WorkUntitled

Unedited conversations between artist in a productive critique  discovering  thesis and processes behind the work.

FOLLOW US @WORKUNTITLED_MAG

CONVERSATIONS

MAGAZINES

ARTISTS

INFO

COLLABORATE

PROFIT SHARES

Evan Robarts

Lost in Space II, 2015

Fiberglass-reinforced plaster on linoleum mounted to wood panel.

72 x 96 in.

Ramos:  ‪Hi Evan

‬‬

Robarts:  ‪Hi!

‬‬

Ramos:  ‪Thank you for joining me

‬‬

Robarts:  ‪of course

‬‬

thanks for having me

 

Ramos:  ‪congratulations on your show

‬‬

how has it been?

 

Robarts:  ‪thanks, it's been going well so far and i feel good about the work

‬‬

but im prob the wrong person to ask for a objective opinion on that :)

 

Ramos:  ‪ha‬‬

 

right

 

well i think the work is really beautiful

 

Robarts:  ‪it was fun‬‬

 

Ramos:  ‪yeah it seems fun and personal‬‬

 

Robarts:  ‪it is‬‬

 

Ramos:  ‪this is the first time I am exposed to Arte Povera‬‬

 

Robarts:  ‪hahaha

‬‬

Ramos:  ‪there's something really powerful there‬‬

 

lol

 

why do you laugh?

 

Robarts:  ‪it's got a lot of history but yea, i don't really know too many of my peers that are interested in it

‬‬

at least not here in the States

 

Ramos:  ‪I think it makes a lot of sense‬‬

 

Robarts:  ‪you read the press release then‬‬

 

that's cool

 

Ramos:  ‪yes I did... and thought of all the back stories in producing art and what we have to do to maintain ourselves

‬‬

hardly gets talked about

 

Robarts:  ‪so true‬‬

 

Ramos:  ‪it's nice to see it in the work, embedding pride in the beauty of the struggle it takes to do the work

 

Robarts:  ‪That is the identification to Arte Povera

‬‬

not just in the materials but the humility of work

 

how that informs us and is hence channeled into a studio practice

 

Ramos:  ‪humility has everything to do with it and also a sense of gratitude

 

grateful for who we are and what we do

 

Robarts:  ‪yes. they go hand in hand. i try to practice both but often forget

 

my work is the reminder‬‬

 

but yea

 

that's why it's personal

 

at least psychologically

 

to me

 

I can't validate others respectively

 

Ramos:  ‪yes - i read in the text that you've mopped floors before, so this is legitimate

‬‬

and you've made it so beautiful as if only if one has had such experience

 

 

Evan Robarts

Untitled, 2015

Fiberglass-reinforced plaster on linoleum mounted to wood panel.

48 x 60 in.

 

 

Ramos: it makes me think of other art practices that likewise take this on

 

music for example, we hear a lot of musicians talk about what they had to go through, the struggle, illegal activity etc.

 

Robarts:  ‪So true. I'm not a musical person (I don't know how to play any instruments) but I definitely identify with that.

 

Coming form Miami I have a strong connection to aesthetics, particularly design, color and composition.‬‬

 

Ramos:  ‪right‬‬

 

what's curious to me is the nostalgic nature

 

the musicians for example, once the music gets heard, they are no longer struggling

 

how is that for you?

 

are you still creating new experiences with labor?

 

Robarts:  ‪I agree, I can imagine a composer hears a string of notes and "works" to capture their form. In the same respect. I think all artists chase these visions.

 

My work is self referential in a literal way. I lean on my own "life experience" but don't think I would relive it or do it all over again.

 

My experience mopping was not pleasant but yes labor, gentrification and history are some of the key ideas I entertain in my work.

 

To be more specific, I focus on what's familiar, being a superintendent‬‬

 

Ramos:  ‪so what happens when you stop making these memories through experiences?

‬‬

you make art about other stuff of course... do you ever turn to the future?

 ‬‬

Robarts:  ‪I'm jamming out to Kayla Delacerda's video To Capitalist Poem #5 on your website

‬‬

great question

 

My work does not live in the past  but informed by it. The politics of my work deal with the hear and now. My context as an artist in his early 30's, the city I live in "Brooklyn" and what it means to be an artist.

 

‪I don't turn to the future because I want to focus on the current events that will sculpt it‬‬

 

Ramos:  ‪gotcha

‬‬

so what happens when you only produce art? or do you always have to do something on the side?

 

to sort of inform the work

 

to have an experience away from producing - is that even necessary?

 

Robarts:  ‪My stance is that art should be socially relevant, it should speak and be of service. No one would listen to me if I wrote a book or ran in the elections

‬‬

art is a microphone for dialogue

 

‪To answer your question exactly‬‬

 

Yes, I always have to do something on the side to inform my work. I believe it gives a studio practice content with a capital "C".

‬‬

Ramos:  ‪agreed

‬‬

how else can you be of service otherwise? if you don't, at least, have a practice of observation

 

away from production

 

art is an opportunity for awareness of things beyond art

 

Robarts:  ‪Agreed. I've come to see it as a means to detach from production in order to reach my goal faster, if that makes sense...

‬‬

I'm not always in my studio. I have to work and it actually helps me make better work

 

Otherwise I would be producing a lot of work I probably wouldn't be so stoked on just to fill a space

 

Ramos:  ‪right - art for the sake of art

‬‬

i'm sure that can be justified as well

 

but i enjoy the servitude, humility, and gratitude, in your work

 

Robarts:  ‪it's a chance to say something but what I was trying to impress is that I believe it actually helps me make better work too. it's a win win scenario. I can practice a positive ethical lifestyle and - weird enough, it loops back into my work

‬‬

ultimately, having a studio practice is such a luxury

 

It's something that should be justified at the end

 

so the ethical and moral overhead in my opinion is pretty high