INTERVIEW WITH ARTIST GREGORY EUCLIDE PART I
I recently had the chance to interview artist Gregory Euclide, whose works often blur the line between painting and sculpture, installation and relief, representational and ethereal. Much differently than other artists with whom we have spoken, some amount of Euclide’s work is lost when viewed from a computer monitor or on one of the pages of the major magazines that have printed his art. This transition from impact to accessibility is one that he has given much thought, and his overwhelmingly interesting process has been affected by it. Euclide comments on this and more in Part I of our interview, below.
Does the modern method of online consumption ever affect your method or do you just deal with the inevitable consequence that comes with the perks of massive sharing through the internet?
I have been taking more process shots and movies to give an indication of how the objects are made. I think that quite a bit is missed when you look at my work in a flat image, But for me that is kind of the point – that is why I started making relief work. I was aware of what the internet afforded the viewer… the ability to see the world from a central location. The problem is that we make sacrifices for convenience. We did the same thing with music, we accepted the inferior mp3 format because it allowed us to take it with us, to store more, to download easier.
Speaking of method, how do you start one of your relief-type works? Is it responsive to materials you collect or do your wide, tonal slashes ever dictate direction?
I often start a work with an abstract gesture… something more like dance or something that mimics the movements of the natural world I am dealing with. I have drawers and drawers full of organic materials and inorganic materials. After I start making some imagery I determine what materials are going to go with what I have developed. It’s a collaging of materials and color, texture, history and meaning all come into play at that point.
But you seem to accomplish just as much with just one large surface in monochrome, which is more challenging?
As you might guess, they are just different. The relief works are labor intensive and I need to make sure everything is built correctly. The sumi ink works are much more direct. I am simply painting. I don’t need to stop for three days to build a bridge or cut out shapes in paper. Although recently the sumi works are looking more and more like the relief works… and I suppose they will continue to do so until they are full on reliefs.
Catch Part II of this interview here.