Things That Kill- Ellen Garvens

Things That Kill curated by Norman Lundin

“Consider, for example, such varied assassins as leaded water, pills, red meat, too much sun…. Consider, for a moment more, that of the many things that kill, countless are appealingly beautiful as well as lethal, seducing artist and viewer. How to handle these “killers” in such a way that the intended expressive implications are conveyed, is as formidable an artistic challenge as engaging the more overt content implied by the show’s title.” -Norman Lundin

Including work by: Fred Birchman, Brian Blackham, Marsha Burns, Joe Crookes, John Fadeff, Ellen Garvens, Jim Holl, Michael Howard, Amy Huddleston, Caroline Kapp, Dianne Kornberg, Riva Lehrer, Brian Murphy, Elizabeth Ockwell, Anne Petty, Glenn Rudolph, Graham Shutt, Kathy Vargas and Evelyn Woods

September 1 – October 29, 2016
Opening Reception: First Thursday, September 1, 6 – 8pm

Artist Interview #52: Ellen Garvens

eg studio

1. Are you a full time artist, if not how do you support your art?
I am a professor of Art at the University of Washington. That is how I make my living.

2. When did you consider yourself an artist?
I remember students calling themselves artists in College and I felt like I hadn’t earned the title yet. However, I did know at the time that I had found a commitment that was likely to be for life. So in reality, though it sounded pretentious at the time, I did see myself as fitting the label of an artist in my early 20’s in college.

3. What are your influences?
It depends on the series. I find myself looking at other work in Painting, Drawing and in Sculpture perhaps more than in photography for many of my series. I am interested in materials, process and accumulation in a way that fits those mediums. For the recent video work I am noticing things around me, specifically how things move in new ways. Mundane things in my immediate environment have become my inspiration.

4. How big is your studio, what kind of lighting?
I moved my studio from our basement to an empty bedroom with natural light several years ago. I was about to paint the walls white but instead started the series I am still doing now using the overly push pinned, fingerprinted walls. The aftermath of childhood activity in this room for 18 years forms the backdrop and inspiration for this series. It is tiny – only 10 x 10 feet square!

5. What is a typical day in the studio like for you? Do you listen to music, radio or tv in your studio?
My activity is pretty quiet. I am lost in thought, moving things around, setting up different cameras and points of view. I also spend time on the computer processing images and then going back to the set ups with different ideas to try. With the video work I can lose a whole day trying to get an effect to happen with the sequence because I am a novice and learning the video editing software as I go.

6. What is your preferred medium? Do you work on one project at a time or several?
I go back and forth between the stills and the videos often getting inspiration from one that leads to the other.

7. Do you have any special or unique tools, devices or process that you use in your art making?
No, but I do find that the best work is often “found” not created. That is, while I am trying to do one arrangement, another inadvertent juxtaposition happens. The aftermath of props from one idea can insinuate itself into the next set-up and add the unexpected. I am also drawn to “stupid” materials. Materials that look awkward, like a failed science experiment, but become about process, resourcefulness and humility.

8. What do you do outside the studio, aside from a job?
I have a family. Those three things, family, job and art, are more than I can handle already!

9. In what way is your work a reflection of the theme “Things That Kill”? Is your work for this show in line with or an exception to your usual way of working?
I have chosen to include objects that can kill somewhere in my still lives. I wouldn’t have normally incorporated these things but enjoyed their potential to blend with the other materials.

10. How did you approach the subject matter?
It was a fun challenge. I made a list of things that I wanted to consider. I did some internet research too. The flypaper I thought would be interesting for its dangling shape and golden color. (I also found out that there is a case where someone used the arsenic in flypaper to kill someone!) The drapery cords were something I only became aware of as a new mother. Filled with warnings about strangulation, I cut my cords so short I needed a stool to reach them afterwards. With the image called Poison I was noticing how beautiful hydrangeas are, wanting to photograph them and finding out that they are one of the most poisonous plants to consume.

11. Are there any anecdotal notes that may give insight to a new viewer about your work in “Things that Kill”?
I was able to borrow a room at the University of Washington larger than my studio to shoot these images. With it I had access to a huge ladder and towering perspective I couldn’t achieve in my small studio. That additional height allowed an extended sense of space in the Flypaper image I am continuing to experiment with.

 

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