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| Alex Zecca, December 6.2007 (30"x 30") |
ALEX ZECCA Interviewed by Franz Schnaas
Some years ago, pointillism painting-as-method, enthralled my mind to the point I could barely remember the actual representations rendered in Georges Seurat's work. Experienced in person, I dived for the granular, mesmerized, analyzing the intricacy of his colored dot clusters and the possible systems implicated to produce such complexity of the impressionistic kind.
Little over a year ago at Gallery 16 in San Francisco, I encountered Alex Zecca's planar, line meshes for the first time. A dejà vu of sorts, as his work instantly drew my attention and invited a closer look. Intricate systems, deployed by a mind who is evidently keen on the phenomenological effects stemming from simple rules, hand-drawn lines, and the programmatic shift of angles, became apparent. Variables such as frequency, sequence, color tonalities –and of course, repetition, carefully orchestrated –and layered, to reveal complex patterns, seemed at the center of the artist's drive.
Whereas Seurat's process
applied color and optical theories of the late 1800's and explored the
relationships of complimentary colors in particular, it aimed to
construct impressionistic representations of the real, the 'dot' was
his constant.
Zecca's work eschews representation altogether, but
it also defies the catch-all labels of 'minimalism' or 'op-art' by
honing-in on 'process.' He has defined his own working paradigms and
methods, and his constant is not only the 'line' but its projection in
time.
His work can be seen through the lens of a new pragmatism
evident in other contemporary productions, such as strains of minimal,
highly structured, electronic music which aptly enough are, by and
large, made with digital sequencers that facilitate systematic layering
and repetition.
Zecca's new work beams out vortexes and
dimensionality. It bit-streams new patterns and projects delicate color
waves that unfold at the intersection of every set of hand-drawn lines.
I
recently caught up with the artist to discuss this new geometric
imperative in his work. Show opens Friday 29, 2008, 6- 9 pm at Gallery 16 in San Francisco.
FRANZ SCHNAAS_Where does the work begin and when does it end?
ALEX ZECCA_ The most recent drawings begin with a formula, and specific sequence
and spacing of colored lines. After that it's just a matter of
executing the processes. A series of drawings may all contain the exact
same amount of lines all in the same places, so I know just when it
ends. That part of the process is great. It really forces me to work it
all out before I begin and then the results are what they are. Whatever
happens, hopefully I've learned something from the exercise.
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| Alex Zecca, January 19, 2007 |
Fz_
When you set a formula, do you envision the final result or you leave
it as a systemic phenomenon, meaning you set a system and the process
unravels and yields a surprise?
AZ_ Both. When I set a sequence in motion I have some idea or instinct about what will happen but it always yields a surprise.
Fz_ You described the work as formulaic, you mean there is an algorithm to your work?
AZ_
Yeah, I guess I'm a little involved or obsessed with the process. Each
drawing has a specific algorithm worked out. In the 'cone
or cylindrical' shaped pieces in the show, I use the sequence
(or algorithm) to mix colors. I follow the somewhat simple, repeating
patterns that become condensed as they move towards the same fixed
point. Producing a radius form.
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| Studio Visit |
Fz_
This series involves more geometry than the more planar, grid-like
works I have seen before, is your mind lusting over new potential
shapes to come?
AZ_
The changing geometry is a part of that 'surprise' experience. As I
make small adjustments, like in the way the angled lines intersect or a
slight change in the position of the fixed radius, the effect is
profound. As far as my mind, it is usually lusting.
Fz_ Are the 'sequences' in your work metaphors for other sequences found in art or nature? Music? Astronomy?
AZ_
Oh yes. Isn't it all made up of the same stuff anyway? I've always been
attracted to physics and the planetary sciences, and how it all comes
down to mathematics. I take comfort in that. Although I barely get it.
Fz_ Expand a bit about your relationship to 'the line'?
AZ_
The line does it all for me. I find the action and the result so right.
It's a finite and complete mark. And for this work it's a perfect
building block.
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Fz_
Why do you stick to the analogue process? Are you ever tempted to build
the same effects in illustrator in the computer? (if not, why not?)
AZ_
The 'by hand' aspect has always played an important role in my work.
Even when I was painting, I spent the majority of my time hand-mixing
pigments and fine-tuning the paint-making process. Not to take away
anything from computer or digitally generated images, they
are increasingly more part of our lives –art or otherwise, for me
that's where the connection to an old-world-like, analogue, process
holds so much importance.
Fz_ What other art expressions influence your work? What about it (them)?
AZ_
Music has such a real power to impact you on an emotional level. The
same way visual art can. I'm very involved in music when working. There
are moments of a 'Tai Chi', drawing in rhythm, kind of thing that goes
on.
Fz_ What kind of music do you listen to when you work?
AZ_
It's all over the place... the last couple of months I've been loving
the new Shins and new Radiohead albums. But I can go anywhere from,
Built To Spill, Deftones, and Ween, to old Goodie Mob and the Roots,
and even the occasional Cagedbaby mixed in.
Fz_ Where does light come into play?
AZ_ It's an integral component in color mixing, which is where my head is much of the time.
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Fz_ How you negotiate your color mixing? What
saturations, primaries, complimentary relationships come into play into
the algorithms and how do you dial them for the final effect?
AZ_
The color mixing within the context of the algorithms has been a real
'learn as you go' experience. One combination of sequences takes me
somewhere, I'll make an adjustment in color or order, always keeping
track, and systematically working combinations. I ain't no scientist
but I try to work like one.
Fz_ At what point in the 'process' do you allow shifts away from the formula, if any?
AZ_
At times I'll allow myself more freedom, to go at it with a looser
plan, but it seems the more I work on these drawings the more
regimented and structured they become.
Fz_ What about morays? How do you manipulate or allow them to
happen? Where do these fall in the intersection of light/color and your
algorithmic approach?
AZ_
The moray and interference patterns are another wonder of the geometry
and the algorithms. And as soon as I stumbled across them I was hooked.
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| Alex Zecca, February.8.2008 (Detail) |
Fz_ Are there any accidents in your work? Is there room for any? What happens if the process is interrupted by a wrong line?
AZ_
Oh yes, there are accidents. The pens spit out ink, on occasion a line
will go a wry. But no matter how obsessive or careful I am, they are
hand made. And any evidence of that serves as an
important distinction from things made mechanically.
Fz_ Do you know the works of any digital/electronic music artists? Who, what draws you to their work?
AZ_
In terms of electronic music, as a child of the 80's I was very aware
of computerized music. From Craftwerk to Brian Eno and others I
wouldn't admit. These days I'm crazy about RJD2, Talvin Singh, and D.J.
Shadow. They are each purists. And masters of assembling sounds.
Fz_ Are you familiar with the music of Frank Bretschneider?
AZ_
No I'm not, but I just checked him out and I should be! I'd love to see
it live. The interplay between visual stimulus (light and geometry) and
those precise thumping sounds. Thanks for the introduction.
Fz_ You are a native San Franciscan, what about your experience growing up here do you credit for any direction in your work?
AZ_
We're all a product of our environment. I was exposed to a lot of art
as a kid and my Mom studied at SFAI in the late 70's. Those days were
nuts! From chaos comes order. In some way it must have directed my
work, but mostly being from SF just makes me cynical about everywhere
else in this country. We're out west on an island I'm afraid.
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| Opening Night |
Show opened Friday 29, 2008, 6- 9 pm
GALLERY 16
501 Third Street (@ Bryant)
San Francisco, CA 94107
415.626.7495
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