brooks shane salzwedel: new work / interview
brooks shane salzwedel: new work / interview brooks shane salzwedel: new work / interview
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

  • Impressive… I love the mood, the concept. You “oughter be in pitchures” Mr. Brooks Shane Salzwedel!!!

    peen says:

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