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>> THINK ABOUT THIS.
1 ONION SKINS, GRAPE SKINS, REJECTED SODA BOTTLES
AND POP TOPS FROM SODA CANS WHAT DO YOU THINK OF?
YOU THINK OF TRASH, RIGHT?
WELL, TODAY'S GUEST, ERIKA DIAMOND, ACTUALLY SEES THESE
AS MEDIA FOR AN EXCITING KIND OF ART.
I AM THRILLED TO HAVE HER AS A GUEST ON THE SHOW.
IT'S COMING UP NEXT RIGHT HERE ON CHARLOTTE ARTS.
[ THEME MUSIC ]
>> WELL, YOU MAY SEE REJECTION TODAY'S GUEST SEES INSPIRATION.
WHERE YOU MAY SEE AN ONION SKIN AS SOMETHING YOU TOSS
IN THE TRASH, SHE SEES A MEDIUM OF VISUAL STIMULATION.
HER NAME IS ERIKA DIAMOND,
AND SHE'S A GREAT ARTIST WORKING RIGHT OUT OF OUR OWN CHARLOTTE,
AND I'M THRILLED TO HAVE HER AS TODAY'S GUEST.
THANKS FOR BEING HERE, ERIKA.
>> THANK YOU FOR HAVING ME.
>> I AM ACTUALLY A LITTLE HUMBLED
BY FINDING A FAIR DESCRIPTION OF YOUR WORK
BECAUSE IT DOES PERVERSE SO MANY DIFFERENT THINGS.
WHEN SOMEONE ASKS YOU WHAT KIND OF AN ARTIST YOU ARE,
WHAT DO YOU TELL THEM?
>> I GENERALLY SAY THAT I MAKE SCULPTURE OR I MAKE WORK
THAT OFTEN USES DISCARDED MATERIALS.
>> RIGHT.
>> THAT IN SOME WAY RELATES THE SELF TO THE SURROUNDING WORLD
AND OUR COMPULSION TO CONTROL BOTH.
>> THAT'S VERY FAIR.
LET'S JUST GO THROUGH WHEN WE TALK
ABOUT THESE DISCARDED MATERIALS.
LET'S CAST OFF A LIST OF SOME
OF THE DIFFERENT THINGS YOU HAVE WORKED WITH OVER THE YEARS.
>> ONION SKIN, ONE OF MY FAVORITES,
BLADES OF GRASS THAT I'VE COLLECTED.
LET'S SEE, BOTTLE CAPS AND POP TABS.
VERY IMPORTANT HAS BEEN WORK WITH MY OWN HAIR
WHICH HAS BEEN DISCARDED.
>> YEAH.
>> NOT HAVING TAKEN IT OUT OF MY HEAD.
I WAIT FOR IT TO BE DISCARDED.
>> PUT IT TO WORK.
>> YEAH. SO THINGS LIKE THAT, SHELLS, BARK,
IT REALLY CAN BE ANYTHING.
>> RIGHT.
>> IT'S WHATEVER I STUMBLE UPON.
2
>> WHEN I LOOK AT THE WORK DID YOU WITH YOUR HAIR
AND I KNOW THERE'S ONE PIECE THAT COMES TO MIND
OF A WOMAN MAYBE IT'S MARILYN MONROE, MAYBE IT'S NOT,
BUT FISH NET STOCKINGS.
>> YES.
>> AND WHAT YOU SEE.
>> EXPLAIN WHAT INSPIRED THAT PIECE AND HOW IT CAME TO BE.
>> WHAT I REALLY ENJOY ABOUT THE IMAGE OF FISH NET STOCKINGS IS
THAT IT'S SOMETHING THAT WE USE TO CONTAIN THE BODY
AND IN A WAY ALSO SORT OF IMPOSE LIKE MATHEMATICS TO IT.
ALMOST LIKE A GRIDWORK OVER SOMETHING THAT IS SO NATURAL
AS THE HUMAN FORCE AND SOMETHING SO FEMININE, TOO.
I STARTED CREATING THE HAIR DRAWINGS MAINLY THIS PIECE
WITH MARILYN MONROE AND FISH NET STOCKINGS AND PIN-UP IMAGES
WHEN I WAS LIVING IN LOS ANGELES AND WAS LOOKING
FOR A NEW MATERIAL TO USE THAT WAS SORT OF VERY,
VERY REAL IN THE FACE OF THINGS
THAT WERE NOT REAL OR UNATAINABLE.
>> ONE OF THE THINGS I THINK YOU'RE BEST FOR IS COMMISSION
FOR NORTH CAROLINA DANCE THEATER WHICH WAS AND I'M SURE I'M GOING
TO ACCURATELY DESCRIBE THIS, WEARABLE ART.
>> YEAH. WEARABLE SCULPTURE.
>> TELL US A LITTLE BIT ABOUT THAT.
>> OKAY. I ALSO CALL THEM RECYCLED COSTUMES
BECAUSE I WAS COMMISSIONED TO MAKE ORIGINALLY TEN
AND THEN IT ENDED UP BEING 13 COSTUMES FROM RECYCLED MATERIALS
FOR PIECE FOR DIAMOND CALLED RUNWAY RECYCLE.
I WAS GIVEN COMPLETE FREEDOM TO MAKE WHATEVER I NEEDED
TO WITH THE STIPULATION IT BE WEARABLE AND DANCEABLE.
SO THOSE WERE REALLY THE TWO CHALLENGES WITH IN THE PROCESS.
SO I WANTED TO FOCUS ON MATERIALS THAT WERE RECYCLABLE
FOR THE MOST PART OR ITEMS THAT JUST END UP IN A LANDFILL
BECAUSE THEY DON'T BIODEGRADE WHICH WAS A SHIFT
FROM MY OLD PROCESS OF WORKING WITH MORE NATURAL MATERIALS.
SO I MADE THESE TEN COSTUMES AND FITTED THEM TO THE DANCERS
AND THEN THE CHOREOGRAPHY ACTUALLY DEVELOPED
AS A RESULT OF THE COSTUMES.
SO--
>> WHICH IS REALLY THE REVERSE
OF HOW THE PROCESS NORMALLY WORKS, RIGHT?
>> YES. 3 YES.
IN THAT WAY, I WAS ABLE TO MANIPULATE THE MOVEMENT
AND EACH PIECE ALLOWED THE DANCER TO MOVE IN A CERTAIN WAY
OR INHIBITED THEM FROM BEING ABLE TO.
IT WAS A REALLY EXCITING OPPORTUNITY FOR ME TO DO THAT.
>> YOU MENTIONED MARK DIAMOND AND THERE IS A CONNECTION THERE.
>> HE IS MY FATHER.
>> HE'S DAD AND YOU HAVE TO TELL ME HIS POSITION.
>> HE IS PROGRAM DIRECTOR FOR THE DANCE-- NC DANCE THEATER II.
THERE'S A SECOND COMPANY, AND SO HE WORKS WITH THEM
AND HELPS THEM DEVELOP TO THEN GET INTO THE FIRST COMPANY
AND ALSO WORKS ON THE FIRST COMPANY DOING NEW BALLETS
AND NEW PIECES, WHICH IS THIS PIECE WAS DONE FOR.
>> GROWING UP.
YOU WERE BORN IN HUNGARY, GERMANY.
BOTH OF YOUR PARENTS WERE IN EUROPE DANCING.
>> YES.
>> GROWING UP IN THAT LIFE AND WITH THAT EXPOSURE,
HOW DOES THAT INFORM YOUR WORK OVER THE YEARS?
>> I THINK IT'S BEEN PROBABLY THE MOST INFLUENTIAL ASPECT
OF MY LIFE JUST BEING AROUND MOVEMENT, ART OF THAT KIND,
AND THE BODY BECAUSE I THINK THAT'S THE ONE THING
THAT I ALWAYS GO BACK TO FOR INSPIRATION.
IF I SORT OF AM AT A LOSS FOR A JUMPING OFF POINT EVER,
I GO BACK TO THE BODY AND I'VE BEEN ABLE TO NOW 6 WORK
WITH THOSE DANCERS AND CREATE SOMETHING THAT THEY CAN WEAR.
SO I THINK JUST ALWAYS IT'S BEEN AN INFLUENCE
IN THE WAY THAT MY FATHER WORKS.
ALSO, HE CREATES BALLETS THAT ARE SO VERY DIFFERENT
FROM EACH OTHER AND I THINK THAT'S SOMETHING
THAT I HAVE TAKEN AS A LESSON, TOO, TO ALWAYS TRY
TO MAKE SOMETHING NEW
AND CHALLENGE MY OWN BODY OF WORK THAT WAY.
>> DID YOU DANCE?
>> NOT AT ALL.
>> AND THERE'S NOTHING THAT SAYS YOU HAVE TO.
>> YEAH.
>> WHEN YOU GROW UP IN AN ARTISTIC HOUSEHOLD,
I'M GOING TO ASSUME YOUR PARENTS SAW
THAT YOUR PRE-CLIEWRVETY WAS SIMPLY GOING
IN A DIFFERENT DIRECTION AND SUPPORTED THAT.
>> THEY WERE SUPPORTIVE OF ANYTHING I WANTED TO DO,
AND I DIDN'T WANT TO GO INTO BALLET.
I FELT I HAD ALREADY EXPERIENCED THAT ENOUGH AND BEEN AROUND IT.
4 I WAS ALWAYS INTERESTED IN MAKING THINGS,
BUT I WAS ALSO FAIRLY ACADEMIC.
I THINK THEY THOUGHT I WOULD BE IN BUSINESS
OR A DOCTOR OR LAWYER.
THAT DIDN'T WORK OUT.
YEAH. SO I ENDED UP BEING ARTISTIC AS A RESULT.
>> LOOK AROUND AT SOME OF THE PIECES
THAT WE HAVE SURROUNDING US AND I SEE THIS INCREDIBLE AMOUNT
OF CREATIVITY, BUT YOU'RE RIGHT.
THE TIE-IN TO A LOT OF WORK, IF NOT ALL OF YOUR WORK,
IS A SENSE OF THE BODY OR SOME ELEMENT OF THE BODY.
WORKING WITH THESE NONTRADITIONAL MEDIA,
THAT'S GOING TO BE OUR LABEL.
>> SURE. IT MAKES SENSE.
>> WHAT WAS THE FIRST TIME YOU SAT
DOWN WITH A CONVENTIONAL PAINTBRUSH AND OIL
OR PENCIL SKETCH AND SAID, LET ME TRY SOMETHING
WITH THIS SODA BOTTLE?
WHEN DID THAT FIRST OCCUR?
>> ACTUALLY, IT WOULD HAVE BEEN EARLY
ON IN MY UNDERGRAD EDUCATION AT RHODE ISLAND SCHOOL OF DESIGN.
I STARTED WORKING WITH CHOCOLATE, ACTUALLY,
AND I THINK THAT WAS REALLY THE FIRST MATERIAL
WHERE I REALLY SAT DOWN AND I WANTED TO USE SOMETHING
THAT MADE THE MOST SENSE FOR THAT PIECE.
I DID A COUPLE OF PIECES.
ONE OF THEM WHERE I LICKED CHOCOLATE
ONTO THE WALL USING THE BODY AS A TOOL.
>> SURE.
>> AND THEN USING THE CHOCOLATE AS THE PAINT.
IT'S FUNNY.
I DON'T REALLY DRAW AND I DON'T PAINT.
SO FOR ME, THAT FELT MORE NATURAL THAN TO ACTUALLY TRY
TO MAKE SOMETHING LIKE A PAINTING.
SO THAT WOULD HAVE BEEN THE FIRST TIME AND DURING
THAT PHASE I ALSO STARTED LOOKING AT DIRT
AS A BUILDING MATERIAL.
SO WHATEVER WAS APPROPRIATE FOR THE CONCEPT,
I STARTED TO REALLY FEEL THAT IT WAS IMPORTANT FOR ME
TO CHOOSE VERY SPECIFICALLY WHAT THAT MATERIAL WOULD BE
TO SUPPORT THE CONCEPT.
NOT JUST BECAUSE I WAS COMFORTABLE WITH THAT.
>> YOU TALKED IN AN INTERVIEW THAT I READ WITH I
FROM THIS SPRING THAT SOME OF THESE MATERIALS THAT DID THAT,
YOU KNOW, WE MAY VIEW THEM AT LEAST AT THIS POINT
IN OUR CULTURE AS BEING ARTIFICIAL IF & CREATIVE,
BUT IT WE DO FACE A FUTURE WITHOUT 5 NATURAL RESOURCES,
THESE NATURAL FIBERS LIKE WOOL
AND COTTON MAY SIMPLY NOT BE AROUND.
>> BE GONE.
>> WE HAVE TO FIGURE OUT A WAY TO MAKE THE BEST
OF THE RESOURCES THAT ARE AVAILABLE.
>> YES. THAT IS WHERE THE COSTUMES REALLY LED ME TOWARD
THAT DIRECTION OF USING THESE UNNATURAL MATERIALS
BECAUSE YEAH, WHAT IF THERE'S NOTHING LEFT
AND WHAT'S ALSO INTERESTING ABOUT THOSE MATERIALS IS
THAT WE USE THEM FOR A VERY SHORT AMOUNT OF TIME.
WE USE THEM.
WE TAKE SOMETHING THAT IS ACTUALLY MUCH MORE PERMANENT
AND WE CREATE SOMETHING THAT'S DISPOSABLE LIKE A CUP
OR A BOTTLE OR A BOTTLE CAP AND THEN WE TOSS IT AWAY
SO THAT JUST DOESN'T REALLY MAKE SENSE TO ME.
>> OF COURSE NOT.
AND IT HARKENS BACK ON THINKING ABOUT YOUR WORK.
EVEN THOUGH IT'S NOT NECESSARILY ARTISTIC IN NATURE
BUT THE AMERIKAN INDIAN AND THEIR HUNT OFTENTIMES DID THAT.
THE BUFFALO WAS A RESOURCE ALL THE WAY DOWN TO--
>> RIGHT.
>> ITS HOOF.
EVERYTHING AND ANYTHING WAS USED,
FROM A GUT TO STITCH THINGS TOGETHER.
IT REALLY WAS A WAY OF MAXIMIZING RESOURCES,
AND I HOPE YOU TAKE IT AS A COMPLIMENT WHEN I SEE YOUR WORK.
I SEE THAT THEME EMERGING.
>> I DO. ACTUALLY, IT'S INTERESTING YOU SAID THAT.
I DO HAVE A SMALL NATIVE AMERIKAN BACKGROUND,
AND I ALWAYS REALLY ENJOYED THE ASPECT OF THAT CULTURE
AND REALLY USING SOMETHING TO ITS FULLEST
AND ITS FULLEST POTENTIAL.
YEAH.
>> YOU TALK ABOUT CONTROL AND CONTROL IN YOUR WORK,
AND I THINK ABOUT WHEN YOU TALK ABOUT TAKING YOUR TONGUE
AND PAINTING WITH CHOCOLATE ONTO A WALL, I THINK YOU'VE GOT
TO HAVE BOTH EXERCISE A TREMENDOUS AMOUNT OF CONTROL
AND ALSO FIGHT THE IMPULSE TO CONTROL IT
BECAUSE ON ITS SURFACE, YOU FACE THE INEVITABLE QUESTION
THAT ALL ARTISTS FACE THAT THEY DON'T LIKE TO HEAR, WHY?
WHY WOULD YOU DO THAT?
SO TALK ABOUT CONTROL AND WHAT'S SO IMPORTANT IN YOUR WORK
AND HOW IT MAY HAVE EVOLVED OVER THE YEARS FOR YOU.
6
>> UH-HUH.
THAT MIGHT ALSO BE MY GERMAN HERITAGE.
THERE IS THIS GREAT SENSE OF CONTROL.
THERE'S THAT ASPECT, AND I FEEL LIKE IT JUST POPS UP FOR ME JUST
WHEN I LOOK AT THE WAY THAT WE LIVE AS HUMANS
AND THE WAY WE HAVE COME SO FAR.
IT'S BEEN BECAUSE WE'VE TAKEN THE NATURAL WORLD
AND WE'VE LEARNED TO CONTROL PIT I GUESS I SORT OF--
I AM CONSTANTLY IN QUESTION OF WHETHER THAT'S A GOOD
OR A BAD THING, AND SO WHEN I FIND A NEW MATERIAL AND START
TO EXERCISE MY CONTROL OVER THAT MATERIAL, IT'S, AGAIN,
LIKE IS THIS A GOOD OR A BAD THING.
CAN I LET GO OF SOME MORE?
IT'S ALSO PART OF MY PERSONALITY THAT I AM A BIT
OF A CONTROL FREAK, BUT I LOVE TO LEARN TO LET GO AS WELL.
>> IT SEEMS TO ME THAT COULD BOTH BE A BOOM TO YOUR WORK
BUT ALSO SOMETIMES A BURDEN
BECAUSE YOU HAVE BOTH THE DESIRE TO CONTROL IT.
>> YEAH.
>> BUT MAYBE THERE'S AN IMPULSE IN THERE THAT SOMETIMES YOU HAVE
TO FIGHT THE DESIRE TO CONTROL.
DOES THAT MAKE ANY SENSE?
>> NO, IT DOES.
I THINK TO COMBAT THAT, I TRY TO SET UP MY PROCESS ALMOST
LIKE A SCIENTIFIC EXPERIMENT, WHERE I LIKE GATHER MY MATERIALS
OR FIGURE OUT WHAT MY PROCESS WILL BE AND I SET UP.
THERE IS A CONTROL.
I'M MAKING THIS OBJECT WHERE I'M REPEATING THIS ACTION,
BUT I HAVE TO FIND A WAY TO TAKE SORT OF ADDED VARIABLE
THAT TAKES AWAY MY CONTROL.
WHETHER IT'S SOMEBODY ELSE GIVING ME THE MATERIALS
OR JUST THINGS LIKE THAT THAT I HAVE TO FIND A WAY
TO ACTUALLY PHYSICALLY TAKE THE CONTROL AWAY
FROM MYSELF, WHICH HELPS.
>> I THINK ABOUT THIS CURRENT SHOW THAT'S ONGOING
AS WE TAPE THIS-- THIS SHOW,
AND IT'S CALLED "ENDURING AND PERM FENCE."
>> YES.
>> THAT'S A DESCRIPTION AND TITLE THAT YOU CHOSE.
DO YOU WANT TO TALK ABOUT THAT A LITTLE BIT?
IT SEEMS LIKE IT'S AN EXTENSION WHAT WE'VE BEEN TALKING ABOUT.
>> YES. ALL THE WORK IN THIS PARTICULAR SHOW,
I CREATED OVER THIS PAST SUMMER AT McCOLL CENTER FOR VISUAL ART.
I FELT THAT THE RUNNING THEME WAS THIS IDEA OF IMPERMANENCE
AND WHETHER IT'S REFERRING TO THE MATERIAL THAT I USED
OR COMING TO TERM WITH OUR OWN 7 IMPERM FENCE
AND THE TITLE THEN ENDURING IMPERM FENCE IS SORT OF A PLAN
WHERE IT'S IMPERMANENT FOREVER.
AND ALSO THAT WE'RE ENDURING THAT.
WE'RE DEALING WITH THAT IN SOME WAY.
SO THAT WAS-- THAT WAS THE CONCEPT BEHIND THE TITLE
AND THE GENERAL THEME OF THE WHOLE SHOW.
>> ONE OF THE FEATURED SERIES
AND THERE ARE A COUPLE IS THE SCAR PIECES.
WHAT CAN YOU TELL ME ABOUT THEM?
THEY'RE ACTUALLY OVER MY SHOULDER AS I SPEAK.
YOU GOT ONE THAT CONSISTS OF A SERIES OF ONION SKINS
AND A COUPLE OTHERS THAT ARE FABRIC.
THE FEATURE OF EACH OF THE PIECE IS A SCAR.
>> YES.
>> THEN I WILL LET YOU TAKE IT FROM THERE.
>> OKAY. THEY ARE-- THEY'RE TWO-DIMENSIONAL PIECES
WHICH I DO SOMETIMES.
THEY'RE ALL RELATING TO THE VIR GUILTY AND DURABILITY OF HUMANS
AND THE HUMAN BODY AND RELATE TO IMPERM FENCE IN THAT WAY.
WHAT I LIKE ABOUT SCARS AND HOW THEY RELATE TO A LOT OF MY WORK,
TOO, IS THAT THERE'S THIS SORT OF DEFINING OF THE BOUNDARY
BETWEEN THE INSIDE AND THE OUTSIDE AND WITH THE SCARS
AND SOME OF THE PIECES,
IT'S ALMOST LIKE IT'S OPENED UP A LITTLE BIT.
SO YOU CAN REALLY FEEL THAT THRESHOLD.
ONE OF THE PIECES IS WITH ONION SKINS, WHICH I'VE USED IN A LOT
OF WORK BEFORE BECAUSE IT TRULY, I FEEL, RELATES TO OUR OWN SKIN.
ANOTHER PIECE IS JUST FABRIC AND YOU ALMOST--
THERE'S A LITTLE BIT OF RED INSIDE OF IT WHICH SORT
OF REFERS TO ALMOST THE INTERIOR OF THE FLESH OR BLOOD.
>> SURE.
>> IT'S A SPARKLY MESH FABRIC
SO IT'S A LITTLE BIT MORE BEAUTIFUL, I GUESS,
AND THEN THERE'S ANOTHER PIECE USING FUR
FROM AN OLD JACKET THAT'S ACTUALLY ON THE INSIDE
OF THE PIECE RATHER THAN THE OUTSIDE.
>> IT'S ALMOST AS IF YOU ARE ON THE INSIDE LOOKING OUT.
IT IS VERY VIVID, THE PIECE YOU SPOKE OF WITH ALMOST
THAT INTERIOR FLESH PEEKING THROUGH.
THAT'S THE ONE I WAS REALLY DRAWN TO,
BUT THEY'RE ALL VERY BEAUTIFUL, VERY, VERY COMPELLING.
>> THANK YOU.
>> AND WE TALKED ABOUT IN THE ONION SKIN PIECES AND ONE
OF THE SCAR PIECES THAT YOU USE A THREAD, OF COURSE,
AND YOU CAN SEE ALL OF THE--
IF YOU CAN'T 8 SEE THESE PIECES LIVE,
YOU CAN GO TO YOUR WEBSITE AT ERIKADIAMOND.COM.
>> YES.
>> AND IT'S POSTED AND YOU NOT ONLY HAVE PICTURES OF THE PIECES
IF THEY'RE DISPLAYED HERE IN TOWN, YOU CAN LOOK AT THOSE.
>> YES. SO WHAT ARE WE COMING UP WITH.
IN ONION SKIN PIECES AND ONE OF THE SCAR PIECES,
THE USE OF THREAD, OF COURSE, AND YOU CAN SEE ALL OF THE--
IF YOU CAN'T SEE THESE PIECES LIVE,
YOU CAN GO TO YOUR WEBSITE AT ERIKADIAMOND.COM.
>> YES.
>> AND YOU HAVE IT POSTED AND YOU NOT ONLY HAVE PICTURES
OF THE PIECES ALSO IF THEY'RE DISPLAYED HERE IN TOWN
WHERE YOU CAN LOOK AT THOSE.
>> YES.
>> THE NAME OF THE ONION SKIN PIECES, YOU USE THREAD.
I DON'T THINK IT'S FAIR TO SAY SUTURE THEM NECESSARILY,
BUT THAT'S HOW THEY'RE DRAWN TOGETHER.
I WANT TO TALK A LITTLE BIT ABOUT YOUR METHOD.
>> YES.
>> BECAUSE I CAN'T POSSIBLY CONCEIVE IT'S ABOUT SITTING
DOWN DOING A SKETCH AND STARTING TO WORK.
IT DOESN'T SEEM LIKE IT WOULD FLOW THAT WAY.
>> NO. NOT AT ALL.
BECAUSE I DON'T DRAW.
SO A LOT OF THE TIMES, FOR ME, IT'S JUST I GOT MY EYE
ON THE MATERIAL OR I SEE SOMETHING AND IT JUST, TO ME,
MAKES SENSE THAT IT RELATES TO THE BODY IN SOME WAY
LIKE THE ONION SKIN OR I'LL SEE--
I DO LOOK THROUGH MEDICAL BOOKS.
I LOVE LOOKING AT BOOKS TO GET IDEAS, TOO,
AND SOMETIMES IT WILL JUST HIT ME AND THAT ENTERS THIS SEGMENT
OF PLAY AND LEARNING ABOUT THAT MATERIAL AND ITS STRENGTHS
AND ITS WEAKNESSES, BUT I ALSO FEEL LIKE I HAVE THIS SORT
OF TOOLBOX OF CONCEPTS THAT I LIKE TO WORK WITH AND MATERIALS
THAT I HAVE WORKED WITH.
SO SOMETIMES IT'S JUST A MATTER OF SITTING DOWN AND WRITING
ABOUT THOSE IDEAS AND THEN SEEING HOW I COULD SORT
OF INFECT THAT IDEA UPON THIS MATERIAL OR--
IT IS A VERY ORGANIC PROCESS
AND IT RARELY STARTS WITH THE THE DRAWING.
>> IT SOUNDS LIKE THERE'S A CERTAIN AMOUNT
OF INTELLECTUAL PROCESS TO IT.
>> YEAH. 9
>> COMBINED WITH ALMOST-- YOU TALK ABOUT SEEING A PIECE
AND BEING TAKEN BY IT, WHETHER IT'S--
I DON'T KNOW IN THE SCAR PIECE WHETHER YOU HAD TO HUNT
FOR THAT PIECE OF GLITTERY--
I WANT TO CALL IT RED BECAUSE I'M A SIMPLE MAN.
>> THAT'S RIGHT.
>> OR IF YOU CAME ACROSS THE MATERIAL FIRST AND THOUGHT,
HOW CAN I USE THIS SOMEHOW?
I GOT TO FIGURE OUT WHERE IT'S GOING TO EMERGE.
>> FOR THAT PIECE, FOR INSTANCE, I HAD THE RED FABRIC FROM ONE
OF THE WEARABLE PIECES THAT I DID, WHICH IS BEHIND ME.
SO I HAD THAT AND I LIKED THE SPARKLE AND SO I HAVE ALL
OF THESE PIECES IN PROCESS AT THE SAME TIME.
SO I'M USUALLY SURROUNDED BY A LOT OF DIFFERENT MATERIALS
THAT I GUESS BY BEING IN THE SAME ROOM
WITH THEM DO EVENTUALLY, YOU KNOW, FIND THEIR WAY TOGETHER.
>> RIGHT.
>> SO THAT DOES HAPPEN OFTEN.
I HAD ALREADY DECIDED TO DO SORT OF A FLESH-COLORED OUTSIDE
FOR THAT PARTICULAR PIECE.
SO I WANTED A CONTRAST.
SO THAT ONE-- THAT ONE JUST SORT OF PRESENTED ITSELF, I THINK.
>> I DON'T LIKE THE WORD CONVENTIONAL,
BUT WHEN PEOPLE THINK OF SCULPTORS,
THEY DO THINK OF CLAY.
>> YEAH.
>> YOU DO HAVE CLAY WORK IN THIS SHOW.
>> I JUST RECENTLY STARTED WORKING WITH PORCELAIN CLAY,
WHICH IS VERY NEW FOR ME.
>> EXPLAIN THE PIECES AND IT'S A SERIES OF SEVERAL PIECES,
AND IT LITERALLY WAS CLAY MOLDED BY HANDS.
NOT UNLIKE WHAT, SAY, A KINDERGARTENER MIGHT DO,
OF COURSE WITH MUCH GREATER SKILL.
I THINK EVERYBODY WOULD LOVE TO HEAR HOW THAT PARTICULAR PIECE
AND SEVERAL PIECES CAME TOGETHER FOR YOU.
>> SO THE PIECE IS CALLED ARTIFACTS AND IT CONSISTS
OF ABOUT 50 HAND-MODELED PORCELAIN PELVISES.
THEY'RE PELVIC SHAPES.
SOME OF THEM MORE ALOUISIVE INTERPRETATIONS OF THAT SHAPE.
I HAD BEEN THINKING ABOUT SOMEHOW DOING A PIECE
THAT RELATED THE SILHOUETTE OF A BUTTERFLY WHICH IS
LIKE A VERY FLEETING CREATURE.
>> SURE.
>> AND THE IDEA OF PELVIC BONES WHICH TO ME ARE VERY STRONG
AND HAVE SO MANY OTHER CONNOTATIONS
WHICH I'LL GET INTO.
10 WHILE IN RESIDENCY THIS SUMMER, THERE'S A KILN.
I DECIDED WHAT BETTER TIME THAN NOW
TO START WORKING WITH PORCELAIN.
I THOUGHT-- I PICKED A PORCELAIN THAT LOOKED MORE
LIKE BONE AFTER IT'S FIRED.
IT'S NOT BRIGHT, BRIGHT WHITE.
IT'S ALMOST LIKE A YELLOWISH-WHITE.
JUST WENT TO TOWN AND DID A COUPLE PELVISES A DAY AND ENDED
UP WITH 50 OF THEM TO FILL THE SPACE THAT I KNEW THEY WOULD GO
INTO AND CONSIDERING THE CONCEPT, IT'S BASICALLY A PIECE
ABOUT THE CYCLE OF LIFE AND DEATH.
>> RIGHT.
>> THEY'RE DISPLAYED LIKE ARTIFACTS IN A CASE
LIKE YOU SEE IN A MUSEUM.
ARTIFACTS THAT ARE GONE OR HAD THEIR LIFE ALREADY,
BUT THE PELVIC SHAPE REFERS TO SORT OF THE BEGINNING
OR THE SEED OF LIFE AS WELL.
A LITTLE PARADOX.
>> NOW HAD YOU DONE ANY WORK WITH CLAY OR MOLDING CLAY,
SCULPTING CLAY LIKE THIS?
>> I MEAN, WHEN I WAS-- PLAY-DOH WHEN I WAS VERY YOUNG,
I TOOK A CERAMICS WHEEL ELECTIVE IN COLLEGE
AND DIDN'T REALLY ENJOY THAT VERY MUCH AND IT JUST--
SOMETHING ABOUT THE MATERIAL TO ME WAS SORT OF COLD AND WET.
I DON'T KNOW.
IT'S MESSY.
IT'S MESSY.
I DON'T LIKE TO GET MESSY.
I LIKE TO BE PRECISE AND CLEAN.
SO THAT WAS GOOD FOR ME TO PRACTICE WITH THAT MATERIAL,
BUT I REALLY DID FEEL IT WAS ABSOLUTELY THE MOST APPROPRIATE
MATERIAL FOR THIS PIECE AND THEN A NEW SKILL FOR ME TO LEARN.
>> IT'S GORGEOUS.
VERY, VERY VISUALLY COMPELLING.
>> THANK YOU.
>> YOU'VE DONE SOMETHING, AS I SAID, IN THE ONSET,
YOU'RE HARD TO DESCRIBE.
WE INTRODUCED THIS LAST PIECE,
AND I BELIEVE IT'S CALLED FAMILY SLIDES.
>> FAMILY SLIDES.
>> MANY PEOPLE SAY IT DOESN'T FIT YET IT DOES
BECAUSE AT ITS HEART IS SOMETHING THAT WAS DISCARDED.
TELL US ABOUT IT.
>> SO THE PIECE IS CALLED FAMILY SLIDES A WOMAN DONATED
TO ME A BOCKFUL OF HUNDREDS AND HUNDREDS
OF 11 HER OLD FAMILY SLIDES.
I THINK SHE THOUGHT I WOULD MAKE A DRESS OUT OF THEM,
BUT I HAD A BETTER IDEA IN MIND.
SO I SCANNED THEM INTO THE COMPUTER.
I CHOSE 24 IMAGES AND SCANNED THEM IN
AND DID A LITTLE PHOTO SHOOT FOR MYSELF TO TRY
TO WORK MYSELF INTO THOSE IMAGES.
SO I TOOK IMAGES OF MYSELF
AND THROUGH PHOTOSHOP CREATED A NEW IMAGE
AND THEN I HAD SLIDES REPRINTED
OF THAT NEW IMAGE WITH ME IN THEM.
SO THE IDEA FITS IN WITH MY SHOW IN THAT IT RELATES
TO THE IDEA OF PERMANENCE.
SORT OF ME COMING TO TERMS WITH MY OWN IMPERMANENCE
BY USURPING THEIR MEMORIES AND ADDING TO MY OWN MEMORIES
AND PUTTING MYSELF IN THEIRS AS WELL.
THE VIEWER THEN IS ABLE TO COME INTO A SMALL ROOM,
SIT ON SOME COMFY CHAIRS AND ACTUALLY CLICK
THROUGH AN OLD SLIDE PROJECTOR.
>> YEAH. YEAH.
AS I TOLD YOU BEFORE, IT REALLY ENRICHES THE EXPERIENCE, I FEEL.
IT REALLY IS VERY, VERY INTERESTING.
I'VE NEVER SEEN ANYTHING LIKE IT.
>> THANKS.
>> YOU CERTAINLY SHOULD BE VERY PROUD AND BEFORE WE CLOSE,
YOU GOT TO TELL US A LITTLE BIT
ABOUT THE VITAMIN WATER COMPETITION.
THE DRAGON FOOD PRESS, DID I GET THAT RIGHT?
>> YES. THE VITAMIN WATER COMPETITION CAME
AFTER I DID THE COSTUME SERIES.
I WAS ASKED TO DO A PIECE WITH A FEW OTHER LOCAL DESIGNERS
IN CHARLOTTE TO CREATE OUR OWN DRESS INSPIRED
BY WHICH EVER FLAVOR WE CHOSE OF VITAMIN WATER.
I CHOSE DRAGON FRUIT.
I THOUGHT IT WAS THEATRICAL.
FOR MY PIECE, I WANTED TO USE THE BOTTLES AND LABELS
OF THE ACTUAL PACKAGING OF THE DRAGON FRUIT FLAVOR.
SO I CUT OUT THE SIDES OF THE BOTTLES AND USED THOSE
TO CREATE SORT OF A TAIL IN THE BACK AND HALF SLEEVES ALMOST
LIKE A CO-MOANNO AND THEN USED THE BOTTOM OF THE BOTTLE
AS LITTLE SEEDS BECAUSE IF YOU CUT A DRAGON FRUIT IN HALF,
IT'S WHITE FLESH WITH LITTLE SEEDS.
THIS WAS WORN BY ACTUALLY A FORMER NCDT DANCER.
SHE WAS MY MODEL 3 GRACED MY WORK.
IT WAS NICE.
IT WAS ONE OF MY FIRST PIECES WHERE I TRIED TO LOOK 12 BIG.
>> RIGHT. RIGHT.
LOOK AT IT.
IT'S JUST STUNNING, BUT I KNOW IT WAS EXTREMELY CHALLENGING.
I DON'T KNOW IF IT CAME TOGETHER AS PERFECTLY AS YOU ENVISIONED
OR IT IF IT HAD ITS MOMENTS OF FRUSTRATION, BUT IT'S GORGEOUS.
>> THANK YOU.
>> SPEAKING OF GORGEOUS, THIS LAST WEARABLE PIECE OVER HERE
WHICH YOU SAID IS ACTUALLY ONE OF THE NEWER PIECES.
TELL US ABOUT IT.
>> THIS NEW PIECE IS PART OF A SERIES WHERE I JUST STARTED
WHERE I'M LOOKING AT VICTORIAN ERA TRENDS
AND IT'S CALLED THE BIRD CAGE DRESS.
I TOOK CHICKEN WIRE, CUT IT APART AND THEN TRIED
TO CREATE A DESIGN THAT LOOKED MORE LIKE VICTORIAN DESIGN,
MORE DELICATE THAN CHICKEN WIRE.
THE IDEA OF THE CAGED BIRD IS ALSO WHY I USED CHICKEN WIRE.
THIS IS WHAT IT DOES, AND IT'S CLOTH ON THE TOP, BUT IT'S MADE
TO ALSO SORT OF MIMIC THAT BIRD CAGE SHAPE OF THE STRIPES
AND THE CANARY YELLOW IS SORT
OF AN OBVIOUS REFERENCE TO THE BIRD.
THIS IS ONE OF MANY THAT I'D LIKE TO CONTINUE WORKING
ON THAT DO LOOK AT THAT VICTORIAN ERA AND IDEAS OF SORT
OF CONFINEMENT AND CONSTRAINT AND CONTROL AND
YET THERE'S STILL SO MUCH SORT
OF DECK DANCE INVOLVED IN THAT ERA, TOO.
IT'S A NEW BEGINNING.
>> AND THE SHORT AMOUNT OF TIME WE HAVE LEFT,
YOU AND I HAVE TALKED SO MUCH SOME OF THE DIFFERENT AVENUES
THAT YOU TAKE AND I'M EXCITED.
ARE YOU PLAYING AROUND WITH THE IDEAS OF DOING SOMETHING NEW,
SOMETHING THAT YOU HAVE NEVER WORKED WITH BEFORE?
ANYTHING YOU WANT TO TALK ABOUT ON CAMERA?
>> I WOULD SAY THAT I HAVE A LONG, LONG LIST OF IDEAS
WHICH I'M VERY THANKFUL FOR.
SO I WOULD SAY THIS NEW LINE OF SORT
OF VICTORIAN INSPIRED WEARABLES
THAT ARE VERY CONCEPT DRIVEN WOULD BE THE NEXT THING I'M
THAT I'M REALLY LOOKING FORWARD TO WORKING ON.
I DO HAVE SOME MORE PORCELAIN IDEAS AS WELL,
AND I'D LIKE TO EXPAND EVEN THE FAMILY SLIDE PROJECT
AND REALLY GET THAT TO BE SOMETHING THAT GET A LOT
OF IMAGES INTO A CAROUSAL.
THAT'S PRETTY MUCH WHERE I'M HEADED, BUT YOU NEVER 13 KNOW.
>> YOU NEVER KNOW.
WITH A GOOD ARTIST, YOU'LL NEVER KNOW.
THANK YOU SO MUCH FOR TAKING THE TIME TO CHAT WITH US, ERIKA.
>> THANK YOU.
>> YOU CONTRIBUTE SO MUCH TO OUR ARTISTIC COMMUNITY HERE
IN CHARLOTTE AND RIGHT HERE AT CPCC
WHERE YOU MANAGE THE ROSS GALLERY.
>> THANK YOU.
>> I WANT TO THANK EVERYBODY FOR TAKING THE TIME TO TUNE
INTO LEARN MORE ABOUT ERIKA AND HER FASCINATING WORK.
WE HOPE THAT YOU'LL TUNE
IN THE NEXT TIME RIGHT HERE ON CHARLOTTE ARTS.
TAKE GOOD CARE.
(THEME MUSIC)