Every month, Grizzly Grizzly will posit questions to our exhibiting artists. These will be big picture questions, designed to give context to their work and working process as well as serve as entry points for conversation. We will post these questions on our blog, http://grizzlygrizzly.wordpress.com/.
We hope that you will enter the conversation and give us your thoughts as well.
This month, we spoke to artists Brian Hubble and Eric Ashcroft about their thoughts on collaborating for Grizzly Grizzly.
As part of your two – person collaboration (one element of the exhibition) you have asked a third artist to make your work. What are your thoughts on a two – person show and how do you feel this works as a model in the gallery? ’
Brian: When we first started organizing this exhibition, someone described our objects as having an “alchemic quality”. Once we decided on a 2-person exhibition, my initial thoughts was-what better way for 2 people to produce alchemy than to get a third person to do it for them? James Powers agreed.
In your work, what is the role authenticity plays in your work?
Brian: Interweaving other artist’s engagements is usually a tool to redirect attention toward my own expression. I do this while trying to keep the sensibility of their work intact, sometimes giving them the bulk of visibility.
Eric: All ideas come from somewhere, I am often surprised by the uncanny affinities objects and thoughts have with one another across great expanses of time and place; how you can find perfect examples of high modernist abstraction in ancient Indian texts and so forth. The more I dig into the elements that define authenticity, the less convinced I become of its meaning, the ground gets too shaky, unless the parameters are within a limited set, such as a thing being made and signed by so and so. When it gets into deeming authenticity on aesthetic terms it gets tricky, and political. I like to visualize aesthetic approaches as a kind of tool in the toolbox, you can build content through renegotiating the terms of a things representation, and through renegotiating intent behind how a things representation has been apprehended in the past. When I think of something being authentic, part of me wants to laugh, the other part wants to “feel” something is authentic, by this I mean, I want the thing to feel “real”, like it has teeth to bare. and was made with a deliberate and honest effort to communicate an idea or foster an experience.