Brion Nuda Rosch InterviewJune 3rd, 2009
The following is an interview conducted with Brion Nuda Rosch about the current group exhibition Mundane Shift Shape Replacement which Brion curated, as well as exhibited his own work. The show is on display until later this month and contains work from Chris Corales, Andrea Myers, Matthew Rich, Brion Nuda Rosch, and Liz Walsh.
1. Can you talk a little bit about the concept behind the exhibition and how these artists relate?
This exhibit began with an invitation from Park Life. The invitation was fairly open-ended, our first thoughts were focused on an exhibit of my works, and then conversation shifted towards a group effort and collaboration with Hallway Projects. My selections for this exhibit were based upon my process as an artist and my relationship with the work of the other artists involved. Each artist has a reductive quality to his or her process and chosen medium. We each share interests in painting, collage and assemblage, and that relationship is heavily dependent on form, color, placement, and medium. Within in this exhibit, the works exist in conversation with one another, exploring two-dimensional and three-dimensional space. I viewed the gallery’s space as a plane for creating a composition with the works, each existing within their own space, while also sharing a dialog with the others.
2. For this exhibition you played the role of curator and artist. Can you talk about this dichotomy and its advantages/ disadvantages pertaining to this show or past exhibitions? Do you find these roles really separate or do they at some point become the same thing?
My work involves a balance between the ideas of both practices. I do not see any advantages or disadvantages. Both are part of my process. I enjoy blurring the line between the two disciplines. In addition, my interests involve exploring the boundaries of public and private space. I curate a program of exhibitions and happenings in my home (Hallway Projects). I encourage a relationship with the domestic setting, and the close proximity of my studio. Visitors become active participants within a layered experience for viewing art. They direct their visit; they are invited to view the entire circumstance (both the current exhibit, and the environment it is shown within). The roles of artist and curator intermingle from one project to another here in my home, on-line and elsewhere. Generally my curation for physical exhibitions excludes a direct inclusion of my own work, however for this exhibit I felt it was important to have my voice physically present within the conversation between works created by the other artists.
Most works involve a selection of material, then a set of rules. Arrangements occur, and rules change. My studio (and work) is in a state of flux, the beginning, middle and end of a piece is often undetermined. The object is an object, and the contexts of the objects reflect continued themes from one piece to another. I fixate on themes I wish to gain a better understanding, and during my process, I create a language (sometimes symbols) as self-reference. In many occasions a particular work’s meaning is unclear for some time, only to be discovered while exploring new works initiated with the same starting points. Process and aesthetics are intertwined, and either position can take precedence to become the focal point dependent on the piece. Both positions take a strong position within my work, and relate to one another freely and subconsciously.
I am updating Something Home Something almost daily, spending time in the studio for group exhibitions at Baer Ridgway Exhibitions here in San Francisco and Ebersb9 in Chicago, organizing the flat files and planning one-day artist residencies here at Hallway Projects, and most importantly I am currently planning a wedding, and looking forward to a long overdue vacation.
Thank you Brion for your participation, and congratulations on the show and your upcoming wedding!
For more information on all the aforementioned artists and Brion’s other projects check out the following links.