Magazine

You work across artforms and visual mediums. How has your work evolved over the years?

Every year I find I have new things to ask of myself. Through going to PAFA, a pandemic and now this horrible orange man: I wonder, how can I contribute to thinking about life. How can I bring art through these terrible moments.  I used to think about connecting with others through my pain, struggles and what hurt can do to me; But as life has gotten harder, I find I want to make with whimsy and silliness. To explore that goofy little person inside. I’m trying to remember the joy of arts and crafts days of my youth and why I got into making art in the first place. As such, my materials have gotten cheaper and my message simpler. I want to show that adults can play and make art without a fancy degree or expensive materials. If something can altered, then you can make art.

‍

Does your time as a theatre actor and director influence your artistic practice today?

Yes, I try to look for movement and the use of space. At theatre school I learned the use of moving through a space and how it can change with the presence of bodies and objects. This led me to the installation I made through the PTP residency. I wanted to change the atmosphere of the space. I wanted residents of the building to see this little gallery in a new way. Ultimately, this idea of changing how people see what they walk by every day is what inspired Sculpture in a Suitcase. Can a traveling non-destructive installation change how we see everyday buildings and life?

‍

Materials/Process:

‍

What’s something you find exciting about your art practice?

I love finding new ways to use materials. I try to use as many school supplies found in big box stores and grocery stores to show that Art has no entry fee. When a material, like tissue paper, reacts in a new way it absolutely enthralls me. Or when I accidentally left crayons in the sun and they became crumbly, thus encouraging a new way to draw with them. Adapting to materials and how they move is extremely important to me.

‍

You have said your practice is “instinct-based,” could you describe this approach to your work?

I think when making and looking at the sheet of paper or canvas, I often second guess my first impulse to put this color there or this shape here. Now, I try to go with that first gut instinct and make that move. To trust myself. To believe that I know best. At almost 40 years old and a lifetime of making, I feel it is time to rely on my experiences and know how. To stop questioning myself with what I like or what I want to make.  To listen to my heart’s desire. It also has become a further exploration into how to encourage adults to play again with no goal or monetary gain.

‍

You work in an interesting variety of materials, with thrifted fabrics, cardboard, bricks, and crayons to name a few. You even led a workshop at Park Towne Place about drawing with chalk. Could you share your reasoning behind some of your material choices?

I do not like that so-called fine art materials are held behind a pay wall. Art does not need to be made with expensive paints or clay, etc. Material is all around us and is ready to be made into something new. I want to encourage everyone to make, but I don’t feel like I could do that if I was spending 25 dollars on one tube of paint. It is has become, a live as I preach scenario. I want you to use what you have: that which is readily available; that which is inexpensive, that which is in your home.  I will make art with these things and you can too.

‍

Sculpture in a Suitcase

‍

You recently began and are about to embark on a second iteration of a project you call “Sculpture in a Suitcase.” Could you describe this project and share your intentions in pursuing it?

After leaving PAFA I became interested in sited works and how they affect the space around them. But the competition for these calls are competitive. So, I wondered how could I make a sited work that no one would have to pay for. A temporary sculpture that does not require construction crews and an immense amount of money to erect. So, I began to explore the idea of a temporary sculpture I could build myself that wouldn’t require such expense. That meant making a sculpture that is temporary and easily transported.

I thought of little tykes furniture a structure with slots that could be built with no hardware. So, the question arose, what if I could construct a large sculpture that could be packed into a small space? Something that would make people go ‘what, how did that happen’. This thought became a primal urge. Could I get people to talk about art if I made something impressive but also made out every day materials? 

As such, Sculpture in a Suitcase is made entirely from cardboard, a 15$ thrifted suitcase, cheap Walmart paint and a cotton sheet. All material anyone could find use and build, as I have.

‍

On your first “Sculpture in a Suitcase” trip, you traveled to Richmond, VA, and found that you needed to rely on pre-made structures to build your sculpture at different locations. How has this realization and dialogue with the labor of non-artists and public “utility” informed your current preparations for your next “Sculpture in a Suitcase” trip?

To be honest, when I traveled to Richmond, with the first iteration, I did not know what was going to happened. In fact, I had never built the sculpture in full before the trip. When I arrived in Richmond I had no hotel, a backpack and a sculpture. Once I found the hotel, I set out the next day to find somewhere to set this thing up and hopefully create conversation. The first location I found was an old warehouse under construction. I discovered that I enjoyed the contrast between the labor of construction and warehouse workers with my brightly colored temporary sculpture to be fascinating. 

That day in Richmond was quite windy (a condition I had not considered) and found difficulty in using all of the pieces I had made because it would not stand. As I walked around Midtown Richmond I found using existing structure to assist in the build was quite useful. So, this made me think. Why can I do what I do? The labor forces constant work allows me to mess about and make whimsical wonderful things, so what ius the best way to tribute these ladies, men and non-binary friends?

To show that their work is the reason I can operate in such silliness. That their support is what makes my work viable. What if my sculpture could not stand or exist without the support of these existing  structures? (secret is it cannot, and I don’t mean just physically)

‍

Where will you be going on your next trip?

I will be traveling by train across the southern states. Staying no more than 24 hours in each city to find a place to set up (hopefully have some conversations) then leave. The cities are, Roanake VA, Atlanta GA, Laurel MS, New Orleans LA, Beaumont TX Tempe AZ, so far. I still have to make it home.

‍

For this project, you’ve traveled by rail and will do so again for your next venture. How does the experience of train travel impact this project?

I like the idea of having to carry my sculpture from place to place. Traveling by train gives me the opportunity to feel the distance I am traveling and adds a burden of having to show my work. I like the effort involved in having to take a good amount of time to show off my work and talk to people. I want to show I believe in this message, and I feel traveling a train for 15 days and lugging it around will do that.

My greatest currency is time and I want to spend it talking to people about art and to show them that I really believe adults playing and making is important.

‍

How can readers stay up to date on your journey?

‍

You can find full posts and writing on my website. I will also be keeping a travel updates on Instagram and YouTube

Instagram: @ShaneLowderArt

YouTube: @ShaneLowder

Website: ShaneLowder.com

‍