Firstly, when I first started tertiary study in art, I discovered your beautiful artwork installation, ‘Yo Mama’ (Pictured above) – what is your main motivation behind putting together this piece? And how was it received by the viewing public?
YO Mama was made specifically for my solo show at Naomi Arin Gallery in Las Vegas” Yo Mama: Sheila Pepe and Friends”. The basic idea was” What happens when you take a big cozy crocheted Vagina to Las Vegas?” I figured it was a place that was very sex friendly – but wondered how much “polish and glamor was required of the vaginas. I found out – a lot!
The women there loved it and were happy to get their pictures taken standing in it.. but everyone was pretty taken aback – not by the sex, but by the overt feminism. Not only was it 7-8 foot long and somewhat architectural, it had a massive main of black, grey and silver “hair” that filled the space. Of course this was the abstracted element of the installation, but it was pretty hard to miss as something not all in compliance with “Brazilian wax” standards.
As a matter of fact – this section was also made up part of the “and friends” part of the exhibition. Sixteen people, friends of mine in NYC, and of the Galleries’ in Las Vegas knit pieces to be included in the piece. A count-stitch method was used to record each participant matrilineal Ancestors. Some folks, Like Martha Cedarholm know a long way back – so the abstract form changed over the course of 15 feet. Others, like Sara Saltzman, only knew a three generations – so she just kept repeating them over and over again to create a length. And still others, like Vanessa Chow new a long line – but when using traditional names came up with a very slim and subtly changing knit line.
So there were a variety of ways into the vagina – directly into the overt imagery – by means of the group memory of mothers, of through a totally abstract field composition that fills the room with a big drawing.
I am happy to say I got great press in Las Vegas – and had a great time there with members of a small, but really vital art scene.
When did you first realize your art could become an amazing career?
I think I realized that I could actually BE an artist – make art and “really do this thing,” the summer of 1994 I spent at Skowhegan School – in Maine. Before that I had taken out huge loads to go back to Grad school for an MFA after 9 years of being out of school and doing lots of different things. That summer I saw that I might have a shot – and I have to say, it took until recently to really say – OK, I know how to keep this all going and make solid work! Making art requires a constant vigilance that you focus on the work first– and the career happens in great part because of that vigilance. If you get that sequence wrong – there’s no telling how long any career will last.
Is there a particular artist, musician or writer that never ceases to inspire you?
LOTS!! I have many debts in this realm – both people I know – and don’t know – alive and long gone. Right now – I am totally grooving on the early fiber work and persistent use of craft ideas that Harmony Hammond embeds in her paintings. I don’t think Harmony gets enough craft buzz – but I think that’s happening now.
Of course I LOVE the paintings f Carrie Moyer, my partner. We’ve been together for 13 years now – and the art/politics conversation is totally amazing. This summer we collaborated on a piece with the writer Alice Randall, author of Wind Done Gone, and amazing retake of Gone with the Wind. As well as a bunch of other great novels! So I am totally into Alice’s writing right now!
What’s the most unusual experience you’ve ever had?
I’ve had a lot of great jobs –
Washing busses in Boston in the ‘80s before school each day at Mass Art. I worked for a great group of Dykes who rescued me from my brown polyester waitress uniform at the restaurant around the corner.
Getting hired to work at the Lesbian-Separatist-run restaurant Beetles Lunch in Alston, Mass. by Laura Pattison and Ellen Sperling. They invited by into my “home world” and I have a lot of thanks to give to Laura Pattison for her early support for making an artful life.
Picking cabbage with an axe in the rain in Sunderland, Mass. wearing a full rubber rain suit and big rubber boots.
Working in the storage of Museums where I could handle many beloved works of art by Lee Bontecou, Mary Bauermeister, Vuillard, Bonnard, Calder. John Storr, I could go on!
Becoming the Acting Assistant Dean of the School Art & Design at Pratt Institute this year.. I’m having a blast!
Whats your personal definition of art?
OK – that’s a BIG one.. not sure if it could fit in this venue.. maybe that’s a clue: Art requires a ton of time and best not defined in a blog.
Are there any particular social or political issues you address when creating a piece?
In all of it: I’m looking as systems of power in art and education. The terms are all about social justice. So I focus on tropes and behaviors that call up class, race, ethnicity and gender.
In just one word, define yourself!
(the) TORTOISE (not the hare)
Copyright Rhayven Jane 2011
