Recently my friend Michael called to say that he’d picked up a used copy of The Archaic Revival by Terence McKenna. He told me a bit about it and said it was full of amazing illustrations by Wilfred Sätty. I was unfamiliar with Sätty’s work, and when I looked him up I was BLOWN AWAY.
Beside illustrating the Archaic Revival, Sätty created a large series of images based on Edgar Allan Poe stories, designed show posters, and made an abundance of personal work for his own books; some released, some not.
These days so many images are created with the assistance of computers, photoshop and other modern shortcuts. It can be hard to imagine the painstaking, time consuming methods Sätty employed to create his hallucinatory collages.
Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Satty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. EXCERPTS FROM REVIEW – AUGUST 1984 – BY KATE REGAN – SATTY: FEVER DREAMS OF THE CITY’S HISTORY via zpub
I recently found out that Keith Vaughn (of Bees X Trees fame) is having a solo show at Leo Handmade in Chattanooga, Tennessee. I asked if we could do a Q&A, and he kindly agreed. Check out his wonderful new work, and I hope you enjoy our little interview!
How long have these new paintings and drawings been in the works? Do you tend to work slowly or quickly? I’ve been working through a certain set of ideas for about a year, but I worked on my show in a concentrated way since April– so, 2-3 months. I generally work pretty quickly.
When you begin a series or a piece, do you bring a clear intent with you, or is your process more intuitive? I begin with a very clear intent and direction; however, if I get an idea, even a weird one, then I try to give form to the idea, which usually means adapting my original intent.
Who were your major artistic influences when you were younger? What about now? younger: the Beatles, Albert Beirstadt, the Abstract Expressionists, Woody Allen, David Salle, re-runs, comic books now: my friends, Brian Wilson/Beach Boys, Manet, Albert Beirstadt and Romantic landscape painting in general, Martin Kippenberger, Alfred Jensen, Ed Ruscha, Jerry Garcia, comic books
You’ve been through art school and have earned an MFA. Does your education have much bearing on your work today? What do you think your art would be like if you’d never been formally trained? My education allowed me to develop more quickly than if I had spent that time fooling around and just making art now and then. I learned how to lock myself away in the studio and work. I didn’t learn much technique, but I had great conversations with some smart people. The level of discourse was very high and that was invaluable. A lot of bullshit is bought and sold at art school. I don’t think art school is for everybody, it’s just one way to go. Without my education I’d still be an artist I would have just developed differently– not better or worse.
There’s a certain tension present in your current work. The (somewhat serious) landscapes in oil interplay with laughing cartoon skulls and bands of colorful, psychedelic geometry. How do you interpret this? I have an interest interest in combining opposites, or elements that don’t typically occupy the same space. In this work I was into combining hard edge abstraction and high-key colors with different types of representation. I see psychedelia as being about transcendence and I see that in mid-19th Century American landscape painting. One visual language interrupts the other, but together, hopefully, they are harmonious. The skulls and text represent a personal component of the work and mostly come from Grateful Dead decals, biker stuff, Halloween illustration, horror comics– things I just have around me. And, however subtly, they all use acceptance or celebration of death as the basis of their visual identity as being unique from the main culture.
What’s the best thing about the “Art World”? What’s the worst? It’s pretty awesome that there is an art world. People care about ideas, and art really does matter; it really does change the world. So, it’s cool to go to a gallery and it’s packed because whether or not some people are just trying to participate in a fashionable scene– art still brings people together. The worst thing about the art world is also the thing that makes it turn: money. Money distorts everything. It’s a shitty lens to look at art through, but that’s how it is. Art can be wonderful. We should just be glad to be involved.
Tell me about one thing you do every day. I just try to be an artist everyday. And I try to remember to act out of love. Which is not to say I act out of love everyday– I just try to remember.
Have you received any good advice that you’d be willing to share? When I was in grad school an art dealer said, “Do something everyday that makes you an artist.” That particular art dealer was an ass but that was good advice. Sending emails, writing grants, going to openings and meeting people is all part of the work of being an artist. Not just the fun studio stuff.
Tell me about something that used to really impress you, but doesn’t anymore. Being able to drink great amounts of alcohol and the romance of pain and poverty used to impress me. I thought it was the best way to stand apart from yuppies. But now I don’t think that. It’s a good idea to avoid being like a yuppie, but hard work and compassion work better toward that end.
If you were teaching an art class to kids, what is lesson number one? Take the paper off the crayons and break them. Then, listen to Classical music (or Capt. Beefheart) and draw whatever. Try no to worry. Maybe all that could be combined into a lesson…
Name something ridiculous that’s often seen as essential. And something essential that’s often seen as ridiculous. I don’t know if people really think it’s essential but it seems that a lot of folks can’t seem to do without refined sugar. Anything that comes under the heading of personal, spiritual discovery, whether it’s LSD, meditation or prayer or whatever, generally seems to get a bad rap, especially if it’s outwardly odd looking. I think people owe it to themselves to find out who they are apart from what mediated culture suggests.
What’s your hidden talent or secret skill. I think I have ESP. Just a little. I can’t really harness it yet, but I think I have ESP. I’m also good with faces.
Now, let’s wrap things up with a fancy youtube clip of your choosing My new favorite youtube clip. Been watching this repeatedly for days. It represents everything I want out of art. It’s not hippie, it’s not punk. It exists in the perfect space of good art. So inpiring:
Rick Crown is a ceramicist, sculptor, and one of my very favorite teachers ever. His retirement party was a few weeks ago, held to honor and celebrate his 37 years as a professor at Queens University of Charlotte. Lots of people shared fond and funny memories–we laughed and we cried. He’s one of the warmest, most inspiring people I’ve ever met. I feel lucky to have been his student.
Another fantastic teacher of mine, Cordelia Williams, took this picture. I think i must have been talkin’.
I have one of Rick’s sculptures, I love this little guy:
I recently discovered the work of Jaclyn Mednicov, an artist in Brooklyn, NY. Her pieces are simple with details and color in all the right places. She has a web site to display her work and also blogs.
