Page 4 of 4
Do you work with construction materials by choice, necessity, both?
I think the reason that I like these materials is a really practical response. Although I do think that their presence comes and informs the way that you relate to the work and its meaning. But those materials are really malleable, and my working process really has to be malleable. And I think the fact that they're really low-cost materials is good for me because I create a lot of waste. I do a lot of painful scrapping of entire things. I have so many graveyards of sculptures. I definitely don't have a working process where I'm like: "And now I'll make that thing." It really is an evolution that occurs. So there's a really practical aspect to that, and then also part of what's at stake there is that you're trying to figure out, as a viewer, whether they're expensive or they're cheap, so that activity is a part of their value.
Works in your exhibition from 2009 had a really distinctive palette of reds, browns, black and white, and these pieces are very much white and off-white; are you at all interested in exploring more colors?
I have had the impulse of introducing color to the palette and there is color in my collages. But I'm not sure how that's going to start. Up to this point I've been perverting and making more eccentric the inherent attributes of carved marble, and I think there's a lot of potential to elaborate on that tweaking of those basic properties, but I think I'm probably at a beginning point here.
Do you have that sense that, with these two exhibitions happening at once, you've finished a chapter or you're beginning another?
Yeah. I don't think I'm gonna start doing performance or anything, or video, starring me, but I do definitely see this as a really good culmination. Although I don't think of my process that way. I will probably start by seeing what I can glean from what I've done here and pushing forward, and what I think I can make more eccentric. I'm constantly trying to make my work weirder, and less constrained. I was really excited to bring this show to New York because the whole emotional relationship to preparing for this show has been so much more liberating. I usually have to go into cardiac arrest before I do something like this, but it's been really nice because I've just been adapting this work. It's a lot of pressure for an artist to keep pumping out new work for two different galleries every year, it's just fucking mental, so I'm really embracing this opportunity to show this work here in New York. Especially for sculptors; we have it so hard.
Ruby Sky Stiler's exhibition at Derek Eller Gallery (615 W 27th Street) continues through February 5, and her exhibition at Nicelle Beauchene Gallery (21 Orchard Street) opens January 21 and continues through February 27. Her sculpture, "Partial Nude, in Light" is on view at Socrates Sculpture Park through March 6.