INTERVIEW 18: Ruguru Nerima

Interview by Yosan Alemy, photos by Shelby Hettler

When did you start making art and writing poetry?

I think, in terms of performing, I started performing, when I was young, and in terms of writing, I started writing in my second year of high school because my English teacher really liked literature, and nobody seemed to like her, so I wanted her to know that at least one person was paying attention. I used to go to the library and read poems and then write poems and then give them to her--this is how I got into it.

I know that you are Kenyan. How does being African, and being apart of this diaspora influence your art?

I think my first year when I was making art, I was still stuck in this mentality, that “Oh, I’m Kenyan, I need to make art that is Kenyan or represents Kenya”, and then when I got to my first year of college, I came to this realization that those things don’t have to be necessarily tied to me in those ways, because it was really blocking me from experiencing anything else. When you’re in a place where you’re so highly “othered” or made to feel different, you always end up in this place where you’re defending your “differentness”, or you’re ending up justifying it, saying that you are also human or alive. So I kind of stopped doing that and started to explore myself and the human condition as I come to it. I think sometimes when people are like “we want this Kenyan artist to come because they’re Kenyan” this kind of reduces what I am doing to one thing, but at the same time some of my work is very pointed in terms of identity in Africa and the diaspora. I really think it’s fun to be in this place that I am now because it feels like fresh ground, and not even fresh ground in terms of land, because I don’t think it’s even land; it’s a kind of fusion of different things. And by virtue of me being Kenyan in America, and having to come into my art and exploring myself then I guess this work is rendered as Kenyan, or “othered” on Columbia’s campus.  

What life experiences have shaped you as a person and how do you reflect that in your art?

Everyday is a life experience. Literally brushing my teeth is an event. I think things that have really shaped where I am in this moment particularly is having to leave home (Kenya) to come here, because in those ways I got displaced so much I had to explore myself and had to figure out what the fuck was going on. I wasn’t on that normal playground. That was one huge life event that really rocked me, and everything else has been little things here and there. Another life event I would say occurred this past summer holiday and it has really helped me come into myself, and has helped shape the way I think about certain things or how I relate to things. Every event that has happened to me has been propelling me to do something. In my last piece of work, during the winter break of last year, I was exploring the idea of being in the home and being unsafe in the home. Thinking of that piece I made in the winter, and relating it to this hashtag of “MeToo” that’s happening now, and how there are so many of us that share this experience, even though this shared experience is very secret, and people know that it is happening but they keep it to themselves, and once we bring it to the front, the magnitude is so huge. I think the life experiences that really shaped me were the ones where I had to step out of myself a lot, to be displaced.

Do you take a lot of art classes?

I don’t think so. I think I take classes about my art, classes that allow me to think more about my art, but not actual art classes. I do take acting classes, however. So far as art goes, I am taking a class for directing theatre, solo performance--this class is making me go crazy in the best way. The closest to art classes I am taking are these acting classes. I wanted to take visual arts, but I just don’t have the time. I am also interested in the theory part of art, and how art places itself in society. Art theory is really helping me understand my art.

I noticed that in your photos on the Ratrock site, you played around with the lighting. How does light, both manmade and natural play into your art?

When I was taking those pictures I was thinking about light and how it can be placed and what it does, what it reveals, and what it conceals. In those ways, I was trying to tease out the concept of what I see vs. what I don’t see. I’m taking this oceanography class and the other day we were discussing that there are certain creatures in the ocean that are a certain color because they are absorbing light differently. Light is such a huge form, element, medium that we don’t even acknowledge. Light has the power to form shadows, but at the same time, form outlines, and also shine.

Do you shoot your own videos?

Yes, I do shoot my own videos. It’s funny because the other day, I came across this Instagram account where this girl shoots herself a lot, and I do that too. I prop up my phone and mount my phone to start recording myself. I do record myself a lot, because I can frame myself and direct myself to be in front of the camera.

In your video for, a tale of Spiders, what was the message you were trying to portray? Was it a depiction of life and death?

I think it’s a kind of death. The video was essentially exploring that “MeToo” thing even before the hashtag came about. No one ever talks about the pedophiles in the home. I don’t know how it is in white families, but in black families there is a lot of “hush hush” as to present this certain kind of image. Even though it happened to me, I was silent without anyone telling me to be. This was the first time where I actually explored that idea that those people really create webs in the house. Like when there are spider webs in the corner of your walls, and you just let it be. In those ways, a part of me died through that experience, and I was trying to mourn her in a tale of Spiders. I wanted to present life being stifled out of you in ways that you can’t really explain.

In your photos, I noticed that your models are typically--if not all--black women, is there a reason why?

There’s a 102,000 reasons. Well, first of all, I’m a black woman, and my friends are black women, and I’m surrounded by black people, and I love it. I want to say we are here, but we don’t need to tell people that we are here, because by our very existence, we are. There’s this South African photographer, and she does a lot of visual diaries and in one of her videos, this interviewer asked her how she uses social media, and she replied that she uses social media to tell the world that “I’m here”. We as human beings like to reconstruct history and people don’t like thinking of the present. I make art with black women as a way to add to the documentation, to the archives, of the collective memory of the earth. Like this is the way a certain black girl was living in New York in 2017, and no one is able to reconstruct that. Back then, people lived differently and weren’t as able to leave the same kind of footprints we are leaving now, especially with the use of social media like Twitter and Instagram--which is not a good or bad thing. But I think that their footprint is harder to track. So making art about black women is a political statement. I don’t want someone in 2064 to think inaccurately about black women in 2017. This has happened throughout history where the lives of black women in the 19th century, 18th century, etc. have their lives and experiences inaccurately analyzed, and I think that is a violence in itself, and I don’t want that to happen ever again.

Do you believe art should be politicized? If so, why?

I believe in Audre Lorde’s words that the “the personal is political”. I never understand the people who say we have to separate the art from the artist. What kind of mental gymnastics are they doing? The same brain that produces these fucked up political ideas, is the same brain that produces this artwork. The things that we produce in the world are a patch up of the experiences we have had both subconsciously and consciously. If this person is politically fucked up, and even if they are making this art, somewhere in there, the political fuckedupness is embedded in that art, and that’s an energy that shouldn’t be tolerated. I definitely think art is political because it’s simply created by human beings in societies, and human beings existing in societies are political, especially if you’re a human being that has a certain kind of position enforced on you in a society that politicizes your existence. Because you exist in such a backdrop, there is no way that everything you do is not political. In America for example, being a black women is the most revolutionary existence. Even thinking about you and I sitting here on Columbia’s campus is political. Columbia literally owned slaves, or the people that founded this University owned slaves, and the boys would harass and assault black women slaves. And you and I are here sitting in  Columbia’s campus. I don’t have the luxury to not be political because the backdrop I’m living in is politically volatile. .

I noticed that in your videos, they depict emotions like love and pain, emotions that are very powerful, and even at times can be intertwined. Would you like to elaborate?

The way I live through life, I don’t yearn for love as much, that’s why through art, I can show it more. Most of the art I have been making has been coming from a secret garden in my heart. I have been producing these art pieces in the aftermath of feeling hurt, or pain. For me, I cannot separate love and pain as different entities. Now I feel like I need to tease out and explore pain, especially if it always comes with love. That’s why through art I am trying to depict pain in different ways. Can pain be good? I love love, but love comes with pain. Instead of creating a polar opposite of love and pain, I’m trying to find the common ground between the two.

You put a lot of your videos on Youtube. Do you think Youtube is a good medium for art?

I have been having such a huge problem with where to put my art. There’s Youtube, Instagram, Tumblr, and other mediums. If I put my work on Youtube that is somewhere where people can access it forever and ever--it’s very accessible. It would be such a milestone to reach people that don’t have access to Youtube as a base form, as a space. I also think I put my work on Youtube so I can visibly see my growth. I think I’m also moving a little to Instagram, but with Instagram I can only show snippets of who I am. I make a lot of videos for Instagram as a way to tell myself that I am here. Sometimes I walk around campus and record myself, so I can later watch it and tell myself that I exist. I am, I am, I am. There is the guy in the CC reading who says the "I think therefore I am" thing, what’s his name? Is it Kant… I don’t know, one of those people… but that fucked me up because when he's saying those things, only a certain subset of people are regarded as "thinking". So, if someone thinks that you don’t think, then they can say or think you are not there, so I am trying to be "I exist therefore I am" or "I can be perceived visually, therefore I am".

Closing statements?

I am a third year in Columbia College. I am a black woman. I am a lesbian. I am a person who is trying to trace, leave, and document the footprints on this earth.

Call to Artists: Nostalgia

'Tis the season for nostalgia! Here at Ratrock we're thinking not only about the wistful sadness that comes with the holidays, but also about the use of older mediums to produce contemporary art. Just finished your Photogravure print class or Photo I prints in the darkroom? Send us your art work! Collaging vintage magazines as a stress buster from finals? Send it in! Working hard on your Shakespeare monologue? We wanna see it! All mediums are welcome! Send any submissions to ratrockmagazine@gmail.com with the subject "Your Name, CTA: Nostalgia" by Sunday December 31st. Your work will be featured in an online gallery, in our annual yearbook, and on the walls of CU Records!

December 2017 Faces

CTA: DELIRIOUS + DISPLACEMENT

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India Halstead

Lillian Zheng

Naomi Basu

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Emma Noelle

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Tiffany Huang Fang

Emma Noelle

Naomi Chang @naomoart,

Ruby Mastrodimos

Julia Rocha

INTERVIEW 17: Connor Warnick

Interview by Maeve Flaherty, photos by Charis Morgan

Connor Warnick is a filmmaker, artist, and fashion designer from Brooklyn, New York. He is a senior in Columbia College, double majoring in Visual Arts and Film.

So how did you first get involved in the arts?

My parents are both definitely involved in them, and so was the school that I went to from second grade through high school, but I was not personally very involved in the arts until college. They were just ever present in my life-- my dad is an architect, and my mom works at museums. I would take art classes, and I think I was interested in art, but I don’t think it really clicked for me how important it actually was to me and how much I enjoyed it until I went to UCLA for two years. It was really in that first year when I pretty quickly realized that art was what I wanted to do.

Was there a first class you took or something?

I think it happened a little bit before. That summer before high school and college, I don’t know why, the way that I was experiencing the world felt like it was changing a lot and I was appreciating more in terms of how much artistry really goes into a lot of the things that I enjoy. I had only been thinking of art as fine art and things in museums and not necessarily films and music and design .

I was a pretty dedicated athlete in high school, and I started to think about how sports could be arts. Basketball was my creative form of expression in some ways at my high school. Things were starting to turn inside my head. Then when I enrolled in classes for my first time at UCLA, I started learning more concrete history and theories and opinions about art itself and it started to influence how I was looking at art in the rest of the world. And then by the end of that year-- I was an English major when I started-- I felt very sure that I didn’t really want to be reading or writing about art or other artists as much as I wanted to be making the art. Visual art in particular, I found that I was especially drawn to, although up until that point the main thing I had done was creative writing, which I still enjoy a lot. But it felt like there was an imbalance in what I was actually practicing. I had done too much writing and not enough creating of images.

From there, I changed my major. I changed into the art school at UCLA and took more film classes. Since then, it has kind of just continued and I’ve gotten deeper into making images and things like that.

So you’re a transfer from UCLA. When did you transfer and what was the thought process that went into that?

So I transferred before last year, which would have been my third year in college and this is now my fourth year in college and my second year at Columbia. The transfer process was very bizarre. It was really not the sort of thing where I was desperate to leave at all. In fact, I really really liked UCLA, and I miss it a lot, to be honest.

UCLA is very divided academically. When I came in as an English major, I was in the big School of Letters and Sciences that most people are in. I also wanted to study art and film which are in two other separate schools. At UCLA, because it’s such a big school, you can’t take classes across two different schools, let alone three. So that’s why I decided to transfer into the art school at UCLA. That was in February of my second year. What happened was I didn’t get in at first, so I emailed them to ask if I could get feedback on my portfolio or appeal the decision, and they didn’t respond for a week. I’d kind of dealt with things like that before, because it’s such a huge bureaucratic institution. So I just assumed it was a lost cause, a dead end.

So I just said even though I love LA and I like it here a lot, I’m not studying what I want to study, so I might as well apply to transfer. So I did. But then about a month later, at the start of UCLA’s spring quarter, they enrolled me out of the blue in an art class, which should have been impossible, because I didn’t think I was in the art school. I thought they were just being nice and giving me a consolation prize or something. So I went to the office and spoke to the advisor for the art program, and they told me that in their system I was in the art program. Then I realized that when I emailed them when I didn’t get in, I had actually emailed them from my backup email and then stopped checking it completely. I was only checking my UCLA email and not my gmail. So let that be a lesson to everybody. You should definitely set up forwarding with all your accounts lol.

So I checked that email and it turned out they actually did respond to that first email. I guess they were moved enough, or something, by my email to let that serve as an appeal, and they reviewed my portfolio again, and let me in. So I was in the art school the whole time, and didn’t know it, which was crazy. If I’d known, I probably wouldn’t have applied to Columbia. So then all of the sudden I had this one great option--which was great, because I was actually considering dropping out completely without any academic options that I was very excited about -- it felt like I had everything I wanted at UCLA now, and then a month later I got into Columbia, and then I had no idea what I was gonna do. I took all of April to decide. I ultimately decided to just go to Columbia out of curiosity. I liked being far away and I liked LA a lot, but after the bizarre series of events that led me to that point, I felt that it was time to go. It felt like all these forces operating outside of my control.

You’re a filmmaker, fashion designer, and a visual artist. How do all of those things inform each other?

I think that my end goal right now is to just be making films. I want to be a director. I think all of the things I’m interested in-- fashion or costume design, visual art and art direction, photography, writing -- film is the medium where I can do all those things equally and create my own worlds with it and do everything all at once. That is how I think about it. Film can unite those other things. I think that over the 20th century, and definitely in my life, film has been the most influential art form.

So, popular with the masses and accessible?

In that sense, yeah, but that’s not really why. I think less so now-- now I think music and fashion are probably the two most relevant or omnipresent art forms in our lives, and the way those two mediums have come to be widely communicated is cinematically, or through moving images -- I’m thinking of music videos, concerts, performances, fashion runway shows, etc. But that sort of reality/ultra-reality was established because of film’s widespread influence, and screen culture and visual culture in the 20th century. And in my own personal experience, as a kid, I would watch a ton of movies and play a lot of video games.

Are there any particular films or filmmakers that inspired you?

As a really young child, my first favorite filmmaker was Tim Burton.

I love Tim Burton.

Yeah, I’ve loved horror movies more than any other types of movies for as long as I can remember. When I was five I saw Scream at a friend’s house during a sleepover and I was damn near crying out of love. It was the best thing I’d ever seen. I was begging my mom to let me watch more horror movies, but she didn’t think I was old enough to watch the real horror movies like Scream. So we kind of worked our way up through PG-13 ones. Just generally spooky things.  So Tim Burton was not only the first director, but also the first artist that I was aware of by name and whose style I could recognize. I was five or six.

What is your personal style when making movies? What would you say is your process or your goal?

I mean I don’t know yet because most of the things I’ve made so far have been pretty short and pretty non-story oriented.

Yeah, I was watching Wonderwheel and it was very visual and there were incredible colors and it was kind of eerie.

Yeah, I really like making videos like that one. It feels more like painting. You’re not really ascribing any words or a story to it. I was kind of trying to mimic the experience of vision itself and how things unfold in front of your eyes. Memory was also something I was thinking about with that specific piece and more generally, with everything else I do. I think a lot about the way memories overlap and blend into each other. I feel like montage style editing and superimposition-- where you have multiple images blending into one image-- is sort of how I’ve always thought about memory. You can see everything at once from the past and the present and the future. There’s this filmmaker Stan Brakhage, who was definitely very influential for that piece and in the way I see things in general with my naked eye. In terms of ‘process’ or ‘goal’, up to this point, I haven’t been that focused on stories, but that’s something I’m working towards.

Do you have any story ideas you can give me right now that you’ve thought about?

I feel like I’m drawn more to themes than specific stories. I’ve never really been able to figure out why, although I don’t think it’s that uncommon. I think there’s something about death and darkness that I have been fascinated by since I was a kid. Even when I was a kid, my favorite characters were always the villains. The psychology behind evil is something I’m really interested in, and developing characters like that who are undeniably bad people but still have a logic and a humanity to them is something I want to explore. The best villains are humanized to a great extent, whereas there are also a lot of villains in mainstream films who are just pure evil and don’t really have any emotions, or an agenda, or opinions about why they’re doing what they’re doing.

This is kind of unrelated but I’m a big Sherlock fan and they were comparing all the different villains, and part of why Moriarty is so frightening is that he doesn’t have a set goal. He does what he wants.

Yeah, just chaos and anarchy. I think of the Joker too, Heath Ledger’s Joker. He was a really beautiful character because he was so smart and so well spoken. That was the scariest thing about him-- how right he was in a certain way. I’ve always found the character of Freddy Krueger, or John Doe in Seven, or even Darth Vader to be really geniusly conceptualized characters in the ways that their presences are always felt no matter where you are in the story, and because they have such creative methods of executing terror upon people who they feel did them wrong. It’s their own way of exacting their own awful, twisted forms of justice, and it’s a type of damn near genius-level creativity that I feel like you can only reach if you’ve truly snapped and lost all connection with or compassion for society. Characters like that are who I’ve always been drawn to, for whatever reason.

You’re also a fashion designer. You make really cool sweatshirts, and you were featured on the VFiles instagram page. Can you tell me about making those and what went into that?

What happened with that was also crazy. I didn’t reach out to them or anything. I was in class one day and my phone was going crazy so I stepped out and checked it and saw that they had posted me and my clothes on their instagram and they messaged me and asked if they could sell my clothes in the store. That was crazy.

If anybody else wants some advice on how to get your work out there, VFiles has their own platform, a social media app that you can upload your work to. You don’t have to be a designer-- you can be a model or stylist or photographer or just a fan, anything. It’s its own community. It’s easy to find cool artists on that page.

I made an account that week and four days later-- they reached out to me, and then I got to actually sell my clothes in their store in Soho.

You say on your website that your goal is to make clothes that address our inner anxieties. Can you expand on that at all?

Yeah, that was for the first season of the hoodies. They are all one of one, customized pieces. For the first couple of pieces I was asking people what they were afraid of and writing their fears on the hoodie itself. And there actually weren’t many images on them or painted renderings of anything. A lot of those were only words and very manic and chaotic looking. Fear is a theme that I’m clearly drawn to. It’s something that I return to a lot.

It’s very visceral. It’s probably the most basic human emotion.

Yeah, I definitely agree. And I think the hoodies themselves kind of turn out looking spooky and dark. People have told me that they felt afraid to wear them in a way. But I think that is one thing fashion can do-- help you overcome that and feel more free and empowered by it. I feel like a lot of fashion is about being very self-conscious and I don’t feel like that should be what clothes do. It should be the opposite.

Your website and instagram are under the name Orion Connor. Where did the name come from?

So Orion is my best friend’s middle name, which was how I landed on it, and then I was just thinking of the way ‘Orion’ sounds and looks it got me thinking of good color schemes and like outer-space and mythological imagery and that felt like enough to start with.

Orion is the name of my clothing line, but Orion is also a collective. There are other people who make work for Orion. I founded it, and the other kids are mainly longtime friends, people I grew up with. I envisioned it as more than just clothes, and the clothes were just our first endeavor. But we want to do other things. It's a group where our strengths and resources can be lent to each other. The other people mainly do music. One’s a DJ and another is a music producer/engineer/journalist. I really want to do a podcast. We all do, but we haven’t done it yet, which has partially been my fault for not making time for it, which I regret.

Orion is hard to keep up with during school. If you want something like that to really make it and succeed, you have to give a lot to it, and I don’t really have the time to give everything I’d like to give to it. But in a year or so I’ll be done with school and hopefully it will still be on the rise.

What do you have planned for the future?

I want to step away from making clothes. I’ve gotten the perception that since Orion has gotten recognition and done pretty well recently that people view me somewhat exclusively as a ‘fashion’ person, especially people who find me on the internet.

I don’t really feel like fashion is truly my passion. I think I started doing the clothes because it was fun. It became a source of income too, which is good. I’d rather be making money that way than working certain jobs or finding internships and shit. Though over the past summer, I found that I really wanted to have a mundane ass normal day job. I really wanted to work for a butcher. I wanted to be a butcher’s apprentice. There’s a time and place for both. In terms of the future, I see myself doing less fashion. If I did, it would be to fund films. I want to take a leap in my filmmaking and ramp up the level at which I’m doing them. Most of my films have been very guerrilla. Just me and a camera and a subject. But I want to step up my production level and get into making shorts that are more story driven and eventually, longer pieces.

I also want to take jobs on sets and get more hands on filmmaking/directing experience. I enjoy watching other people direct sometimes, even if I may disagree with what they’re doing. I always learn a lot from watching other people. That’s one thing about Columbia’s film program-- you don’t really get that experience here. It’s not very hands on. It’s aimed towards being a writer director, which ultimately is what I want to be some day, but there’s a certain point where you have to get past that more amateur style of thinking. You can come back to it, and I probably will, but I’d like to be working in a bigger format. I just don’t feel ready to yet. Film is very expensive. I think sometimes I feel like there is only so much I can do with what I’ve got. I think I’ve gotten pretty good at this format of short experimental film pieces, though I wouldn’t say I’ve mastered them by any means, but I don’t feel like I want to be making them forever.

During your time on Columbia’s campus, have you been involved in the arts here?

In terms of clubs or groups and stuff, I haven’t really been. At the start of last year, I went to a few Postcrypt meetings and a Snock meeting. There was one Snock event where I screened something. That was kind of it. I wasn’t involved in the actual community. But I’m an art major so I’m always doing art classes and meeting other art students that way. I’ve been in the end of the year semester shows at Prentis and I really enjoyed those. Those were fun ways to see what people were doing and think about what I wanted to consider taking in the future.

This year, I’ve been a little more involved. I was in the first Postcrypt show of the year. It was an iPhone photo exhibition. I liked that idea.

The Ratrock Call to Artists theme last month was “delirium”, any thoughts on that?

Yeah, I feel like delirium is something I think about regularly. I’m very interested in subconscious dreams and nightmares. I really like films and art that are chaotic and nightmarish, where it really feels like anything could happen and you wouldn’t even question it, no matter how bizarre it could be. I’ve always felt that the things that terrify and disturb me the most are the most beautiful. There is something so beautiful about things that are so unspeakably horrible. Something very visceral and subconscious, and I feel like delirium is tied to that.

So maybe we’ll see your work coming up?

Yeah, maybe.

Call to Artists: Displacement

Living in New York we constantly come into contact with individuals that are displaced from usual society. We rush by them rather than stopping to notice, made uncomfortable by inequity or the lack of cash on our persons. Though seemingly remote from our own experience, all of us have felt feelings of otherness, of displacement or discomfort, and these are feelings that connect us to everyone around us. We have all experienced those transitions that make us uncomfortable, that remove us from stability and take us into the unknown. We are calling for art that connects with these themes in honor of Hunger and Homelessness Awareness in partnership with Project for the Homeless to reckon with both each individual sets of feelings which create ties between us. All mediums welcome! Send all submissions to ratrockmagazine@gmail.com with the subject "Your Name, CTA: Displacement" by Sunday November 26th. Your work will be featured in an online gallery, in our annual yearbook, and in an exhibition with its location to be determined!

November 2017 Faces

INTERVIEW XVI: OSCAR HOU

Interview by Mary Ma, Photography by Maya Hertz

Oscar is a first-year at Columbia College from Liverpool, England. He is a visual artist and musician, who has a diverse portfolio consisted of painting, photography, video work, and music. Oscar’s portrait paintings strike me as incredibly vibrant, leaving a surreal first impression with their intense brushwork and dense layers. Impressionist in expression with a boldly fauvist use of colors, his paintings do not shy away from confronting the viewer with its subjects, often caught through a moment in time.We sat down on a Friday afternoon after his six-hour painting class to talked about art, music, and moving to New York.

How did you get into art?

I kind of just always did it and never stopped. I started with drawing Pokemon and things from manga and animes. Then I took art GCSEs, which are for British students from ages 13-16, they are like the end of examinations, a bit like APs in the U.S. And then I took art A level which was the next step, and from there I just kept going, and now I'm here.

How long does it take for you to make your paintings?

The portrait of my mum took probably over 100 hours. I spent a couple months on it, I would work 3 hours in school everyday, I can’t remember if the math adds up but the number is up there... A lot of my paintings take a very long time, but I lose track of it in the process, so it's not bad.

Where do you work?

When I wasn't working at an art room in school, I would paint in this small spare room in my house. It was really small, but there was a window so I didn't suffocate. (Although I'm pretty sure I'm permanently damaged from staying in that room for so long). I painted in a very solitary manner, so it was kind of weird coming to Columbia and having a studio space where there are also others working. Recently I just bought a big f**k-off canvas that I stationed in my room so I can start painting in there.

What are your processes?

It depends on the piece, sometimes I'd just start painting without any kind of sketch. Sometimes I would use a photograph as a vision of what it's going to be. Or I'd make various sketches in my sketchbook, and then sketch on the canvas with a paint brush, using a thin-blue color. I always used really thick acrylic paint, especially with thick layers, acrylic is nice to work with because it dries really fast. Whereas for oil, it'd take a very long time. And I was never really taught how to use oil paint, honestly I didn't even know what turpentine was.

But now I'm only using oil! I’m kind of applying the acrylic process to oil... which is kind of stupid... But I do think that oil smells better, and it feels better to use. It's natural and buttery. Let’s just say I would eat oil but I wouldn't eat acrylic.

Does your photography and painting overlap?

Not really. Any kind of artistic expression I have comes out through the most conducive path that leads me to where I want to go. Sometimes it'd be photographs, sometimes its paintings, sometimes music. I would say they all come from the same source, but I wouldn't say they interfere with each other that much. When I take a photograph, I see it as a completed art piece I’ve made, and there is a reason why I haven't painted that, because it only works well as a photograph. Like action shots or the feeling of being in the moment, that's mainly expressed through photography, it wouldn’t be the same thing painted. Paintings are more conceptual.

How do you choose your subjects?

A lot of them are my friends. I choose subjects that are meaningful to me. Some of them are just acquaintances, people that I'm friendly with but wouldn't want them over in my house, (maybe for two hours max). For example the portrait of Adam was from my prom. After the event, we were all in an apartment and it was just a bunch of teenagers getting wildly pissed. For a moment he sat there on the couch and dozed off, so I shot of photo of him and painted it. I don't know him that well but that was an interesting moment. I try to be friends with interesting people.

Favorite color?

Ultra-marine. It's an electric-y, other-worldly blue. It's a blue that is not found in nature, and blue is almost everywhere. But ultra marine is very rare. I use it a lot in my paintings.

If you could talk to one artist living or dead, who would it be and what would you talk about?

Van Gogh. I'd try to make him happier, and give him some really unqualified therapy. He was a very troubled man, I don't like the idea that he was a great artist because he was sad, because he was depressed. If he were happy, if he lived to a ripe old age, we would have seen so much more stuff, he would have had such a happier life. He always tried to find happiness and beauty in his work. And I very much regret the fact that he died and I wish he were alive today.

Why use film?

I just took my dad's old film camera that used to be his most expensive possession when he first moved to England, even though now the value has depreciated. When I was first experimenting with it, I found it to be a lot better than digital cameras. It feels more wholesome to use, not to shade on contemporary trends of photography. With digital cameras, you can get a really good saturation of images. You can take 20 photos of the same thing and try to pick the best, but they'd look exactly identical besides a bit of difference, that seems like a waste of time to me. It's an information overload.

If you can only consume one artistic medium for the rest of your life, what would it be?

Visuals. it's an awful question to ask because it's asking which sense would I want to lose the least. That's so sad.

What’s behind your song "holy one"?

It's suppose to be a love song. It's about idolizing someone almost like a religious figure, but it's also sarcastic because of how forward it is. Most of my songs have a lot of meaning and are very personal. Not for the “holy one” though, I’ve never been in love.

What genre of music would you say it is?

I think indie. I don't purposefully stick to one genre. But now I'm moving into hip-hop and jazz. Everyone at Columbia plays jazz!

How do you find the art scene here differing from home?

There are so many crazy, hilarious, and weird looking people walking down the streets and in the subway. It's great, and very inspiring. Back home, if you are really into art, you will most likely try to move to London. The art scene in my city was not very present, but I’ve done a few exhibitions and met some really cool artists. It’s been a shift for me moving here. I'm very happy that I ended up here even though it wasn’t on the top of my list. (Then he throws shade at Yale, his first choice).

How do you see social media as a platform for artists?

Definitely a useful platform. If you are an artist in this generation, you need social media. Most of the recognition I've gotten is through social media, like magazine features etc. I think the best thing about it is that it enables people to bypass the standard and traditional path of getting a BFA, MA, and working your way up. Social media very much depends on networking. Instagram enables everyone to network, to meet other artists, and get to know them and their work. With social media, and the internet, everything is also much more accelerated. Even for 12, 13 year olds, they know things like feminism, social justice, racism. And I didn't know any of that when I was 12 or 13, WTF? We are in the age of information, and I think all the information made available is incredibly liberating.

Artist Update: Clara Hirsch

December 16 featured artist Clara Hirsch's photographic work from her time in London.

If you have been featured on Ratrock and would like a platform for your new work please send it to ratrockmagazine@gmail.com to be featured in an artist update!

Call to Artists: Delirious

In response to the show "Delirous: Art at the Limits of Reason" on view at the MET Breuer, we're asking you to submit work that responds to the idea that "delirious times demand delirious art". All mediums welcome! Send all submissions to ratrockmagazine@gmail.com with the subject "Your Name, CTA: Delirious" by Sunday October 29th. Your work will be featured in an online gallery, in our annual yearbook, and on the walls of CU Records!

INTERVIEW XV: SHANGA LABOSSIERE

Interview by Ali Saadeddine, Photography by Emma Noelle

ALI: My favorite work of yours is your first. I thought “Sole-r System” was extremely identifiable. What I’m interested in is the ways in which you consider yourself to be this in this system of your own?

SHANGA: Ah okay… Well pretty much the whole poem. That whole poem is pretty much me. I wrote that poem as a junior in high school. The planet is me. Even now, in my rapping, I still refer to this idea of a “sole planet”—basically quoting the poem.

Interesting. Then, you take it in a completely different direction. You say something like “I wish we were lions”—animals that live together, and it’s interesting to see how your poem “Animals” comes directly after “Sole-r Planet”.

Well, look at you! See, I didn’t even think of that.

Haha, well I’m going to ask you the same question but in the context of this poem: in which way do you consider yourself as or want to see yourself become an animal?

Well, I wrote this poem July of last year, so I wrote it after Sterling and Castile were killed. It’s somewhat of a collective idea, so the lion I’m referring to is Cecil, the lion, the gorilla is referring to Harambe. Basically, when these animals are killed, everyone is pissed at the people who killed them and they’re offered more compassion than Sterling and Castile and people are going to continue to be demonized and want to find reasons for why someone or something is dead… I’m probably going off, but anyway.

On the contrary, I think the way you satirize human empathy is quite brilliant. The way you talk about it is like a stream of consciousness—just like the way the poem flows. You say people will “continue to be demonized”. Explain more about that.

Well, yeah I’m just referencing the collective effort that happened when Cecil and Harambe were killed; there’s a collective dimension. But, when it comes to Castile and Sterling, people began saying “Well, this guy did this and that and the third…”, things that are not even relevant to the issue at hand, like their past criminal records. To even reference the tragedy in Vegas, they looked at the guy who did it and they talked about how he didn’t have a criminal record. OK, granted. He might not have a criminal record, but he still did such a horrific, tragic thing.

Your poem is about “Animals” and yet it focuses on the issue of accountability which is an interesting paradox when you bring them together. I was really interested in the progression of your poems. What can you say about placing “Animals” at the forefront, facing “Sole-r System”, as if a direct commentary on it? There’s something to be said about their similarity, however, I think.

When I submit my work, at least the last three, those three, I think kind of fit together in a narrative; it’s not a hard narrative, since it’s just a portfolio folder. But, there’s something about “Sole-r System” and depression and being alone and depending on others for happiness.

You end your poem the same way you begin it: “An eternity before the darkness ends”. Is there some sort of transformation that goes on in this poem? I understand that your intent behind this is not to provide people with hope, but to give them the tough, dark truth. You equate life to darkness and I’m really interested in this particular equivalency. Is there life? Are we supposed to wait for it?

I can definitely say I’m in a better place than when I wrote this poem and I think it also fits into—you know, I talk about the winter solstice—there’s going to be seasons so it definitely feels like an eternity. I guess it’s a relative eternity. I mean look at the winter solstice, it’s dark as hell outside for most of the day, only a little light.

Wow, this idea of “relative eternity” certainly seems interesting. You talk about life as if it’s a constant flux of change.

Well yeah, in the moment it feels like eternity, you know, that crushing thing, so, at least for me, I can still relate to the poem, but it’s a new season for me, so to speak.

We’re talking about this idea of feeling alone, depression, even other themes that you explore in a lot of other poems. When you are writing these poems, who are you thinking about? Are you writing them for yourself? Is there a particular audience you’re shooting for? And what are you trying to tell them?

Well, in terms of “Sole-r Planet”, I had this feeling of catharsis and I needed to write and just sort of get my feelings out and provide an image to what I was feeling at the time but also I look at similes and metaphors as a way to build the bridge between my world and the world of your reader’s; they might not get it entirely, but to just help them feel and think. I don’t know, I guess the word would be microcosm? I don’t know.

You talk about catharsis. Your work does seem cathartic at times, as if recordings of past epiphanies you’ve had. You say, for example, that you are “locked in a staring contest with death, winning only accomplished by temporarily losing.” What experiences have you had that have shaped your perception of death and the way you write about it? (Because, I mean, you’re describing a tug-of-war with death—which seems like an extremely specific philosophy about death.)

Well, I just feel like being black in America, as we’ve seen in the media, if you’re a certain color, anything can ‘justify’ you being killed. I’m sorry what was the question? Oh yeah. Well, yeah. It’s always pulling and pushing.

Let’s go to “A Dream of My Ancestors”. You mesh this idea of your cultural identity and your identity as a writer. “My pen is my machete,” you write. How is writing empowering you to investigate your identity in a way that wouldn’t have otherwise been afforded to you?

Since I started writing, seventh or eighth grade, my first ‘big’ slam piece—big is in quotation marks because looking back I could’ve done a lot better but yeah—it was really introspective and talking about how I felt at that time, always feeling the need to kind of investigate myself and to try to characterize what I’m feeling. How is my pen my machete? My family comes from Haiti, and in the poem there’s an image of the unknown maroon and he has a conch shell—the call to rise—in one hand and a machete—the weapon—in the other. I guess my pen is my weapon more or less, in a figurative sense of course, just using it as a tool. I write as an emotional release, like in “Animals” and “Beacons of Liberation”, I write to fight, to challenge, to promote change and whatnot.

Yeah, you say that you’re blowing your conch shell and that that is a “call to rise”. What is this thing that you are rising to? What is the purpose of this poem specifically?

Well, I guess, oh damn, you’re making me think hard, huh! Well I guess just hoping that what I can do with poetry is change the way people think, you know forcing them to think differently about things, motivate people. In “Sole-r System”, if somebody can look to it for help? Beautiful. If somebody can look at “Beacons of Liberation”, and says we should do something? Beautiful.

You definitely talk about empathy for the people of your country in poems like “Beacons of Liberation”. Tell us a little about this cultural damage and how it carries through in your creative work.

I’ve been immersed in this activism and I can actually show you my Instagram page—I posted this poem on Instagram—so it’s been a part of me since as long as I can remember. It’s like a cloud. I wrote that after Hurricane Matthew last year because I felt moved, I felt I had to write something, because seeing all the mess imposed onto Haiti, and have this earthquake happen, and seeing people helpless, and to go there in 2014 and see the rubble still over the city and people still living in tents. This is just a repeat. Aid isn’t going to come.

In your last piece, you do show quite a bit of hope. You say “things in the dark will eventually come to the light,” which is a stark contrast to your first poem where the question appears unanswerable. In “Sole-r System”, it seems as though, when talking about yourself, you abandon all hope. But, in the poems succeeding it, especially “Beacons of Liberation”, when discussing an important issue to you, that is also external to you, you seem to have a lot of hope. Is there a tradeoff you think? That for one to be so hopeful of change in something, must abandon some hope elsewhere? Why are you even this hopeful that things are going to pick up for Haiti? Wouldn’t it be easier not to?

Challenging! Challenging! Challenging! In the first poem, I was speaking from that vantage point of hopelessness. I guess what makes me so confident about Haiti’s future is that we’ve done it before. I talk about the “ancestral beams”. I’m confident about my people; they’re a fighting people. I’m damn sure, and I’m part of that fight even so many miles away.

 

 

Chen Fou

a new clothing line addressing issues of black identity brought to you in part by undergraduate artists attending barnard and columbia

find them on instagram @chen.fou

the creative director and founder of chen fou is Kumi CC '19 @light.fx

photographs by Zarita Zevallos @infi_nerdy_

additional design by Jasmine Weber BC '18 | Alston Watson @alston2008

modeled by Samia Hampstead @samiahamps | Anderson Peguero CC '19 @ninthseal | Alston Watson @alston2008

wardrobe styling by Jazmin Newton | hair and makeup by Christine Forbes BC '19

CTA: Consumption

digital drawing by Anna Kaplan

Anna Kaplan.jpg

mixed media by Anderson Peguero

photograph by Emma Noelle 

emma noelle.jpg

 

collage by Charlotte Force

charlotte.jpg

photography by Julia Girardoni

film by Trinity Lester

When consulting the idea of consumption I felt myself wanting to film the personal processes of going online shopping. As the idea progressed, I began to recall that so many of the places I may go to shop online were recently exposed for taking part in sweatshops. This led me to do some research on companies that I may not know were involved in the use of these abusive and unfair factories.

The video is of my screen, on the side you can see an array of desktop icons. Each of the icons shows a store that has been recognized as having sweatshops. These stores are then opened in tabs and throughout the video I take the time to explore their site. During the video I genuinely just clicked on what I was interested in, what looked worth clicking on, and what suited my needs. This became harder to do with the constant reminder of the sweatshops in the upper right background and left side of my desktop.

The video running is of myself eating chips to show what I feel is the most basic level of
consumption. For me the first thing that comes to mind when thinking of the topic is eating. So in the video I eat (quite impolitely and a little wildly) to show that basic primal consumption that I first thought of.

The audio is a mash up of my crunching over the hectic sounds of a factory. This ties the
clothing back to the industrial while the reminder of my chewing and my personal presence remains.

Lastly, the rose colored filter increases in opacity with each odd jump or break that I randomly placed in the video. The filter reminded me of the common saying “to see life through rose colored glasses,” because here it was difficult for me to look past the harsh reality of sweatshops that these clothes were made in.

 

paintings and sculptures by Laura Isabel Dabalsa

pen and ink drawing by Galiba Gofur

Galiba Gofur.jpg

October 17 Faces

INTERVIEW XIV: ANISA TAVANGAR

Photography by Emma Noelle, Interview by Grace Nkem

Care to introduce yourself?

So, hi— I’m Anisa Tavangar, I’m a senior at Barnard, I study art history / visual arts (which I love) and I’m also the Editor-in-Chief of Hoot Magazine.

What are you currently most interested in? What’s really struck you lately?

I feel like I'm generally excited by a lot of things, so it's difficult to pinpoint one. Very generally, though, I'm very motivated by justice, and I think anything related to justice catches my eye; more recently I’m thinking about beauty as justice, or beauty as a form of justice, and tying those concepts into art or creativity. And justice as a form of art is very exciting.

What’s your most interesting class this year? Are you working on a thesis?

I mean I’m taking senior seminars, because I'm doing 3 theses— which is exhausting— but my most interesting class is Methods and Theories of Art History, which is interesting because it’s heavy art historical theory which I like, and I'm also taking Philosophy and Feminism which I thought was Philosophy of Feminism, but actually is not. It’s literally Plato and Augustine, with respect to feminism.

Otherwise, I’m excited about my senior visual arts studio because in it I really can do what I want; the possibilities are endless—its cheesy but its true— but I’m suddenly in all these classes where I can do what I want— whereas all this time I’ve been answering prompts I’m finally at the point where it’s just: go for it.

I hear fashion and makeup are your forté— how have you engaged and explored those interests at CU?

It’s interesting that people (I mean I run Hoot, so hello fashion!) peg me as very into fashion, but I don't like fashion that much. I don't know— I think I like every avenue that allows me to make things and make an impact. In high school, fashion was a very convenient medium— I read a lot of blogs and took a sewing and construction class— and I think fashion is an interesting medium in terms of sculpture and performance. It’s a very structured, fabricated medium— especially in terms of performance.

I just think it’s interesting that I look at art as a very spiritual thing. I mean, to me, the art of making something and the quality of creativity is a uniquely human thing and it’s really a spiritual quality: the ability to be creative. And so I definitely look at art through that lens, while I think that when things are strictly material, because there is a way to create things that are strictly material, they lose their meaning. The material aspect of creating, when things are made solely in that way— meaning vanishes. Fashion week is like that, it’s not an experience of art or design, expression, ideas— its material. And all the structures and hierarchies within it are false. They are made up, and stuck— so why are we taking them for granted?

Thinking of things in terms of a continuum and not a spectrum is interesting, because spectrums have endings that you have to bounce in between— but continuums can go on. There’s room for growth; I'm into infinity. In the end nothing matters but being a good person, everything else is fake! Those aren't elegant words, but the only things that are universally true are these qualities: kindness, generosity, justice. Not what’s on a runway. A runway or gallery can only select those and emulate those. Yeah. That’s what I'm about these days.

Back to Hoot Mag— tell me about it: what is Hoot, how did you get involved, what is it doing, and where is it going?

Alright. Whoo. Yes! That’s true I'm Editor-in-Chief of Hoot, which is the undergraduate fashion magazine at Columbia. I got involved my freshman year, my older sister was a senior and she said check it out, so I went to the first meeting, thought it was cool, could see myself getting involved. But I’m wildly type A, so of course by “contributing” I got very, very involved— forget “getting involved,” I went full speed ahead. I contributed two blog series and to two print shoots. My second semester I was Beauty Director, and then the editors graduated and gave me the whole thing! It was scary at the time but I'm so grateful that they trusted me. 

Every semester, the magazine changes, it’s a reflection of the editors and contributors, and it’s allowed me to inject these abstract ideas into the publication.

So the way that I put it is: yes Hoot is a fashion magazine, but we are more concerned with conveying our ideas through representation and inclusion. So, more important than clothes and trends are these concepts, and that’s the mission of the magazine, and that is the most important part of it. As cool as it is to style a shoot, it’s the mission of the magazine that’s been most impactful and what makes me proud of Hoot. And this is a time for reflection, because I’m not continuing it spring semester! Yes, time to announce it.

Hoot has really changed in the last 2+ years that we’ve had it, and we’re passing it on! It’s going to be nice because then the new people will have complete control, of course, but if they need us we’ll be on campus. Its been crazy watching it change so much, and to see what we’ve been able to do. For example Holler was one of the first things I came up with for Hoot— I was in the car with my dad and thought it would be funny: Hoot & Holler— and now, to come back and look at something and say “I did that” (with the help of a lot of people) is really nice.

You’re working at Refinery29, right? Tell me about that.

Actually I just ended on Thursday— because there’s so much going on at school and the time commitment was a lot, but I absolutely loved the team I worked with. Such amazing people. I never expected to leave an internship emotional but I teared up.

At Refinery I was the intern to the Exective Creative Director and Co-Founder of the company, who I admire so much, and I sat on the Brand Leadership Team, looking on how the brand is applied broadly across the company— a bird’s eye view. It’s just a cool place to be, everybody is so interesting, smart, and capable— from a strategist, to a designer, to a marketer, there’s so much to learn from each person. That’s what I valued about the company, and everybody really adheres to the values that the company aims to uphold, for sure.

How was fashion week?

The first time I went was my freshman year, it was Tadashi Shoji— beautiful gowns, just floating down the runway! I remember it being so special, I was very starry-eyed. It was so beautiful, and it had once felt like such an unapproachable space— to get in there my freshman year felt unreal! But year after year, season after season, its kind of lost that gloss or that sheen. That sparkle, or pizzazz?— something shiny. The patina?

Now, when you go, if nobody cares who you are, you’re wrangled into this holding pen before the shows and nobody cares if you can see, nobody talks to you, everybody is there for themselves trying to be seen. I think after not too much time that kind of overwhelms the experience. And once you're in the room, consciously or not, you’re wondering “do people like my outfit,” “what are they wearing,” and you’re judging people on their outfits; you don’t want to be that way but you can’t help it! That’s the only thing the space is encouraging people to do— judge other people— which is unfortunate.

This year I didn't post about it, I put a bit on my story, I tried not to go to shows and encouraged the other Hoot editors to use the invites. I mean, it's a privilege to go to these shows, but you have to think, what’s the point of it? I’m not into it right now.

I saw your article in Medium on the September issue covers. And no one can deny that Hoot makes a point to be forward-thinking and inclusive. What has been your experience with inclusiveness and politics in general, working and existing within the world of fashion?

I think my relationship with it is complicated, but the issue itself is simple. Simply put: I think there is no platform or publication that is doing enough. Or, that is having the perfect conversations. No one has the right answer for it— but there’s a lot of not trying hard enough to figure out what that might me. It’s very disheartening, but at once very motivating, thinking about what these solutions might be.

One of my “shticks:” I am not a political person. I read the news, I'm informed, but I'm not a member of a political party, I try not to talk about specific politicians. But there’s a very different thing between political and politicized. Global economic policy is political— but justice, equality, and the well-being of humanity— these are politicized issues. They're social issues. I just think its interesting that everything feels political— why? Because a politician talked about it, it’s what’s going on every day, but it’s not a political issue.

The funny thing is, I’ve worked in digital media more than fashion— I’ve done two internships at Refinery29, but the first was very bottom of the barrel click bait articles, and interned and freelanced for issuu.com, writing content and producing a video series. Fashion is a vehicle for change, but I'm not married to it. I don't need to work in fashion if that's not where I can have the best impact.

So where would you like to work?

That’s the thing— I don't know. I love digital media. I love art history. But I don't have one that I need to be in. I want to be somewhere that allows me to influence the world through beautiful things— wherever will allow me to do that.

Do you have any other similar— or dissimilar— projects you’re working on?

Well, I'm doing an art history thesis, a visual arts senior project, and an Athena Social Action Project. All three relate very closely to these ideas, in different ways. They all have to do with inclusion, identity, visual culture, how the images we see ourselves reflected in impact how we see our role in the world.

Do you like the term “visual culture?”

I think its necessary for now. You can't separate all the different forms of media— there’s so much happening on Instagram, you can’t say it’s not affecting the world! Because visual culture isn't just “high art”, it’s what fonts you use! What color are you drawn towards? Anything that influences the aesthetic qualities of our day.

When I'm talking about inclusion, I’m not just talking about the Met or a fashion shoot— I'm talking about all of it. Its about who you’ve included in an ad, a fashion shoot, who's getting a solo in a museum, who’s publishing, who’s editing. It’s all connected, all relevant. And because of that digital reach, if you try to dichotomize all these, you’re being dishonest to the reality of the day.

Another thing about visual culture is that change is part of its essence. Change is necessary, inevitable— and individuals have the capacity to make that change. If you see something wrong and do nothing, you’re using your skills in the wrong way. Culture is malleable, and you can make it happen. “Be the change you want to see in the world,” if you want to be cheesy.

If you could only consume one form of digital media for the rest of your life, what would it be?

It would have to be the New York Times…. website. I mean, it’s all there, they have all these different categories. You can read the news— love reading the news— there’s think-pieces— I love a good think piece— and there’s Vanessa Friedman— love her.

And, um, hootmag.org/blog.

Alright get ready— who are you wearing?

Oh, nothing interesting— too much Zara. But, my earrings were designed by a friend of mine, based in Brooklyn. Her brand is called Edas Jewels! She was in Holler Fall 2017. Wonderful person, wonderful designer— check it out. Everything else is boring— but I'm wearing pink eyeshadow. I'm not into putting effort into my clothes as much— its exhausting! It’s like, look at Steve Jobs. Yeah, I’d say my fashion inspirations are, well, a mix between Ina Garten and Steve Jobs. I said that in an interview a while ago and I'm sticking by it. 

Well, in the spirit of reflection— any tips for underclassmen?

I have a few. My first, biggest, tip is: FOLLOW THROUGH. Number one. If you ask something of someone or you want to get involved in something and you expect them to hand you the opportunity, it’s not gonna happen. You need to follow through and put that work in for yourself not matter what level you’re at. Put the work in.

Other advice, college specific advice— don't feel obligated to follow certain clichés. There are all these things that people consider to be a necessary part of the college experience that are not necessary at all. Don't feel like you must partake in something you don’t enjoy. Do what brings you joy!

And call your parents. I call my parents all the time, we've gotten to whereas other students complain about parents calling them, my parents are the opposite. But, really, be in touch with people outside of the experience you’re in now, so you can reflect. It can be a parent, sibling, friend at another school, anyone you're close with. You can get sucked into what going on around you and its important to pull back and realize this isn’t everything. 

Be nice to everybody. That's another big one. 

I don't like being too cool— I’m not a cool person. Be into things!

We’re all nerds here: lean into that.

Call to Artists: Consumption

"I keep her in Louboutin, Louis Vuitton
Gucci down to her feet, yup, just like me
I'm the one, with them ones
Fuck the price on the tag, just throw it in the bag"

- Fabolous, 2009

All mediums welcome! Send all submissions to ratrockmagazine@gmail.com with the subject "Your Name, CTA: Consumption" by Sunday September 24th. Your work will be featured in an online gallery, in our annual yearbook, and on the walls of CU Records!

September 17 Faces

INTERVIEW XIII: SAM WILLIGER

Interview by Grace Nkem

Care to introduce yourself?

I’m Sam; I’m a senior double majoring in art history and visual arts. I’m from LA, originally. Sam responds. “And she has no idea what she’s doing with her life,” she adds in the third person.

What got you started in visual art?

Oh boy— I have been doing visual arts literally since I was five. I remember there was an art-after-school camp program thing that was 6+ and I went in and begged them to let me in, even though I was 5, and that’s probably where it all got started. I did like a very formal painting training, and then by the time I was like–I have to construct this timeline in my head hold on...how old are you in middle school?–12, I totally rejected that and I was so over painting. I feel like I’m describing a modernist trajectory, I hate that. I was heavily involved in sculpture over the course of high school, and when I got here I got involved in printmaking, which is what I’m focusing on now.

What draws you to printmaking?

Printmaking, I think, has the most opportunity for experimentation actually, even though I think many people would view it as a preliminary step, and very structured. Because the nature of it is multiples, you have the opportunity to play around with each multiple and change things. I also think that paper gets overlooked as a medium. There’s very cool things you can do with paper. The whole joy of a print is you don’t know what you’re going to get until you pull the print and look and see—with painting and sculpture, you kind of see what you’re doing as you do it. But with prints, you don’t know until you’ve printed. I have this shirt I got at the Blond Artbooks booth at the BABZ art fair last year that says, “like sex, printmaking is not solely a means of reproduction.”

Art history?

I’m trying to think of a path. I can’t pinpoint it as much as visual arts. My dad is an architect, and when I was little, whenever we would go on vacation we would travel, go somewhere, and see the house by the person, and I think that form of architecture...history…..blends with this. I think that really got me into it. I don’t know, I was really into it through all of highschool. When I was in senior year I took art history, I was really excited about it. My dad being an architect, would take us to all of these houses and museums—maybe he is the architecture side and I picked up the art side. A lot of those houses would have art in them.

How has being an art historian affected you as an artist?

Oh my god it’s given me so many issues—ha, no. I think there’s a divide in art making in that some people think you have to know art history and some people think that that gets in the way of art making. I think it’s important to know the trajectory of art history to know what tradition you’re a part of or what you’re breaking from. And I’m not saying you have to be an expert—I can tell you very little about Rococo—but it’s important to know the trends. I focus mostly in the Postmodern era, and with all that institution-critical content, I’m always like, what am I doing with my art, what is it doing? On the flip side of that, I think it’s rare to find an art historian who also practices art, and I actually think that is a shortcoming in the field. A lot of art historians position themselves as critics without having the technical experience with a medium, which I think sometimes leads to (sometimes just blegh) a lack of understanding.

What are you currently working on?

Prints! I have been making so many etching plates lately and feeling unsatisfied with them, and then I just keep making more! I’ve been making a crazy amount of prints. Actually what I’ve been working on is a combination of silkscreen monotypes and kind of pseudo-monotypes with etching plates. They’re not actually monotypes because I’m using the same matrix. I’m pulling the ghosts of these etching plates until the image actually fades. I’m also making a lot of clam-shell boxes, which is a bookbinding technique.  

Do you avoid the human subject—or do you approach it through other means? (I don’t mean to art-historicize you but,) Your work seems to allude to a human presence.

Yah, my work definitely alludes to human presence. I mostly work with the themes of the interior, as a means of addressing the notions of storing versus saving, and functionality versus sentimentality. My work isn’t figurative in that it physically depicts a human subject, but it definitely is working around the presence or lack of a human in that space.

What has Columbia done for your art?

I think the visual arts department at Columbia is one of the best and most underrated departments the school has to offer—but I think that it should stay that way. The class sizes are small and you kind of know everyone in the department, which is a nice thing. The fact that they give you your own studio for you senior year is amazing—that doesn’t even happen at art schools.

Best visual art class?

Drawing into Print with Tomas and Advanced Printmaking with Kiki Smith, Sara Sze, and Valerie Hammon. Best art history classes I’ve taken are Minimalism Post-Minimalism with Branden Joseph and Institutional Critique with Rosalyn Deutsch.

Thesis?

I’m being crazy and I’m actually doing two theses— because I’m majoring in art history and visual arts separately, not doing the combined major (I did that so I can do a full year thesis in both) so for visual arts I’m producing a full body of work, and they give you a studio which is great, and I’m focusing on the themes I discussed: interiority, sentimentality, functionality, through means of printmaking, bookbinding, and a lot of knitting.

And for my art history thesis I’m writing my thesis on Christopher D’Arcangelo, an institution-critical conceptual artist of the 1970’s. There is a huge lack of scholarship on him, and I’m trying to root his interpretive action-based work in the trajectory of institutional critique.

What inspired this? Academic/professional/artistic influences?

In Institutional Critique, the class with Deutsch, one day we briefly discussed d’Arcangelo, and I was intrigued—mostly because of the lack of scholarship on d’Arcangelo. There’s no monogram on him, there’s only been like one exhibition. There’s like this gap in art history, and I wanted to do more work on him. Last summer I went through his archives at the NYU library: I was in Bobst, the bleakest place on this planet, twice a week every week. But, I got to go through all his personal notes and writings and objects–it was a very cool primary-source-based investigation.

Tell me about your time at Postcrypt.

I joined Postcrypt as a freshman and I just, you know, kept showing up to help set up shows. I kept helping to print things, install, events, whatever, and I became very close with the people in Postcrypt. When I was ‘younger’ in Postcrypt, Katie and Kt were like my ‘guides,’ and we just worked on a lot of shows together, and so I’ve just been there. I stayed with it since freshman year, and here we are today.
 

Talk about some of your art-world work?

Speaking of Katie and Kt, we curated a show outside of Postcrypt over the summer—a show on Kt’s roof one summer, and sent out a call to artists on NYFA, and got a lot of great artists from all different age-groups and all different areas of the city. I also worked at Pace prints for about six months, Sophomore year through the summer, which was great and I loved being surrounded by all the prints. Last summer I started working at a book-bindery called Small Editions, where I’m still working. And I love being there; I’ve learned so much about bookbinding and artist books. I’m also currently working at a small gallery, which is an interesting contrast to Pace which is a large, established gallery.

If you could only consume one type of media for the rest of your life, what?

Oh no, oh no. Images. Both art and TV. Have to finish this season of the bachelor.

I know everyone saw this coming, but: LA or New York? (arts scene)

Honestly, I love both. If I’m in New York for too long I get a little antsy for LA, but if I’m in LA too long I get antsy for NY. NY definitely has a larger more established arts scene with more niche opportunities, actually. I think life in LA is easier and more relaxed, yep, I don’t know. I don’t know where I’ll be, basically.