UNF Gallery of Art

Founders Hall Building 2 • Room 1001 1 UNF Drive, Jacksonville, FL 32224 http://www.unf.edu/gallery/

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2. Conversion / Fermentation | John Chae -- Kimchi with Julie Chae

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John Hee Taek Chae.  MOCA 1/5/15 6-8

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David Nackashi Interview

What did you do after you graduated from UNF?

I teach 3rd and 5th graders after school two days out of the week, teach ceramics at PACE two days out of the week, work at a restaurant three days of the week and I also run workshops. How did you land the teaching job?

I kept my ears open after graduating and attended a luncheon with art collector, Jen Jones.  I got there early and overheard someone say that they were starting up the 'cathedral arts program' and now I teach there 2-3 hours a day. Do you plan to apply to graduate school?

I only want to go to graduate school if I decide that I want to teach college. I teach elementary school now and I like it. What process or technique did you learn at UNF that you still use today?

I created a process while enrolled in one of Jim Draper's experimental painting class. This process is called caustic solarization. I expose fabric to the sun in a photographic process, but I map out each value and choose the amount of time for the fabric to be exposed by the value that I want to achieve. The deconstruction of values helped me to understand the turning form with oil paint.  The process of using my environment to make things happen also inspired me to think more about that in my work that followed the creation of this process. What are you future plans?

To paint my personal works with selling not being the key thing of importance, no longer relying completely on commissions, just painting what I want to paint.

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Ashley Maxwell Interview

When did you graduate from UNF and when did you graduate from Georgia State University? 

I graduated from UNF IN 2010 and from Georgia State in 2014.

How did your time at UNF prepare you for graduate school?

I don't think I knew what graduate school was going to be about. I just knew if I wanted to get a job it was something I needed to do. Professor Heywood knew a lot about graduate school and was probably the most help in preparing me for it.

What would have better prepared you?

The university should not be completely responsible for preparing its students for graduate school. The student has to make sure they are ready. You have to know what graduate schools are looking for and what they are going to do for you. Other students I knew thought it would be like undergraduate work where you build technical skills but my graduate program in particular was more concept-based. I learned more about researching, articulation, and grant writing than I did technical skills.

Would you recommend going to graduate school?

My recommendation would depend on the individual. It depends on your finances, the funding offers you get from schools, what kind of work you do, whether functional or sculptural, and if a particular school will help you build upon that work. Graduate school jump started my career. I don't know how many years it would have taken me to get where I am now without it.

Do you teach?

I teach at Charter Schools USA. I would rather teach college level, but kids are more free and open-minded. Unfortunately I tend to expect too much of them and it gets frustrating sometimes.

How do you balance teaching with studio work?

It was hard a first. It was easier when I was studying and teaching at Georgia State, but there is more lesson planning in teaching K-7. It has mellowed out now and I have more opportunities to work in the studio. I've been craving that alone time after long days of teaching.

You make a lot of sculptural pieces. Do you ever make functional pieces?

I occasionally do, but they are always hand built rather than wheel thrown.

What about commissions?

I do not take commissions. Working with customers in that way is too much trouble.

What are your future plans?

I plan to continue working and teaching. I have summers off from teaching to work more in the studio. I want to try for short term residencies as often and as far away as possible. I also want to get more involved with the Jacksonville art scene. A lot of the art here is fairly conservative, and I want to see it become more contemporary and even be apart of getting it there. Eventually I want to open a studio space where I can rent it out to other artists and they can do whatever the want to the space, within reason, and they can then exhibit what they have done as if it were a gallery.

 So about your process,

 Are your sculptures hand built or built from molds?

They are hand built. I build them solid and fire them solid. I only used molds for plastic pieces within the sculptures.

What clay do you use?

I use standard low fire clay with no grog.

What cone do you fire to?

I fire from around cone 06 to cone 04.

How do you finish your pieces?

They are usually painted with either a white primer or oil paint.

How does your current process differ from when you were at UNF?

I used to build solid and hollow each piece out before they were fired. I also sometimes incorporated concrete and rebar into my work.

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Zach Fitchner Interview

What did you do after you graduated UNF?

Once I graduated from UNF, I chose to immediately apply to graduate school. After researching each program very carefully, I applied to five programs and was accepted by three. I chose the University of Arizona because of the amazing faculty, the facilities, the ranking of the program, the three-year plan of study, and the location. 

Why did you decide to become a professor at UNF?

 I've known since eleventh grade that I wanted to become a professor and teach art, and so that is what I have always pursued. The work involves teaching, service, research, and creation — all of my favorite activities. I chose to come to UNF because it was an incredible opportunity to work with a great community, students, faculty, and staff. Also, the print program is incredibly promising.

Why did you choose printmaking as your concentration?

Printmaking was something that I stumbled upon when I was a Drawing/Painting major. In my studio practice, I would create drawings or paintings by stamping various found objects that were covered in paint to produce patterns and other multiples of imagery. Eventually, I took a printmaking course and discovered that my process resembled different relief techniques and that my surface imitated the facture of prints. I never looked back. 

Describe your process for creating a piece of art.

There are many things that change, but I usually stick to a set of guidelines to create my work. Below I've listed my step-by-step process.

a. I reflect on my artist statement to help clarify my ideas and to discover things about myself.

b. I brainstorm in the form of lists to figure out the hierarchy of my thoughts and dissect each word. Usually, words that I am able to dissect more possess more content, and in turn, increase the quality of my research. 

c. After I've brainstormed, I set out to research the ideas that I've listed. I collect my observations and try to figure out interesting ways to utilize them visually. 

d. Next, comes planning. This usually takes place in my sketchbook through thumbnail drawings, in various word documents, and on the internet.

e. Once planning is complete, I begin to experiment with materials and processes before, finally, carrying out my work of art. 

f. Critique

g. Modify

h. Present

What artists give you inspiration with your own work?

Contemporary: Jon Swindler, John Hitchcock, Melissa Harshman, Tugboat Printshop, Kathryn Polk, and others

Historical/20th Century: Whistler, Escher, Degas, Stella, Rauschenberg, Warhol, Hirst, Bosch, Durer, Caravaggio, Religious Paintings

Why did you choose this work for the Beyond the Degree show?

The work I chose for Beyond the Degree is a set of beer can prints from an ongoing series called Alcoholisms. I made these in graduate school and chose the work because I felt they marked an important transition for me as a student, alumni, and as an artist. 

Where do you see yourself in 5 years?

In five years, I see myself being bald rather than balding. I also hope to be working towards tenure and making lots of awesome work. 

Why did you choose to go to UNF initially?

If I'm being honest, I chose to go to UNF initially because of a girl. I was somewhat of a rowdy juvenile in high school and didn't make the best grades. I found out that my girlfriend at the time was going to SCAD, and I wanted to stay nearby. I buckled down and started getting better grades, applied to one school (UNF), was accepted, and the rest is history. 

If you could change anything about your undergraduate experience, what would it be and why?

I really enjoyed my time at UNF, and there isn't much I would change. However, I wish I had taken more Art History classes and read about theory more on my own. 

What is your personal favorite printmaking process?

My two favorite printmaking processes are Relief and Lithography, but honestly, I love them all. 

What about printmaking do you love the most?

My favorite thing about printmaking, aside from the process itself, has to be the sense of community that exists between printmaking artists. If you look around the country you'll find collectives, clubs, co-op galleries, and  collaborative print studios everywhere you go. It truly is a shared discipline. I'll often find myself talking with friends and colleagues about new/different techniques passed down through generations or picked up through personal experiences. Additionally, I really enjoy the versatility of the original multiple. Prints are editioned, traded, torn up, repurposed, wheat pasted, collaged, folded, hung, painted, drawn on, dyed, and burned. Prints can be photographic, painterly, flat, bold, or understated. Printmaking is the best. The end.

What is your favorite thing about teaching at your alumni school?

My favorite thing about teaching at my alma mater is being able to see the significant development of the university over time. Everything at the school is getting bigger and better, including the student body, and I am motivated by that fact. I look forward to seeing the school grow and knowing that I contributed to that growth, both as a student and as a teacher.

What number one piece of advice do you have for art students who are about to graduate?

I don't necessarily think there is any singular piece of advice for success after graduation, but if there were, I think it would be to stay disciplined and to keep making work constantly. I'll often see art students graduate, start working in a non-related field, and let their studio practice get lost in the shuffle. Students need to keep in mind that they have the necessary skills to succeed, but it takes perseverance and creativity to sustain a successful studio art practice. 

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Corey Kolb Interview

What artist(s) do you admire or inspire you?

Barbra Kruger. I like the way that she can say something so powerfully through her use of type and wit.

Shepard Fairy and Banksy. I love their work within the public space. Their large and provocative pieces are a constant source of inspiration for me.

William Faulkner and Harper Lee. The exploration of the south and venerated traditions of it in their work is something of special interest to me at the moment.

What excites you about the future?

I am excited for more opportunity to work with my passion projects. Street art and the ability to open up a dialogue with the public through it, is something that I am constantly seeking to produce.

Of all the mediums you use which one is your favorite?

Screen printing. I like this medium so much because it creates such a graphic image. There is something about holding a stack of prints that makes me feel rich, as well.

How was the transitions from UNF to the art world?

The transition was smooth. I was able to quickly find a job that financed uncommissioned urban artwork. I met people in the community that could help me expand my capabilities. The local art community also inspires and challenges me.

What is your favorite color?

This might be hard for some artist. Red. I am usually moving towards agitation with my work, seeking to move others into action or provoking thought. Red is frequently used for emphasis in type, and to me, evokes passion as well as strength.

What are some of your favorite subjects? Like animals or people?

Typography is a particular passion of mine. It can change the written word’s tone, give a sentence volume without actual sound, or make a letter a symbol that is greater than the actual definition. By changing the shape of your words you are essentially giving them an added meaning or voice. The subtleties of this art and large impact on the message is why it places as one of my favorite subjects and mediums to work with.

What is your cure for artist block?

Anything that helps change your minds eye’s perspective. Conversations with my peers and staying inspired have always helped me to achieve a steady flow of creative output.

Do you plan on relocating in the future?

No. Jacksonville is a great city to live and create in. It is a very supportive and fertile environment for creating art and design. We are rich in collaborative spaces where people of different disciplines come together to create. Our city is full of great minds and we are constantly pushing each other to create better art, be better neighbors and to grow personally. There are plenty of great cities within the United States to live in, especially for artists, but I think that Jacksonville will be among that list with time.

Where is your favorite art exhibit / museum?

MOCA frequently has shows that I enjoy but my favorite art is temporal and can be found in some forgettable ally or on a utility box.

What inspired you before and after graduation?

Exploring consumerism through graphic agitation

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Bobby Davidson Interview

What did you do after you graduated from UNF?  

I took a lot of time after undergrad to really evaluate what it was I was after in life.  I worked, saved money and started to entertain the idea of applying to graduate schools.  The one thing I needed most was a long hiatus from academia.    If you could change anything about your undergraduate experience, what would it be? 

In the beginning, I really wish I would have been more authentic to what it was that I cared about, working in a bubble so to speak and paying less attention to mimicking other artists.  This can be a difficult task I know, but I think it can be accomplished with a little bit of discipline and the courage to develop your own voice. It really comes down to what you care about and developing a practice around that idea.       What do you recommend to a graduating senior to do in their final semester?  

Put it all out on the line.  Challenge yourself, start from scratch if necessary.  For many of you, this will be the last chance you will have to experiment in this type of environment. Engage your peers, because you may think that they do, but your professors don't have all the answers.  Great exploration comes from surrounding yourself with like-minded peers.           Do you recommend going straight into graduate school? Were you prepared for what you encountered in your graduate program? Do you have any recommendations for preparation for graduate school? Any recommendations for choosing an appropriate grad school? 

This is a tricky subject.  I highly discourage going into graduate school directly after undergrad. You need time to evaluate and digest what just happened over the past 4, or for some of you, 6 years of your life.  Use this time to figure out what it is that you truly care about, not just as an artist but as a human being.  As an exercise, start a new body of work.  This can be one of the most liberating feelings a young artist can have.  Going to graduate school is a huge decision, one that will most likely alter the path on which your life takes you.  Now this does not mean that in order to be an artist you must have an MFA or some type of terminal degree for that matter, quite the contrary. I have many colleagues that have extremely successful careers without having gone to grad school.  It all comes down to intentions.  For me, I needed something that complemented my burgeoning studio practice, which at the time was taking me further and further away from my current surroundings.  I was looking for a new chapter in my life: an adventure into the unknown. Although nothing can prepare you for such an experience, understand what you want out of grad school.  Because, remember, this is the ultimate selfish act and you'll be surprised to know that no one will be guiding you along in the traditional academic sense.  Think of grad school as a think tank, it can be the most liberating thing in the world or your worst nightmare.  And this comes back to that all important "incubation" period after you finish your undergraduate studies.  If you don't take that time, you will most certainly regret it.  

I see that you also obtained a B.S. in advertising while at UNF, did this influence your work? Has this had an effect on your career? Do you advise others to obtain dual degrees? 

Actually, the B.S. was a coincidence because at the time I was undeclared about my major. I was unhappy with the program, not because of the curriculum but because I knew I wanted to study something more applied.  For me, this started through the discovery of art history and from that point on I would never look back.  But I will say that having something to fall back on is a huge asset.  Unless you are an extremely successful commercial artist, you will most likely need to supplement your income in some way.  The trick is to somehow complement your artistic practice with another occupation that produces a steady revenue stream.  For me that was becoming a director of photography and artist assistant. If you’re going to be a dual major though, major in business if you want to be a professional artist.  If you’re interested in being more of an academic, get a degree in english or philosophy.       How has your work changed and developed since you were studying at UNF?  What changes have you made in your process?  

The one thing that has remained constant after all these years is my willingness to take risks.  The one thing that has changed the most is my ability to let go of over-thinking. I have spent so much time in past projects over-analyzing and fixating on every single detail when I should have just been executing and exploring.  The series, "It's you we're after" reads as document photography and is different from your other work.  What caused the shift in your work?

As I reflect on my process, there is no real shift, from what I can see, that happened with my work. I do feel there is a thread that ties every series together in terms of concept. However, I do recognize that each series has a distinguishing and sometimes different aesthetic and medium as you move from series to series.  How did your professional music and commercial videos impact your still photography?

I don't look at them as separate and treat them the same, something I would recommend everyone practice if you don't already. 

Where is your work currently taking you? What are your future plans?  

It’s taking me away from making work that is inherent to any given medium which in my case is photography, and using it for nothing more than a tool.  It has been freeing in many ways and has opened up areas of exploration that otherwise would have been missed.  

BUCKLE UP! 

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Staci Bu Shea Interview

  As an Art History student myself, I am curious as to what goals you have set for yourself professionally – for me, I find it difficult to choose between museum studies or a specific field of study (like 19th century art). Was there an avenue you had chosen prior to your curatorial studies but changed? If so, what was it and why did you change? 

While studying at UNF, I was always drawn to 20th century art history. I found that artists and the work they created after industrial capitalism to be the most informing of our contemporary moment. This is because I’ve always wanted to understand what constituted our “now” and I felt I could grasp it much easier focusing on a more recent art history. Of course, I also studied studio art as my minor, and this informed my interest to situate myself as a cultural producer. 

Was there a specific person or place or moment in your life that you felt most inspired you for your future goals in Art History? There are numerous people, places and moments that have inspired me. Past and current experiences, as well as potential future ones, continue to shape how I perceive what the future will hold. But to make this more tangible, here is a list:

1 Jim Draper, Gallery Coordinator of UNF Galleries and land artist → the most inspiring mentor and bff I could ever have hoped for! He has made me feel less alone in the world. I hope that I have done the same for him. Some of my favorite projects and actions have happened in his studio with him. All of it was so radical and experimental for me. Deeply fulfilling.

2 Rebecca Horn’s solo exhibition at the Museum of Contemporary Art Tokyo “Rebellion in Silence: Dialogue between Raven and Whale” → this is when I decided I wanted to be part of the exhibition in some way.

3 Girls Rock Jacksonville → a powerful example of self-organizing within a radical group of women, and caring for the empowerment of girls and young women.

4 “Macho Man, Tell It To My Heart,” curated by Julie Ault at Artists Space in NYC → this exhibition made me cry. I strive to participate in exhibitions/projects that have that power.    

5 Failure → there will never be one singular narrative.

After graduating from UNF, what was one lesson you learned that was most beneficial to your life and for your continued studies?

 While working for Jim Draper, he was incredibly supportive of my desire to create my then first exhibition in Spring 2012 titled On Mediation. He said, to paraphrase, “if you want to curate an exhibition, just do it. If you want to be a curator, be one. To hell with the obstacles.” This set the tone for the last three years of my practice, and it still resonates with me today.

What is the one thing you would like to have known as an undergrad at UNF (knowing what you know now)? Is there any specific advice you would give yourself? Would there be anything you would change about your path chosen? 

This is a tough question. I will attempt to unpack my thoughts about this: undergraduate degrees prepare you with general knowledge of a topic, and there is so much to learn on the practical side of whatever discourse you involve yourself within that you cannot receive within school. The institution is a tool for you to use. Institutional critique is about the desire to change current constituents in order for it to improve in the ways you find problematic or oppressive. It’s important for me to be in constant dialogue with this.

I wish that I was encouraged to believe that there are more possibilities for creating a place in the world and making purposeful contributions. I think I felt plagued towards the end, that if I didn’t have a higher education I couldn’t do anything with my degree. That I couldn’t properly conduct research, work in a museum or gallery, or be a curator. All of the labor that I thought imaginable for my degree and focus felt like a distant horizon. So, as I said above, it’s important to know that we all have a sense of agency and we do not have to wait for someone else to grant us allowance to make moves. There is nothing I would have changed about my path. I do not believe in destiny, but I find that events and experiences play out in such a way that you have to see them as opportunities to grow, shift perspective, reorient, and improve to the level that you see fit. We must be accountable for these things.  

What was the most difficult path (pertaining to your student goals) that you encountered upon graduating UNF and how did you get through it?

All of the paths were not easy. If any project or task presented itself as easy, I usually did not want anything to do with it. I don’t want to be in autopilot mode. 

Congratulations on your acceptance to Bard College – what drew you to Bard’s Curatorial Studies program? Were there any other universities you were considering and didn’t choose – why not? Are you content with your decision?

Thanks! I was attracted to CCS for numerous reasons: the Director of the program, Paul O’Neill; the CCS Library for their incredible collection of books pertaining to contemporary art, exhibition histories, curatorial studies, artists’ books, their archives and special collections; the faculty, specifically Jeannine Tang and Suhail Malik; how interdisciplinary and theory-driven the program is; their network within a larger contemporary art context; individual thesis exhibitions and projects, rather than co-curating one large exhibition with the class (most programs opt for co-curated theses); the Hessel Museum, which is on permanent loan to CCS; and the style and content of alumni. I applied to three other programs and was admitted to all, but I was pretty set on Bard.

What has been the biggest challenge in beginning your graduate program?

The biggest challenge has been adjusting to the amount of required reading. It’s over 150 pages a week, and the text is not easy! Another challenge would be thinking and responding on the spot during class discussions. I find it easier after a week of orientation, a week of a research intensive and three weeks of theory, proseminar, practicum and my elective on “Big Data: Small Subjectivities” to speak in front of groups about my ideas and perspectives. I’ve always felt a bit timid about doing that, but this shift is really good.

Where do you see yourself professionally in 5 years? Is there a specific goal you are trying to achieve? I see myself expanding upon my curatorial practice in a more discursive, durational and collaborative way. I see myself working with artists that have similar motivations and interests in social justice, queer labor, critically engaging with the world, and particularly how we’ve changed in relation to the web, not how the web has changed us. As for institutions or organizations I see myself working in, I am thinking along the lines of Casco in The Netherlands, Tensta Konsthall in Sweden, or the Walker Art Center in Minnesota. These are just some examples of the types of institutions I’d like to work in. I would like to do the AIT Curatorial Residency in Tokyo sometime after graduating.  

Do you feel UNF has prepared you well for graduate school? Was there something (a class, an internship) you wish you would have done?

I feel that UNF has prepared me well for graduate school, but I would say just as much as my practice after UNF has prepared me. I wish there were more opportunities for internships. It’s a bit limited. But that’s really me saying I wish there was more interest and support for alternative art spaces in Northeast Florida.

You took a break between undergrad and graduate, was there a specific reasoning for this?  Looking back, would you rather have gone straight into you graduate studies after graduating UNF?

I wouldn’t have gotten into graduate school if it weren’t for my years spent in practice! I didn’t know what type of work I wanted to tend to and situate myself within when I graduated. For me, if I would have gone straight into school again, I think I would be doing so in a robotic way. Like, step 1, check. Step 2, check. It took those three years of working within this field to understand what I wanted to do with it, and this led to a desire for more resources and refinement, which led to applying to graduate school. It started to feel like I was reinventing the wheel each time I did a project.

Which artists give you the most inspiration?

I am inspired by Deanna Havas, AL Steiner, Andrea Fraser, Oliver Laric, AK Burns, Mika Rottenberg, Janine Antoni, Liam Gillick, and many more! I hope the short list illustrates an image for you.

One of my favorite works right now is a collaboration between Kerry Downey, Joanna Seitz, and Jen Rosenblit titled To-Do List. The video was recently collected into the Hessel Collection, but you can also view the piece at Downey’s website, if you are interested.

Just to note, there are many curators that give me inspiration too. Like Maria Lind and Vivian Ziherl.   

Do you already have ideas for future projects?

Somewhat. Right now I am writing brief thesis ideas on sheets of graph paper and pinning them to my wall. These ideas are mostly curatorial strategies, and some do not include an exhibitionary component just yet. I enjoy working with artists and others in a more collaborative way. Future project = future relations 

What advice would you give to art students who are about to graduate?

Hm. I have more questions for the graduating art student than I do any particular advice. I hope it doesn’t seem dressed up in psychoanalysis.

What do you care about most? Do you find yourself to be hardworking? Do you ever ask yourself “why work?” Not in the sense of being lazy, but do you consider yourself within a sociopolitical and economic perspective? What are the rewards for what you do? If it is not for the money, how will you interact with that?

Do you believe the materials, modes and strategies that you employ for your intended concept are effective? Who is the contemporary viewer and where are they situated?

So, maybe some advice: be wary of neoliberalism and its affects. Be critical. Read Marx and Benjamin, take it for what it is, put it to bed, then do something that is meaningful to not just you but society as a whole. Be thoughtful. Lastly, there are many ways to be a cultural producer, don’t limit yourself and don’t wait for external validation!

What period of Art History interests you most?

1967 to 12:01 in the morning, every night. Right now.

Is there one thing you would change if you could change something about your time at UNF?

I wish I read all of the assigned readings. I wish I didn’t miss any class. But for the most part, see the answer above.

Can you describe your favorite curatorial project? Why was it your favorite? What was your most challenging? I’m not sure which was my favorite! But, I would have to say goal search with artist and writer Alexander Bertin because it is most reflective of the discursive practice that I would like to continue. Alexander Bertin, of Oslo, Norway, and I exchanged 62 e-mails detailing the event of goal search. The idea was to see its’ event as an exercise, and presented in exhibition form as a half-mile marker snapshot. goal search is one work of art made up of images, texts and sculpture that highlight this “workout” routine. I instructed Alex to document individuals during their physical exercise. Alex paired images with poems. Alex instructed me on how to present the images and poems together. We collaborated on how to make jpegs physical and create sculptures out of images and products. The collaboration was consensual, empowering and felt like a marathon. I also really enjoyed the The Apt Exh with artists Lily Kuonen, Sterling Cox, Thony Aiuppy and Edison William. We explored concepts of temporary housing, realty and ideas of home within a garage apartment. I advertised the opening of this event through Craigslist and collaborated with a mixologist to create a featured cocktail titled “Security Deposit,” to embody the conceptual properties of giving money for security and getting that money back.

The most challenging, hm. Possibly Future Retro, an exhibition from the MFA in Boston that focused on automobile design in postwar America, held at The Cummer Museum of Art & Gardens. This project was incredible and I learned so much about working in the institution, especially with their curatorial team of Holly and Kristen, but I think I have a hard time working from a fixed collection. I enjoy the opportunity to activate objects and dialogue, but I feel much more confident and fulfilled working with artists directly.

Why did you choose these projects to be exhibited within the exhibition?

I have chosen three books that I have produced with three different artists within the last year: PLAYNTINGSSGNITNYALP with Lily Kuonen, Google Translate with Sterling Cox, and goal search with Alexander Bertin. Also featured is a Wild Apples (a moniker for Jim and I) publication and exhibition. Here, we commissioned over a dozen artists and writers to respond to the conceptual possibilities of “knees.” 

These books are reflective of my curatorial practice, and my interest in the exhibition-as-book.

I also created a poster for this circumstance. I am interested in prosthetics of exhibitions, outside of works of art, that further contextual a thematic or narrative-driven exhibition concept. The poster will be textual. I am aware that I am someone that concerns myself with curatorial practice and my labor will be presented in a gallery setting. I think this is interesting and I want to point back to that. Viewers will be able to take a poster home with them. Curators also give gifts. 

How do you personally approach Curatorial work? What attracts you most to it?

As a network of tasks, responsibilities, attentions and insights. 

Like a curator, an artist, an administrator, a scientist, an organizer, a designer, a collaborator. 

I’m attracted to it because I want to reveal, investigate and open out. I want voices to be heard. I want dialogue. This is how I can feel useful. 

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Devin Balara Interview

 In reading your Artist Statement, you say you have a fascination with homogenized environments and objects that began while visiting a friend’s house and seeing that they had the exact same floor plan as your own – can you elaborate on your experience and what interested you to this idea most as it reflects in your art?

I am interested in the ways in which people attempt to differentiate themselves from one another while at the same time being drawn to the comforts of homogeneity. Growing up in the suburbs I feel that the nature of that reality encouraged comparison and competition between neighbors. This was the basis of most of the work I made in graduate school. Lately I’ve focused on the ways the homemaking aesthetic spills out onto the natural landscape.

Are you more interested in the personal aspect of these said environments/objects or is it more fascinating to you of how the inhabitants and owners utilize their space(s) and possession(s)?

Both. It’s fascinating how one’s extremely personal possessions coexist alongside with the store-bought and mass-produced banalities within the home.

In viewing your works, you have great talent with various mediums of art – which are you drawn to most and why?

My material choices have been dictated lately by chance, things that I find and think are interesting. I’m typically on the lookout for remnants from the home improvement industry, carpet, vinyl wood flooring, discarded house paint. I’ve come to realize that I need to create my own media before I start working. I enjoy making mass quantities of a kind of object and then responding to the repetitive elements I’ve invented. Elements tend to get shuffled around this way and I’m constantly finding new arrangements for all of the things I have amassed.

I loved looking at your student work – was there a specific professor or class (in both your undergrad and graduate studies) that greatly influenced you and made an impression on the way you work and in what you choose to create?

 In my final year of graduate school an artist named Mike Calway-Fagen was brought in as a visiting professor. The timing couldn’t have been better. He brought an incredibly unique perspective and a fearlessly improvisational and contagious way of working to the program. I realized through my graduate school experience that unlearning is as important as learning and really value the opportunities I had to work with visiting artists and fellow grad students that shook up my perspective and comfort level.

After graduating from UNF, you went on to graduate school at Indiana University – what was your “deciding factor” for attending that university? Was there a specific program that you were drawn to? Or was it the area that you felt inspiring for your work and for your career as a graduate school and beyond?

Attending IU was really about timing. I didn’t formally apply there, but I met some great people at a summer workshop and I had the opportunity to come into the program at the very last minute. Everything fell so easily into place and I never say “no” to opportunities of that sort, no matter how abrupt or intimidating. There were spacious studios, the opportunity to teach and some really interesting faculty, all things I was happy to discover after blindly taking the plunge. I wouldn’t trade my experience there for anything.

Was there a graduate university you wanted to attend to more than the one you went to but were not able to? Looking back, are you content with you student career plan/decisions?

Honestly, I may not have been ready for graduate school when I made the gut decision mentioned above. I’m not sure that back then I could have told you clearly my reasons for pursuing higher art education. If I could change anything I may have waited a bit longer. But I followed what seemed to be pulling me, and I’m very satisfied with where I am at this point.

What is the one thing you would like to have known as an undergrad at UNF (knowing what you know now)? Is there any specific advice you would give yourself? Would there be anything you would change about your path chosen?

I think I would have liked to have known more about the different models for artist communities, such as residencies, conferences, non-profits, artist-run galleries, etc. A few years down the road I have learned the immeasurable value of artists supporting and providing for one another. The university setting provides a great jumping-off point for forming such communities, but if I could rearrange the past few years I would have spent more time outside academia seeking out and perhaps creating my own alternative avenues for engaging with other artists and viewers in less formal settings.

What artist(s) are your biggest influence(s) and why?

Currently I’ve been looking to artists like Sabina Ott and Lauren Ruth whose practices extend outside their own studio. I’m interested in artists working with other artists in mind, collaborating, forming community hot-spots and engaging the less obvious art worlds. Sabina Ott is based out of Chicago and, in addition to her own work, she runs a project space for artists out of her front yard. I also draw a lot of influence from writers like Raymond Carver, George Saunders and Rebecca Solnit. Also worth mentioning are lawn-care specialists.

Where do you see yourself professionally in 5 years? Is there a specific goal you are trying to achieve?

The artistic pursuit is a selfish one. My goal in 5 years is to have found a way to be not only a producer but a facilitator in a thriving artistic community. Place will be very important and high on the list are cities like New Orleans and Richmond that have exciting opportunities for artists despite being “off the grid” in the New York/LA-centric sense.

In regards to your work, “Greening”, shown in this exhibition, what was the artistic process in completing this work? What was the inspiration behind the work?

The inspiration came from an interest in nature’s presence within the home, specifically instances of fake nature and decorative surrogates. I chose the green bath mats for their resemblance to fake grass and picked spots around Greensboro that I felt could use re-greening. Domestication plays a large part in my work, the interest lying in the way wild things are trained to fall within the lines of the modern domestic aesthetic.

After completing your project, “Greening”, why was it important for you to return these rugs? What was the message you were trying to convey and has it changed for you since?

I wanted to make a statement about the ways we engage nature as something to be bought, sold and therefore potentially returned. The experience ended up exceeding my expectations. I actually lost the debit card that I bought the rugs with. I thought the project was ruined but when I went to return the rugs (some of which were pretty dirty) there were no questions asked and every store offered a cash refund. 

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Beyond the Degree - 7 alumni representing the 7 disciplines of the UNF Art & Design Department come together October 24th from 5 - 7 PM! 

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The University of North Florida department of Art & Design celebrates its 10th anniversary by presenting an exhibition entitled Beyond the Degree at the UNF Gallery of Art.  The exhibition is a celebration of seven of UNF's alumni who exhibit each of the seven disciplines of UNF's department of Art & Design; ceramics, sculpture, photography, graphic design, art history, printmaking, and drawing and painting.  The seven alumni presented are; Ashley Maxwell, Devin Balara, Bobby Davidson, Corey Kolb, Staci BuShea, Zach Fitchner, and David Nackashi.  The UNF Gallery of Art will be hosting the opening for this event on Friday, October 24th from 5 - 7 PM.

Image: David Nackashi's Truck Series (2014) 

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