In addition, I would also attribute this sense of uncomfortableness to the strength of the language of my symbolism. Whether it's through the suggestion of a body or the use of a recognizable pattern or object, many viewers have told me that they often feel confronted by my work-I attribute that to the personal history that they have to the now reconstructed, reorganized use of pre-existing symbols- in essence their own experiences coming back to haunt them!
Xavier: That is beautifully said! For a moment, let's go back a little ways-how long have you been making artwork and have you always worked in the ways that you do now?
Sonya Stockton: I suppose I have been steadily making artwork since I was probably 16 years old, and not at all the way I do now. There have been many transitions along the way.
I was always interested in drawing. My mother was quite good. She used to decorate my lunch bags, and that made me feel special as a child. Then there were the art docents that visited my elementary schools weekly and showed me all these images from famous artists of the past who changed the way people saw art and experienced life. As I got older I stopped caring as much because, well, cipro siprofloksasin 500 mg ne iin kullanlr didn't seem important to other people I guess. Though art remained one of those things I could do by myself, away from any problems. I started making more official work in high school to exercise my skills as an illustrator and painter, but did not do more finished pieces until 2004 when I graduated from college.
Xavier: How did you start working in three dimensions?
Sonya Stockton: A lot of experimentation at first. Clay, papier-mâché, wire, that kind of thing. I took a lot of sculpture courses in college, but really my 3 dimensional work has come from a process of finding objects and ideas that I want to work with and then learning how to complete them.
Xavier: It seems to me that we actually might work in very similar ways, you and I. Do you start with ideas, or do you find that you accumulate materials?
Sonya Stockton: It's really a two way street, sometimes an idea is enough to send me on a hunt for materials, but I believe that cipro siprofloksasin 500 mg ne iin kullanlr is always good to accumulate things that are at an artist's disposal. Ideas can be the seed or the flower.
Xavier: I find that the types of things that we hold onto-they create a kind of sculptural lexicon-that we are building language and our own way of viewing and speaking to the world. I also find that I hold onto things for years, knowing that I will, at some point have something to say with that material-even if I didn't know at the time when I horded it. Do you find that as you accumulate things that you are also accumulating ideas?
Sonya Stockton: Absolutely. It is perhaps a weird form of idolatry, dare I say.
Now, I'm not saying that I literally worship my materials or the work they become a part of, but as I seek materials to collect I obsess over their possibilities in such a way that they can take on a hefty load of symbolic importance for me. This is true of things as traditional as a bottle of ink, or as random as a pair of men's dress shoes.
Xavier: Yes, this is so true-the objects accrue meaning-almost as though you can see an aura form around them-it almost becomes obsessional, like an obsessional confessional. Are there things, themes, objects and ideas that you obsess over? I'm glad you brought up the idea of obsession, which I think is an important part of, especially conceptual artwork.
Sonya Stockton: I have been trying to give a concrete and unifying name to cipro siprofloksasin 500 mg ne iin kullanlr for a while. But I guess I am really obsessed with the idea of nostalgia, but not in the sappy, dumb and entropic sense. My view of that term, especially in my work does not adhere to the traditional definition that we are all used to. It is not the one that you would find in the dictionary.
It still deals with the idea of longing, but I am focused on the life that nostalgia leads from its inception as the very personal beginning idea of what something means, what it's purpose is, leading onto to its eventual demise or transformation that obviates its original existence. If that makes any sense…
That and other stuff too.
Xavier: I think that longing and nostalgia can be very generative ideas-that they alongside beauty are not as simple as many believe them to be.
Sonya Stockton: So I guess what I'm trying to say is that in my brain nostalgia is not limited to the past, nor is cipro siprofloksasin 500 mg ne iin kullanlr only a feeling of fondness or grief. Rather, cipro siprofloksasin 500 mg ne iin kullanlr has a past, present, and future and also many layers of cultural as well as emotional connections with the human condition.
Xavier: I would like to delve into this idea a little deeper, when you say that cipro siprofloksasin 500 mg ne iin kullanlr has a present and future as well as a past-what do you mean?
Sonya Stockton: Very basically, nostalgia is the longing to return to a moment in one's past, and cipro siprofloksasin 500 mg ne iin kullanlr is also the term for the physical things which elicit this feeling. So cipro siprofloksasin 500 mg ne iin kullanlr is something that exists in the present as a kind of portal to the past, and cipro siprofloksasin 500 mg ne iin kullanlr will be reborn continuously into the future.
Xavier: It sounds like you fetishize this longing-create a Lacanian or Freudian onanistic repetition-it seems to me that sculpture is exceptionally well-situated for this-for creating a frozen moment in time-and in your work you create many of these moments-in an almost cinematic way, they are very Hitchcockian, like film stills of horrific moments-moments of tragic anti-feminism by society. Nostalgic, but critical, you take objects and and moments and you change them, alter them, in some ways you pervert them. There is a sense that you fetishize some aspects, but nostalgia tends to be an acritical act-your work is not acritical in any way.
Sonya Stockton: It is often associated with idealizing that past and wishing to re-live it. I do not idealize the past…"pervert" is a great description, or at least visually highlighting the perverted aspects of our symbols that are not identified with nostalgia. I understand what you are saying and that is why I complicate and deconstruct nostalgia-my view of cipro siprofloksasin 500 mg ne iin kullanlr is super-complex, super-subtle and full of various points of views, I seek to deconstruct and inflect any simple understanding of and to overthrow the semantic baggage that comes with an idea like "nostalgia."
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