Interview: KAKO UEDA

As with artist Nikki McClure, Kako Ueda creates more often with an X-acto knife as opposed to a pen or brush. Her works are elaborate forms with a strong sense of her Japanese roots and nature.

Working at ARAS and with a strong interest in her medium's history and its association with culture, she has a fascinating body of work. She has recently been the recipient of the 2007 New York Foundation for the Arts (NYFA) Fellowship.

Would you share your history with paper from your childhood discoveries to your current work?
I learned to make an origami crane and other animals from my friends as well as from my parents. I started drawing and painting early on (3-4 years old) and I distinctively remember that the first time I used canvas to paint oil (I was 11 or 12), I didn't like it. So I went back to painting on paper with watercolor and acrylic. I also remember that I made paper dresses for my dolls (including Barbie!!) when I was a little girl.

I studied photography in college. I initially wanted to get into the painting department but it was very competitive; you had to fight for a studio space so I was kind of fed up, thinking "I could paint on my own and I want to learn something totally new" so I chose photography as my main study. The teachers in the photo department were wonderful and I learned to really look at things in a frame. I also discovered the beauty of black and white photography. I continued to paint & draw (oil sticks) on paper on my own. I was accepted to Pratt Institute graduate program in 1996 based on the organic inspired abstract drawings I did on paper. I started folding paper while at Pratt and my thesis show was a group of wall-reliefs made of dye-cut envelops (which I cut myself). There were black and white ones and very minimal looking but suggestive of the body somehow.

Is there a particular approach you have to colour? Is there a fixed palette that you prefer? And how would you differentiate between your monochromatic silhouettes and full colour works?
Sticking to black, white and grey is very comfortable for me, that is why I sometimes have to use colors to put myself in an uncomfortable place. To me colors could be overly emotional and could give mixed messages. Black and white can be expressive and "colorful" too but always with a certain sense of restraint. When I use colors I tend to go all the way and create "very colorful" work as if I let go of something.

"Purity sounds noble and good but scares me sometimes..."

Following on, how do you feel the process of cutting adds to your work and how would you differentiate between cutting and other mediums?
Cutting creates paper to become a hybrid being. It is both 2-D and 3-D at the same time because it has a look of line drawing at a first glance but casts shadow on the wall to remind us its 3-dimensionality. I've always been attracted to things/people/animal that are mixed or hybrid. Purity sounds noble and good but scares me sometimes because some people do brutal things to others in the sake of keeping something/someone "pure".


How do you feel the impermanence and fragility of the paper add to your work? And how does its history augment the medium for you?
Traditional Japanese culture found special beauty in fragility and impermanence because people at that time seemed to be more in touch with the natural process of decay and approaching death/end.

The culture we live in (I am talking about contemporary industrialized cultures) tend to see impermanence and fragility as defect or weakness. If one wants to "succeed" in this culture, one has to look youthful (devoid of wrinkles) and stay that way. On one hand I see the attraction in it myself; on the other hand I feel that we are losing something by just stressing that part of life. We all age and die in the end no matter what.

"I picked up the medium of cut paper without any preconceived notion..."

You have never displayed your photographic work. Why is that? Is it something that you would like to get into again? And has it influenced your current work at all?
I simply haven't had a chance. I may when I feel like it. Never say never and keep one's option open. Learning photography made me aware of composition and see the world in black, different shades of grey and white.

What practical advice would you give for anyone wanted to try their hand at paper cuts? And would you recommend some sources of information on the medium and its history?
I picked up the medium of cut paper without any preconceived notion in 2003. I simply started fooling around first with scissors then X-acto knife. To tell you the truth, I was stuck and bored with what I had been doing (folding paper) and needed to change the course.


As I got into cutting, I did some research to see how the medium was presented in different cultures. I looked up Japanese stencil cutting, Chinese, Mexican, German, and so on. I am glad though that I didn't have any set idea of how I should cut or what technique I should use. I had images in my head that wanted to come out somehow and I chose this particular medium to do it.

I never read about or formally learned traditional cutting techniques so I cannot preach to people on technical issues. Some people get so hung up on the "cutting" part but if one doesn't have a compelling image (to himself or herself), cutting wouldn't add anything--I want to stress this fact. On the practical matter, what I can say is to change the blade often. 1-2 in every hour so you always are working with a sharp blade—good for your art and for your hand.

Would you tell us about your work at The Archive for Research in Archetypal Symbolism in Manhattan, what you have learned at your time there, and its impact on your work?
It is a wonderful place to work. I feel lucky everyday. Our boss is an art-aficionado and five others--three visual artists, a musician, and a Jungian analyst/editor. We are currently working on a book of images (each symbolic entry presented by visuals and a piece of writing).

I was hired initially to do basic research that was sent to the writers. I had to read a lot and copied a lot, and since I love reading anyway I learned a lot about a lot of different things. One of the things which was useful for my pieces was learning about world mythology. And ARAS has tons of books on that subject matter.

What was the last thing to surprise you and what did you learn from the experience?
I got hit by a cab last summer. That was a surprise. I was fortunate that I didn't break anything. It surely made me think that life could end just like that. And yes, I also learned to pay very good attention to cars in New York City even if you have the right way.

Your parents were from an artistic background and you grew up in Japan. Based on your own experiences, what advice would you give parents to nurture their children’s artistic expression?
Just let your child do whatever he/she desires as long as it is not harmful to him/herself or others. And save your child's artwork. He/she will appreciate looking at them when they grow up. And it gives him/her a feeling that what he/she made was worth saving!


Would you choose a colour (it doesn’t have to be a favourite) and explain the ideas and feelings it generates for you? This doesn’t need to be a straight answer – express yourself in any way you feel is suitable.
I wear red/red lipstick when I have lots of energy and wanna get attention.

What are your thoughts on the categorization of arts between “high brow”, “low brow”, “fine art”, “outsider art”, “craft” and so on? Do you feel these labels serve any purpose?
Human beings are masters of "categorization". I guess our brain naturally has that tendency. Having categories helps to function in the society pretty well, at the same time it obstructs one to become" one" with the rest of the environment. We perpetually feel unhappy and unsatisfied because we feel separated from each other at the same time (ironically) we want to hold onto the labels of what we seem to be so we feel special, important or better than "others". Ultimately I say forget the labels.

What are you currently working on? Are there any other mediums which you would like to try in future? And in 10 years time, where would Kako Ueda ideally be?
I have been working on this medium size piece called "Conversation" and I have two installation pieces going at the same time. I am trying to stretch the definition of cut paper art. I don't know where I would be ideally in 10 years. My ideals change constantly but if you say at this moment what I feel about it, I would say, "no aches in my hand".

Thank you, Kako.

Links:
Kako Ueda
Smack Mellon gallery
George Adams gallery
Artists Space gallery
Animal-NY Q&A
White Hot magazine interview
ARAS
Paper Forest (post + related info)

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Interview: KLAUS OBERMAIER

Klaus Obermaier is a media artist, director, composer, and lecturer. Working in dance, music, theatre, new media and creating interactive installations, video art, web projects, computer music, radio plays, and large scale outdoor performances, his work has innovated, inspired, and has been well received by critics and spectators.

On Tuesday(26.6.07), Klaus with conductor Marin Alsop and the London Philharmonic Orchestra will perform a 21st century rendition of Igor Stravinsky's 'The Rite of Spring'(Le Sacre du Printemps) at the Southbank Centre, London. Dancer Julia Mach will perform within the virtual spaces created by Obermaier and interactive designers from the Ars Electronica Futurelab. Wearing 3D glasses, the audience will see Julia within the virtual world and her body itself will expand beyond reality.

I am extremely grateful to Klaus for sparing some time in the run up to this performance to answer my questions.

You have found ways to fuse and extend performers bodies. First, how do the performers themselves approach these fusions and how much control do they maintain in their performance? Second, is it important to you that the result looks natural(organic) and/or is an aesthetic of artifice an important part of the interpretation?
Both questions depend on each particular piece, as there is a big difference in the approach of for instance VIVISECTOR, APPARITION or Le Sacre du Printemps.


In Le Sacre du Printemps, I was doing the choreography and therefore was able to create my own kind of balance between real body (natural) and virtual. I was going for an aesthetic, where the human can interact with the digital environments generated in real time , in a very natural way. The dance should work on its own, but also seamlessly fuse and interact with the digital environment. There is plenty of space for improvisation, but also the more strictly choreographed parts don't restrict the dancer regarding her performance, not more than in any conventional piece. Julia Mach keeps control.

"I realized that I am able to 'think' in new technologies - in the same way as I can think in music/instruments as a composer"

There is a general perception that there is a separation between science (and mathematics in particular) and art. What have your experiences been with and what do you think of these proconceptions? And in working on the programming for your works, do you approach it in a manner that is unique to your perspective as an artist?
I never think about that particularly. But in the center of my work stands the interaction between humans and new technologies/virtual environments. As this is a question of our times and the future, I feel very natural in using and fusing these technologies with performance and hence research the consequences and possibilities that come out of that question.


In some of the more process intensive computer generated arts, is there a danger in becoming detached from the original vision while working for extended periods in the programming and/or construction?
APPARITION and Le Sacre du Printemps are very process intensive, but I usually have a very clear idea of what I want when I invent a new piece. And I know the limits or where we can push the limits of the technology which I use. In my talks with the developers and programmers of the ARS ELECTRONICA FUTURELAB, I always try to find out and clarify the aesthetic and technological framework at the beginning of the work. The original vision always worked out, but of course there are (and should) be interesting surprises while working.

I realized that I am able to think in new technologies - in the same way that I can think in music and instruments as a composer, or as a stage designer thinks the performance space ... That allows me to plan and combine the many different mediums I use in a very efficient way and straight forward way.

What do you feel about your work being described as “driven by technology”?
... and driven by human performance, and by music, and by stage design ...
That is how I feel about it.

But I understand that because I invented a lot of new technologies in performance art and people see that part first. It is just not the case for myself.

You have worked in a wide variety of mediums. Would you briefly tell us about the mediums for which you have worked and what you feel are their strong points in terms of expression?
I worked with music, which I think, by its abstract apparition, had a big influence on all my work with other mediums. Sounds and rhythms do not have any particular meaning, but are moving us a lot. Here I see similarities with dance, which is also a very abstract medium for me. Movements cannot really tell us something concrete, but like music, they can open new ways of perception and experience.

I worked with many visual mediums like video, web-projects, installations etc. But for me these are just variations or extensions of visual art. The same goes for dance: As a musician on stage I always was aware of the performing aspect. So it was a natural development to work with dancers/performers/actors.


In your performances, how would you describe the relationship between your work and the audience? Does the inclusion of 3D glasses as a worn object help make a connection? How does it compare to the relationship between audience and show in a more spartan setting?
Theatre is a way to combine my different interests - and that is very important for me. Without really thinking about it I realized that theatre/dance/performance pieces became my main focus.

I also enjoy the direct communication with an audience - which is not possible in a painting or web project.

In Le Sacre du Printemps, the stereoscopic projections (and the 3D glasses) create an immersive environment, which permits the audience to participate substantially more intimately to the communication between a performer and the digital environment than in traditional theatre settings.

"The most common mistake is to think too complicated..."

What do you think of the tendency to categorise art with labels like “high brow”, “low brow”, “street art”, or “outsider art”? And in general, are labels and gradations of art in any way beneficial?
Most of them I don't even know. I think if you are creating, you don't care about that.

Since 2006 you have been a visiting professor at the University IUAV of Venice teaching new media in dance, music and theatre performances. What have you learned from your time teaching and lecturing?
No idea what I have learned particularly, but it is a very interesting work.

And what would you say is the most common mistake or misconception among your students?
The most common mistake is to think too complicated, which never lets you come to a point. And I mean both: technological and contextual.

photo: Gabi Hauser

In regard to your work with the Kronos Quartet and Robert Spour, how did this collaboration develop and what was the impetus behind the The Cloned Sound and its genetic structures?
How to create rhythmic structures out of genetic patterns and the real time transformation of the natural sound of a string quartet. At that time, this was a very new thing.

Have you had time recently to work on new compositions?
I recently composed for another string quartet, the Balanescu Quartet. It was performed in 2005 in the Queen Elisabeth Hall.

At what age did you feel that art was your calling?
I think I was 12 when I realized I want to become an artist. A painter and a musician.
My father was painting for himself when he was a child. When I first heard the White Album of the Beatles I knew I wanted to make music.

"I have a special idea about a new technology which I hopefully will start to work on soon."

Would you choose a colour and explain the ideas and feelings it generates for you?
Sorry, but I like all and no colours.

Also, would you select an image that you feel is powerful and explain why it has an impact on you?
Same as above. The most powerful images are always the last ones I created.


Do you feel the art world is somewhat slow in adopting new technology?
I think this is going on a lot in art, adopting new technologies (and it always was).
New technologies are just one way to express yourself. But for me there is no difference to other (older) ways. It is just what you prefer.

Do you have any concepts for which you are waiting for the right technology?
Usually I try to develop the technology I need with collaborators like the Ars Electronica Futurelab, or Hirokazu Kato (Osaka University). I have a special idea about a new technology which I hopefully will start to work on soon.

And is D.A.V.E.(digital amplified video engine) an evolving program?
D.A.V.E. is not evolving, but because it was so new when it came out, there is still a lot of demand and buzz for the piece.

As well as the performance of 'Le Sacre du Printemps' on Tuesday (26.6.07) in London, a performance of 'Maria T' is scheduled for 13.7.07 at the El Espiritu Del Sur in Huesca, Spain. A new collection of Klaus' compositions from 1985 - 2005 is out now and available HERE.

Links:
Klaus Obermaier
Ars Electronica Futurelab
Conductor Marin Alsop
The Southbank Centre
The London Philharmonic Orchestra
Igor Stravinsky Wiki
The Balanescu Quartet
The Kronos Quartet
Hirokazu Kato's ArToolKit
University IUAV of Venice
Le Sacre du Printemps - biographies

** NOTE: All images link back to their source.

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Interview: GRANT BARNHART

Grant Barnhart's works are intricate orchestrations of fragments marrying contemporary, historical and mythical elements into cohesive narrative images. Being given the opportunity to interview Grant at this stage of his career has been a privilege as his work moves into uncharted territory.

In this interview he provides both abstract and practical insight into his work as well as his own observations on art in general.


How much planning and preparation goes into your work?
At times I feel like all I do is plan and prep for future projects. My house and studio are littered with random scribbles and notes that should guide me to the next painting or project, but at times look like nothing more than random notations and scribbles. On the quick end of things it can take a few days to comprise the ideas with my reference on hand.

And do you approach your personal works differently from commercial projects?
The commercial work is completely different. I get an assignment emailed to me and usually have 1-4 days to complete from start to finish. Most of the time is spent looking at low res. Images on my computer screen. The quality is so bad that it is pointless to print off because the ink will bleed together on the paper.


Your works seem to have strong narrative qualities. Is this deliberate and would you consider it part of your ‘style’?
Yes the narration in my work is extremely deliberate. I’m trying to form a conversation with an audience that may or may not even be there. I’m giving the viewer the opportunity probe inside my head and ask questions about what they are seeing.


And generally speaking, how would you characterise your works as a whole?
The idea of communication alone plays a major role in my work. I am the perfect example of modern isolated version of western culture. What limited interaction I have with people is either spent on a mobile phone or random emails throughout the day. I rarely leave my studio for days on end and form these rather strange conversations in my head that begin to grow in my paintings. The figures in my work usually stand-alone and form little to no bond with each other. I use graphite to define the sad and weighted space around my figures. Just when the space gets too melancholy I mix in subtle absurdities to poke fun at what I just created.

In my latest painting “Plan B: Proceed With Caution” there is a satellite falling from the top right corner. If one looks closely inside the satellite they will find the legs of my wife and I tumbling about during re-entry. Our legs are bare which leads me to explain we were making love in space until all hell broke loose. Hand-me-down versions of Batman and Spider-Man appear in my work too. This all forms into my “Amalgamation: The Over/Under Project”. Mixing graphite and oil on panel with a subtle absurdity on a relatively cold social commentary.

What tools and materials do you use and why?
Most of my work is graphite and oil on gessoed panel. I prefer the smooth surface to canvas.

"Every time I paint I run into new challenges..."

Selecting one of your own works, would you explain the development of the piece from conception to completion?
“Plan B: Proceed with Caution”

The initial concept was to base the basic design of the paintings around a Rauschenberg COBINE. I chose “Black Mail” (1958) for the basic foundation of the painting. Several sketches and concepts were formed on tracing paper. Writing notes and themes in a moleskin would help focus the ideas further. Once I had my ideas and the placement of my figures, I then researched detailed photo reference to base my drawings from.


After the drawing is complete I transferred the drawing to a clear acetate film and project the image on the 4’x6’ surface in my studio. I used an old elementary school projector given to me as a gift. My studio floor space is rather small so I have to manoeuvre around the projector with ease. It takes about a week to redraw the figures on the panel.

Once the line rendering is complete I spend another 2-3 days filling in the negative space with graphite pencils. After a long day with the graphite I tend to look like a coal miner coming out of the tunnel. I seal the drawing and get to work with thin oil washes. I build up transparent layers until I find the desired effect. Every time I paint I run into new challenges with the media and have to let the randomness of the washes take form.


How much of an influence has your environment/the Pacific Northwest been to you development in general and specifically in your work?
It has everything to do with my work. I’m supported by a group of friends and a gallerist that push me to think outside of the box even if the majority of the public don’t understand what I’m trying to accomplish just yet.

Most of the country looks to NYC and LA for hot contemporary art and living Seattle has allowed me to form this logistically poised bohemian movement with my gallery. Seattle is a great political town that encourages conversation through creative means. I think it is a matter of time before people start really talking about the Northwest and what it has to offer.


What would you say have been the most important things you’ve learned in regard to your work/self in the past few years? And what advice would you give other creatives?
Good advice to pass along is to be comfortable in one’s own skin and stand behind one’s ideas. Gut instinct is major too. Some of my hardest times in life were when I went against my gut instinct. It isn’t easy basing a career off being constantly judged and compared. It is okay to take risks and challenge yourself when pursuing a dream or a creative career.

"...one day you feel on top of the world and the next you feel you are climbing out of the sewer."

The bottom line is it takes a ton of work and effort and one day you feel on top of the world and the next you feel you are climbing out of the sewer. To be successful takes work and dedication. I will always work myself to the bone for my creation over working a stale corporate job.

Would you choose a colour (it doesn’t have to be a favourite) and explain the ideas and feelings it generates for you?
Gunmetal grey isn’t a colour but rather a value. To me it is a weight I carry on my shoulders. The soft yellow you find in aged paper says timeless to me.


What are your thoughts on the categorization of arts between “high brow”, “low brow”, “fine art”, and “outsider art”?
The main purpose is to give a large majority of people a comfort zone when viewing art. These labels are no different than class distinction. In a society of news flashes, fast food and porn we need to know rather quickly what the hell we are looking at so we can assess, judge and critic at a swift rate. On the other hand many artists use these varying labels to find a community or group to swim around with. Isn’t it really important to feel welcomed and loved?

Do you feel these labels serve any purpose?
Terms, classifications or labels are really important when it comes to writing. Art critics and analysis need rules to follow just like any other job. Are they good, sure, are they bad, of course. Regardless they will always be around.


Would you choose an image (by anyone aside from yourself) that you think is “great” and explain what makes it special for you?
I would have to say anything by Robert Rauschenberg. “State” (1958), “Warbler” (1957), and “Memorandum of Bids” (1957). I look at his work and see the ability to create freedom and redefine convention and thought. It seems so timeless and screams revolution.

Are there any other arts that you practice outside your usual work or that you want to learn?
I generally paint with my hands so sculpting would be a nice escape.

What are you working on now? And what are your aspirations for the future?
I am currently gearing up for my solo at OKOK Gallery in November 2007. My aspiration for the future is to get better at my craft.

Ideally, what will you be doing in 10 years?
In 10 years I see myself daydreaming and working through my ideas. Pushing myself to do better work. Wondering where the hell my hair went.

Links:
Grant Barnhart Studio
Grant Barnhart MySpace
www.duistudio.com
OKOK Gallery
ArtistaDay Article
Spear Collective profile

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