Interview with Amanda Wall
You've mentioned that your current works are intentionally intimate in scale, designed to reflect subconscious states. Could you delve deeper into how the choice of scale enhances the intimacy and immediacy of the viewer’s engagement with your subconscious thoughts? What impact do you aim to achieve with the viewer through these smaller dimensions?
As a critic, I see numerous shows and I've noticed that the gallery visitors are drawn to the intimacy of the smaller scale works usually seen in the artist's studio, as if the artist is inviting you flirtatiously to look closer. The assumption is smaller paintings are studies and large paintings are valuable to the art market, but there is a preciousness in these new works. My favorite Frida Kahlo painting, Self-Portrait with Cropped Hair, is a great example. I feel her pain. I've always talked about spirituality and I don't want to deny that influence, but this is so subconscious that I consider it a gift. I believe it comes from the intellect and the spirit. There's really no influence outside of my own automatic thoughts and sketches. Although I admit, I love contemporary abstraction and simplistic sophistication.
Your work frequently navigates the dualistic interplay between light and darkness, which you describe as embodying the opposing forces of life. How do you balance these elements to create a coherent narrative, and what personal or philosophical insights do you hope to convey through this juxtaposition? Are there specific works where this theme is particularly pronounced?
I'm not trying to create a coherent narrative at all, quite the opposite. I'm challenging the viewer to have an intuitive response that mirrors the impulsive spontaneity of the object's making. I'm teasing you to tap into that immediate recognition of dark humor but also the presence of hope. Hope is the faint light in the distance. I think it's so important to laugh at darkness (when you are in a dark place). Much of what I'm doing through painting right now is conquering fear. I'm finding my voice through confronting my inner demons. For example, Green Envy is about how jealousy can be a demon, both figuratively and as a figurative goofy little character. Humans are so flawed and hilarious. That's why we need animals and nature. I grew up in Kansas, understanding the importance of Mother Earth.
Automatism plays a critical role in your initial creative stages. Could you discuss how this approach helps in tapping into your subconscious? How do you decide which spontaneous elements to refine or discard as you transition from sketches to paintings? Does this process ever lead you to unexpected artistic discoveries?
At Pratt, I started sketching a certain way in my drawing classes. I really loosened up. It felt wispy and frenetic. The combination of this style of drawing, allowing myself to start from scratch in my moleskine sketchbook, stress that pushes you to work hard, and what I would describe as a meditative spiritual journey, was the foundation. Once I nailed this process, it was game on. There are formal changes between sketch and painting. The formal challenge is to organize and refine the entities within an infinite space. I decided they are allowed to float because they are not of this world. I hate the pressure to ground them. I value freedom.
You describe your artistic process as an alchemy between sketch and canvas, where imagery evolves into 'mirages of the mind'. Can you talk about a specific piece where this transformation was particularly pivotal or surprising for you? What did you learn about your own artistic inclinations through this transformation?
Oh, I'm always surprised by the outcome. That's the thrill, ya know, when you step back and you just know it works! It's intoxicating and you don't even know if anyone will get it or respond. You just know you accomplished something that matters. A mirage isn't tangible and I imagine my entities fading in and out like smoke or clouds. When I was a kid, I would explore in the woods and cattle pastures, sometimes encountering an animal or bird. If it noticed you, you felt like it was meant to teach you something both spiritual and existential, which I realize is a contradiction. Somewhere in the contrast there is a balance. I would love it if my mirages could achieve what nature can communicate.
Your works are described as playful and whimsical, yet with a sinister quirkiness. How do you cultivate this balance in your visuals, and what do you believe this contrast reveals about the human psyche or emotional states?
The human psyche is complex and sometimes fragile. Humans can be high functioning and emotionally broken. The sinister quirkiness or dark humor comes from analyzing this duality and forming my own visual perspective. I totally agree with Oscar Wilde who said, "Sarcasm is the lowest form of wit, but the highest form of intelligence" Are there particular cultural or artistic influences that have shaped this aspect of your work? Even in the present, a dark sense of humor can be judged as inappropriate or offensive, but Wilde understood that sarcasm is clever, alluring and entertaining. Pop culture produces tragedy and freaks like a machine. Warhol was a master of presenting tragic characters in the most glamorous light. I also play with the tension between glamor and trauma. My approach is more silent.
Having studied at Pratt Institute and University of Tulsa, how have your academic experiences and your thesis on 'The Crazy Horse Quest for Contemporary Spirituality' influenced your artistic philosophy and practice? Can you discuss any specific professors or courses that had a profound impact on your development as an artist?
Of course, multiple professors and my education shaped the artist and writer I am now. My experience at TU and Pratt was priceless. I'm a big believer in higher education, it is worth it! I would also like to give credit to the art world professionals in New York who have been very supportive, especially Elizebeth Chatham, who curated my current solo exhibition in the Lower East Side.
As an art critic for FF2 Media and a studio assistant for established artists like Carole Feuerman and Michael Lin, how have these roles influenced your perspective on art and your own creative practice?
As a critic and as a studio assistant, your focus is on established artists and their work. You have to shift gears from your own practice to how the process of production works on a large scale and understanding their voice. You have to quiet your own voice so you can listen to them. I have learned so much concentrating so intently on other artists. I really admire Jan (Huttner from FF2), Carole and Michael. You have to be an entrepreneur and a high profile artist or writer. It's a huge responsibility. I think often about how I would operate my practice at that level of success.
You emphasize the importance of creatively editing thoughts and emotions. Could you describe this editing process?
There's a crossover strategy between editing a painting and editing an article. Whether you are deleting or adding words or imagery, you have to capture and hold on to the viewer or reader's attention. I edit intuitively but the final composition has to be great. Honestly, I trust my instincts when the work is finished. Right now, I'm not returning, it's just yes this is up to my standards, next. I've been ambitiously striving to reach my goals. You fantasize about certain people seeing you make it. When the time comes, that feeling will be totally irrelevant. I imagine an overwhelming feeling of relief.
Given the evocative and dynamic nature of your work, how do you see your artistic themes and techniques evolving in the future?
Evocative, I like that word. I'm a button pusher. I'll challenge art appreciators with discomfort in order to encourage a state of purification. I've been pouring my own healing transformation of mind and soul into this work. I believe I've been preparing for the blessings to come. The evolution of my work is always connected to my own state of mind. I don't want to focus on superficial concerns anymore so therefore, I don't want to create superficial art.
Are there particular concepts or techniques you are eager to explore or challenge in your upcoming projects? What directions or new forms of expression are you currently contemplating or experimenting with in your studio?
Yes, I want to continue with this series on large canvases. It's time to shift from intimacy to step into my world. That world might include sculpture. My entities and mirages would be interesting as a sculpture. I'm working on refining the work I'm doing. I'm always thinking about taking it to the next level. Sometimes it's hard to shut it off and just relax.
