Yūgen, a Japanese aesthetic of deep awareness; to pick at the edges of our seen and unseen world, pull back from the gloss and dig for the gleam, some authentically weird light within, a feat harder and harder to imagine possible in our fast rushing world. In the midst of all that makes this difficult for us, Zubko creates spaces that halt us in our tracks, tugging at strings of imagination left dormant in childhood winds, long ago, maybe a restless spark of curiosity emerges, grows into the place where we are now, we lean in, we want to know more. "I remember the first time I observed someone enter one of my environments (Winter's Core)," Natalia says, "and the person exhaled slowly, their shoulders relaxed, and they just eased into the space." We all have the power to be embodied even if it most often seems the opposite. "I often think about how we have a choice in how we want to be in the world." Zubko says. "The fast-paced and speeding up doesn’t make it always feel we have a choice... we just need to be reminded that the awareness, quiet, sense of wonder, calmness is something we “know” and is a possibility, a choice we can make and cultivate." Zubko's site responsive environments immerse people in a living-breathing art-light come alive, inside and out, leaving traces of possibility in their wake, of inner navigation and soul travel, collective and individual dreaming, a quiet pause in a day that doesn't seem to want to end. Art isn't just something we observe, it's also something we take home with us, something that helps transform the way we see space or color or the world itself. Natalia Zubko creates stepping ladders into these spaces where dreaming ourselves isn't so odd or unlike us after all, it might just be the most natural thing about us. AHC: What has your own personal evolution towards a life in art been like, are there a series of moments you can recall where this path, this calling, began to become the one clearly marked for you? Natalia: Art was always part of my life, one way or another – mostly drawing. I never “knew” I would be an artist. It wasn’t until I took a 3D Design class my senior year of college that something clicked. I got to use my entire body to be in space and redefine that space. It was problem-solving in such a physical way. This made sense to me (vs. painting which always felt too hand-oriented and I could never mix the colors I could see in my head!). I also had a series of teachers/mentors, when I look back on it, could see the path for me before I did – encouraging and guiding. AHC: Could you explore and expand on some of the motivating ideas at work in your art and the process behind the making of them? How does the idea for you begin and what does its evolution look like during the stages of its development? Natalia: There are a couple facets to my work but, they are all interrelated – they feed each other. I oscillate between smaller works, collages, drawings, sculptures, and large site-responsive environments. A material, found shapes, forms or objects, some specific element in a space or architecture, something that feels micro but could be macro or vice versa, or the way light hits something might grab my curiosity and the seeds are planted. The smaller works I often think of as “Studio Work.” (Briony Fair started discussing Eva Hesse’s small works in this way) The work isn’t necessarily a model for something larger, or a specific sculpture in the traditional sense, they are the thing themselves – playful with intent engagement - not trying to be anything else but they hold importance in the process of the overall work. My site-responsive environments are influenced by a combination of the discoveries from the studio work with something about the space that I am installing. If possible, I like to visit the space to get a physical sense of the surroundings. Photos - not only of the space but particular elements that call out – the color of a flower in the peripheral vision, the shape of a long skinny window, the way a path subtly curves on the ground, etc. I print out the photos of the space and start drawing shapes, forms, colors directly over the photos. This is a very generative – whatever idea comes up, I sketch it into the space. Once forms and proportions that feel exciting start to take shape, I make a physical, scaled-down model of the space with foam-core. I’ve been asked why I don’t do these models in a computer 3D rendering, again, it goes back to the physicality…building the space and seeing the space in the actual 3D. The model allows me to work out more specifics and see the work in better relation to human-scale. Once the idea is solidified, the project planning and organizing gets underway. Graph paper renderings of plan & elevation drawings, scaling up templates, figuring out how much material is needed, budgeting, determining the order things have to be done, etc…LOTS of lists! This part is less “creative” and more project management but, in some ways, it is part of the overall problem-solving process! AHC: Working with the Japanese concept of yugen, deep awareness, as you do, I am wondering if you see the trajectory of our current speed and hyper technology environments as working against the potential and importance of cultivating such an awareness? Do you hope that by creating these immersive environments and the encounter people have with them, we might build into our memory and cells an enduring, unconscious desire to do so? Natalia: Absolutely (on all questions!) That is one of the reasons I often make works that attempt to slow the viewer/participant down, physically. Not in an abrupt way, but in an often more subtle way. A teacher once referred to my work as “intimate minimalism.” I remember the first time I observed someone enter one of my environments (Winter’s Core) and the person exhaled slowly, their shoulders relaxed, and they just eased into the space. This seemed like a natural reaction to experiencing the piece as the space allowed for it, probably without them consciously realizing it. I often think about how we have a choice in how we want to be in the world. The fast-paced and speeding up doesn’t make it always feel we have a choice. We most definitely have embodied knowledge but sometimes we just need to be reminded that the awareness, quiet, sense of wonder, calmness is something we “know” and is a possibility, a choice we can make and cultivate AHC: Who are some of your artistic influences? Is there anyone outside of the art world who has had a huge impact on you and your work or who just generally inspire you on some level, writers, filmmakers, comedians, musicians etc? Natalia: Off the top of my head: An assortment of old hand-drawn science books (physics, astronomy, geology, etc) Poet, Mary Oliver Books on Light and Shadow Japanese Ikebana philosophies Brian Greene - Elegant Universe Ed T Hall – The Hidden Dimension Bachelard - Poetics of Space Books on architecture and landscape (with cross-sections, and drawings) Fred Sandback, Robert Irwin, James Turrell & the California Light and Space artists from the 60’s and 70’s, Eva Hesse, Nancy Holt (and other varied Land/Earthworks Artists), Alice Aycock, Martin Puryear, Numerous minimalist artists, etc, etc, etc…. (Of course, after we finish this interview, I will think of more!) AHC: What do you consider, personally, to be the most sacred and enduring aspects of art? How does it enrich our world and our cultural memory? How has it enriched or altered your own life? In your opinion, what does art, at its finest moments, bring into the world that would otherwise leave us more impoverished without it? Natalia: This question can be complicated (depending on how one defines art). Art can ask us to examine humanities shadows or bring us delight – and everything in-between. Its power is in its range and potential – reflecting the entirety of the human experience. That is a tremendous responsibility! As cliché as it may seem, art (creative work) is a life force. It is a well that flows and gives energy – both to those who create and those who take in the work. It is a space that can give the widest range of voices a platform. Like poetry, writing, dance, music, etc, the artist take on deeply-rooted often tough questions, engage in a process so fully that what filters through is a way to connect to others, understand something, and communicate - and those who pursue experiencing art works are often seeking the same (whether they are always aware of this or not). If this were so easy, artists would make one thing and be done! But questions beget questions and curiosity leads us down paths that require intense problem-solving. On a side note: I still lament the moment in time where the Arts and Sciences were separated. (Except in our higher education degrees that still point to that connection on our diplomas) Both “fields” are attempting the same things but through different approaches and lens. Why would we limit ourselves to one approach vs allowing ALL possible tools to be at our disposal to figure out and process the tough questions? For me, it is about tapping into a sense of wonder that connects us and puts our humanity in perspective - this seems ever more important in the world we are currently navigating. AHC: What is the first work of art you encountered that took your breath away, that lit a fire in you? Natalia: Hmmmm, I was exposed to art early on. My parents weren’t artists, but appreciated art. We had art books around the house and went to museums… Renaissance Art / Rembrandt / Vermeer. Later, as I was exposed to more modern and contemporary works, I felt drawn to Minimal Art, art the used Light as a material and atmosphere, and Land/Earth works – opening my eyes to the kind of work possible under the category “Sculpture” was exciting! As I mentioned earlier, Fred Sandback was one of the first “contemporary” artists that I was in awe of – the way he redefined a space on such simple, sublime terms. AHC: Do you have any words of advice or encouragement for young artists and other creatives who are experiencing self-doubt in their art, frustration or blocks? What are the types of things that have helped you to move past moments where you may have become stuck creatively? Natalia: You are NEVER stuck. Even when it feels like there is no solution, there always is. Going back to the things that bring you creative delight, no matter how small, and you will find your way out. For me, it is slowing down to observe beautiful moments of light around me, reconnecting with my close friends, reading something inspiring, travel, and playing with a new material. I’ve told this story to young artist: I often use circles in my work. I gave myself the challenge to make a work without circles. Yet at the end, the entire work ended up being one giant circle! You can’t run from yourself, the questions that keep bubbling-up to solve, or the way in which your body is engaging in those questions visually. Become aware of and know your strengths and weakness and use those strengths to their fullest potential! Self-doubt is inevitable. There are too many external and internal preconceived notions about how a life in the arts should “look.” None of them are usually correct. But, fully engaging in your curiosity, finding ways to stay grounded, and listening to your inner voice (as my sister once reminded me, your inner voice will never yell at you!) will lead you through your times of doubt. AHC: Do you have any upcoming exhibits or new projects you'd like to tell people about? Natalia: I do! I have an outdoor sculpture in a group show, Outside, In, at Felician University in Rutherford, NJ in mid-September through then end of November 2017. This last winter I was on sabbatical researching the Aurora Borealis in Northern Scandinavia. (For more information here’s a link to my kickstarter video from Nov 2016! https://www.kickstarter.com/projects/2048584874/wonder-sense-channeling-the-northern-lights) Part of this research kicked-off a collaboration with composer, Beau Kenyon. As I have been starting to develop work from my research and foster this new collaboration, 2 projects have emerged so far! Both works think about Intimacy and Vastness - how a space can create intimacy and sound vastness or vice versa. In November/December 2017 at AREA Cambridge (unum gallery) near Inman Sq in Massachusetts will act as a laboratory space to start to bring our collaboration into the physical world. And in March of 2018, I am developing a site-responsive environment for Kingsborough Art Museum (KAM) at Kingsborough Community College, NY. wondersense @ KAM - This will be the first big installation bringing my Aurora research and collaboration together! For more visit www.nataliazubko.com/images/ All Images © Natalia Zubko (Provided courtesy of the artist.) Notes on the images: wandersense, 2014-2015 Mixed Media (Insulation Foam Board, Lights, Mylar, Gels, Denril) Room: 40’w x 40’ L x 18’H – 6 x 2-sided light boxes ranging from 30’ L to 18’L Site-Responsive Environment -Missouri Southern State University Spiva Gallery, Joplin, MO Approaching Sempiternity, 2015 Mixed Media (Wood, Insulation Foam Board, Structo Lite, Lights, Dryer Sheets) Loading Dock: 13’w x 36’ L x 6” to 4’ deep Site-Responsive Environment – Brooklyn, NY Winters Core, 2010-2011 Mixed Media (Wood, Dryer Sheets, Lights); Truncated Square Room approx 14’w x 13’L x 8.6’H Site-Responsive Environment – Islip Art Museum, Carriage House, Islip, NY Core Essence, 2005 and 2013 Mixed Media (Dryer Sheets, Lights, Wood) 30” x 16” x 6” Inside Industry, 2011 Mixed Media (Lights, Motor/Fan, Mirror, Foam Core, Paint); Full installation: approx 24’L x 16’w x 14’h - Center broken column: 10’L x 2.5’dx5'h Site-Responsive Environment - Brooklyn, NY Thinking about the history and potential of what may be “inside” the industrial space of the gallery, I replicated 3 columns and “opened” up the center one to discover what the building may reveal: an 8ft Kaleidoscope. Pushing the button activates the lights and mechanical fan that causes the inside of the kaleidoscope to turn and whirl. Magnetic Pulse, 2014Rockite Cement, Stir Straws, Wood Beads; 2.5” x 2.75” x 2.75” Cultivate, 2015 Mixed Media (Polystyrene, Pins, Tubes, Denril, Light, Velvet Paper); 132” x 12” x 12” Metanoia, 2004-2005 Cut Drinking Straws, Wire Mesh, Light, Cloth; 28” x 22” x 28”
Helen Richardson
10/13/2017 11:55:56 pm
This is the second time that I have enjoyed this, Talia. I appreciated the interview as it gave me more knowledge of how you go about the variety in your installations. Thank you for sharing this with me. Comments are closed.
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