WE MET THE CONTEMPORARY VISUAL ARTIST THAT TALKED ABOUT HERSELF THROUGH AN INTERVIEW AND AN EXCLUSIVE WRITTEN FOR REDMILK.
How would you describe your creative style?
Sticky licky and salty.
What are the most important influences of your job?
Sexy rocks, memory images.
The photographic subjects related to the concept of memory are visible in your work, how do you select them?
I do not seek out objects to fill this conceptual function, I often realize after initial conception the shared quality of holding, the materials (rocks, textile, hair or fingernails, shells and pearls etc) relating to each other through their memory capacity.
Why do you choose for your creations pastel colors?
Subtle colors for feelings.
How do you combine installations, performances and photography?
I don’t think any of those things are necessarily discreet in themselves.
What are the distinctive features of your photography?
Maybe present absent body, sweet rocks and things.
You often use your body as an artistic subject in your work, why?
I think bodies are referenced in my work but I am not usually the subject directly, though I feel all of my work makes reference to the body and is dependent on sense, embodied perception.
Is there a universal key to read your artistic work?
Remember you are more sensitive than you know.
Sand scratch sucky sound
the stone is a tooth an opal jelly paste
Jelly opal cast teeth the image of carved opal
teeth and the image of a fossilized jaw
light purple opal canyon
Old opal mine filled
I found a bit of black basalt with three opals nestled into its dent
One honey opal, one jelly opal, one precious opal with a delicate fire
Opal paste seeping through thick silica saliva
My body is as porous as the stone
It barely hisses when it is filled with water
Sand pile with finger denting
Sweet set of soft gray-pink tuff
Strata of silks
Crackling flamingo pink salt crystals
Pane of salts let’s you walk across
Sprinklings of salts growing out
Forming rinds on stones and deposit rings
Tatted silk on zinc plated steel
Crusting of crystals borax growing on silks
Corset laced with twine big twine bow
Puffy pink and gray soft fluff tuff
Hard chipped and carved into canyon a round tube of breccia all pink and smooth
I found a tarantula below a breccia step
Hairy brown corpse on puffy pink chalk body
Perfect opal pestles in chalky base matrix
Beautiful white pink purple and orange blue fire pestles with perfect rounded tips
Tucked into sediment finger bed
Perfect pestle belemnite
Ancient sea angel opaline
when the sea would never recede knew
Long after death in the silty bed her body
Full of silica thick like paste flowing through
Her porous body
Did it hiss when it was filled with water
Baby gave me a mussel pearl
She was already dead, sealed in alcohol
The note read:
love pearl love pearl from the blue
pick me up for a wish come true
love me tender love me true
love pearl is love her
I felt sad for the angel but I took the knife and sliced the edge of the shell
she smelled sweet and burned
open prying it with the knife the shell was brown and fibrous
Inside I found a dark purple-black pearl
Baby said she found a peach-pink pearl within her own shell we had found each other’s pearls
After I filled a bath for her, gave her
frozen with her pearls all hanging
her meat filled
bits of iridescent shell her wing tips just above
poor frozen love pearl
at least I froze her with her pearls
I only took one
that fell from her pouch through brine wash
into love pearl finger slick with
Official Website www.ariellechiara.com
Photos courtesy of the artist