F & T Questionnaire:
Fink and Theel is so pleased to present our next featured artist, Jude Broughan. Her work masterfully conjures the odd mixture of contemporary experience - layered moments that are at once mundane and extraordinary, concrete and fleeting. She 'misuses' images in the best sense, cropping, toning and thereby subverting commercially-intended shots of styled food, or giving prominence through her own photography to the 'non-event' of a scene such as an extension cord, a stained paper recipe, or the shadowy corner of a room with a neglected houseplant. The works have a powerful physical presence as tactile materials such as vinyl and leather are sliced and stretched, allowed to fold over and hang from their own weight. Her use of 'pure' color, in the form of gradients or Pantone samples, points to an interest in the seduction of the eye -- simultaneously employing it and commenting on it. The real alchemy of her work takes place at the edges. Where one element meets another, the imperfect and fragmented quality of these joints somehow articulates that humans experience their environments through a complex amalgam of half-registered visions, memories, thoughts layered on constantly changing thoughts, and sensations taken in through the body. Read below to learn how transience is in her blood, and that we all should just, "keep it clean, and give it time."
Describe a place in the world where you have felt most alive:
Squelching through dark brown mud in the sea estuary at low tide in Athenree, New Zealand. Looking up and around at the panoramic sky and smelling the fresh, salty air.
Share an image that you return to often:
The initial view of my studio, seen here in its winter-insulated finery.
What is the last thing you read that mattered to you? What will you read next?
Thomas Nagel’s “Mind and Cosmos” (2012), and Alison Holst’s “Food for Young Families” (1995). Not sure what I’ll read next.
Describe an object that intrigues you:
I’m intrigued by tents, bivouacs, covered walkways, improvised shelters, scaffolding, and other such temporary structures. Their odd combination of heft and ephemerality appeals not as “content” per se, but as the real, physical manifestation of an open-ended idea. Perhaps the temporary nature of such objects and sites—they seem in tune with the human lifespan—is in my blood; in the 1850s, my great-great grandparents traveled by sea from various parts of the United Kingdom to New Zealand (a voyage that typically took two to four months in tight quarters), and subsequent generations spread out across the country. Growing up, my mother's family relocated many times as my grandfather, a head teacher, moved from school to school. The current New Zealand diaspora is a million strong.
What must change?
I think the New York Times should rethink and relaunch their “Arts and Leisure” section as the “Arts and Science” section. Art has much more in common with scientific research than with leisure activity.
How can we heal?
Keep it clean and give it time.
If you could instantly have any skill or ability what would it be?
I’d like to know the names of all things.
What makes you laugh until you cry?
As a member of the global community, what is your greatest concern?
Aside from our obvious mucking up of the planet, I’m concerned about the fact that the people I love are spread around the globe.
Describe a non-human being you’ve interacted with.
This giant Monarch butterfly caterpillar at the Melbourne Museum in Australia.
What is your mantra?
What can art do?
Art can stimulate.