To start from the beginning, How did everything started for you? What was your first approach to the arts?
Through lying. There used to be an ogre behind the chest of drawers in the closet under the stairs. Brains of vaseline, hair of a unwound sweater, his breath the humming of the washing machine, his digestion the creaking of the stairs. I would show these artifacts to the younger kids in my neighborhood, but I lived with him and somehow ended the only one scared. I still run frantically up stairs.
That you remember, What were the first works of art that impressed you? Do you remember any artist that impressed you?
A quilt made by the women of Jackson Mississippi given to my grandma during her research at the library there. Black women wearing ties, lined up with the same contrapposto, each winking through their differences in fabric. These ridiculous porcelain rococo lamps at my great grandmother’s house in Miami, I was totally enchanted by the rosy cheeks and tiny feet of the two distant illuminators. The rats from the nutcracker.
What are the artist that you like nowadays?
A bunch, recent internet searches:
Brittni X. Butta email@example.com, the Yes Men, Sol Lewitt, Bruce Connor, Maya Deren, Eva Hesse, Bob Camp, Victor Grippo
What is the process of developing your work like?
It changes, mostly from an admiring the banal, and wanting to pay some sort of homage to it. Maybe desiring the power in its’ trickery. To somehow enlist with the unimportant or not legitimate, and wear its’ mask for an afternoon.
How would you define your work?
Looking for comradery, intimacy, fellowship, through anonymity.
Tags: Anamaya Farthing Kohl