|
||||
|
|
|
|
|
jenny hart volume 2, 2006, #012
jenny hart is obsessed with embroidery. she took up the medium as an experiment with her artwork and unwittingly sparked a design revolution. she heads sublime stitching, and dreams of the day when she'll see everything in embroidery. she worries (a little) that she thinks about embroidery too much. 1. how would you explain 'art' - in 19 words or less? boundless constructs within an as-of-yet unarticulated framework. a friend describes it as uncharted wilderness that you must map for yourself. 2. what is the first work of art you ever loved? this is really hard to pinpoint. i'm tempted to say a copy of heavy metal magazine i saw when i was seven. the issue had a story called 'elephant grass' by the french comic great jean giraud moebius. my mother took it gently away from me saying "i don't think this is for little girls". but i found it again later in my brother's room. i read his comics, which he collected and kept in epic amounts, from then on. so, my first love in art is really fine commercial illustration and comic art. i never questioned whether or not comics could be considered 'art'. 3. how important is theory to your art? eh, it depends. sometimes it's very important to me, and there are things i definitely want my viewer to understand about the work in a certain context . . . but i'm equally interested in the honest response to the work, free of any context. 4. describe your ideal art workspace. quiet and free from disturbances, with all materials (needle, floss and fabrics) at hand. 5. describe your current art workspace. non-existent. an armchair in my living room. 6. if you could be placed in suspended animation and safely reanimated at some time in the future with the sole purpose being to see how history treated you / your art, would you do it? no. it would muck up the works. 7. who are some of your favourite artists (contemporary or canonical)? just a few: bruno schulz, stanislav szukalski, hans bellmer, ivan albright, jess, thomas hart benton, cindy sherman, will elder (mad magazine), seurat, gaugin, los bros hernandez (beto's work is my fave), georgeanne deene, andrea dezso . . . i like work that appears to challenge the artist themselves. when an artist continually works within their own vocabulary, saying the same thing over and over again, i tend to lose interest, no matter how unique their initial statement may have been. 8. tell us about a gallery (online or physical space) that you think rocks, and why you think it rocks. camp fig rocks hard in austin, texas. camp fig is an impossibly tiny space that people insist on cramming themselves into to see the works of art the curators insist on putting on the walls. the most exciting work happening in austin is bubbling out of that space. 9. would you choose the baked bean jaffle or the caramelised pumpkin and red onion tart with crispy radicchio and hazelnut salad with apple vinaigrette? the second. i'm intrigued by all the complex tastes and textures. if crunchy and sweet are included simultaneously, i'll eat it. plus 'jaffle' makes me think 'waffle' - but i bet it's not, so that would confuse and disappoint me. 10. finish this sentence: "the work of art can / cannot be considered separately to the artist because ________." the work of art can be considered apart from the artist because in relationship to my viewer i am most interested in their response to my work without any context or relative background information. check out more of jenny's work at: www.jennyhart.net |
|
© copyright 2005-2007 papertiger media | brisbane, australia | chiang mai, thailand |
