The Los Angeles based sculptor (and one-time architect) Vincent Pocsik is perhaps most renowned for bringing to life every day household furniture and objects by augmenting the natural state of these creations, thereby conjuring up fantastical and supernatural “living” pieces full of dramatic prowess, that although carry the form and structure of the functional, seemingly breathe and rest in a type of limbo within their figure They neither belong to this world nor are they definitely resolving themselves to the outer.
The artist recently unveiled a mesmerizing, other-worldly series of sculptural works in the show titled Works of Sculpture 33 from his ongoing series on the Meridian; at FF-1051 Gallery, under the curatorial direction of its owner Holly Purcell (herself a champion of out-of-the-ordinary, provocative artistic works), taking inspiration from his recent artistic residency with “Long Ago, Far Away”, in Omaha, Nebraska. Upon first view, each exciting “living” sculptural piece suggests, or insinuates, that perhaps they might have individual structural and architectural languages of their own, especially considering they each certainly have an individual and significantly palpable characteristic of their own; all whilst putting forth the very questions of what might actually signify a functional piece versus what constitutes a piece of sculpture.
Quiet Lunch spoke with the visionary artist to learn more about is creative style as well as Works of Sculpture 33:
Vincent Pocsik: My approach, however, is inspired by the constant day to day. I am incredibly interested and fascinated by the human form as well as nature; both of these are constant starting points for me. And luckily both of these are in my life everyday.
QL: What materials do you predominantly utilize when designing and why?
VP: My material of choice is wood. I like the fact that it has been used make things since the beginning of time, yet it can still be pushed to create surprising results. Also, I feel that wood holds an intense amount of energy, which I try to use and hopefully contribute to.
QL: You once had a life as an architect. How does architecture transfer into designing furniture, and what elements of the profession do you find are essential within furniture design?
VP: I think Architecture is one of the most intense ways to study design. You are forced to understand design principles, material applications and the theory supporting these. I still work within these realms so to me there is not so much of a difference of approach; it is rather, just a difference in scale.
QL: What single designer and/or architect’s work has influenced you work and career the most?
VP: There is no single person of strong influence. I can say, however, that I am more influenced by artists than by designers or Architects. Francis Bacon’s work, for instance, is still a constant study for me.
QL: Your current series, Works Of Sculpture 33 is somewhat inspired by you resident with “On The Meridian”? How has the experience influenced your ongoing approach and investigation of furniture design?
VP: The work in the show is from the On the Meridian Series, which I continue to working on. The show was actually a showing to the start of On the Meridian, which will be an on-going work for many years. 33 simply is to my age and is saying this is where I am at this age. The residency work you are referring to was called “Long Ago, Far Away”. The residency did greatly inspire me though. It was my first time acting fully as a sculptor in terms of following my intuition and focusing fully on form rather than focusing necessarily on function. This process was very eye-opening for me, and in a way made me realize that this is where my strengths are. I’ve never really been big on making sure something could work properly anyway. I am much more interested in form and theory rather than creating an object which functions properly as a “table”. The residency helped me learn to trust my instincts more.
QL: The designs with Works of Sculpture 33 seem to take on a life of their own. What emotional experience did you find yourself going through and exploring when creating each piece?
VP: For me something should really have all of the emotions, I believe this is important in work and in life. I try to pack as many in as I can each day and bring that with me to the work.
QL: What would you like a viewer of your work to consider most in understanding your work?
VP: I would never want to decide that for a viewer. I am happy with whatever a person takes from it.
QL: Are there any materials you haven’t yet experimented with that you would like to explore?
VP: I am starting to explore carving stone; this is something I hope to continue to explore.
QL: What is next for you?
VP: I am currently prepping for a show that will be at the A+D Museum. I will be showing work that is a continuation of the On the Meridian Series. These works will be studies of the torso, which are overlaid onto pure geometric shapes. On the Meridian was a display of many ideas and now I will be honing in on each one more specifically, this being the start.
by guest contributor, Terry Doe
Quiet Lunch is a grassroot online publication that seeks to promote various aspects of life and culture with a loving, but brute, educational tinge. When we say, “Creative Sustenance Daily,” we mean it.