Cein Watson & Joe McVetty III . . . from page 1
(moving along to the next drawing)
Joe: These are the bird flu series (groups of people wearing underpants and skull masks are beating something with hammers and croquet mallets; in another drawing, similar people are tying chickens to inflated balloons). I had this idea with the bird flu, the end of the world apocalyptic who’s going to be doing the cleaning up of the birds? There’s always those pictures of villages and they’re lighting birds on fire. So they’re going to get rid of the birds by knocking them out with hammers and letting them float away.
Jim: And then come down on somebody else?
Joe: We hope well, we never care so it wouldn’t matter. Then it got real boring to think about chickens, so this isn’t about chickens (the drawing we’re in front of at this point depicts a group of people wearing skull masks holding guns and pointing them at an empty spot on the ground in the middle of the group). Chickens got me to the place of making the drawings but when you get there you realize that chickens don’t have anything to do with anything. Now it’s just an interesting drawing. Now, with nothing there, that’s what makes this interesting. If there was a chicken there it would be such a bad drawing. Chickens got me here, the bird flu got me here, the end of the world got me here, but now it’s something else.
Cein: Chickens got Joe to Utah
Joe: It's about absence. It's repeating. All my work is always repeating. I think repetition leads you somewhere.
Joe: Exactly - The hammers, the balloons, the skull masks the underpants, the uniformity, tasks, routine.
Cein: I think that happens with everyone, though. Artists, in general, working, inevitably will have a vocabulary that repeats itself.
Joe: I’d like to do something else but this is what I got right now. I’m interested in architectural stuff lately. I’m interested in architectural constriction. I’m interested in eliciting a response from the viewer instead of having a passive experience which is really boring. This is just me showing off, like, “Look at what I can do really well.” And the viewer doesn’t get anything from that. I’d rather make something actually happen. I’d rather tell a lie in the physical world than two dimensionally make an illusion that causes the viewer to do something.
Cein: He’s telling lies all the time in the physical world.
Joe: I want to squeeze people into spaces and make them react to the space.
Cein: That’s a neat idea because somebody said that architecture is the totalitarian art form - it’s impossible not to be engaged by it.
Joe: You have to have a reaction. Now, you see a lot of passivity the niceties people are really passive now. So I want to encourage a more confrontational reaction rather than the passive reaction. I think this is really passive and I wish I could elicit a more confrontational response.
Cein: Which is why, maybe, even in them being passive they’re still really confrontational.
Jim: (Looking at Cein’s wall painting and noticing a book of medical photographs open before it) This is an anatomy book?
Jim: When I read a definition of Dasein, it seems like just another philosophical concept. But it seems to have some sort of personal meaning or connotation to you is that right?
Cein: That’s a loaded question that means there’s an objective meaning to something? OK, well I guess the shallow answer would be that the idea of Heidegger’s Dasein made me feel OK to paint people again because it made people relevant to me - it made figure painting relevant again. So here’s a question for you: Would it really matter what I put on the wall if I gave the viewer a context of how it should be read? Then I could define what the meaning of the thing was and it wouldn’t be a problem. They could agree or disagree but it would still be me defining the thing. This could be graffiti if it were somewhere else. The idea of context and the idea of an artist statement framing up anything to be read a specific way. Yes, this has personal symbology and meaning to me. What does it mean? It doesn’t mean anything in that it’s so many ideas that are working against themselves that it’s an answer to questions that don’t have answers. The meaning is created through the context. With all this jargon and elitist jargon talk people get lost and there’s no meaning because there’s so much.
Jim: I suppose you could say that’s making a statement in itself you could be just saying that there’s too much elitist bulls**t.
Cein: And I’m participating in it just to show you guys how useless it is, and it’s futile and it’s awesome. I’m inside it doing my dance watch me dance with you guys this is great!
Jim: Well you’re obviously enjoying it, whether it’s meaningful or not.
Cein: Yeah! I like to think about it.
Joe: Is there do you think there’s a meaning?
Cein: Nah, the context gives meaning, the process gives meaning.
Joe: I’m real serious I think there’s a meaning.
Cein: So many ideas lay it all out, doesn’t mean anything. You map it out determinism, all the different versions of it; you map out Epicureans, or Stoics or any of it, it’s a history that you can’t even participate in.
Joe: So who’re you making this for?
Cein: Huh? The failure . . .
Joe: I gotcha!
Cein: Who am I making it for? What’s the inspiration? I dunno. It’s a compulsion, it’s like breathing I can’t stop myself. Which is probably why it’s getting so out of hand; it just gets bigger, and the megalomania it’s never ending.
Jim: How are you gonna feel about painting it out?
Joe: You gotta put a nice glaze over it and then paint white over it so years from now they can take off the white paint and the masterpiece will still be underneath. They can x-ray the wall.
Cein: x-ray the wall - yeah that’ll happen
Jim: They’ll never be able to tear this building down.
Cein: In regard to a more serious topic, the Socratic method -- I’m a bag of wind, a talker. [It’s] sort of anti-philosophy engage you and then set you up through questioning to fall, and to reveal your own mistakes so that you’ll be forced to reflect. In the same way in terms of conceptual art and concepts it’s the same sort of Socratic method, laying out all these questions and setting it up and in the end, I don’t have any real meaning except for undercutting all these other concepts. So then in the end, in reality, I’m not really saying anything I’m saying just the opposite revealing the Emperor’s clothes.
||Jim: I can see the fun in that.
Cein: It's a blast! Watch me dance!
Jim: I used to have this friend who was intensely serious you could get him going on this long train of stuff and then just say, "Oh well, it doesn't matter," and he would freak.
Cein: Yeah! Melt down - I think that's happening in the art world right now, and that's why I can paint this over in a month and everybody can kiss my ass.
Joe: What about social responsibility? Do you think it's your social responsibility. . .
Cein: To define the work?
Joe: No, to not be so frivolous with this space, and really make a statement, especially with the way the world is right now?
Cein: I would say in response to that - nobody cares so why is there any responsibility?
Joe: Is it your responsibility to make them care?
Cein: You can't make people care.
Joe: Yeah you can!
Cein: No, you can't.
Joe: Yeah you can!
Jim: How do you make people care?
Cein: Punch 'em in the face!
Joe: Miss a ground ball! All you gotta do is miss a ground ball! Thousands of people cared!
Cein: But you can't make those people care! They did care but you can't
Joe: You can put yourself in the position to make people care. You're putting yourself in a position right now where you can have that effect on people.
Cein: Alright. Alright -- we gotta draw some distinctions, but before we do that, I'm going to let this go -- Joe's right, Joe's always right, in that I'll have an effect on people but I don't think it'll make people care. I don't think that I have any social responsibilities.
Joe: Alright . . . that's fair . . . . that's a load of crap! You total bag of s**t!
Cein: What is it? What's my job? I can't define anything for people - the viewer defines it.
Joe: So, yeah, exactly
Cein: What about you? I just dance in the corner without my clothes on.
Joe: Keep talking!
Cein: Look at all these cool clothes I have on! The reason the Emperor's clothes keeps coming up is I had this long conversation with a painter friend of mine and he’s like, all artists have a myth, what's your myth? They all have a myth that they work by to make them so that they can stay in the studio; so they feel like they're working toward something. That's my myth. Come to the opening on Friday, it'll be done.
(There's a pause as we walk away)
Cein: There's a fly around my head.
Joe: It’s all that bulls**tcoming out of his mouth!
Cein: I think that's an appropriate way to end it - with flies buzzing around my head.
I went back to the opening. Cein had decided he would just keep working on the wall painting for a while. Joe had decided to dispense with titles for the drawings and post a small sign: "Chickens got me here, vultures are taking me home."
Article Update: John Bell
John Bell: Live From New York
by Kent Rigby
Salt Lake artist, John Bell, has just completed an impressive 12' by 20' mural in New York City at the penthouse apartment of Nu Skin founder and Senior Vice President, Sandie Tillotson, at the Mandarin Oriental at Time Warner Center.
Some of you may remember his New York debut exhibit, (re) DEFINING SPACE, in September (See September 2005 edition.) The thirteen pieces for the exhibit were large three-dimensional canvases, meticulously designed on the computer before brush ever touched canvas. For this current project, Bell did no pre-design or conceptualization. Bell related this, via email from New York:
"This one came out of a conversation with the client. She wanted something that reflected her surroundings (glass towers) & her place within it. I spent some time on the roof of Trump Tower (across the street) looking up at this place & drew my inspiration from there. When you look at the building (Time Warner) you see reflections of reflections of reflections... a mixture of sky & architecture, it all becomes abstracted within the glass, almost like a cubist painting . . . The best part of the entire experience has been Sandie's belief & confidence in the work. She has let me do what ever I wanted to . . . Prior to coming here to paint, I did not have the measurements for the room, just a general idea of proportions. The entire piece was done without a single measurement, I just responded to the space & freehanded the whole thing with masking tape one shape at a time."
Bell says the mural took three ten-hour days to complete. Bell has been talking to several New York galleries regarding representation. All I can report at this time is that negotiations are ongoing and the outlook is hopeful. Watch for further updates on John Bell in New York. And remember, you read it here first, in 15 BYTES, Utah’s cutting edge art ezine!
For more information regarding works by John Bell, contact Mary Fresques One Modern Art, 801.599.2087, email firstname.lastname@example.org