Ziggy Grudzinskas ‘mysticism & machines’ curated by William Gustafsson at Union Gallery, London 20/05/2017 - 17/06/2017
‘MYSTICISM & MACHINES’—A SHORT CONVERSION WITH ZIGGY GRUDZINSKAS
PD: Can you talk briefly about the exhibition title ‘mysticism & machines’?
ZG: The show comprises of an installation where painting and a wall drawing are situated alongside Palo Santo incense and an Ether Mining Rig. The ritualistic burning of holy wood connects the space to the outside. On the other hand, the Ether Mining Rig is physically connected to a process running the virtual exchange of value over the internet. PD: Many of your works seem to incorporate a process of repeated mark-making. It’s as if you are using your body mechanically—but with the conception of an imperfect (human) result. Is this your intent? ZG: Exactly, this is about a human making interactions with the world, not one’s artistic endeavours. It is an attempt at manifesting a reality that the viewer completes with their presence in the space. PD: It strikes me that in a time when we are talking a lot about the implication of the ‘digital’ within painting, we are under-selling the inherently mechanical nature of this same technology—i.e. the repeatable and endless iterations of image. Is this something that you think about when making paintings? ZG: I find more so, that painting is a tangible response to digital over abundance. Building and running an Ether Mining Rig is also part of this response. This is also why I push the imperfection found in human actions. PD: There’s an apparent quickness in your painting—as if you are wanting the brush/pen/charcoal to touch the canvas for the briefest time possible. But in terms of how these gestures layer over each other—do the works manifest themselves quickly or slowly when you are in the studio? ZG: The actions are quick in the studio, preceded by slowness and a contemplation of the outcomes. The hope is that this animation is captured and the energy continues to permeate through its surroundings. PD: The painting ‘Absolved’ (2017) seems like it could be opening up a new vocabulary for your work. It seems to be erasing itself, almost like a painting turning away from the gestural inclination of the other works. How does this painting sit in the context of the show from your point of view? ZG: It’s a question of altered perspective, which is key within this context. The approach of the other works is the painting as a 3D structure, not just the surface. ‘Absolved’ is a reductive extension of this approach. It can only operate in this way, whereas the others are often mistaken as just a painted surface. PD: What keeps you painting? ZG: A physical connection with the world and the idea of being an artist at 80.
Images: All images courtesy the artist and Union Gallery, London
From top to bottom:
Absolved 2017 Double Layered Polyester and Spray Paint on Aluminium Frame 160 x 120 cm
Installation view
Adoption Diffusion, 2017, Acrylic, Lacquer and Permanent Marker on Polyester, 160 x 120 cm
Installation view
Installation view
