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#artist statement – @nickkahler on Tumblr
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el laberinto

@nickkahler / nickkahler.tumblr.com

chronicling an eclectic labyrinth of architectural contemplation based in new york city
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1. Art requires time — there’s a reason it’s called a studio practice. Contrary to popular belief, moving to Bushwick, Brooklyn, this summer does not make you an artist. If in order to do this you have to share a space with five roommates and wait on tables, you will probably not make much art. What worked for me was spending five years building a body of work in a city where it was cheapest for me to live, and that allowed me the precious time and space I needed after grad school. 2. Learn to write well and get into the habit of systematically applying for every grant you can find. If you don’t get it, keep applying. I lived from grant money for four years when I first graduated. 3. Nobody reads artist’s statements. Learn to tell an interesting story about your work that people can relate to on a personal level. 4. Not every project will survive. Purge regularly, destroying is intimately connected to creating. This will save you time. 5. Edit privately. As much as I believe in stumbling, I also think nobody else needs to watch you do it. 6. When people say your work is good do two things. First, don’t believe them. Second, ask them, “Why”? If they can convince you of why they think your work is good, accept the compliment. If they can’t convince you (and most people can’t) dismiss it as superficial and recognize that most bad consensus is made by people simply repeating that they “like” something. 7. Don’t ever feel like you have to give anything up in order to be an artist. I had babies and made art and traveled and still have a million things I'd like to do. 8. You don’t need a lot of friends or curators or patrons or a huge following, just a few that really believe in you. 9. Remind yourself to be gracious to everyone, whether they can help you or not. It will draw people to you over and over again and help build trust in professional relationships. 10. And lastly, when other things in life get tough, when you’re going through family troubles, when you’re heartbroken, when you’re frustrated with money problems, focus on your work. It has saved me through every single difficult thing I have ever had to do, like a scaffolding that goes far beyond any traditional notions of a career.
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Dissecting the built environment and mining the fields of modernism, be it art or architecture, are through lines of my work. Recently, my practice has been influenced by a realization that my community in Atlanta is becoming increasingly void of its history as it reaches for a future of hopeful prosperity, constantly destroying to build again. This fluid evolution of the built environment interests me. By working with the materials used and discarded in this process − the cinder block, I-beam, plywood, sheet rock and plaster − I am trying to understand and capture the essence and power of these forms. My work is a visually abstracted form of documentation, a perspective that re-contextualizes the build environment. I strive to present the beauty of these pedestrian objects such that they become extraordinary. In many ways, I am celebrating and elevating those things that people take for granted.
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Officers should be instructed that bars simply bent may be used again, but if when red hot they are twisted out of line they cannot be used again. Pile the ties into shape for a bonfire, put the rails across and when red hot in the middle, let a man at each end twist the bar so that its surface becomes spiral.

William Tecumseh Sherman, "Instructions for Making Railroad Neckties," 1864

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