1. Born / Based in: I was born and raised in Southwest Indiana. My hometown is on the Ohio river. I moved away for about a decade, but returned and am once again based here.
2. Making art since: I come from a family who all work with their hands. Craftspeople, construction workers, tradesmen, farmers, etc. I grew up around tools and very skilled people who knew how to use them. This was so common for me as a kid that I assumed that this was the norm for everyone. So, all of that said, I’ve been making things for as long as I can remember. Although, the label of “Art” didn’t come until much later. My first professional gallery exhibition was in 1997.
3. What’s one thing you’d like people to know about you that doesn’t show up in your work? Which three tools, materials, or rituals are essential to your practice?
Honestly, there’s nothing anyone needs to know about me. Everything is there in the work. I’m not a relevant element in the mini narratives I push out into the world. To be clear, there are bits of me in everything I make. Although. I don’t feel it helps anyone to know that specific minutia. If anything I feel it robs a viewer of any opportunity to wonder and create a story out of the building blocks in front of them.
In regards to essentials. For the most part I use a basic set of hand tools. Even when I’m building a large installation project. Although, one tool that is indispensable is my drill. It’s easy to take for granted how diverse this tool is until you don’t have it. With respect to materials. My attitude is to use whatever material best suits the idea or project, but it’s very rare for me to incorporate anything that is shiny or new. I’ve always been attracted to an old rusty dirty aesthetic. So I suppose it’s not too much to say that having access to such materials is pretty essential. Luckily I don’t think the world is going to run out of trash anytime soon.
4. What makes a work unmistakably yours? Can you describe one of your pieces that can represent your practice?
This is a difficult question for me. I just make what I make and it looks the way it looks. I feel everyone’s art develops from their shortcomings. Your strengths are your work arounds.
One piece of art to rule them all? Well, at the risk of sounding like I’m copping out, I’d say it’s always the newest one. I’d like to think I’m always trying to move forward and try something new. So I’m usually going to be most interested in what I just finished or am currently exploring. That said, I’m having a really great time building my current series of monumental head installations.
5. Can you walk us through your process—from idea to finished piece?
I tend to stick with the advice of a butcher shop owner. “It’s best if you don’t know how the sausage is made.” I will say there is far more improvisation than most people expect. Nothing ever ends the way it was intended at the start. I don’t sketch.
6. What’s something that’s been influencing your work lately—an image, sound, idea, or feeling?
The Chicago Imagists. Specifically “The Hairy Who” contingent of that group of artists. They have had a much deserved resurgence recently. I actually just properly discovered them a few years ago and it was a revelation. So many puzzle pieces instantly clicked into place for me. These are my people. Being from the Midwest, I completely related to their motivations, inspirations, and approaches. I feel such a kinship with them and I so wish I would have been aware of them in University. Unfortunately, they are starting to pass away. I would really like to meet some of them before too long. So inspiring. Here’s a great documentary.
7. What’s the latest project you’ve been working on, and what excites you about it?
My next project will be a site specific installation at City Museum in St. Louis. It’s a dream project for me and I feel honored to be considered. It’s unlike any place I’ve ever visited. Trying to describe it here would be embarrassingly inadequate. Do yourself a favor and ask your search engine of choice to show you all the photos and videos on hand. I highly recommend the documentary “Bob Casilly: The Mind Behind City Museum” https://www.youtube.com/watch?v=X7zDnpAcnyk&t=7s
8. Who are three artists you think more people should know about?
Alex Kuno based in Minneapolis and Allison Sommers based in Berlin are, in my opinion, two of the most talented artists working right now. I am always astonished with their art. They are both amazing singular talents and I truly don’t understand how their brains work. Go support their work.
Duke Riley is an artist based in New York. His work is new to me and I find it super fascinating with two scoops of inspiration on top. I’d love to do a project with him.
9. What’s your personal definition of collage?
I can’t say I have a specifically personal definition. Things typically go better for me creatively when I’m able to combine existing elements to make something new. Combining and bending context has also always intrigued me. The mid 1980’s early 90’s culture jamming scene on the US West coast is an interesting example of this. It can be a very malleable term. Which is the best part.
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