerality in our relationship with technology and ultimately social relations with one another.

4: What is the Worst/Best thing about being an artist?
Life, work, and art are pretty much the same thing, which usually is great, but also is distracting.

5: Collectors – Gallerist – ”art investors” – Good, bad or ………?
I believe art brings the future closer. And whatever route is available for art to find eyeballs to view it, fund it, and advertise then the more avenues the better.

6: What would you ask an artist in a Q&A and Who ?
I kind of just wonder if any artist genuinely believes that their intentions actually match their audiences reading of it, and then I would challenge if it matters. No artist in particular.

Jesse Greenberg at Gallery Loyal >>>

Artist Page: >>>

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1: Can you tell me a little bit about your background?

7 years old went to camp. – 9 got my first camera. – 11 left home alone for three weeks. – 14 lost virginity. – 15 got drunk. – 17 moved back to New York. – 19 pilots license. – 20 met the love of my life. – 24 bought a beach house.

2: How do you approach the use of materials in your work?

Like toys.

3: What is the idea / concept behind your practice?

Keeping my mind in order.

4: What is the worst thing about being an artist?

No complaints.

5: What would you ask an artist in a Q&A ?

I’d ask Ed Ruscha what his worst memory was from childhood.

Currently Solo show at Ellis King >> 

Forming the backbone of his solo presentation, Patterson’s new series of works entitled Duck Tests take prescience and foundation from the above phrase utilised as a form of inductive reasoning, sometimes used to counter abstruse arguments that something is not what it appears to be. His Duck Test paintings explore how we obtain meaning from visual experience and how interpretation through experience is transformed and codified through the signified.

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Q & A – 6 Questions for Florian Meisenberg 

Take your time.. watch it all.. give in !!

1: Can you tell me about your background? – YES Click here

2: Can you tell me about the Smilyfaces / Sad Faces ? Yes Click here 

3: What is the Idea / concept behind your art?   1 click here and 2 click here

4: What is the Worst thing about being an artist?  Click here

5: Collectors – Gallerist – ”art investors” – Good, bad or ………?  

http://thepiratebay.se/ 

http://momaps1.org/ 

http://addisababa.craigslist.org/crs/4344373504.html

6: What would you ask an artist in a Q&A ?  Click here

Images >>>

katemacgarry

wentrupgallery

Simone Subal Gallery

sammlung-boros

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