May 2016_ by Michela Arfiero
He has been a member of the art-punk group GROWING for 14 years - the record DISORDER is now available - and has directed and photographed various music films, including IMA NEMA an expressionistic movement around Bulgarian folk singing. He continues to explore expanded shapes of sound and image in his collages, films, and music...
How did it begin?
When I was 3 or 4 my earliest memory is of my neighborhood brightening and darkening throughout the day, feeling cold and warm, and not knowing why. I obviously didn't know or understand clouds and their relationship to the sun, but I was curious...
How would you present your work?
Loud and proud
Where do you make your works?
At home, on location, at Staples, in a photo lab, at a horrible practice space, etc etc...
What can’t be missing from your worktable?
Coffee or beer
Collection you wish at least one work of yours was part of?
No idea, don't really care...
The market or your need to express?
Lightness or depth?
What's the difference?
Day or night?
Day for night
Question you’ve never been asked but one you’ve always wanted to answer?
“Wanna take batting practice at Wrigley Field today?”
Answer that question…
Could you briefly describe one of your latest works?
A lightbox showing an image of an upside down group of bushes
What is the relationship between image and music in your work ?
It's something that is constantly in flux. I don't want them to rely on each other, but to work in tandem at times. When it comes to film, I'm not interested in a manipulative soundtrack, but a set of sounds that conceptually work with the image - to sit together and work together. Ultimately they're all just elements, though, like paint and paper, stone, plaster, etc...
What artists are you looking at, at the moment?
A lot of Peter Piller, Molly Zuckerman-Hartung, Sarah Braman, Paul Sharits. I rewatched the original MAD MAX the other day. It really holds up.
What's on your desk right now
The image of your desktop
What are you reading?
Cookie Mueller, “Wlkaing Through Clear Water in a Pool Painted Black”, 1990
Can be a wonderful thing
Where would you like to live?
How much does your living in Brooklyn influence your work?
This city is just so big. It's always reorienting itself to you and vice versa. It's survival instinct, access, marketplace, margins, and exposure. The constant struggle and anxiety can be a useful, if violent drive.
A project, related to art, that you’d like to do?
A residency at the Parthenon
If you weren’t an artist, what job would you like?
A dream of yours?
To be free of my fear of time
Images move and are still. Still images can also move. Photocopying, cellphones, analog video mixers, still photographic formats, light boxes; I've used everything available to create the right temperament. Are motion pictures sculptures of material light and effect? I don't want my work to be steeped in the print or projection processes of a certain period, but to employ techniques and technologies from varied eras of image-making. Stacking images and sounds, collaging 'stories' in an edit; my first impulse is to collect, second to assemble and assess, and hopefully in finishing a piece to discover a new experience, now a memory