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Interview with Thea Clark

Interview  /  Artists
Published: 19.10.2012
Interview with Thea Clark.
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona

Intro
I see some borrowing among art jewelers, call it trends, perhaps. We take in so many more images via the web than makers have in the past, plus a phase of emulating what inspires them that younger artists can have on their way to originality, both contribute to this. On the whole, I think there is tremendous creativity, broad explorations of every material on earth, and many unique voices in the field.
Do you think jewelry is being standardized?
I see some borrowing among art jewelers, call it trends, perhaps. We take in so many more images via the web than makers have in the past, plus a phase of emulating what inspires them that younger artists can have on their way to originality, both contribute to this. On the whole, I think there is tremendous creativity, broad explorations of every material on earth, and many unique voices in the field.

What is there of local and universal in your artistic work?
My work begins by examining my experiences with dichotomies like emotion vs. intellect, inner self vs. outer self. planned vs. intuitive, natural world vs manmade world. These perceptions are completely local so to speak, but to externalize these concerns into a work I try to find materials, symbols, and images that can embody them, maybe some of these end up being universal or archetypical, I hope so. For some work a local perspective may be more stimulating to me creatively, like when applying for a themed show for instance. I may think, "as a woman...", or, "as an American..." while working on the ideas. Ultimately I can't extract myself from my culture so it must filter into my work. 

What do you expect when exposing your work to the public (for example with an exhibition)?
I have experienced a wide range of reactions to my work, so I have come to expect this. Sometimes the public will connect to what I think I'm communicating with a piece, at other times they bring a different perspective. It's a pleasure when people want to handle the work and or course when they want to bring it home. 

Are there other areas besides jewelry present in your work?
My first passion was dance so when I make jewelry, wearability or movement of the piece is important to me. Later I trained and worked in the theatre, artistically developing a character and communicating through a jewelry piece have a lot in common. Now my work is expanding to include sculpture and installation. The larger scale employs different materials and methods, some of which are working their way back into the jewelry.

The last work, film, that has moved me was...
I just saw the film "Even the Rain", by Iciar Bollain, which moved me with its depiction of people fighting injustice and greed, and also the transformation that occurs when we recognize each other's humanity.

A place, space, country whose creativity surprises me
Middle Eastern nomadic and tribal weaving art has always surprised me. The vivid colors and patterns made against the backdrop of rugged deserts, where do those influences come from?

Is there any designer, jeweller, artist you appreciate a lot?
Many jewellers to name a few: Iris Eichenberg, Seth Papac, Lucy Sarnell. Artists : Tom Burr, Ann Hamilton, Joseph Beuys.

What piece of work has given you the most satisfaction?
Making some pieces can feel like giving birth to monsters so it is always extremely satisfying when they are done. In terms of lasting satisfaction, Cyan Chain, (brooch) which for me synthesizes the materials and the ideas while the form has freedom and playfulness. I felt with this piece I had opened a rich vein to explore.
Thea Clark. Brooch: Cyan Chain, 2010. Plastic, paper, silver, nickel silver, cyanotype on silk, tinted plastic, pearls. 4.6 x 48.9 x 5.1 cm. Thea Clark
Brooch: Cyan Chain, 2010
Plastic, paper, silver, nickel silver, cyanotype on silk, tinted plastic, pearls
4.6 x 48.9 x 5.1 cm
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