DUPE chats to Hazel Brill about the Slade School of Art, bad habits & second lives.
You are currently studying your MFA at the Slade. Why the Slade amongst the other Art schools?
A couple of people had suggested the Slade MFA to me, and after looking into it more, saw that a lot of artists I really love atm are graduates from the Slade, in particular the MFA/MA Media. There are good tutors whose work I respect and good media stuff/facilities etc... A big thing was the size, I think smaller institutions suit me well, more intimate and nurturing, and it shares similarities to Newcastle in that respect. Also it has a great reputation so obviously that was a factor.
You’re originally from London yet have studied in Newcastle and participated in a residency in Vienna. Do you think relocating to another city changed your practice in any way?
Yeah, my practice changed both times I relocated, I think being in unfamiliar places helps to uproot bad habits or something.
What do you think those bad habits are?
I got stuck in a medium or choices of materials, which I think restricted other ideas from developing. I was convinced I was a painter at Camberwell (where I did my foundation), but the paintings I made were pretty awful looking back, anyway I started making installations in Newcastle which was so liberating and activated a different type of thinking/making/possibilities. Vienna was another big shift because I started using video and text.
Your work now seems very influenced by the online world. Did you play video games as a child/teen?
I was never a big gamer, I did play sometimes but it was never passion or anything. A couple of years ago, connecting to an art project at that time, I did get very interested in the virtual world Second Life. I (my avatar) spent some time roaming around and taking part in pagan rituals, I was being a tourist without feeling like too much of a voyeur because everyone playing is in disguise. It did alter the way I think about virtual space and I do still find myself referencing these gaming aesthetics.
You have already exhibited at the BALTIC 39, which is quite an achievement so close to graduating. How did you find the whole experience?
It was really exciting and just amazing to have a massive space with technicians to help you install everything that felt like a real novelty. I didn't have long to make the show so it was pretty stressful getting everything together in time, I basically didn't sleep much. It was my first experience of working closely with a curator, which was pretty insightful, she was amazing. Also I had to do a filmed interview which was a real nightmare for me I hate being in front of the camera and I struggle to string a sentence together sometimes when nervous.
The work shown at the BALTIC 39 also included sculpture. Can you explain the relationship between the video work and the Roman replica figures?
I think there is something bizarre that happens when the archaic and the new collide, just to reference the pagan rituals being practiced within the virtual world Second Life again, I am interested in how new technologies provides opportunity for the retelling of ancient stories and myths. The video's narrative looks at the preservation of the myths that surround Hermes within the context of online platform and virtual space. Also, Hermes was said to be a Psycho pomp, someone who carries the deceased into the afterlife, he was someone who straddled these two realities that felt fitting. I was thinking about the stage a lot when making that work. I wanted the statue to become the protagonist, prop and stage set at different points in the narrative.
What are your chosen tools for your craft?
I use Cinema 4d, After Effects, Premiere Pro, various apps for scanning objects.
What are your favorite videos to watch on youtube?
Music videos... but I spend most of the time watching youtube tutorials unfortunately.
Yes, it’s very dull but has taught me everything really so an amazing resource.
Looking through all your works they mostly always involve the human figure, this is something that you’re drawn to in your practice. Why do you think that is?
It’s funny because a couple of times now I have been determined for the protagonist to be an inanimate object like a pot, and although I do use these, you're right human figures always feature and because of their nature they dominate. I am not sure why and had never really thought about that before but I guess I am interested in storytelling and recently more specifically the storyteller - a person.
How do you start a new project? Do you have a specific routine to get inspired?
It varies; it’s usually a really spiralling process of researching, writing and making, so they all affect each other. I guess reading helps to formulate ideas, but its more filtering through all the shit ideas that I find to be most difficult.
Can we see you in any shows soon?
Unless something comes up in the meantime, the next thing is the Museum of London commission, which goes up in July.
Last but not least. I want your words of wisdom Hazel; do you have any survival tips on being a Contemporary artist at this time?
ha-ha! I would like some advice too, I'm still finding my feet, it’s so hard getting a balance between making art, making money and making love. Lol
http://www.hazelbrill.com
