Where does the name Scissor Bell come from?
It came from a conversation about My Little Pony (Sweetie Belle). I liked the idea of a title that alluded to a simple deconstructive process and something suggesting resonance.
How does working in vinyl change the way you express ideas? Does it limit you?
The new work is very abstracted but I still think of it as figurative. I wanted to address the figure in a new way (for me); to move away from silhouette and into a more organic way of drawing. I thought of Alberto Giacometti drawings and the way he moved from the inside out rendering a figure. The web-like imagery was looking at the figure, drawing grids, and connecting dots within the grids. I then used the finished shapes as templates to make several, layered resonating shapes. Weaving strips of color was another fun, very rhythmic process.
The vinyl is fun and immediate but it is also very particular; there are rules. There are moments to break the rules and some negotiating that goes on. Whether I work with paint, graphite, correct tape or vinyl there is a particular sensitivity that I think has to be respected that’s important for successful finished pieces. I think that through attentively addressing parameters or limitations, one sees more possibilities.
What inspired you to make this show about Nashville? What are you trying to say about the city? How does it fit in with other recent shows about Nashville – Brady Haston’s?
The end of the year is always a very inward looking period for me. The city is progressing so quickly and as a native, I of course feel that some things are being lost. I also feel that Creative Industry in Nashville has much to do with this development. Almost all of the references are from things that are now gone but that’s the natural trade-off for moving forward and I am comfortable with it. I like the analogy of being an archaeologist and assessing a progressing landscape from looking down at what has been covered up.
I thought Brady Haston’s document of Chronicles of the Cumberland by Paul Clemments was a brilliant example of using abstract painting to convey a very particular narrative. I don’t think mine sought to be nearly as articulate or focused. The idea of Narrative, particularly more localized accounts is incredibly timely; I see it everywhere. Story-telling in the digital age seems to be human beings beginning to scratch the surface of making sense of ridiculous amounts of data we gathered. Inevitably, this narrative has deep roots in the past.
How has your work changed since your last show? Is this more personal?
I definitely wanted to move away from anything as content driven as earlier work. Emphasizing the more formal aspects of the new series (color, texture, rhythm, etc.) was very important. The process of making the images has to be engaging and I pulled images/shapes from a lot of fairly unrelated sources. The previous body of work was very focused and it was a bit of chore this go-round to focus. There are many new avenues that I am looking forward to exploring because of this.
This latest work was indeed very personal. I am still absorbing it.
Who are your current influences?
Stuart Davis, Matisse, N Dash, 70’s skate board magazines/Glen Friedman photography, Gedi Sibony, George Condo, Jean Michel Alberola, Hurtado Segovia
Scissor Bell is on view at Zeitgeist Gallery through February 28, 2015