Artist Sasha Bowles answers a few questions
SASHA BOWLES
www.sashabowles.co.uk
Can you describe your practice in a few words?
My practice deals with illusion, interventions, metamorphosis and provosional structures. Starting with Old Masters my work is an evolving loop. I mischeiviously recontextualise reproductions of works to subvert and open up new interpretations and dialogues.
Have you shown your work in a non-white cube space before?
Yes many times, in a Crypt, a dilapidated delicatessan, a parking garage, a solicitors office and decaying houses.
What does this sort of space bring to your work?
It recontextualises the work.
Does the environment in which you exhibit your work change how your work is percieved?
Absolutely. The environment in which you exhibit becomes a part of the work and has to be taken into consideration in how you react to it and curate your work within it. To ignore the setting would be missing the point of using these sort of spaces.
What was your first experience of Hackney?
As a teenager when Hackney felt like a foreign land full of untapped possibilities.
What is the future for Art?
Art will continue as long as people have ideas to explore. The definition of art is so wide and it encompasses many varied practices, which will continue to encorporate advancements in technology.
If you could meet one artist living or dead, who would that be and why?
I'm not sure it is always a good thing to meet your heros/heroines....
What is your greatest weakness?
Being overwhelmed by too many ideas. There are times when everything just seems so interesting, it can be difficult to not get carried away when researching a subject of going off on too mant tangents. The access to information can engulf you all too quickly.
What was the last exhibition you visited that unnerved you?
Arthur Jafa's incredible 'Love is the Message, the Message is Death'. At 180 the Strand last year. A film probing the relationship between mainstream media and African-American identity, played with the soundtrack of Kanya West's 'Ultralight Beam'
What place does portraiture play in your work?
I am using portraiture to explore identity. I remove all obvious human parts of the sitter and concentrate on the extremities. The clothes and embellishments that we use to disguise and present ourselves to the world through. So by extending the clothing or hair over the face, the sitter becomes engulfed by their own presentation. Do they become more themselves or more disguised is open to question.
What projects do you have coming up in the future?
A solo show at Arthouse1 which opens in May. It is exploring my current obssession with hair. Trichophilia.
www.sashabowles.co.uk
www.sashabowles.co.uk
Can you describe your practice in a few words?
My practice deals with illusion, interventions, metamorphosis and provosional structures. Starting with Old Masters my work is an evolving loop. I mischeiviously recontextualise reproductions of works to subvert and open up new interpretations and dialogues.
Have you shown your work in a non-white cube space before?
Yes many times, in a Crypt, a dilapidated delicatessan, a parking garage, a solicitors office and decaying houses.
What does this sort of space bring to your work?
It recontextualises the work.
Does the environment in which you exhibit your work change how your work is percieved?
Absolutely. The environment in which you exhibit becomes a part of the work and has to be taken into consideration in how you react to it and curate your work within it. To ignore the setting would be missing the point of using these sort of spaces.
What was your first experience of Hackney?
As a teenager when Hackney felt like a foreign land full of untapped possibilities.
What is the future for Art?
Art will continue as long as people have ideas to explore. The definition of art is so wide and it encompasses many varied practices, which will continue to encorporate advancements in technology.
If you could meet one artist living or dead, who would that be and why?
I'm not sure it is always a good thing to meet your heros/heroines....
What is your greatest weakness?
Being overwhelmed by too many ideas. There are times when everything just seems so interesting, it can be difficult to not get carried away when researching a subject of going off on too mant tangents. The access to information can engulf you all too quickly.
What was the last exhibition you visited that unnerved you?
Arthur Jafa's incredible 'Love is the Message, the Message is Death'. At 180 the Strand last year. A film probing the relationship between mainstream media and African-American identity, played with the soundtrack of Kanya West's 'Ultralight Beam'
What place does portraiture play in your work?
I am using portraiture to explore identity. I remove all obvious human parts of the sitter and concentrate on the extremities. The clothes and embellishments that we use to disguise and present ourselves to the world through. So by extending the clothing or hair over the face, the sitter becomes engulfed by their own presentation. Do they become more themselves or more disguised is open to question.
What projects do you have coming up in the future?
A solo show at Arthouse1 which opens in May. It is exploring my current obssession with hair. Trichophilia.
www.sashabowles.co.uk
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