Category: interview
Typo: Words and Pictures, Friday 02.26.2010 @ OKCCOCO
Birdhouse (In Your Soul), acrylic on masonite. Click image to view source.
This Friday night, come on down to the okcCoCo and see the group show Typo: Words and Pictures.
When: Friday 02.26.2010, 7-10 pm.
Where: Oklahoma City Coworking Collaborative, 723 N Hudson Ave (map link)
Who: Marilyn Artus, Sarah Atlee, Bryan Dahlvang, Kris Kanaly, Christopher Lee, romy owens, Josh Reynolds, and Cassie Stover.
&c: Light refreshments will be served. Family-friendly, free.
Erin K. is interviewing some of the artists in the show, and I thought I’d share some more detail by answering her questions here.
What is the purpose of this exhibit?
Typo is a group invitational exhibit exploring the collision of text and imagery in two-dimensional art. I put out a call to artists asking for work incorporating hand lettering, graffiti, advertising, typographic design, or any other combination of words and pictures. What we got is work in a variety of media, approaching this idea from many different angles. This show is at the Oklahoma City Coworking Collaborative, at 723 N Hudson in downtown OKC, through the end of February.
Why are you participating in this particular exhibit?
I wanted to put together a group show for the okcCoCo’s unique, vibrant space. This is a place where freelancers, entrepreneurs, and other creative professionals come to work and share ideas. Showing art here adds to the lively dialogue among creative thinkers in central Oklahoma.
Was your piece created specifically for the show or is this part of your creative style?
I have been interested in lettering as a visual tool for most of my life, so I often incorporate text into my paintings. The two works that I put into the show, Undies and Birdhouse, are from 2005 and 2007, respectively.
I love how when letters are added to a visual composition, they become a visual element in addition to conveying meaning through language. To emphasize this transition, I often paint text in a way that is intentionally unreadable. I hope viewers will appreciate the letterforms as much as the other shapes and textures in the work. Plus, if someone is trying to “read” my painting, then they’ll stand in front of it for just a little longer than usual.
Why do you think people should attend this exhibit?
People who come to this show will not only enjoy the work by some of my favorite local artists, but also learn about the okcCoCo and all the great things we have to offer here. (Folks can also learn more at www.okccoco.com)
I Get Interviewed
A nice young lady from Rogers State University interviewed me some months ago. Here’s what I told her.
What did it take to get to your position?
The short answer is: hard work, believing in myself, and a healthy dose of good luck. The long answer follows.
I was born in Norman, Oklahoma, in 1980. When I was still a baby, my family moved to Albuquerque, New Mexico, where we lived for the next twenty years. My parents both have backgrounds in the arts. My father, John Atlee, was a professional potter when I was born. Since then he has practiced in a number of other media. My mother, Emmy Ezzell, studied art in college and became a book designer a couple of years before I came along. She is now Production Director at the University of Oklahoma Press in Norman.
Sarah’s Mom Draws Sarah Drawing, ink on paper, circa 1984 by Emmy Ezzell. Click image to view full-size.
I am not alone in believing that all children are artists, and the lucky ones who are encouraged continue to be artists when they grow up. My parents have always understood the value of art in a person’s life, so while growing up I knew that making art was not silly or wasteful.
By the time I graduated from high school I knew that I wanted to study art in college. I didn’t yet know if I wanted to pursue fine art as a profession, because I knew that career path was a difficult one with no guarantee of success.
I attended the University of New Mexico on scholarship. I majored in Fine Art Studio with a focus in painting, and graduated in 2001. [See that gif on the Art Studio program page? The barest hint of my worktable is visible in it, behind James Pitt's paintings. Yeah, looks like they haven't updated it lately.] My education at UNM focused mostly on the conceptual side of art rather than the technical. I feel I got a very good education in how to think and talk like an artist. But while I was there, my desire to produce technically excellent drawings and paintings was met with confusion and occasionally discouragement. The practice of making pictures of things was definitely not the norm at UNM.
I understood that I didn’t really fit in at this program, but I set my sights on what I really wanted to make. You may be familiar with Juxtapoz magazine, which entirely changed the way I looked at art. (At that time, most of the students and faculty at UNM hadn’t yet heard of Juxtapoz.) I spent a lot of Friday nights in the studio, alone, trying to make paintings that were as good as just one frame of Batman: Arkham Asylum
Jaded Girl, acrylic and ink on canvas, 5 x 7 inches, 2001. Click image to see more of these.
I spent the next two years out of school, living in Bloomington, Indiana. (My Mom had moved there for a new job following my parents’ divorce.) I kept painting, and I booked a few gallery shows around town. I did some part-time work, but mainly my Mom supported me during that time. My paintings were not what I wanted them to be. I realized that I didn’t have the skills, guidance, or enough practice to be the painter I wished I was. I decided to go back to school.
In 2003, I enrolled at the Rochester Institute of Technology (Rochester, New York) as a graduate student. RIT is a technical university, but they have very good programs in the arts. I majored in painting, minored in illustration, and graduated in 2006 with a Master of Fine Arts degree. My graduate thesis was about the use of cartoons in contemporary painting.
[I'd like to interject here and say that going to graduate school was frighteningly expensive. Most art students enter grad school intending to become professors. This never interested me; I was in it to become a better painter. I did that. It was worth it. But I also racked up student loans that are too big to talk about here. So if you are an art student considering grad school, please don't feel like you need to rush into that. It is not your only option.]
While at grad school, I learned from one of my professors that being a professional illustrator was a viable career choice. Thousands of illustrators are employed every day by magazines, book publishers, companies who need images to sell their products, etc. Turns out, illustration is everywhere once you start looking for it. Every time you see a picture, remember that *someone was paid to make that picture.* And it’s not all made on computers, either.
Birthe Flexner’s Coffee Cups, ink sketch, 2008. Click image to view source.
Upon getting my master’s degree I hoped to become a professional illustrator. In 2005, my Mom had returned to Norman, Oklahoma, for a new job. I followed her there, eager to reconnect with my Okie roots. What I found when I got here surprised me. Oklahoma has a growing, thriving contemporary art community, made up of people of all ages and backgrounds. As an artist, I was welcomed with open arms.
Of course, there were a couple of proactive steps I took to help myself along. I joined the Oklahoma Visual Arts Coalition and sent them a portfolio to put up on their website. I cannot emphasize enough how important a resource this is for Oklahoma artists. (JOIN.) Julia Kirt, the Director of OVAC, looked at my portfolio and offered me a slot in an upcoming group show. Ashley Griffith, a photographer and gallery owner in OKC, went to that show, and offered me a show at her gallery. Meanwhile, I also submitted my portfolio to Mainsite Gallery in Norman. They offered to put my work in their annual Emergent show. That was in late 2006, and things have just snowballed from there. In art, as in any other industry, word of mouth is the best advertising.
I believe that talent exists, but by no means is it the deciding factor in a person’s success. I do believe that luck favors the prepared. I have been blessed with many opportunities. Certain professional skills have helped me take advantage of those opportunities: having a website where people can see my work, having a quality portfolio (on the web, on cd, and in book form), having business cards, returning people’s calls, sending thank-you notes, shaking hands, being willing to ask for advice and learn from other people. These kinds of things apply to every business, not just art, and they matter just as much as the paintings I produce.
My current job title is gallery artist, or working artist. I never thought it would happen, but I’ve become an artist who shows work in galleries (and even sells some). I don’t hesitate to say that living in Oklahoma has helped to bring this about.
Submerge, acrylic on canvas, 2009. Click image to view source.
What do you like about your job?
I love that I get to follow my calling. I make art, and nobody gets to tell me what that art should look like. I have complete creative control over my product. I have a fantastic network of support and mutual creativity in the Oklahoma art community. I feel very lucky.
What do you dislike about your job?
It can be very challenging to make time to make art. Remember those things I mentioned, like shaking hands and returning phone calls? Administrative tasks like that can take up a lot of my time. Not to mention things like grocery shopping and walking the dog. But I’ve learned to manage my time well, stay organized, and summon the energy to complete the necessary tasks that stand between me and my paintings.
What is a typical day in your profession like for you?
I have a part-time job as a lifeguard for the YMCA. [Note: I left this job in April 2009.] I work the early weekday shift, which means I get up at 4:00 am, leave the house at 5:00, and open the pool at 5:30. (Getting up early is something I seem to be good at.) My shifts are four to six hours long, so I leave work before noon and have the rest of the day at my disposal. I come home, and spend an hour or two changing clothes, eating, and reading my email. I resist the urge to spend the rest of the day reading blogs on the internet. I keep project notes and to-do lists on index cards, so I go over those and see what my tasks are for the day. (Check out David Allen’s book Getting Things Done
Some days I don’t make art. But usually I have a project going that has a deadline, such as an upcoming gallery show. I like to work on art during the afternoon and evening, for at least two hours at a stretch. I have a portable DVD player on my desk, so I play movies or listen to music while I’m working. Wearing headphones allows me to shut out the outside world and focus on my work. Listening to some kind of media helps me park my verbal brain elsewhere, and lets my subconscious mind come out and play. This way, I’m better able to make aesthetic decisions without over-analyzing and second-guessing myself.
Currently, my studio is a room at the back of our house. (I now live in OKC with my boyfriend.) It’s awesome having a dedicated space for my work. I also like working near a kitchen, a bathroom, the mailbox, etc. Working at home is a good situation for me. [Note: I have just moved into a studio/office at the OKCCoCo, which is also near a kitchen, a bathroom, and a mailbox. It's swell.]
I have never been a night person. I like to go to bed early.
(If you are interested in how other creative people organize their day, have a look at the Daily Routines blog.)
Whats your favorite color?
Gray. One of my college professors described the color gray as mysterious. It turns any other color into something that’s much more difficult to describe. Gray is ambiguity.
When I give this answer, there’s usually a voice that pipes up and declares that gray is not a color. From a certain technical standpoint, smartypants is right. But when I go to the art supply store, I can pick up a tube of paint that says “gray,” and bring it home and put it down on a canvas. So that guy can suck it.
Crazy Aunt Millie (Was Burned at the Stake), oil on canvas, 2005. Click image to view source.
Do you have a favorite artist?
I have many. Here are some of my favorite artists of the moment:
Joe Sorren (painter)
Maira Kalman (painter, illustrator)
Mike Disfarmer (photographer)
August Sander (photographer)
David Hughes (illustrator)
James Jean (painter, illustrator)
Ruth Ann Borum (painter, Norman, OK)
Where do you get your inspiration?
Inspiration comes from absolutely everywhere. Books, movies, music, magazines, internet. Right now I’m really excited by old signs for businesses around Oklahoma City. I especially love hand-painted signs. I’m often inspired by other artists: when I see a picture that I really like, I think to myself, “I want to do that, too!” So I may paint my own interpretation of that picture, in my own style.
As I mentioned, luck favors the prepared. I try and keep an open mind, and recognize that ideas can come from anywhere without warning.
Andy Mattern, Photographer: Interview
David’s Food Store, 2005 photograph by Andy Mattern. Click here to see more images like this.
Andy Mattern is a photographer currently living in Minneapolis. His starkly composed images capture ordinary spaces of our lives as though human presence has been removed. In his work we feel absence and presence with equal weight.
I first met Andy when we went to high school together in Albuquerque, NM. I thought I’d check in and see what he’s up to artistically these days.
SA: What kind of camera(s) are you currently using? Traditional film or digital?
AM: For the past few years, I have mainly worked with digital cameras, but I keep a 4×5 and a film cooler on hand just in case. The process of shooting digitally is frenetic and cerebral. I savor that speed and control, but I appreciate the meditative process of large format film, it’s like a dream in slow motion. Part of the allure of photography is that there are all these choices of ways in which to work. It’s easy to fetishize one method, but each has its benefits and, thankfully, it’s not necessary to pick only one.
SA: Your technique is very formal. Is your composition entirely in-camera? Do you do any digital augmentation?
AM: I am not against cropping when necessary, but generally I compose in-camera. I spend a lot of time inspecting the edges and considering the frame as a whole before making a picture. Afterwards, if I notice something in the frame that shouldn’t be there, I will remove or replace it. Working on a tripod and making numerous exposures lets me easily edit later.
SA: Why does formalism appeal to you over other techniques?
AM: Photography is an organizing tool for me. I use the camera to collect and consolidate my immediate environment into visual containers. I am not inclined to make abstract pictures because I am preoccupied with looking precisely at what is before me.
Information, 2009 photograph by Andy Mattern. Click here to see more images like this.
SA: How did you become an architectural photographer? Do you continue to do this as a business?
AM: I had been photographing buildings at night in Austin as a way to explore the new city for a few years when a photographer friend of mine referred me to an architect who needed a dusk shot of a new residence. I did the job and ended up getting more work by referral. In the lead up to graduate school, though, I have slowly tapered off my work. For the next three years I intend to focus my efforts on creative projects and teaching.
SA: What role has art played in your daily life in recent years?
AM: I am constantly stopping whatever I’m doing to make a picture. Whether it’s with my tiny point-and-shoot camera, which I keep with me, or with one of my more official cameras, I get distracted by things I see and I can’t relax until I photograph them.
Peaches and Potatoes, 2008 photograph by Andy Mattern. Click here to see more images like this.
SA: The Leland St. series is photographs of your home (I presume). These photographs are less formal than much of your other work, yet they retain a detached, impersonal feel. What was the impetus for this series?
AM: A former professor of mine once said that if you are really good, you never have leave home to make pictures. Maybe Leland St. is an attempt to exercise that idea. As in my other series, I prefer to look directly at my subjects without distortion or visual inflection. I think it’s interesting to take a step back and remove the actor from the scene in order to focus on the character of the place and provide room for new narratives to emerge. In the case of photographing my own space, a found a tension between this clinical way of seeing and depicting personal objects like toiletries and dishes. When I review these pictures, they appear to me like crime scene photographs or continuity images from a film set.
SA: You have just moved to Minneapolis. What will you be doing there?
AM: I am starting the MFA program at the University of Minnesota this fall.
SA: What are some of your current influences?
AM: I really like these books right now:
An American Index of the Hidden and Unfamiliar
River of No Return: Photographs by Laura McPhee
The Nature of Photographs
I’m also taken with these artists:
Cara Phillips
Michael Vahrenwald
Myoung Ho Lee
Jake Rowland
Dan Boardman
SA: Where can we see your work?
AM: I am always updating my website. But to see physical prints, please visit Stephen Clark Gallery in Austin, Texas. Also, I have a show coming up in Houston this November at the Lawndale Art Center.
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This post is part of NaBloPoMo for July 2009.
Carrie Ann Baade Interview at Hi Fructose
Wedding Portrait of Madam Himmelblau, oil on panel, 2005 by Carrie Ann Baade. Click image to view source. This painting is from the Secret Lives of Portraits series.
via Right Some Good.
The Hi Fructose blog is featuring an exclusing interview with contemporary pop baroque painter Carrie Ann Baade. Reading Baade’s description of her working process, I found that she uses collage as a sketching method, just like I do! Quote:
The spark of the muse that could be called intuition is present when I make the collage for my work. I begin this process by covering the first floor of my house in photos and ripped out pages from books. After the floor is covered I walk around looking for images that fell on top of each other in an interesting manner…this is similar to reading tealeaves. Often I will have a question in mind while diving into the piles of picture images, such as, “What can I say about the horrors of dating in Tallahassee.” This process reminds me of reading tarot cards and getting an answer through the cards that can sometimes be uncannily accurate. Looking for the divine spark to speak to me through these images, I collect and adhere together with cellophane tape to paint later. I know something is really working if I involuntarily laugh aloud at the juxtaposition.
I feel the same intuitive connectivity when I’m making collage sketches. Sometimes the best compositions happen by accident, because I left two scraps in the same pile. I look over and realize, with a little rush of adrenaline, “Of course those go together!”
Ostrich, collage sketch, 2007 by Sarah Atlee. Click image to view source.
I like how Baade allows the collage aesthetic to show through in her finished paintings, without her images appearing slapped-together. She does an excellent job of creating integrated compostitions from a variety of sources. The world is a vast grab-bag of information, and our job as artists is to interpret, reinterpret, and dis-cover meaning through our medium. Although Baade has been told that “paint was an inadequate media to display the complexity of [her] ideas,” her intricate creations overflow with narrative and emotion. You can explore more of Carrie Ann Baade’s work here.
As I was reading this interview on the Hi Fructose blog, I felt an eerie similarity between Baade’s collage process and my own. This feeling was redoubled when I saw the previous blog post about the release of Isabel Samaras’ new monograph by Chronicle books. The gent on the cover bears an uncanny resemblance to this guy here. The similarity is a coincidence.
This post is part of NaBloPoMo for July 2009.
Profile on the Society of Illustrators LA Blog
Margaret V, acrylic and graphite on masonite, 2005 by Sarah Atlee
The Society of Illustrators of Los Angeles blog has posted a profile of me and my work. Click here to read it.
Thank you, SILA, for providing your members with an online gallery, and helping the public get to know us a little better.
I’m Interviewed for the OVAC Blog
Sketchbook: I Miss Oklahoma, ink on paper, February 2009. Click image to see full-size.
Ryan Peck interviewed me last week for the OVAC blog, and here it is.
I mentioned to him that if I could go back in time ten years or so, and talk to myself when I was mid-way through art school, I would say: ignore the fear. Or alternately, feel the fear and do it anyway. Do not let fear keep you from doing or making anything. I’m telling myself that on a daily basis now. Hope it sinks in.
romy owens, Photographer: Interview
romy owens is a photographer and arts enthusiast living in Oklahoma City. She takes many photographs, curates the third floor gallery at the Gaylord-Pickens Museum, visits other people’s art openings, and eschews capital letters.
SA: Where were you born, where have you lived, where did you go to school, and how did you come to be in Oklahoma?
ro: i was born in okc at baptist hospital on easter sunday in 1970 and it snowed that day. i was raised in enid. here are the schools i attended: glenwood elementary, monroe elementary, emerson junior high, enid high, tulsa university, phillips university, webster university, university of oklahoma, and oklahoma city university. as an adult, i have lived in tulsa, st. louis, leiden (the netherlands), enid, boston, eaton center (nh), nyc, and okc. i came to be in oklahoma as a layover while couch surfing in 1996. and it stuck.
SA: What do you think Oklahoma artists have to offer that’s unique?
ro: an aesthetic and ethic that hasn’t been jaded by the competition, popular opinion, and criticism, like one might find in a larger art market.
SA: Did you train in photography? What about other media?
ro: well, i got my first camera at age six, and i worked in a darkroom for the first time at age ten. i bought my first nikon at age seventeen. and i’ve always been an avid photographer. however, i studied photography as art starting in 2002, specifically traditional black and white darkroom photography. i have studied painting, drawing, screen printing, and installation art. and graphic design, of course. my strengths lie in photography.
momentum tulsa 145, photograph by romy owens.
SA: Is it more challenging to find gallery work as a photographer than as an artist working in other media, like painting or sculpture?
ro: yes. oh my god. totally. there are many people with recognizable influence in the creative culture, as well as the art buying world, who maintain that photography is not an art form. and they can suck it, because it is. i think it is not uncommon that when a photograph is in competition with other media, the other media is almost universally regarded as a higher art, and photography rarely wins best in show in multi-media exhibitions. whatever. photographers just keep on truckin’.
SA: I enjoy the strong compositions I see in your work, lots of bold colors and fields of texture. How did this visual style develop?
ro: i fully admit that i am strongly influenced by the work of postmodern photographers that came before me. i’m extremely drawn towards abstract expressionism, and line, color and texture are the things that pull me into a shot. i developed this style on my search for graffiti while traveling, and then i would find that the section of wall right next to the graffiti was often times as, if not more, aesthetically pleasing.
heel. mixed media photograph by romy owens.
SA: What interests you about urban sights, like signage, walls, buildings, etc?
ro: the short answer is the history. but equally as important to me is the challenge of finding that place that someone would pass every single day and never really appreciate. these buildings and signs are omnipresent, but largely ignored. when i’m out exploring, i impose an entire imagined back story on cracks in the sidewalk or the bricks that make up a building. that story largely exists in my mind. sounds insane, maybe, but personification has been a longtime quirk i’ve had. just ask my stuffed animals from childhood. i promise you, they’ll agree.
drive by shooting, mixed media photograph by romy owens.
SA: You are currently using a technique in which you cut prints into strips and sew them back together in different configurations. When and why did you start doing this?
ro: i started piecing sections of photographs together in 2005 for an incredibly practical reason. i wanted to work larger than my 8″x 10″ printer would permit, so by printing the photos out in sections and piecing them together like wallpaper, i was able to create much larger images. the first one i did was four by six feet. it was pretty awesome. it was ruined by a leaking ceiling in the main studio room at ocu. that sucked. anyway, i started sewing the seams of the photos together in 2007 because i didn’t like that the edges or corners could, and depending on handling, eventually would, curl up. it was out of necessity of permanence that i sew everything into place. i would never dare to take exclusive credit for the idea. my superdeluxe friend jason hackenwerth introduced me to the art of doug and mike starn in 2004. anyone familiar with their work would see an obvious connection with piecing bits of a photo together to create a larger image. and in 2005, while i was studying david hockney’s photography, i read that hockney once said that he believes photography is a lesser art form, yet he created enormous fantastic photo collages of landscapes and urban-scapes that contradict his own statement, almost as if to demonstrate the only way he could see photography being an art form. arrogant, yes. however, these post-modern techniques totally influenced me. i created my own variation. actually, i will take full credit for the o.c.d. sewing.
SA: Can you describe how you punch those tiny holes and sew such meticulous stitches?
ro: let me know if this describes it to your satisfaction. i use a metal ruler and the pointy end of a compass (the circle making tool), and i score the holes that way. then i puncture the score marks, with a needle an two thimbles. then i go back and sew.
SA: Are you naturally precise or do you use tools to assist in that process?
ro: tools. although the exactitude has definitely made me more precise in gauging measurements and levelness.
SA: I feel that when women artists use things like sewing in their work, it’s easy to pigeonhole that work as a comment on femininity. Do you have any thoughts on that?
ro: well, in fact, i do have thoughts on that. i really thought sewing would stamp my art as definitively feminine, which doesn’t bother me at all, being a female and all. i think people tend to call work feminine with the intent of it being a back-handed compliment. however, i don’t think calling art feminine is insulting. and in fact, when people use that description in a way that implies anything negative, i tend to think less of the person making the comment. and i have to say, i am surprised by the number of people i meet who tell me that based on my artwork, s/he thought me a man. i always think that is odd. i’ve heard my imagery is masculine from more than a few people, and when someone says it, they seem to be complimenting me, like my imagery is better because it’s masculine. whatever. that’s redonkulous. oh, and i’ve heard that my stitches are so detailed that it seems like a man did them. and frankly, that’s just insulting. a man didn’t do it. basically, i am female and therefore, by default, i make feminine art, and that can mean whatever anyone wants it to mean. i think my art is a pretty accurate reflection of my uber-feminine personality. (sarcasm, intended.)
SA: That’s funny, because in thinking about the question of “feminine” art I also thought that your work was, not masculine, but not feminine either. (Androgynous art?) What I’m getting at is that even though you use the sewing technique, which someone could classify as “feminine,” I find your work completely un-girly. On that note, do you participate in the Girlie Show?
ro: i did in 2006 and 2007. i wanted it to be one thing, it turns out that it’s another.
curtain call at the bail bonds office, mixed media photograph by romy owens.
SA: Are you a completely digital photographer? Do you do all your work at home, or do you use a traditional photo lab?
ro: yes, since 2005, completely a digital photographer. so so so much more affordable. holy crap, when i think of all the film i would have needed to buy, i throw up a little in my mouth. i do all my work at home, and i don’t use a traditional photo lab for anything.
SA: How do you like the job of curating the gallery at the Gaylord-Pickens Center?
ro: first, it’s a museum, just to be clear and totally la-di-da and fancy about it. second, it’s so awesome! i’m constantly challenged and learning. and i work in the art industry. and the hours are completely accommodating. and the people who i work with at the museum are so superdeluxe. it’s an ideal dream day job for an independent artist. i’m super lucky. i’ll keep doing it as long as they let me.
SA: What are your thoughts on working with a gallery contract as you do with Steven Kovash?
ro: well, i have to say for the record that stephen kovash is pretty rad. he’s taken a huge risk in opening a gallery and representing artists and i’m lucky that he still wants to represent me, as diva as i try to be. being under contract hasn’t impacted me personally, as the group shows i tend to participate in are under the umbrella of non-profit gallery exhibitions which are allowed in my contract. and i have the freedom to show outside of the metro area. so i haven’t seen a downside to being under contract.
painter eric humphries, photo booth project photograph by romy owens.
SA: How did you develop the Photo Booth project?
ro: it started as a part of the entertainment provided for ovac’s 12 x 12 this past september. but i was so thrilled with the results that it is now an ongoing project that i hope to develop into a massive installation one day. i love the photo booth project. i can’t wait for the next time i get to do it, which hopefully will be in january. i’ve heard it referred to as party pics more than once, which i think is just another way to denigrate photography as a lesser art form. and even with that, i’m categorizing party pics as a lesser art form, which is rather hypocritical of me. party pics could be art, but not every photographer capturing party pics is an artist. how’s that? anyway, i really don’t see the photo booth as party pics, and i’m pretty insulted when i hear that. it’s interactive art and it’s a relatively accurate form of telling a very short story. i’m not directing people in any way, and oftentimes i’m not even paying attention to what the people are doing when i snap the shutter. in fact, what i am doing is stealing souls, and the image that results definitely informs the viewer about the person being photographed.
SA: Who are you looking at? Or listening to, or reading?
ro: ooooh, i’m looking at my nephew a lot right now. he’s so freaking awesome. the coolest three year old i know. and i don’t know why but i find myself looking at ryan reynolds a lot. well, i do know why. i don’t think that’s why you meant by the question, but it’s true. my nephew and ryan reynolds, for totally different reasons. and i’m also looking at a lot of art by sally mann and walker evans. and i’m listening to a lot of e.l.o. right now. in fact, that’s what i’m gonna put on myspace right now. and i wish i were reading a super book right now. sadly, the last book i read was the final harry potter in 2007. and the most recent thing i’ve read was the most november issue of oklahoma today magazine, cover to cover, while on the train from okc to ftw.
bathrobe, photograph by romy owens.
SA: What are your career goals as an artist?
ro: my career goal is to be included in a whitney biennial before i die. everything else ultimately leads to that goal.
SA: Have you entered the Whitney Biennial before?
ro: no, but i’ve only been an artist for three years. i will. for the record, i was sorely disappointed in this year’s biennial, but i still love it and it’s still my eyes on the prize goal.
dos lineas rojas, photograph by romy owens.
SA: What is an artist stereotype that fits you? And one that doesn’t fit you?
ro: i guess some people might call me eccentric which i think is true of lots of artists. the creative class tends to be eccentric. that’s what gives us our creamy goodness. one that doesn’t fit me is that i am not a slacker. i’m very organized and try to avoid any hint of flakey artist, which i find many artists embrace because it allows them to be slackers. that bothers me. slacker artists tend to make the entire profession seem slacker-y.
SA: Where and when can we see your work (including on the web)?
ro: 1) istvan gallery (1218 n. western, okc) always has a piece or three of my art on display. 2) my flickr is a wading pool of butterscotch pudding to go through, since there are over 9000 photos. most of what is on my flickr is my longest running on-going series, “kids i know,” which will one day be a massive installation. but there are other loosely organized sets on my flickr too. 3) i have a lot of photos in my myspace photos. 4) one of my 2009 goals is to set up my own awesome website. and then i can interview cool artists like you, sarah, and spread the love. 5) or if someone really wanted to see my art, they could buy a piece of it and hang it in their home and look at it all the time.
romy owens at Flickr
romy owens at myspace
Istvan Gallery at Urban Art, Oklahoma City
new mexico drive by, photograph by romy owens.