Mud, Paper, Wood
18 x 10 x 12 feet
Andrew Scott Ross: The defining work for the Rocks and Rocks and Rocks series is Paper Caves and Habits is the primary piece for the Bones and Bones and Bones series. These two series originated with these works. The video Habits which depicts a bunch of scattered living earthworms slowly forming a perfect circle came from my interest in the incredible habits of blind animals and how they can be an interesting metaphor for the power of nature. While Paper Caves, the group of works where I make early human dioramas out of office paper, is about how human imagination was utilized in the formations of early cultures. Somehow, everything I have made since these two works are built on these two pieces in a somewhat chronological fashion. For instance in Rocks and Rocks and Rocks I started with the Stone Age, then did some pieces about the Neolithic Era and just finished My Century Zoo which touched on themes of Archaic Greek culture. It has been a slow process and I am looking forward to make it to the French Revolution sometime in the next decade!
Detail of installation at the Museum of Arts and Design (MAD)OPP: Can you speak about your titling process for the pieces included in each series? ASR: My titling process is really different for the two series. The titles for Rocks and Rocks and Rocks are deliberately vague, picked at random, or generic. I feel there is already plenty of information packed in these pieces—so I make the titles more atmospheric. In contrast the titles for Bones and Bones and Bones are more descriptive, as I want to steer the viewers attention to certain aspect of an animals behaviour or physical traits.OPP: Your solo exhibition My Century Zoo, now on view at John Michael Kohler Arts Center, lists mud, paper, and wood as the materials used. You’ve used mud in your work before, but using it in My Century Zoo seems to lend to a slightly different look from your past installation work. How does My Century Zoo differ for your previous installations? ASR: Yes, I keep coming back to mud! At first I just dipped things into it to give a uniform primordial aesthetic. Now, in my newest series, My Century Zoo mud is used as a glue for the paper, drawing material, and for its sculptural qualities. It has become both a central material and metaphor in my work. We walk on mud, make cities out of it, and can get buried in it. What I find the most interesting, is that as an art material, mud comes across as immensely fragile.OPP: You often cut and crumble paper into small and incredibly delicate silhouettes of human and animal figures as well as into trees and other landscape elements. What's the hardest and easiest part of the process of making your sculptural paper work? ASR: People often ask me why I do not use a laser cutter. They look as the process and all they see is tedious labor. Not only would using a laser effect the work aesthetically and conceptually, but it would take away a lot of pleasure. I really enjoy most of the detailed cutting and modeling process—actually I find it incredibly relaxing. In contrast, the hardest and most frustrating part of the process is having to start over again when messing up on a complex figure—and the easiest part would be the deinstallation. It is amazing how six months of work can be put in a box in 2 hours.
Installation at Museum of Arts and Design (MAD)
OPP: Do you listen to anything while you work on the delicate elements or does your process require silence?ASR: I am always listing to music when working on my paper cutting, often film scores—they help me focus for long periods of time. OPP: What does a day in the studio look like for you? Do you “sketch” by drawing or does your process include other initial steps?ASR: Lately my studio is overwhelmingly messy! It usually involves laying down tarps, filling cement mixing troughs with stained mud, putting on a Tyvek suit, and throwing mud at large sheets of paper. There are cleaner days, where I cut and manipulate the dried mud caked paper, or apply charcoal. I have not been sketching with my new work, I have been working directly on the final surface. OPP: What is next for you? ASR: I have been working on some stand alone sculpture pieces made from mud and paper, and experimenting on video work with artist Vanessa Mayoraz. In the next few months I will be moving to a larger studio space in Tennessee. The space is an old Eastman Co. research site and warehouse recently donated to East Tennessee State University (where I will be teaching this Fall). I am very excited about making some large scale pieces there.