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Home FEATURES Artist Interviews Chris Pew Interview

Chris Pew Interview
Thursday, 07 June 2007 07:56
A video and text interview with this Oakland based artist and Receiver Gallery curator.

Many years ago when Fecal Face was just a tiny little fella, back in 2000 when the world wiped it's collective brow in relief when computers didn't rise up and kill all humans, we met Chris through a zine he sent us and were instantly hooked on his dream space like patterns which illustrate the chaos that our universe sits in. Through this chaos is a form of structure- If you close on eye you can see that in all of this (space, the sky, oceans, ants attacking a beatle) that there is in fact a scheme and orderliness in everything no matter how out of wack it may look at first glance... I guess that is what all art attempts to accomplish, and Chris's work does this very well. Making the disorderly beautiful... Say hello to Chris Pew- a Oakland based space cadet as interviewed by Receiver Gallery's main honcho, Jafön Hakkinen. -Trippe

Tell us a little about yourself?

I grew up in south Orange County, and moved onto to San Diego to attend San Diego State University for some art training, mostly in graphic design. After a few years of living the dream that I s college, reality struck in and I moved to SF. In between some of that time there was a brief venture to Arizona State University to try and become an architect, however architecture is incredibly hard and I discovered that it is much more fun to paint about physics then to actually try and apply that to the real world.

Can you give us a brief description of what kind of art you do?

I basically paint my own versions of theoretical explanations of various scientific answers to the who, what, where, why, when and how of the cosmos. I do this in various mediums including acrylic on canvas, pen and ink, or plastic playpen balls.

You're the de facto curator at Receiver Gallery. How does being a curator affect your own personal art?

Mostly the effects are seen in the amount of time that I can devote to my personal stuff. Curating shows every month takes a lot of time and the way that I make art takes alot of time, I also have another part-time job doing design, organization is pretty key or things get wonky real fast.

For my personal art I try to make original stuff and to have my influences be from sources that I'm trying to make art about. This of course is also genually hard when you look at art all day, ideas are almost certainly going to show up in some form or another.

Then as far as the art that's apart of Receiver, since we mostly deal with emerging art and artists the most exciting part of curating is doing studio visits and checking out how other people make their work.

What do you like about the current trends in painting birds?

I'm not sure, but I believe that trend has ended.

I say that the focus of Receiver is 'slacker high art'. Do you agree with that statement? Are you a slacker?

I do if you mean that since we deal with emerging artists and since most emerging artists are relatively young, then most of these people are still trying to figure out what the fuck they are doing, which therefore comes off as being a slacker. Being a young artist and deciding to make a "career" as an artist can really fuck with your head. Mostly because most young artists really have to struggle to make money in art, and therefore be able to just live, pay rent, food and everything else, I think that this is sorta looked upon as being a slacker, yet at the same time it's also proving whether or not your going to have what it takes to make a living as an artist. I don't know if that really answered the question but that's what you get, so am I a slacker for not answering your question correctly, maybe.

What advice do you have to up and coming young artists looking to hit the art star lottery, besides "Don't suck."?

If you're gonna change the world with your art it better not suck.

You curate art tours in NY and LA whenever we travel together. What are some of your favorite galleries in these towns, and why? How come SF doesn't have a Culver City or a Chelsea? I think that 49 Geary is usually boring and quite miniscule, comparatively.

Oddly enough the only time I really get to see and appreciate art is when I'm traveling or on vacation, because that's really the only time when I can actually go into a gallery or museum and really try and understand and appreciate what's happening. With this in mind, I recently got to see the two exhibitions by the artist Tim Hawkinson in NY. One was at Pace Wilderstein, which was great, but he had another one at the NYE Haus, which was completly mind blowing because you had to go exploring in a really old NY arts building with shit everywhere and the exhibition was scattered all over the building and on different floors, but with typical Tim Hawkinson style, he managed to make it work.

For the second question though I think the focus is that San Francisco is relatively small town. The city itself is only like 750,000 people or something, so right there I think that's the main difference, LA has like 700 billion people and NY has lat least 996 billion, so all in all SF might actually be doing the same amount of art business percentage wise as NY and LA combined, but as I mentioned earlier I wasn't too hot at physics and this also applies to math.

Miami Basel and the Armory Show are indicative of the transforming global market for art. What do you think of art fairs?

Hard for me to answer, mostly because I've only been to the Armory once a few years back, and really only as a tourist and have never been to Miami. Hopefully this will change. They sound fun.

Your house and Oakland in general is much too hot (barf). Besides the obvious microclimates, what's the difference between the art scenes in Oakland and SF? How come Oakland has a murmur and the Mission doesn't have fart for community?

Well being an Oakland resident for over 10 years now, the Oakland Art Murmur is fucking great. I wish the Murmur was around when I had first moved here, and that there was such a big art community, or at least such a diverse place for the art freaks to meet at once a month. Why doesn't SF have this? Well it does, just in a different capacity. Obviously there's First Thursdays, though not crazy Murmur styles, it does get lots of folks out to see art, and as far as the Mission not having an art community, what are you crazy, granted all the galleries don't have a "night" for openings, but a lot of places have created huge communities for the freaks to get together and do the art loving.

You're a pretty responsible person for being such a pile and having piled friends. What's your secret to staying flush and saving coinage whilst enjoying the highlife in this blown out town? Can the little people do this as well?

What, I hate you. I'm hardly flush. I'd say more like thifty or something. Yes this town is expensive, really fucking expensive; so expensive I have no idea how art people make it here, but they do and they also seem to do it in cities like NY and LA where its also crazy expensive. Seriously people support the arts, my girlfriend is tired of me borrowing money.

Most days you wear long sleeve shirts to cover up all your spaceman tattoos. You're a tattooed guy and like seafood. I hear you once tattooed people for a living as well; what's the story with that?

Have you heard of sun cancer? its deadly dangerous, long sleeve shirts come in really handy for protecting you against the great fire in the sky. Seafood is really delicious. I occasionally eat out, and the most delicous meal that I've ever had involved lobster sausage.

How well do you sleep at night knowing what you know about yourself? I live in a permanent haze, I sleep fine.

{moscomment}

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contact FF

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When works of art become commodities and nothing else, when every endeavor becomes “creative” and everybody “a creative,” then art sinks back to craft and artists back to artisans—a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what’s the difference, after all? So “art” itself may disappear: art as Art, that old high thing. Which—unless, like me, you think we need a vessel for our inner life—is nothing much to mourn.

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Wednesday, 16 June 2010 17:39


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ABOUT HEADLANDS
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Wednesday, 25 August 2010 12:50


 

 


 

 

 

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Sun Milk in Vienna

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Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery

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Jeremy Fish Solo Show in Los Angeles

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The Albatross and the Shipping Container

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The Marsh Barge - Traveling the Mississippi River from Minnesota to the Gulf of Mexico

For some reason I thought it would be a good idea to quit my job, move out of my house, leave everything and travel again. So on August 21, 2013 I pushed a canoe packed full of gear into the headwaters of the Mississippi River in Lake Itasca, Minnesota, along with four of my best friends. Exactly 100 days later, I arrived at a marina near the Gulf of Mexico in a sailboat.


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