ARTiculAction Art Review - Special Issuue Aug. 2016 | Page 190

ICUL CTION
C o n t e m p o r a r y

A r t

Suzanne Smith

R e v i e w

Special Issue

print and now the internet - most people
are really visually literate, publishing text
and photography on social media and
interpreting gifs, written word, videos, film
as a matter of course. Conventional art
symbolism was a necessary language that
allowed artists and audience to
communicate effectively about specific
things. The whole context has changed. I
don't intentionally probe psychological,
narrative elements but it is certainly
interesting to think about.
Your installations as A Place for
Everything and Everything in Its Place
conveys both metaphoric and descriptive
inquiry into the politics of the everyday:
the compelling narrative that pervades
these installations invites the viewers to a
multilayered experience and allows you to
construct a concrete aesthetic from
experience and symbols. So we would
take this occasion to ask you if in your
opinion, personal experience is absolutely
indispensable as part of the creative
process? Do you think that a creative
process could be disconnected from
direct experience?

I don't see how it's possible to separate
your own personal experience from any
process, creative or otherwise. Our
experiences shape our understanding of
the world, the questions we ask and the
subjects we're interested in. Even an artist
who's heavily into 'pure' form - their
thought process and understanding of
possibilities are based on previous
understanding of the art world. I don't
think it's a problem, I just think that
experiences and values are forever in flux
within each individual and we can never
be fully separated from these.

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