Daniel Greenfield-Campoverde On His Wassaic Artist Residency
11 dec 2015 by art:i:curate team
art:i:curate artist Daniel Greenfield-Campoverde participated in the Wassaic Artist Residency, a competitive artist residency program in Wassaic, New York.
The Wassaic Artist Residency exists to provide a genuine and intimate context for art making. Through its compelling program it brings together artists and writers into the hamlet of Wassaic to live and work for periods of 1 – 6 months and work on their professional development by engaging in an active community of fellow artists. Artist Residents are selected based on the high quality of their artistic work.
Daniel is a visual artist and architect based in New York. He is a graduate of Pratt Institute, New York (2006) and Yale University, New Haven (2014). Exploring themes of identity, memory and place, in his artistic practice he attempts to recreate ideas about home and belonging through fictive landscapes and imaginary spaces.
We talked with Daniel about his artistic practice and we are sharing with you his reflections from his experience during his artist residency in Wassaic last September.
MK: Your body of work often evolves around the notion of place and the idea of belonging. How does your practice develop in relation to space and time?
DGC: I think that notions of space and time are coterminous with the ideas of place and belonging, in a more concrete, physical way. As I continue to uncover the various narratives surrounding place and the places I have lived, I try to conflate all of these concepts.
MK: As an architect you must have a natural curiosity about space and structure. Does this translate in your practice as an artist and if so, how?
DGC: In the beginning of my practice, I was definitely exploring conceptual and speculative ideas about space, structure and the limits of representation. I believe that these tropes will always inform my practice whether it is making a drawing or a sculpture. When making ‘something’ there is always a consideration of how much volume it occupies or how it actually supports itself, whether it is the space of the paper or the weight of an object.
MK: Was there a specific project that you developed during your artist residency in Wassaic?
DGC: Yes, I began making a series of silkscreens which re-kindled childhood drawings about air travel. In addition, I began making work on two sculptures which were completed after the residency. One was a recreation of an architectural element of the space I was in, which I will be submitting for a group show proposal at Wassaic in the summer of 2016, and the second is a larger, more linear sculpture which dissects the Venezuelan border into a single line.
MK: You've recently launched an art crowdfunding campaign for your work The Bolivarian Revolution is Dead. Could you tell us a bit more about this work?
DGC: Four days ago, Venezuela witnessed a massive change during parliamentary elections. For the first time in 17 years, the Chavista-Madurista regime was challenged, and the opposition won the majority of seats in an unprecedented voter turn out. Coincidentally, my piece, 'The Bolivarian Revolution is Dead' was a preemptive meditation on what the country just witnessed. I wanted to talk about the failed ‘revolution’ Chavez had praised so much about 17 years ago, spiraling the country even further into a massive economic crisis, stagnation and further isolation from the international community whilst increasing poverty and violence have become stalwarts in Venezuelan daily life. In the piece, I utilise marble, a material so indelible from the imaginary of national monuments, state palaces and so on. In a way, the piece functions as a non-monument.
MK: What are you currently working on?
DGC: Lots of applications for artist residencies! And flirting with the idea of applying to an art school.
All images courtesy of the artist.