THE FOCUS

Rachel Bubis: Your work combines text into a visual language. Can you talk more about your process in translating text/words to color, line and paint? Do you find a passage or a line and directly work from there? Can you give an example? Also, are these expressed in the titles of the work? For example: She wove during the day the sadness. Michael Giles: The process begins with the overall text on a page. As I read a book,...

Rachel Bubis: Through language, imagery and subject, the act of protest is a big part of your work. Have the events of the past year affected your perspective or practice? Nuveen Barwari: Unfortunately, not much has changed. The only thing that I think has changed a little is the fact that a lot of us have been thinking harder about where and how we can contribute best and that doesn’t necessarily always have to be through the arts. Just be...

Rachel Bubis: In your current body of work, you explain that collecting is part of your practice. Have you always collected stuff? If so, what are some examples of your collections? Where does this desire come from, to keep hold of things? Thomas Sturgill: I collected baseball cards and whatnot, as a kid, but I think my main influence is that I grew up on family land in a house that contained multiple generations worth of stuff in it. Random...

Hanna Seggerman: How have your childhood memories and experiences, like spending time in your aunt’s salon, influenced your artmaking practice? Ashanté Kindle: When I think about my childhood memories in relation to hair, there are so many experiences that have allowed me to develop a true love for the important role hair plays in my identity. Hair has always been a way of connecting with those I love. I also always saw hair as a form of expression and cre...

Duncan McDaniel, Spectral Vortex, 2021, 35”x 20”x 24”, acrylic on acrylic Hanna Seggerman: Color appears to be a very important element of your practice. How do you select your palette? Duncan McDaniel: You're right! Color is extraordinarily important in my work. I start off with a loose color palette to work from, but then I instinctively lay down different colors of paint as each color choice informs the next. As the piece develops, the color choices can drastically change. Certain colors take on lov...

Rachel Bubis: I love this quote from you that I read in Heartwood Literary Magazine where you define yourself as an artist: Caroline Hatfield: "I define myself as an Appalachian artist, despite making contemporary art rather than focusing on using traditional art forms more readily associated with the culture. I often describe my aesthetic taste as “dusty and rusty”, undoubtedly a result of growing up in a community of farming, logging, and mining. Yet, it is also very grounded in t...

Rachel Bubis: You’re interested in the experience of living amongst mass produced materials, spaces and objects in contemporary architecture and design. There’s obvious arguments as to why this experience might be detrimental to us and culture, but have you noticed any unexpected effects? Scott Carter: Over the years, I’ve become very sensitive to my surroundings. I think most artists are naturally this way but I’ve definitely noticed a shift in how I respond to both the natural...

Rachel Bubis: How are you? How has your quarantine experience been? Have you been making new work? If so, has your perspective changed or have you reflected on your practice in a new way?  Jonathan Adams: I would say fine. However, that seems to be a shared feeling with the general populace and peoples close to me. Quarantining before I have moved was ok. When I was working in New Jersey away from family, I tended to work on...