Posts Tagged ‘sculpture’

New works from Giuseppe and Ned

August 15, 2009
Giuseppe Iozzi

Giuseppe Iozzi

Ned McConnell

Ned McConnell

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Interview with Guiseppe Iozzi

August 6, 2009

Interview with Giuseppe Iozzi.

Tom Slingsby: So, I’m here in the Pavilion gardens interviewing Resampling artist Giuseppe Iozzi for the project blog. Guiseppe, what does the theme of Resampling mean to you, and how have you integrated it into your artistic practice?

Giuseppe Iozzi: I think it’s about sampling from the past and doing something different with it. Maybe doing something different with it, maybe misinterpreting it. Perhaps exploring something from the past and reinventing it. It’s to do with memory more than anything else.

TS: Can you give us a description of the sculptures you’ve been working on for the people who read the blog?

GI: Okay, so what I’ve done is gone to the general area where the exhibition is going to take place, which is an industrial area – I’d describe it as a non-place. A lot of things happen there, but you can’t quite see what’s going on. It’s all very much blocked-off. And what I’ve done is I’ve walked the streets trying to solve the mystery of the space. And I’ve looked at debris and unwanted objects, and waste I suppose, and some of these things have been quite substantial, the size of your hand, and other things have been much smaller, the size of your hand. And I’ve tried to make a relationship between the object and the space I’ve found it in. I’ve used a map from Google Earth and I’ve looked at the shapes of the buildings and then I’ve made an animation between the found of object and the shape of the built environment. I traced the shape of the object and the shape of the space and then I’ve used Flash to ‘tween’ the shapes in between them. It’s an old word from animation studios. My interest is in the in between. And then how a machine can find that for me. ‘Cause it’s very difficult maths. I’m interested in the transformation, it’s changing shape and size. It’s an incremental change. And what’s struck me as I’m doing these animations is what a lot of interesting shapes!

TS: Because from the viewer’s point of view, you can sort of see what they might represent, or you can have a guess…

GI: Yeah. So I just sort of thought if I made these in layers, and piled them all up on top of each other, something interesting would happen. Something would be revealed about the secrets of these waste objects and the site I found them in.

TS: Brilliant.

GI: So in that sense the in between represents a period of time or a transformation that’s taken place. And the in between is where I reveal the unseen. I feel I’m revealing something invisible.

TS: And you’re making a connection between these liminal shapes that you’ve got and the liminal spaces you find in Portslade, where you can’t see how things are made.

GI: And I suppose, obliquely, the layered nature of these sculptures look like strata. They refer to things like geology, excavation and archaeology. So to me, that kind of deals with this idea of resampling the past. And I’ve read that some geologists discuss whether our presence on earth is going to leave a layer. Like the dinosaurs did, like other periods of history did. They’re wondering ‘could there be an anthropocine?’ I imagine we will of concrete and stuff, but I wonder if they’re be a layer of crisp packets and stuff…

TS: If you think about landfill sites…

GI: I imagine there will be. So some future alien civilisation doing a survey of the planet will find some pretty odd things..

TS: ‘Who the hell were these people?’

GI: Well yeah. I suppose for me that’s how the resampling history thing.. And the layers I’ve cut, they’re found objects as well. There’s a flooring specialist in the North Road area that chucks loads of stuff out. The only stuff I’ve had to buy is 3 pots of copydex.

TS: So I was thinking about your project in relationship to the Portslade area, and then how there’s been a broad conceptual move in the visual arts, a move towards abstraction, dehumanisation, and then all these works that are ironic reflections on capitalism, so I was gonna ask you, if you think we lack a sense of place in contemporary art?

GI: Well I suppose the connections that I’d make with other practitioners and this idea of space are with for example, Robert Smithson who made a lot of land art, and he also did a lot of presentations in galleries, and he was very interested in this idea of the abstraction that is a map. Can thing that don’t look like the place very much still be representative of a place? And the North Road area, which is essentially a grouping of small businesses , that either produce things, small scale industrial productions or offices, and then some odd things like dance studios. So I think it does represent a new space, and the new kind of economy that we have, which is winding down the industrial side.

TS: I suppose what I was getting at was a sense of local experience.

GI: Maybe that is lacking a bit in our big museums, and as the art market has become very global, those trends are reflected. Maybe you get more of the local in art coming out of the third world. For the art world it’s sort of fetishised. In a way I think the work I’ve done is quite local.

TS: I suppose you’re negotiating the tension between quite local details, like the chip fork you’ve got, and then the idea of things moving in and out of these places in the middle of the night. No-one knows what’s happening behind these huge metal doors…

GI: You only get and inkling from the title of the workplace.

TS: Some of which are quite ambiguous. I was gonna ask you, in some ways the title ‘Resampling’ is stating the obvious, if you think you can ever do anything totally original in art, or is it inevitable that you take from the past?

GI: Well it’s very difficult for someone like me with my kind of background to do something original ’cause I’ve been to an art school system. But of course I imagine people who haven’t been – people are probably making original art all the time, but they don’t know it! Unfortunately I’m sort of lumbered with art history, but obviously it helps me as well. It makes you sort of hyper-aware of what isn’t original. Weirdly although this culture really enjoys novelty, I’m not sure if it wants something really original! It would be so cataclysmic.

TS: It reminds me of Adorno and his critique of the culture industry.

GI: And Marcuse’s idea of the libidinous capital that is repressed in the worker.

TS: We’ve got the illusion of novelty, a new sensation, but only within fixed parameters. So one of the other key themes of the project is the idea that our experience of memory and the process of artistic influence has been sped up by the information age. What kind of challenges do you think that presents to the traditional idea of the artist?

GI: The obvious one would be authorship. But from a positive perspective, it opens up new opportunities for collaborative work, which is something I’m really interested in. ‘Cause I’m a teacher I often think ‘how can I do this with a load of people?’ What excites me is – there’s an analogy between this sort of incremental building up of stuff and the constructive exercise. Each part has its place in the superstructure. You’ve got a macro and a micro scale going on in the work. And I can see that relationship to the group, to the totality. Although people don’t like to talk about totalised spaces in art any more. But there’s something very satisfying about totalities in art even though they always fail.