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Manny Prieres

5 X THE CASH, 2013

graphite and gouache on paper

26.75 x 19.5 in.

Courtesy of artist and Spinello Projects

PRIERES:  ‪hello

‬‬

RAMOS:  ‪Hi Manny‬‬

 

Thank you for joining me

 

PRIERES:  ‪ok! now its working‬‬

 

thank you for having me

 

RAMOS:  ‪i'm looking at the work you sent... which one would you like to start with?‬‬

 

PRIERES:  ‪Well I guess we can start in order. The black on black drawings I suppose.‬‬

 

RAMOS:  ‪what do you mean in order?‬‬

 

PRIERES:  ‪Sorry, the order they were made. The last year or so I started painting. They were informed by the drawings‬‬.

 

I am interested in the visual rhetoric that we are bombarded with every day.

 

print, digital media any of theses fit that conversation.‬‬

 

RAMOS:  ‪so then how does painting fit in?‬‬

 

PRIERES:  ‪the drawings are graphic elements that I displace ‬‬

bring into a new context

‬‬

RAMOS:  ‪you are appropriating an existing type of media into drawing and painting?‬‬

‬‬

i thought drawing and painting were two different things... but they are used in the same way?‬‬

 

PRIERES:  ‪yes. with the books and records series is was a lot more obvious.

 

my overall interest is the idea of mechanical reproduction. with the newer works they are more ambiguous. ‬‬

 

RAMOS:  ‪ok so lets start with the new work... how about "5x the cash"‬‬

 

PRIERES:  ‪Yes. I scanned florida lottery ticket and deconstructed it in photoshop. with the final outcome being the drawing. I was interested in this visual break down. The lottery ticket is print. then scanned, manipulated digitally then redrawn by hand.‬‬

 

RAMOS:  ‪i wouldn't know any of that however by looking at the final image‬‬

 

PRIERES:  ‪And thats fine‬‬

 

RAMOS:  ‪yes... it is‬‬

 

so what do you want me to get out of it?

 

or what is your intention?

 

PRIERES:  ‪well. going back to visual rhetoric I was talking about. The drawings have moments where they let you know the origins of the image. There might a be a logo or visual cue within the disruption. I like those moments of uncertainty.‬‬

 

RAMOS:  ‪yes... like a blurry screen‬‬

 

PRIERES:  ‪yes! I was thinking of that. old school cable tv not working ‬‬

 

RAMOS:  ‪right... i remember watching channels i wasn't supposed to that looked like that‬‬

 

PRIERES:  ‪me too   ‬‬

 

RAMOS:  ‪haha‬‬

 

i get that... and enjoy that thought process

 

tell me about Subterranean

 

very different

 

at least aesthetically

 

Manny Prieres

SUBTERRANEAN REVOLUTION, 2014

graphite and gouache on paper

30 x 22 in.

Courtesy of artist and Spinello Projects

 

 

PRIERES:  ‪The new drawings start of with me taking a picture of subject matter. Always with my iPhone. That one particularly is a book that was on my work table. and there was a paper sculpture on top of it. ‬‬

 

Looks nothing like the picture. In the drawing it take on a whole new look.‬‬

 

RAMOS:  ‪yes.. i mean.. i am attracted by the graphics, for lack of a better word, but the content is a mystery... i can maybe make out a chair, an arrow, a symbol, but nothing makes sense.. kind of like waking up in the middle of the night and thinking the lamp is a person‬‬

 

there is a experience of displacement and i think you mentioned that earlier

 

PRIERES:  ‪yes! I feel that is key.‬‬

 

RAMOS:  ‪why is it key?‬‬

 

why do you want me to feel that?

 

PRIERES:  ‪when you take an image or graphic element that has a certain purpose. be it to sell you something or guide you, lets say... then you take that image and graphic element and turn it upside down. it changes meaning. its displace from its original purpose.

‬‬

sampling music is a good example of this too.

 

RAMOS:  ‪so then the end-goals is to change the meaning, not necessarily to cause displacement‬‬

 

PRIERES:  ‪well yes than that can be displacement as well.‬‬

 

RAMOS:  ‪there is a difference between finding new meaning and feeling completely displaced devoid of meaning... which is closer to what i experience‬‬

meaning is a tricky word... perhaps thinking of waking up in the middle of the night is meaning

 

PRIERES:  ‪ok I'll take that.‬‬

 

RAMOS:  ‪ok... let's continue... i am enjoying this journey

 

PRIERES:  ‪me too‬‬

 

RAMOS: tell me about The Shock of The New

 

Manny Prieres

SHOCK OF THE NEW, 2014

graphite and gouache on paper

30 x 22 in.

Courtesy of artist and Spinello Projects

 

 

PRIERES: ‪The Shock of The New‬‬

 

Same thing. It's a drawing of a paper sculpture I made. The 3D form turn into this halftone 2D drawing. ‬‬

 

RAMOS:  ‪was the paper sculpture a cone?‬‬

 

PRIERES:  ‪Yes! It was a paper I ran through my printer. The image was a sold black block. I folded the paper into a cone. The toner ink cracked off in the areas of the fold. ‬‬

 

this series of drawings can be pretty much whatever I want them to be

and there's a back story to the process

 

They are all different

 

RAMOS:  ‪ok let's talk about that

‬‬

if it is whatever you want it to be... they why does it seem so random?

 

what do you want them to be?

 

is there an intention?

 

a high-level one

 

an umbrella objective

 

since you are in control

 

PRIERES:  ‪The umbrella objective is the processes of mechanical reproduction. And how I can play with that. The final outcome is this halftone image that can be printed. but I choose to draw it. I bring it back to the hand. ‬‬

and somewhere between identity and ambiguity. is where i want to be

‬‬

if that makes any sense.

 

RAMOS:  ‪yes... but wait.... so then you are not trying to control the outcome at all‬‬

 

and in a way you are also displaced

 

is that part of it?

 

PRIERES:  ‪I can control as much as I can. I can't control the viewer. ‬‬

 

RAMOS:  ‪you control as much as you can or as much as you want to?‬‬

 

i'm not talking about the viewer at all

 

it's about you

 

and your experience

 

why do you make these pieces?

 

PRIERES:  ‪Good question. To be honest I'm still trying to figure that out. The "why" part. The over all series when it's done...I feel will make sense. They will work as visual din, like white noise. There might be remnants of some thing familiar. Every choice I make in the image selecting becomes like a journal of sorts.‬‬

 

RAMOS:  ‪in a way you are creating unstructured data and hoping to look back and analyze yourself‬‬

 

and find meaning

 

PRIERES:  ‪You can say that. ‬‬

 

RAMOS:  ‪and therefore the art practice is a way for you to discover yourself?

 

is that fair to say?‬‬

 

PRIERES:  ‪yes! Its how I navigate and make sense of this crazy world. And hopefully share and learn from other people. And I hope that my work can be that catalyst. ‬‬