Hot Pants (from The Things We'll Carry), 2018. Cast aluminum. 21” x 2” x 18”
EMILY BUDD's cast sculptures explore the relationship between objects, humans and geologic time. Whether working in bronze, aluminum or conglomerations of concrete, plaster, paint, resin and found garbage, she reminds us that we are—right at this moment—in the process of becoming the fossils of the future. Emily earned her BFA in Sculpture at Miami University in Oxford, OH and her MFA at California College of the Arts in San Francisco. In 2018, she was an Artist-in-Residence at Recology (San Francisco), Salem Art Works (Salem, NY) and will be rounding out the year at Brush Creek Foundation for the Arts (Saratoga, WY). In September, she created a one-night installation at the Abandoned Railroad Station in Salem, New York titled The Exorcism of Emily Budd. Emily is currently based in the Bay Area.
OtherPeoplesPixels: What do you love about bronze as a medium and/or casting as a process?
Emily Budd: Foundry casting techniques interest me by embodying both a traditional craft but also an evocative potential to address themes of time, loss, mimicry and fossilization in a contemporary context. I like this harmony of temporalities, and I regard the extensive process involved in getting there as a metaphor for a journey of transformation.
Water Bottles, 2017.
EB: I use layering to evoke geologic strata that to me, is also a creative record of time that is additive, liquid and dirty. That is how the earth and time tell their story, a diary using stratification as a language. In Artifictions and Water Bottles, I transformed garbage into imagined geologic matter, altering and stratifying it into molds made from discarded objects, as if formed eons beyond their use.
Vulcan's Stockpile, 2018. Rebar, joint compound, graphite, plaster, concrete, paint, broken glass, caulk, epoxy, plastic, sand, grout, garbage. 42” x 18” x 34”
OPP: For the mold-making-challenged among us, can you explain lost-wax casting?
EB: Lost-wax casting is ancient but it stayed sexy. I love the exchange of liquid to solid, solid to liquid, heat and alchemy. You build a form in solid wax, and put a sturdy material around it such as a plaster or clay. Applied to heat, the plaster or clay hardens and yet the wax, like a candle, melts out in a designed escape plan. This is my favorite part of the process, and also the most anxiety-inducing because after the wax melts out, there is no sculpture. There is only a void left that the molten material can be poured into, recreating an exact copy of the original in durable metal.
OPP: What happens to the original sculptures after the metal version is made in works that use a different casting method?
EB: That depends on the type of mold you make. In lost-wax, the wax melts out so you lose the wax form. There are variations on this process and strategies of using it in more experimental and modern ways. I have explored many different materials other than wax using the lost-wax process. I have burned out fruits and vegetables, seeds, wood, plant matter, garbage and textiles as a means to immortalize them, documenting their otherwise impermanent existence into long-lasting metal to ask deeper questions about the perception of time scales.
Cast Forward (Archway), 2018. Styrofoam, plastics, textiles and garbage cast in solid aluminum, steel rebar, plaster, iron oxide, ink. 59" x 96" x 22"
OPP: You were an Artist-in-Residence at Recology in 2018. Will you tell us about your experience at this unique residency? How did it affect your practice?
EB: The Recology residency was really cool because you get access to the public dump and therefore anything discarded there. It makes you start looking at literally everything as a potential art material, even beyond the residency experience. I approached my trash-digging there thinking in terms of archaeology, imagining how our discarded materials will inform a future about our derived present.
Stalagmites, 2017. Aluminum. 22"-74" h, 5" -19" w/d
OPP: In Cast Forward, you shifted from bronze to cast aluminum. . . was this a practical, aesthetic or conceptual shift?
EB: Both bronze and aluminum have conceptual interest for me. Bronze is used in death memorials, grave markers, cremation urns and monuments, so it has this capability of retaining memory that is interesting to me when that is shifted. In my piece Lost Wax, I did a lost-wax burnout using a raw beehive honeycomb original to memorialize a potential future loss of bees. In Cast Forward, the aluminum, being lighter and cheaper, allowed me to realistically explore larger forms which I wouldn’t have been able to do in bronze. I also like how aluminum is newer and in a way tackier with its chrome-like reflection, like the more contemporary attitude of quick and cheap built environments.
The Exorcism of Emily Budd, 2018. Cast iron, cast beeswax, found furniture pieces.
OPP: So what’s next? Any new directions in your studio?
EB: I’m developing a new body of work that I think will open up a lot more over the next year. I am collecting fossils and found objects and experimenting with various casting materials such as beeswax, iron and glass. I am reimagining post-apocalyptic tropes by designing artifacts that display a dissonance within our current world. Thinking out of context of time and place, I want to make objects that memorialize change and unknowability.
To see more of Emily's work, please visit emilybudd.com.