If you haven’t had the opportunity to see Dominique’s solo-show at Up, you probably are living under a rock. We’re only kidding about the rock thing – but you seriously need to make your way up here to see her work if you haven’t already. Dominique’s exhibit Neighborhood / Already, Not Yet is on display from August 3 – September 9. Just to entice you a bit more,we had the opportunity to chat with Dominique and visit her studio space at Space 157 in Old Town Rock Hill. Be sure to make it to her opening this Thursday night August 18 from 6pm – 8pm, where we’ll be having a potluck to celebrate Dominique’s work and neighborhood. For now, enjoy the Q&A!
1. What inspires your work as an artist?
The greatest inspiration for my work is my adoration for Christ. It has been roughly four years since I reckoned Him the ultimate recipient of my affections. This aspect of my art-making is most concrete and allows me to work with freedom and delight. The work I produce with my hands in the studio is a response and offering to my Lord and Savior; it is rightly for Him. At the arrival of morning I am flooded with eternal things, and my fixation on who Christ is propels my day’s work. And to be sure, as I survey life I consume stunning color combinations and brilliant narratives, but these inspirations do not exist outside of my conviction of Christ.
2. Could you explain the process of polymer lift? When did you start doing it?
I’ll try. I first apply two or three generous coats (allowing time for drying in between) of matte medium to prime the back of a glass surface. I work on top of the matte medium primer with drawing, collage, and acrylic paint, both in glazes and opaquely. In order to see what the image is becoming, I turn the glass over to view the other side. Marks applied early on in the process exist in the foreground of the final image. To remove undesired markmaking, colors, and shapes, I cut through to the glass with a blade. The exposed glass is primed with matte medium again. Matte medium is essential. I’ve gone through at least six gallons since I started doing polymer lifts. It bonds all the layers and allows the completed piece to come off the glass cleanly. When the composition is right and the layers are dry I finish by applying more matte medium, cheesecloth, and a loose piece of canvas. I wait about twelve hours for the piece to bind and dry. I then release it with a blade and lift it from the glass. A former professor and friend, Seth Rouser, showed me this technique a year and a half ago. There’s more to it – come by my studio and see for yourself.
3. Could you touch on any concepts that might be found in your work?
My work develops conceptually from the most steadily appearing statements in my journal. I plan to speak about the Neighborhood and Already, Not Yet series on September 1, 6:30 pm at Gallery Up.
4. Who are some of your favorite artists and why?
I study artists’ work that is mature in the areas I desire maturity. Most of my favorite artists aren’t even painters. I admire the impact that musicians and photographers have on their audiences. Here are a few:
Sufjan Stevens (musician) – for his playful, sometimes obnoxious, raw, emotional and diverse compositions. He is the most prolific of all the contemporary musicians I listen to
C.S. Lewis (writer) – for his proficiency in rendering images with words
Michael Borremans (painter, draftsman) – for his honest and intimate sharing of concepts
Cy Twombly (painter, draftsman, sculptor) – for his confident gestural marks
Nadav Kander (photographer) – for his exploration of color, space and time
5. Could you describe the studio you work in?
My studio is a place for yielding bodies of work and stockpiling prospective material. This could be an obvious assumption but you should know that my studio is acquainted with activity. I’m not sure how accurate these percentages are, but I’d gauge for a full day of studioing, forty percent of my time is spent painting and drawing, thirty percent is spent rotating and scrutinizing work in progress, and another thirty percent is spent reading, staring out the window, meandering and journaling. Most days I enjoy being in the studio. I’m comfortable in it and I’m familiar with my materials and tools, and by default the space is steeped in my person. If the studio is lonely enough, I’ll press into my keyboards for the company of sounds.
6. What is your favorite piece of artwork you have?
I don’t know that I have one yet. My collection is unripe. I have a fondness for a piece titled “Hedge” by Stephanie McCloud. It hangs across from my bed.
7. How are you involved in your local arts community?
I have a studio in a communal space in downtown Rock Hill with an evolving collection of artists. At times we meet for critique and collaboration. For a little over a year we’ve been rooting ourselves in the local arts scene. Remaining close to Winthrop enables me to refine my relationships with former professors, alumni and current students. I still visit the classrooms, studios and exhibitions in the art department. I’m deeming Rock Hill home for a bit longer, producing work and serving as a mediator between artists and the general public.
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