In conversation with Justin gaffery

JGM:

Justin, you are known for working with fluid materials. What was the impetus for working with metal in this series. 

Justin:

I started working with metal on a previous series . I think it was because of my obsession with materials and technique and as a texture artist acrylic paint was a gateway to the next level of texture which was carbon steel. I remember the moment I was jet lagged from flight back from overseas and took a day off at home to rest before I went  back to work and I thought about welding so I watched on YouTube video on welding and immediately ordered everything I needed to start mig welding and a few days later I was welding sculptural pieces with acrylic paint.

JGM:

Can you talk about the theme of this collection and the idea of solving the worlds problems 

Justin:

The idea that theses movements will solve the problems of the world come from my observation that we humans are constantly trying to find answers and sometimes we gravitate to some peculiar beliefs and myths that have a strong hold on our behaviors. It’s was fun trying to determine how each movement , pattern  and intersection could create some type of sacred movements not much different the chi gong ,Kinesiology mixed with geometry and simple machines .I am entertained of the fact that if I wanted to turn this into a belief , write some literature, create a group , file for a a nonprofit status and ordain a few leaders and we would have a movement however I was just having fun getting lost in my art.

JGM

Do you feel that The message in this body of work is more, or at least as relevant (considering what the world has been through recently) as when you first conceived this working narrative.

Justin:
This question reminds me when I was watching James Baldwin being interviewed on on Dick Caveat show recently and I thought this sounds like it could be a live interview today. My awareness of a lot of disparities in the country right now are hyper aware so in that sense there is relevance however the problems have always existed .

JGM:

What was the most challenging part of this project .

Justin:
I would have to say this was one one the most challenging bodies of work I ever made maybe only equal to teaching myself how to paint which took several years. I obsessed over this work often working 70 hour weeks over several months .each machine had to function flawlessly so the observer could participate in using the machines without problems .

JGM:

Where their any works by other artist that helped inspire or inform this body of work .

Justin:

there is a piece in the work that  has two axes joined together that discets between dark and light based on a painting by Thomas kinkade who gave himself the moniker “the painter of light”. I have used him in other themes because I was always fascinated by his populist brand of a wholesome painter of light which he was not in his personal life. He paints these warm comforting scenes of pastoral homes of warmth and comfort that take you to a primal place of safety. The axe cuts into the light that exposes the darkness that is hidden behind the perfect house.