Tom Jarvis
Tom Jarvis Lives and works in London where he currently works with a group of artists called the DA! collective. You can see his website at www.tomjarvis.co.uk here is his interview…
We reside and exhibit in disused buildings around the slightly ostentatious part of town, Mayfair. My parents live in the South of France. I was brought up there until I was 13 years old, I return 2 or three times a year to get way. The pace of life there is pretty much at a stand still so it’s a nice contrast with busy London.
How long have you been making art?
Since I can remember really. I come from a family that has always had the arts around it. My grandfather was an artist the other had number of inventions to his name, my father a musician and my mother a dancer. My best work was created between the age of one and two using yogurt on a highchair!
Interests you have other than art you feel are important to mention?
From a young age I was given the opportunity to learn music due to my father’s musical background. Music was what enabled me to return to England on a combined music/art scholarship in 2002 and start a more creative education. I play the trombone and double bass and found myself having to decide whether it was something I wished to pursue professionally. Art College seemed much more appealing to me but I think it is important as an artist to have some way of stepping aside from one ones practice, a hobby. That’s where playing music comes in.
What are the main medium/s you work in…
Kinetic installation is my primary area of interest but it very much depends on what I wish to achieve. Plywood is a base for most pieces.
Does your work have social, political, cultural and or personal messages?
One gains from the experience what one wishes. I’m sure it does have “messages” buried somewhere, everything does. It is not my objective and I am certainly not intent on spelling them out.
What are you currently working on?
For the last couple of years I worked combining design and science during my investigation towards element powered kinetic installation. Paying homage to the way nature’s elements play puppeteer to organisms on our planet, I am currently working on tree motion replicating devices that attempt to recreate the movement of trees blowing in the wind outside and, using various interfaces, communicated this motion inside onto a tree in a sheltered space, for example a gallery. I like the marriage of artistic uncertainty with scientific fact. I find they compliment each other in a way that can be very interesting.
What fascinates you?
At the moment I’m interested in how incapable I am at replicating what nature does so easily.
Now give us a more descriptive outline on your current works.
Using movement as a painter would use colour, I have found the 4th dimension to be a very expressive and fertile ground for exploration. My often simple devices can be seen as exploring the relationship between beings, natural matter and the impossibility of two unrelated living organisms moving in complete scientific harmony. Man and machine force this unfeasible task and inevitably fail.
These studies set out to obtain two living organisms moving in parallel, matching each other’s movements, the way a child clumsily imitates their elders as they learn; the way flocks of birds swoop and glide in harmony; or groups of fish darting when frightened. The core of my motion studies have been trees. My aim is to allow the environment to create its motion within a gallery space even tho these organisms are sheltered. In the past I have attempted this by giving trees outside and therefore affected by the elements the chance to puppeteer smaller gallery bound trees. The mechanisms that act as an interface for this interaction play an important part in the significance of the pieces. The machines are what make the two beings dissimilar. They force motion rather than invite it, causing the gesture to be distinguishably mechanical.
Why are you an artist?
I’m not. Most of the time I play the role of a scientist/designer who doesn’t intend on discovering anything groundbreaking. Only once my work reaches a gallery does it become “art” and I an artist.
Your art education was…?
I studied Fine art to BA level. I can see why artistic education may work for some but in my case it was more about having access to a full workshop and the environment/atmosphere that envelops art faculties.
The craziest thing you did at art school was…
…probably not appropriate to say!
Is there any one thing that has given you a big buzz in your art career so far?
When exhibiting in squats there is a “double buzz”. One spends weeks locked away setting up, crafting our space, therefore on the opening night you are not only letting the public into see your work but also your home. It is as much about how we live in these incredible spaces as the work we create there. In installation I feel that is very important. The show starts from the moment you approach the building.
Do you remember your first painting or artwork?
I use painting for something utterly different than installation work. Going back to the hobby/release thing, I find it helpful as a visual release, although I don’t normally use much paint in my paintings. Mainly chemical reactions and wax polishes! My first hung painting was when I was about 10, my father made me two 150×100cm boards to “fill” so I did, using everything I could find in his workshop. That’s how I started the reaction paintings… when I was about 15 I mixed some very reactive chemicals and the whole thing blew up! Since then I have continued creating texture using all these wonderful chemicals as a way to stop obsessing over craftsmanship and straight lines in my sculptures.
Was art a “thing” that was encouraged in your family?
Very much so, I’ve been very lucky. My parents admit not completely understanding the installation works but their house is full of my flat works, some of which continue to react to this day. It is always a shock coming back and seeing how the pieces change. They are all harmless, mainly salt formations. I do my research before hand!
Did the place where you grew up have an influence?
Of course. I think it must have for most people.
What can you tell us about your planning and making process for making art, and has that altered over the years?
It really does depend. Research takes time. Working with the elements is not easy. One constantly needs a plan B if there is no wind for example. I try to make tests in both climatic extremes so it can be very time consuming. Construction of the products themselves takes even more time. Especially when I don’t have access to a full workshop all the time.
How important is the clarity of concept to you, prior to starting an artwork?
Concept is very important but none of the works would function if I made the product I saw in my minds eye prior to research. They evolve over time in my sketchbook and minor alterations take place right to the end.
How important do you think craftsmanship is to artistic creation?
In my opinion a concept can only go so far. One relates to questions posed in concepts but we admire craftsmanship. A “wow factor”, although it is something I do not strive for is something often created by craftsmanship and not concept.
Do you get to other artists exhibitions, openings etc?
In London it is very easy to get to openings and exhibitions, we normally go as a group and have lengthy debates on our way back.
Do you have much contact with other artists?
I am currently living surrounded by artists, musicians, designers, writers, we even have a philosopher with us. The building we are currently in is a great place for debate although I normally keep my work to myself during these talks. We have over 30 rooms so there is space to escape and get work done and large “conference” rooms where we will talk and have debates. It is ideal really. Creativity is everywhere so it’s great if you’re a painter, musician, writer but when conducting experiments and thus taking the role of a scientist I usually escape to somewhere quiet and hog all the tools for a couple of days!
Any upcoming or completely new projects you want to talk about?
I have started throwing ideas around for my first potential collaboration. It is slightly daunting for me as I have a very particular way of working. I think it may work if we both agree on an idea and allocate ourselves specific tasks then meet back in the middle. Having two perfectionists working together is bound to end in tears.
Working towards an exhibition, is it a daunting task?
It is if you don’t have any work to show. I once spent two weeks putting the finishing touches to a show I had up called Wind Influenced Tree Projection I. It involved a Windmill that registered the speed of the wind and communicated the data to a computer linked to a projector. The result was a video of a tree blowing in the wind, projected at the same speed the tree would be blowing if it were a real tree outside at that particular time.
The night before the private view I got it finished, only to find after a night of torrential rain and gale force winds the windmill was in bits on the roof of the gallery. I had 1 hour to reassemble what had taken me weeks to make. In those circumstances all you can do is plough on and put ones perfectionism aside. I got it finished, turned round to find a group of people standing, staring up at me on the gallery roof, the doors had opened 20 minutes prior to my completion and viewers seemed to think I was part of the piece. I’d never done performance before that!
Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?
That statement may well be true, but where does your education end as an artist? I think when you stop educating yourself as an artist you stops producing anything that would possibly qualify you as an active “artist”, so based on that, the statement is false. It’s a lot less time than that.
Do you keep an Art Journal or Visual Diary of some kind?
A sketchbook of technical drawings and results of various tests. I also use computer aided design tools when finalising in order to facilitate the construction process.
What happens to works that “don’t work out”?
I do enough planning to make sure that when I enter the workshop I have a very clear idea of what I’m doing. If there are miss cuts it all gets reused. Ply isn’t cheap and although working with poorly cut angles takes time, it certainly saves money.
One thing you wish you had listened to from an art teacher or lecturer?
“You really should turn up for lectures”
Do you aim to break the rules of basic composition, layout etc or do you ignore the “rules” and just create?
There aren’t many rules to break.
Musical influences?
Music is an art form in itself and requires my undivided attention. I find it hard to hear what I’m thinking if music is playing.
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 would like the viewer to “get” what I’m doing if there is something to get for their own sake. I never describe the purpose of a piece because a lot of the pleasure as a viewer comes when you work it out for yourself. Beside the fact that my work has no real purpose what it does is never too complicated to work out, what it evokes is personal to the individual and therefore not “getting it” could be part of the experience for that particular person.
How important is it to you that your work communicates something to the viewer?
As far as the non artistically aware viewer is concerned it is hard to break free from the way we view painting and sculpture. Although installations are often about the experience, they do not necessarily need to dictate a message or convey something already lived. It is frequently the question that is important whereas one finds oneself viewing landscape paintings (for example) in order to gain an answer. If the piece does so much as make the viewer dislike it, it has succeeded in provoking a judgment on their behalf and they have therefore “experienced” and most probably prematurely answered the rhetorical question. In these installations the viewer is as much a part of the work as the machines, whether they like it or not.
What can you say about your work that might not be evident to the viewer?
Don’t take it too seriously.
Art is about entertainment, experiment, inventiveness or shock for you?
Don’t they all go hand in hand? Inventiveness, experiment, entertainment, in that order.
Is motivation to work an issue for you and how do you overcome it?
If it was you would be able to tell.
Do you have a challenge knowing when a work is finished?
This question is very relevant to painting, I find whilst making kinetic works the completion is very clear.
What about the role of titles with your work, some hate them others revel in them, what about you?
Most of my titles are very boring, “Tree Study I”, “Self Destructing Installation I”. I don’t like to give too much away as part of the experience is working it out for oneself.
The business or marketing side of Art can be a challenge to some, what are your thoughts?
I’m very lucky to be part of a collective that gets a lot of coverage. We are a very old school bunch operating in a way you could imagine any “art squat” to be in the 60s. On top of that, the fact that we occupy multi million pound buildings in the most expensive part of town makes us a very appealing group to write about. Our last show was covered by all the mainstream British newspapers, half a dozen art mags and even a Russian television company.
We have moved since then and a number have found us again still keen to document our lifestyle and work. Unfortunately, a lot of this attention is not always in view of pieces individually but more towards our way of life. We have now stopped dealing with mainstream media and are only inviting in specialized art mags as the novelty coverage of our daily life gives us too much of a big brother feeling, squatting is something people feel very strongly about so it is in the interest of our work to keep our lifestyle separate from our practice. We don’t want any trouble!
What is the most unexpected response you’ve received from a viewer of your work?
“I like it”
Tell us about getting caught in a creative “slump” and how you got out of it?
I watch a lot of documentaries online although one shouldn’t force creativity I find my mind much more active after having learnt something new.
Is your art, “art for art sake…” or a matter of “art for commercial viability?”
It is very hard to market installation art as there is no product to pay a sum for. It is in no way the reason I make work. I think if you wish to promote yourself as an installation artist you should approach the situation the same way a musician or actor would approach their career. Your name and repertoire is very important.
If someone says to you “Oh your work is decorative and lacks any meaning…” your response would be…?
“Thanks.”
Do the seasons affect your work or work habits?
I’m currently working with the motion created by trees. Obviously a tree with no leaves does not move as much as one with, so I work mostly with coniferous trees during the winter which makes locations hard to find.
Some say a measure of an artwork is the ability for it to hold a person’s attention or cause the viewer to come back after an initial glance and become captivated by the work, is that so for your works or an intention of yours?
In my opinion a piece of work cannot be considered a piece of kinetic art unless its motion can be achieved repeatedly. For example dropping a pen on the floor would not qualify as it is a one off motion. I find continuous motion very therapeutic and I’m sure others do to and although it is not the reason for my work many people seem to like hanging around works operating in the fourth dimension. I think it is even more the case with the pieces dictated by the elements as they are so unpredictable and it can be a couple of minutes before they actually move.
What is one thing you need to have in your studio before you work?
Cigarettes.
Are you a purist with your art materials or willing to mix things about?
What ever is best for the job. When it comes to timber I am a big plywood fan. But when materials are scarce I can’t afford to be picky.
What or how do you respond to the term “starving Artist”?
We do something called Freecycling. It basically consists of going around all supermarkets and sandwich shops in the area to collect the food that went out of date that day. It is incredible the amount of food that goes to waste in this country due to paranoid food retailers frightened of poisoning their clientele. We eat very well every lunch and evening for no money at all and sometime have so much we can’t help but waste ourselves! Thanks to health and safety, the phrase starving artist is now obsolete.
Compiled and Edited by Steve Gray Australian Contemporary Artist. ©2009+
Comments
2 Responses to “Tom Jarvis”
Leave a Reply
[...] Click here to read more… January 13, 2009 | Filed Under Uncategorized [...]
Good to see a different angle again. Great interview. I hope you told him here in Australia we are starving because here food never reaches the shelves, let alone reach the use by date.