Chris Sedgwick - Artist
Chris Sedgwick is a Painter who says he moves around a lot but always tries to live right by or in the mountains. He currently lives in Manitou Springs, Colorado, which is right at the base of the Rocky mountains near Garden of the Gods; a beautiful park with gigantic red rocks that jut out of the landscape. Chris says the area is very inspiring. His works are described as Transcendent narratives.
Chris is represented by Gallery Minerva located in Asheville, NC (www.galleryminerva.com) and the Elaine Erickson Gallery located in Milwaukee, WI www.elaineericksongallery.com
You can see Chris’s website at www.crsedgwick.com Chris was a feature Artist in the American Art Collector Magazine 2009.
On his work Chirs says… “The inter-penetrating layers of symbolism, mysticism, and narrative in my work constitute a timeless world of ancient rituals and divinatory rites. In synthesizing techniques of the old masters, ancient mystical teachings, and contemporary science, my work focuses on the uniqueness and universality of inner landscapes and transcendent experience.”
How long have you been making art?
I have been making art ever since I was a small child; my parents were very encouraging of my interest in art.
Interests you have other than art you feel are important to mention?
Many of my interests intersect with my artistic endeavours; principally my love of learning and research into ancient cultures, mystery religions, modern sciences, symbology, and sacred geometry. I also love travelling, hiking and being outdoors.
What are the main medium/s you work in…
Most of my paintings are solely oil paint and gold leaf but occasionally I will use some crystals, minerals or other forms of raw earth. I have really moved away from sketching in the past couple of years, I prefer to conceptualize a painting in my head before I begin sketching anything out and when I eventually sketch I am usually doing quick stick figures to figure out the geometry of the composition.
How do you describe your work, realistic, stylised, abstract, narrative, symbolic, other?
I would have to say that my work would fall under the category of magical realism with some narrative symbology thrown in there.
What are you currently working on?
I am in the works on a concept involving the four elements of platonic thought (fire, air, earth, water) including the alchemical concept of the “quintessence” all compositionally laid out to the golden ratio. I am in a transition point in my work right now, I am moving out of a ”Rembrandtesque” dark sparse phase towards lighter symbolically rich area where I am adding more color and graphic elements.
Your art education was…?
I enjoyed my undergraduate art education, I attended Florida State University; I split my focus between sculpture and painting but after graduation I focused solely on painting. Sculpture is a hard field to brake in to especially if you don’t have the wherewithal to cast metals or the studio space. I attended UNC Chapel Hill for my M.F.A. just last year but withdrew after the first week, I realized too late that academia was not exactly suited to me anymore, along with a lot of financial concerns compiled with the fact that I have no desire to become a professor- I do think that furthering ones art education is a good idea I just think that the costs associated with it are downright obese in America right now; matriculation has really become a big business in itself regardless of it’s benefits in the long run. I am still interested in attending small workshops and would hope to someday be able to teach workshops myself.
What did you do before or during becoming an artist?
I worked in a bronze-casting foundry, we cast medals, plaques, art, and door knockers, it was very tough work but it was fun.
What caused you to choose the medium you currently work in?
I like oil paints versatility, portability, historical richness, and wide acceptance in the art world. I wish it wasn’t so hazardous to the health but I try to take measures against that.
What can you tell us about your planning and making process for making art, and has that altered over the years?
For me I usually get my best ideas before going to bed or in the afternoon while the sun is shinning very bright, there is a slight breeze and the surroundings are calm and quiet; I have found that I don’t really get great insight while the weather is bad and I rarely get good ideas when I sit in front of a sketchbook waiting for them to pop up. I have noticed a very strange phenomenon in my work, I always seem to be narrating experiences in my own life through my work but I do not realize it or they do not happen until roughly six months later. It is not that I set out to narrate my experiences, in fact I attempt to do the exact opposite, but somehow about six months later I discover how the piece relates to me personally. This process has happened numerous times and I can’t really figure it out.
How important do you think craftsmanship is to artistic creation?
I think it is paramount.
Does the sale of your work support you? If no what else do you do to support your art ?
It has solely supported me for years, but recently I have had to look for supplements to my art income on account of the economic downturn here in the U.S. I would say that the life of a fine artist in my experience is pretty tough, one has to be comfortable with never knowing when the next pay check will come, the baffling cost of healthcare is always a hurdle, and it can be rather lonely but I think it is all worth it in the end.
Not to sound too pessimistic but I think the dream of being a famous artist, collected by the best museums, and always in demand by collectors may be a pipe dream for the overwhelming majority, myself included. I see a lot of great contemporary artist being overlooked, whole genres even being written off or dismissed, and I have noticed the propensity of museums to showcase similar collections of a small group of contemporary artists- though that small group is generally amazing. One of my favorite artists I would include in this group would be Julie Heffernan, I love her work, and it seems that no matter which museum I visit they always have one of her pieces.
Do you get to other artists exhibitions, openings etc?
I am darn near a hermit, I hang out with my wife and dogs, and we are always moving around the country. I do like going to exhibitions and openings when I get a chance.
Do you have much contact with other artists?
The world of online social networking has been great for this purpose; I can always connect with artists from different parts of the world through these outlets. It is kind of neat to see some great work in a magazine or link and then be able to dialogue with the artist so easily.
What has been a turning point in your career thus far and why?
The most significant turning point in my career would have to be when I was accepted in to my first gallery. I had been selling my work on eBay and building a small group of collectors but I had to make paintings at an incredible rate to support myself, Anna Parker, the director of Gallery Minerva encouraged me to broaden my scope and outlook on my work: I started to make more intricate works, spend more time on the concepts behind them, think about the conservation and archival future of my work, and of course opened me up to the wonderful world of professional framing- the black hole into which every painter throws their money.
If you could have any piece of artwork in your personal collection, what would it be and why?
That’s a hard question, but for the last five years my favorite work has been Hans Memling’s “Triptych of the Last Judgement”. I don’t consider myself to be particularly religious, more spiritual, but I really love how the old masters portray the concept of the last judgement, it is such a rich narrative.
Can you name a favourite artist or three… and why?
My favorite deceased artists would be Hans Memling, Eduard Manet, and Michelangelo.
I consider myself under exposed when it comes to contemporary art but a couple of my favorite contemporary artists would be Igor Melnikov, Odd Nerdrum, Julie Heffernan, and David Linn. I love all these contemporary artists for their excellent craftsmanship and captivating subject matter, they all seem to have a strange edge to their work that surpasses “talent for talents sake”.
What happens to works that “don’t work out”?
I am pretty stubborn when it comes to my work; I try to make everything work out eventually, but in the case that it doesn’t it gets sanded down and some more coats of gesso.
One thing you wish you had listened to from an art teacher or lecturer?
I remember in my undergrad schooling hearing a professor say that “art is just shit that looks cool”, at the time I thought that was a narrow minded approach to art but the more I have had time to think about it I almost have to agree; you can have pages and pages of explanations, concepts, and prestige but in the end if it doesn’t measure up or is begging the question “is that art?” then why even create it- just write a paper or find a better way to communicate the ideas you had intended. The only exception to that argument being the learning process, of course one’s technical skills needs time to develop in response to one’s need behind developing said skills.
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
I think that good art should be able to communicate on many different levels, you shouldn’t have to be privy to some esoteric knowledge to feel the overarching rush of experience from a work however being able to pick up on symbolic, historical, or personal references used in a work can add another layer.
How important is it to you that your work communicates something to the viewer?
I think that really is the point of art unless you are embarking on a personal therapeutic exercise. I have struggled with this concept my entire artistic career… is art selfish in nature? Should the creation of work without the viewpoints and measured impact on others be considered art or just a self-extraction technique that is expressed with artistic mediums? Some would say that the end results are one in the same, that of creating work solely with ones own benefit and gratification in mind or to moving towards a purely commercial execution. I think there is a difference, and I think the blurry line between them is where the great art resides.
I hope that my work confronts the viewer with a narrative capable challenging their ideas about spiritual and religious experiences while remaining euphoric in nature as opposed to shocking the viewer into an experience. I also want my work to communicate an accomplished level of craftsmanship so that the viewer notices the time and skill I put into its execution.
Respond to the notion “Art is a device for exploring the human condition”…
I think you could substitute the word Art in that statement for just about any action that humans undertake.
If you stopped doing art right now would you miss it?
Yes, very much so.
What about the role of titles with your work, some hate them others revel in them, what about you?
I like giving titles to some pieces but some I feel don’t really need a title nevertheless I give them one anyway. It is interesting to me that compulsively giving titles to work is really a fairly recent phenomenon in the history of art.
What is the most unexpected response you’ve received from a viewer of your work?
A couple of people have cried, one woman grew exceedingly angry, and one fellow tried to trade his BMW for a big painting, I am sure there are more stories but I am rarely with my work while it is hanging in the gallery.
Is your art, “art for art sake…” or a matter of “art for commercial viability?”
I would like to think that it is a mixture of both.
If you have been working as an artist for a while, how do you feel about earlier works that are in people’s collections / ownership?
I wish I could see them again sometime; I always wonder where my paintings are residing after they leave the gallery or studio.
Name a book or books, which may have inspired your work as an artist?
One book, which inspired my work was “The Physics of Consciousness” by Evan Harris Walker, another was given to me by a collector “The Rosicrucian Cosmo-Conception” by Max Heindel, a religious text that is great for its symbology, and “How to Survive and Prosper as an Artist” by Caroll Michels, a great book for those thinking about entering in to an art career. I am currently attempting to read “On Growth and Form” by D’Arcy Thompson, an early 20th century scientific text on the way forms take shape through natural processes.
What is one thing you need to have in your studio before you work?
Paint.
Are there times of the day when you prefer to do your work?
I like to paint during the day, as the light is much better.
Do you think art can change people or their perceptions?
Yes I do, it really depends what part of the brain you are trying to change though… I believe that you will never be able to directly change the “left” rational, scientific, or logical side of the brain with art but you can change the “right” emotional, holographic, and intuitive side of the brain. Many works of art have achieved a change in both perceptions by first changing the “right” which leads to a realization that the logic and operation in use by a society is in need of change eventually leading to inquiry and correction.
The problem with the art scene today is…
There are too many artists.
What advice would you give to an artist just starting out?
Have a good plan on how and what you want to achieve your goals and learn a secondary skill that will help you during the down times.
Have you ever made an artistic pilgrimage? If so, where did you go and why?
I moved to Alamogordo, New Mexico recently for six months to be near White Sands National Monument while I was finishing up a show I had been working on for two years. I am not sure why, I just felt drawn there and it was one of the favorite periods in my life so far.
What personally motivated you to begin a career as an Artist?
The great job security, year-end bonuses, and stock options.
How many artworks do you work on at the same time?
I will work on anywhere from two to six at a time depending on their sizes.
How do you establish your artwork prices?
I work with the galleries that represent me, they are the best at analysing the market, and then we come to an agreement on the retail price.
Did you have any idea about how the art world worked in the beginning?
No, I would be fascinated to recieve any book recommendations, if anyone has one send it my way.
Critics are important because?
This is definitely a loaded question, implying that they are already important, with that said they do apply their expertise, breadth of knowledge and can help propel an artists career- I guess they could do the exact opposite too. I have never really dealt with any professional critics, only editors and reporters, so my opinions are a little underdeveloped in that area.
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Phenomenal artist and enduring human being!
Really interesting imagery and amazing detail.