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Colin Marx

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From Untitled

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From Alexei Plutser (Voina) 

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From Untitled

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From NA

INTERVIEW WITH COLIN MARX

How long have you been making artwork?

Since I was 16—about 9 years. I had a cracked version of Photoshop that I used to manipulate portrait photos all day at school.

Who are your favorite artists?

Austin Lee, Summer Wheat and Michael Shultis. Also keeping close tabs on Blair Whiteford.

http://www.austinlee.net/

http://www.summerwheat.com/

http://michaelshultis.com/

http://blairwhiteford.com/

Do you ever have bad studio days?

Most of my studio days are terrible, but they create a lot the surface history in my paintings, so I soldier on. Good studio days are exceptionally good. Like gooooooooood++.

How do you begin a painting? Do you jump right into it and just start painting? Or do you take your time and plan each work?

I don’t know how to plan anymore. Sometimes I don’t think I even know how to paint, but that I just know what a good painting looks like when it’s in front of me. Even that sensibility is probably stolen from the artists I like. Fuck talent; copy your godz!

Do you read often?

Yes. I try to keep up with contemporary Painting and stuff, but I’m not sure I understand what that’s even about or if it has anything to do with painting. I mostly stick to fiction.

What interests you about portraiture?

 Empathy. We feel somethig through our brief and instinctual attempt at understanding the face in front of us (the Other). With painting, I can play with that feeling. I paint the people with whom I want to empathize. They are really great people and I think I love them.

Are the people portrayed in your portraits real or imagined? Or are they something entirely different?

The latter. They are the result of a combination of process and materials that I know give birth to my kind of baby.

Your handling of materials is very playful and fun. Why do you choose to use a variety of paint and other mediums in your work?

Diversity of marks and surfaces, three-dimensionality, fast and slow marks, shortcuts/longcuts, etc. Use all of your toys during playtime.

What are your feelings on academia?

We’ve only been out of school for a year and my contemporaries are dropping like flies into not art. From painters to ainters. Most artists are leaving art school with no idea what to do outside the shoddy womb of academia. I personally want to see bolder, blunter and more honest critiques, increased criticality and greater accountability. Oh and more studio time. Fewer assignments and more production! Accreditation in an art is so anti-art it’s not even funny. End that; become a river. I don’t want to see more academics either. Academic Art is gross. I really like what I’ve seen from Yale’s MFA Painting and Printmaking program. I like their academia. It’s the only painting program I’ve found that at least ostensibly looks like it’s main concern is physical painting and not the concept of painting. I’m so bored of concept prioritization. I want to see something exciting. Throw me a bone!

Any advice to young and emerging artists?

One sentence: Let your freak flag fly live dangerously destroy your reputation if you feel challenged then you’re on to something new comfort is a quality of bad repetition habit is good repetition style is a consequence of habit you’re only in competition with your 5 best artworks you will be more successful if you persevere than if you taco so donut taco.

Colin Marx earned his BFA from Minneapolis College of Art and Design in 2012. He currently lives and works in Kansas City,MO.

to view more of his work please visit:

www.colinmarx.com/