Check out Haute Living’s exclusive interview with artist Rob Wynne.
Rob what is your background? How did you become an artist?
As a young child I had dyslexia – which made it extremely difficult to READ. Oddly, I could read music very easily……but knew that I would not be able to excel as I wanted in that field. I could draw and when it came time to go to college, I went to Art School (Pratt Institute, in Brooklyn NY) After a long period of making abstract paintings – I took a long pause and redirected my work to TEXT, challenging my childhood issues, and began working with NARRATIVE . The ability to change my mind and point of view was for me a life changing experience.
Words mean a lot to you. They are the main subject of your art, why?
Why did you choose to use glass a main material?
I am NOT a classically trained “glass artist” about 15 years ago, I was making an exhibition for Holly Solomon, my dealer at that time. It was called “SLEEPWALKING” and was loosely based on an early 19th century Opera, “La sonnambula” I had wallpapered the entire gallery and made large scale silkscreen paintings on fabric….I wanted to have a pair of GLASS FEET – to convey a sense of being and not being present. Not knowing anything about glass working , I was put in touch with a trained technician…and was able to make the FEET. After that I just started hanging around the glass studio and watching and picking up bits of technique. I was then invited to be a “visiting artist” at Pilchuck in Seattle, which is the mecca of the studio glass art movement in the USA. I started to just fool around with GLASS and tried to use it in unorthodox ways. That said, working with glass is collaborative, insofar as you cannot do it alone. I have worked with a crew of assistants since then…always trying to break rules and embrace the imperfection in glass making, which runs contrary to the typical techniques used.
How do you position yourself compared to Jean-Michel Othoniel and Angelo Filomeno who also use glass in their works?
Vis a vis Othoniel and Filomeno, whom I admire very much…..I think the commonality that we share is that we are NOT “glass artist’s” in the traditional sense. Interestingly the range of contemporary artists using glass as a material in their work is fairly substantial: ie: Kiki Smith, Beverly Sims, Robert Gober, Mary Carlson, Joan Jonas (in performance), etc. – some Modern Masters like Duchamp( The Bride Stripped Bare) and Pollack ( who mixed glass in his pigment) also used glass. For me, glass is another material to experiment with, albeit, one that does need a large amount of knowledge to handle.
How do you place yourself in the contemporary art market? Do you feel any affiliation to one movement or another?
I don’t place myself in the Art Market…I just try to make things that interest me.
Born and raised in Paris, Delphine De Causans decided to move to NY after graduating from the Sorbonne where she got a master degree in social sciences and history of art mention contemporary art. Once in New York she went to the Christies School and she got a certificate degree. She used to work as an intern during all her studies for an auction house, several galleries and art dealers in both Paris and New York. She’s now working on her first book which is dedicated to contemporary art in general