I felt a little brave giving my show such a wordy complicated title, but that is exactly what i wanted it to be. Most often the show titles seek to reinforce the mood or narrative in the body of work, some hint of the feelings or physics in the universe we unfold for the viewer. I wanted it to describe the creative space my work was conceived in. This title has a very literal meaning for me and for you I’ll bare open it’s meaning. I should first mention that all my analogies of life tend to be nature based, I was raised in an all female landscape business that was founded and run by my mother, for years we shared generations of stories over the tops of the flowers we cared for. Those ecosystems provided a framework and context to talk about the more complicated parts of life. That is where my imagery comes from. The concept of the seeded wind comes from the idea of pregnant creative whims. You can work in your garden never noticing that a plant has volunteered and grown tall right in front of you, it’s your garden, and you define what is a weed and no one else. So much of life is chance, every moment is a freeze frame full of things free falling, ungerminated, but an instant from their realization. Beetles and insects have a primal role in the health of a garden, they germinate flowers, transport seeds, and compost the soil. Before bees had evolved, there were beetles. Magnolia trees for instance evolved to be pollinated by beetles. I have always viewed them as workers silently making something without protest or the need to communicate their intentions just existing and making. Making work for me is not often an active intentional thing, I constantly feel like some one else made it. The works feel completely unfamiliar when I am finished with them. After the years of “beetling away” in my studio i have grown to associate the image of the beetles in my work as the hand of the artist. It represents the aspect of myself that’s unfamiliar to and independent from my social construct.
This is such a difficult question, there are so many classical pieces that i thirst for, that standing in their presence makes me feel vivid and alive, i want to peel away each brush stroke one at a time. But, ultimately paintings are illusions, despite my often inconveniently veracious curiosity, I prefer some things to keep their gowns on. When i was working for the Barnacle Brothers here in LA (they are a amazing fabrication studio making sculptures for museums and other artists). I fell in love with how they made things. I would have loved to sit next to Louise Nevelson while she made her Sky Cathedral. Also it would have been amazing to witness from the conception to the unveiling of the Statue of Liberty, which is one of the biggest public sculptures I am aware of that didn’t require the support of slavery or a cast system to build. I also think the politics and logistics of a project on that scale would be amazing if not ridiculous. I would settle for an HBO drama about it.
I’m not sure if i can answer that. I feel so unaware of myself as artist. Maybe music. It is, if anything, the key to my creative process. When I shared my studio with the stupendous ZOSO, we would listen to the same music, he once pointed out that whenever he turned the music on or off I would immediately stop or start working, like my on-off button was crossed with the stereo.
Awww, my ferrets! Its a dangerous thing to get me on this topic. i serendipitously rescued my first two ferrets from a party the summer of my sophomore year in art school. Its was a bit awkward, as my roommate also bought two baby jills on an impulse the same day. We had a big place out in Brooklyn, but the sound of all 16 feet pattering down the hallway was often accompanied by someone yelling “INCOMING”. For the next 7 years I have always had one (or two) they went to figure drawing classes perched on my shoulder and road trips, they got their own pedestals at my senior thesis show, and have co-piloted many road and motorcycle trips. I’d say they are pretty worldly beasts. Shiki, our current familiar, has been to about every gallery worth going to in LA. She couldn’t come on this trip because she is currently charming hearts in NYC with my fiance. This was a bit of a relief for me if you consider all the knocked over paint cups and foot prints in my studio right now. Would it be silly to say i feel a little naked without her? Does anyone want to lend me their ferret for the opening reception? I’ll send them back well trained.
Should this be one of those mysteries reveled on layer at a time? I would hate to ruin the suspense of Salome’s veils, besides the magic and wonder that happens at Thinkspace and the Kokeshi doll show at the Japanese American National Museum here in Los Angeles. On the east coast I’ll be showing a multi-media collaborate project with my best friend Tamara Cervenka about identity and mythology, we have an enormous artistic vocabulary between the two of us and we have both picked one new medium to learn. She is learning needle work and embroidery, and i am learning glass blowing, I will leave you to speculate on how we will combine the two.
Process shot of the pieces for Catherine’s install coming together
Artist blog: http://thearborgeistproject.tumblr.com/
Sneak Peek at ‘The Seeded Wind and Silent Motion…’: http://www.flickr.com/photos/thinkspace/sets/72157617936915467/
‘The Seeded Wind and Silent Motion; an Oeuvre of Beetled Beauty’