Ami Muranetz - Artist
Ami Muranetz is from Victoria, British Columbia, Canada. www.muranetz.com
Are you currently represented by a gallery?
I have a group show opening on October 2nd until the 23rd within Agora Gallery, which is located in Chelsea, New York. After the show I will be personally representing myself, and exhibiting more frequently within Canada.
Interests you have other than art?
Along with my obsession in creating sculptures, paintings, and mixed media artworks, I devote a fair amount of time to environmental and humanitarian issues. I contribute monthly to organizations like the World Wildlife Federation, write letters to politicians and am active in local demonstrations.
Our provincial government recently announced a new budget cut that during the course of 2009-2010 will reduce arts funding by 92%. The local arts community has been outraged, and Victorians, regardless if they are visual artists or not, will eventually be affected by this decision. As a result, I‘ve been inspired to use this issue as the focal point of a new street based art series that is in the works.
What are you currently working on?
I have recently been sorting through ideas on global change, and ruminating over the direction this might take. One idea that has evolved is a mixed media installation that juxtaposes satellite photographs of urban centers with medical images of human and other animal bodies. The installation will open up a dialogue around our connection to and reliance upon the natural world. Our exploration of technology is not a diversion from the environment we live in, but a potent aspect of it.
Any upcoming or completely new projects you want to talk about?
Children United in Education is one unrelated project I’ve been collaborating on with two colleagues through Camosun College. Comprised of fundraising and giving presentations to local elementary and high school students, the project is designed to raise funds to send children to the Human Factor Leadership Academy located in Akatsi, Ghana. The school will aid in the rebuilding of Africa’s future by training youth and young adults to become capable and compassionate leaders within their communities.
As well as educating Canadian youth about the challenges Africa’s children are facing through writing and art activities, we intend to establish a dialogue between the two nation’s children that will hopefully stimulate new ideas for meaningful change. To look up more information and details of this incredible project, their website is: http://humanfactorla.com/
Can you name a favorite artist or three… and why?
Kiki Smith has been a strong female presence in the art world that has continued to inspire me. She has remained true to her methods and metaphors despite being on the fringe of the art world for many years, which is reflected in the painful honesty of her work. Kate Raudenbush is another New York artist who has been a powerful influence on my creative capacity. The three dimensional sculptures she has built for Burning Man in Nevada are created specifically for the purpose of viewer interaction, which in turn fosters an intimate engagement for each person. The street artist SWOON has blown my mind in terms of scale and level of accessibility she creates for her audience.
About significant moments in your life, the sort of things that changed things for you forever… perhaps altered your Art… Who how why what and where…?
The universe is an extraordinary mystery. I feel humanity is just on the verge of beginning to become conscious of the depth of connection we all share. Meeting my husband was an event that truly altered the foundations of my belief systems. The first time we traveled to Burning Man in 2008, it was like crossing a threshold into a parallel universe where I actually felt my values, creativity, and spirit were respected and celebrated. Black Rock City is a temporary and autonomous zone, where for one week art forms of every medium are encouraged, and economic exchanges are unnecessary. I see this experiment in temporary community to be the future of how our societies will form, and from this have become motivated to change my focus from artwork to architecture.
What or how do you respond to the term “Starving Artist”?
A guest speaker on the TED series made a poignant speech on how society undervalues the importance of art in our world. The entire system from education to economics is geared to praise left side, logical and pragmatic thinking. Our concept of valuable skills in society is linked to economic gain, and because artwork is not inspired by profit, it does not fit within the existing hierarchy.
Ancient civilizations such as the Romans and Egyptians valued the aesthetic beauty of temples, buildings, artwork, and music, and thus produced some of the most treasured artifacts and buildings in history. Our present culture values such as speed, fast money, and short term gain are at the expense of future generations. The term ‘starving artist’ in my opinion is one that has only recently been needed because our society doesn’t respect the value and validity of artists. Without them though, we would not have the Sphinx, The Mona Lisa, or any other great contribution of art to appreciate.
What are some of your future ambitions and goals?
I allow myself the opportunity to set grand visions and dream big. My current goal is to enter the Environmental Design program through the University of British Columbia next year, and later pursue a career in sustainable architecture. There exists an imperative need to design sustainable and energy efficient yet aesthetically pleasing communities and structures. The technology and materials to accomplish this are available, but the inertia to follow traditional building methods is still quite strong. As our planet changes more rapidly, we may see an increased desire to rethink our current approaches to building our societies.
A secret fantasy of mine is to one day become Prime Minister, with the intent of transforming the current education system and instilling accountability. The entire premise of how we ‘teach’ needs to be re-examined.
Have you won any awards?
2009 has been a productive year, and I been honored to have been presented with five awards for my artwork. One was awarded through the Community Arts Council in Victoria for work showing the most promise. Another was first place in the 14th Annual International Competition ‘Beyond Borders’ through the Viking Union Gallery in Washington.
I also recently won three awards through the Visual Arts Department in Camosun College for my portfolio, community work, and commendable achievement. I feel quite blessed to be recognized amongst my peers, and appreciate the faculty within the visual arts department for their commitment to student achievement.
People around you (family friends etc.) what would they say about the way you work, the moods you have, your life as an artist etc?
From what my friends have said of me recently (many things I won’t repeat in this interview), I live my life with no regrets and follow through with my fantastic or at times completely absurd ideas. My inspirations usually lead me to great places in my work or on international adventures, and feel I have accrued a lot of valuable life skills. Although there have been a few times when my mother has looked at me, and has shaken her head. We can laugh about these stories now, but at the time they were not as funny.
The business or marketing side of Art can be a challenge to some, what are your thoughts?
Artists like Damien Hirst have had assistance from trans-national companies that marketed his artwork for him, hence his incredible recognition in the art world. My thoughts are to make a decision about how far you want to take your work, weigh the challenges and joys that may come, and to follow through with the decision.
Before I even contemplated becoming a serious artist, I studied art-marketing books, researched interviews with high profile artists, and read resources on crafting a portfolio. For anyone who is determined to become a celebrated visual artist, I highly recommend doing your research, reading art journals, and studying what innovative approaches recognized artists are utilizing to market themselves. If you do the work, but don’t exhibit, how will anyone know what you do?
Are their special aspects to the making of your work that you want to share?
My creative process usually begins with a dream or an issue that gestates for some time. These dreams then take form in sketches and drawings, and are birthed along with a coinciding conceptual theme. More often, the materials that are used illustrate the statement I’m seeking to communicate. It’s one primary lesson I’ve learnt from my sculpture professor Judith Price, who engrained in her pupils the importance of materials to communication.
What or who inspires your art?
I’m inspired to reach higher peaks in my self-expression by the artists and artwork I see at Burning Man. There are fantastic creations I have seen there, like a fire breathing, articulating dragon constructed from recycled materials that causes me to reconsider the materials I use. Conscious and creative communities also inspire how and why I create artwork, and positive leaders like the Dali Lama encourage me to consider the messages I send into the world through my work.
Now give us a more descriptive outline on your current works.
Within a collage class I will begin teaching in October at The Paint Box School of Art, the students will engage in creating mixed media portraits of the self or recognized person in the community. My own project will involve mixed media portraits of conservative government officials in various prostrated positions. These will take the form of life-size posters scattered throughout the city, proclaiming words of wisdom, absurdities, and provocative sound bites. www.thepaintbox-victoria.com
Artist’s statement…
I take pleasure in constructing tangible experiences for the viewer, in which messages are delivered through physical and visceral experiences. Current metaphors I embed within my works suggest a curiosity about our social structure, and solicit feedback from viewers in order to distill a collective voice.
My work often addresses issues of social division, status, and sexual stereotypes through manipulations of culturally identifiable symbols. This exploration is carried out through a variety of materials such as plastics, plaster, wood, and glass. Figurative forms are usually present; either disembodied or referenced metaphorically, and present commonalities that exist between people and their environments.
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Compiled and edited by Steve Gray © 2009+
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