brooks shane salzwedel: new work / interview
original content
may 21, 2012
brooks shane salzwedel: new work / interview


‘the arch,’ 2012
graphite, tape, resin
25.5in x 37.5in


designboom caught up with the los angeles-based artist, brooks shane salzwedel speaking
with him about his graphite, tape, resin formed
collection of layered landscapes picturing nature and industrial development
co-existing.

designboom (DB): please tell me a bit more about your most recent series. when did you start developing the works?

brooks shane salzwedel (BSS): the content of my work has always incorporated some sort of man-made structures surrounded by nature
or even vice verse. the most recent body of work focuses primarily on turn-of-the-century bridges in mid-construction. I chose to work
with bridges simply because of all the different types of materials that go into building bridges and the end product. cement, steel, wood,
rope, cables, etc. it left a lot to play with in compositions. I started this series at the end of 2011.


‘the mountain,’ 2012
graphite, charcoal, tape, resin on mylar on panel
25.5in x 73.5in


‘the fourth,’ 2012
mixed media
25.5in x 37.5in

DB: has there been an evolution in your work? were there any particularly
pivotal moments in the progression of your style?

BSS: the most evolution I’ve noticed is more detail and having a
better hand at the craftsmanship of my work. the largest moment
I
would say was a show I had in 2006 when I wanted to focus the content of
my work on a very serious family accident. the death
of my father who
worked on an oil drill ship off the coast of vietnam. the idea of death
and human consumption and nature all colliding.


‘the pass,’ 2012
graphite, tape, resin on mylar on panel
25.5in x 37.5in


a detailed perspective of ‘the pass’

DB: what role does materiality play in the construction of your projects?

BSS: a lot. the graphite helps develop texture – to give it a
painterly quality when up close. the mylar is not only fun to draw on
but
also gives the pieces the layered depth. and lastly the resin holds it all together and gives
it closure so to speak. once it’s cast in resin…
there is no turning
back.


‘the east river bridge,’ 2012
graphite, tape, resin
25.5in x 37.5in

DB: what is your daily routine?

BSS: I try to dip my hands into a lot of projects so my daily
routine isn’t always the same. with my work as a gallery assistant
director
in los angeles to designing and producing products for stores
to my art when faced with a deadline of a show. the staple as of late…
is eating an apple in the morning and the rest is a mystery even to me.


‘spring street bridge’, 2012
graphite, mylar, resin
12in x 16in


detailed perspective of ‘spring street bridge’

DB: which artistic techniques do you prefer?

BSS: I suppose drawing. I never thought of myself of either a painter or drawer. mostly exploring materials…

DB: how do you choose your themes or subjects?

BSS: I’m often inspired by old photos from the industrial
revolution and daguerreotypes. those usually lead me into a direction
for
a theme or subject matter I’d like to get to understand more.


the artist cures the resin of ‘the mountain’

DB: is there any artist from the past whose work you have been particularly impressed with?

BSS: frederick casper, douglas henderson, hieronymus bosch…
just to name a few. and even though you said ‘past’ I’d like to throw
in
jenny seville.


‘the arch’ in progress

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