INTERVIEW WITH THE EXHIBITING ARTIST: CORINNA BUTTON
INTERFACES
Caught in a fast Lane, 2017, Carborundum Collagraph and monotype on canvas, 10 x 25 ins (25.40 x 63.50 cms)
Interfaces marks Corinna Button’s return to Hyde Park Art Center following her completion of the Center Program in 2013 with a new body of work highlighting the relationship between printmaking and ceramic processes, this exhibition will showcase new work in both clay and print that combine the techniques of each medium to represent the multifaceted condition being a woman. Before the exhibition closes at the end of the month, we caught up with Button to ask her a few questions about her work and practice.
What were some of the challenges you faced trying to marry all of your practice processes together as a printmaker, ceramicist and painter?
When I reflect back, it was much less a challenge but rather an opportunity, an accident that unlocked a whole new process for me in bringing together my paintings and prints.
Throughout my career in London, through lack of space, my printing studio was in a completely different building to my painting studio. When I moved to Chicago I enjoyed for the first time, a studio large enough to hold both my printing press and tools as well as all my painting materials. Having such a large studio space, allowed me develop and concentrate on my painting and printmaking at the same time. Before long I found myself cross-fertilizing between the two mediums for example using printmaking tools to apply paint to my paintings.
By accident I also discovered a new technique of applying and layering printed images onto canvas and sanding back to create an amazing new surface to apply paint – it gives such depth. When I discovered my passion for ceramics I applied the same principles, using tools and materials from my painting and prints to create the many layers and patterning in my sculptures.
In your exhibition review in Newcity, they noted how "It’s hard not to root for all seventy-one of the young women presented in these pieces. You want them to stay true to themselves and never feel crushed by the world around them. " Your practice is so focused on the multidimensionality of being a woman. How much of that is your own personal experience and how much do you draw on from figures in history or elsewhere in your life?
Of course the female face is the one I am most familiar with, not just because I am woman but being one of four sisters, I grew up surrounded by females. This triggered my desire to explore the complex relationships between young women and this was further embellished through seeing and hearing my daughters own experiences.
My subjects and the realms they inhabit are all entirely conjured from my mind’s eye. I may refer to a photograph, an object or use my own reflection for additional information such as working out an angle for a head or proportions etc. None of my works are of anyone in particular. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. It is through my printed, painted or sculpted figures that I wish to project recognizable aspects of human experience.
Sometimes words as well as images can have great resonance and relevance. Poetry has been instrumental in the development of my new body of work.
“ Our masks, always in peril of smearing or cracking, in need of continuous check in the mirror or silverware, keep us in thrall to ourselves, concerned with our surfaces.” Carolyn Kizer (from Pro- Femina, Knock upon Silence).
“ Our masks, always in peril of smearing or cracking, in need of continuous check in the mirror or silverware, keep us in thrall to ourselves, concerned with our surfaces.” Carolyn Kizer (from Pro- Femina, Knock upon Silence).
What is it in particular that has made German Expressionism such an influence for you?
I was always only interested in drawing the figure and I gradually developed a so-called narrative ‘expressionist’ style through the process of printmaking. From the beginning I was attracted to dark strong black lines, dramatic light, composition and colour. Prior to even being fully aware of the German Expressionist Printmaking group, my body of work was often described by gallery owners, enthusiasts and art educators etc. as; ‘Expressionist’ and ‘Germanic’ .
I was therefore encouraged to see an exhibition held at the British Museum called ‘The print in Germany’. I was blown away by that show and that was a turning point for me – it felt like I had stepped into my family home. For many years after, I devoted myself to printmaking and painting took the ‘back seat’.
I was therefore encouraged to see an exhibition held at the British Museum called ‘The print in Germany’. I was blown away by that show and that was a turning point for me – it felt like I had stepped into my family home. For many years after, I devoted myself to printmaking and painting took the ‘back seat’.
I just love the rawness, bold mark making and forthright honesty and gesture in the work – it is powerful and the effect it has on me is visceral.
