Interview with Cassia Powell
O.M.: This exhibition explores queer art history through gossip. Why was it important for you to show queer art history through gossip, especially since you could argue that gossip has negatively impacted young queer folk. (For example: rumors about a person鈥檚 sexuality).
C.P.: This is a good question, and it did come up for me quite a bit while I was developing this show, but I was kind of looking at it not so much as gossip about queer folk but gossip between queer folk. It is interesting that while I was putting the work up it was the first time that people were saying, isn鈥檛 gossip a really bad thing, why would you want to talk about it? I did some research into the subject to try to understand why it has such a bad reputation. If you look at it from a feminist perspective, gossip was something that started between women, and people often looked down upon it. This complicated relationship between women was associated with rumors and malicious intent. It was seen as being devious, but it wasn鈥檛 necessarily the case. It was often just like swapping stories and recipes or looking out for each other.
The idea is based on a book called In Between You and Me 鈥� the whole show, including the title, most obviously was heavily inspired by it. The author, Gavin Butt, talks a lot about the queer community in New York in the 50s and 60s and how they were looking to other gay artists for support; they wanted to know who to work with, who you could trust with coming out but none of this was really documented in a conventional way. They had to rely on this type of word of mouth. It was kind of a way to facilitate safety within these spaces.
You can鈥檛 really have a conversation about gossip without addressing the positive and negative aspects of gossip, and the horrible ways it has impacted the queer communities. It is a really interesting history to look at, I think there are good and bad aspects of gossip. I don鈥檛 see the show as so much of a celebration of gossip, but more like a commentary. A lot of the works in the show have this push and pull between comfortable and uncomfortable. You鈥檒l see that in a lot of the depictions of these figures.
O.M.: I noticed the characters you paint resemble humans, but they also have fantastical features. Is this a purely stylistic/aesthetic choice or is there a particular reason you painted them the way you did?听
C.P.: I think yes to both! 听It鈥檚 definitely my style, but it also has to do with the fact that when听I was in my third year of university, I did a three-month residency in Northern Iceland. The place where I was doing my residency was right next to a folklore and witchcraft museum. I ended up making a lot of drawings and being inspired by the local folklore. This interest led me to look into the world of goblins and demons, and the history of the area, which is kind of a contemporary history. People there still believe in these goblins and stories. This was an old fishing town, and people would put their shoes in certain places, or would not leave their lights on past a specific time so as not to upset the spirits. I was fascinated by the omnipresent combination of fiction and non-fiction, and the fact that folklore still has such a grip on modern society. So, all of the figures in my paintings were influenced by this and have maybe not demon-like quality but they have furrowed brows and brightly coloured skin. It has changed over the years, as I have developed my work, they kind of became these fantastical representations of grief or depression or euphoria. The colours and dramatic facial features become emblems of emotion. Also, it鈥檚 really fun to paint people like that.
T.B-L. + O.M.: Considering that installation and curating are essential parts of an exhibition, what drove the choices you made in regard to the placement of your artworks and the green colour of the walls?
C.P.: This is a really fun question. It was kind of an impromptu decision that I made before the show. The shade of green on the walls is called Gossip Green, and it鈥檚 in the same family as envy. I thought it would be interesting to fill a whole section of the space with this colour; so that it would take up your visual perception. But I didn鈥檛 want it to take up the whole room because there are some pieces in the show that carry a certain softness, a softer colour palette, and are a bit dreamier. I separated the works into day and night almost, if that makes sense. On one side of the gallery, where Comforter is (the star-shaped quilt), is the softer, more delicate side 鈥� the more comfortable side. Whereas the other side where the green takes up most of your field of vision is where the darker paintings are 鈥� with black, deep purples, or blues. There is a sort of nightmare-daydream relationship between the two. I also thought green made sense for the reading nook because this space is different from the rest of the exhibition, it needed to be its own little space 鈥� the green helped to delineate that space.听
T.B-L. A reading nook is a pretty unconventional addition to an art exhibition, what motivated you to include one in your exhibition?
C.P.: It鈥檚 something I have been playing around with a lot and has come into fruition over the past couple of years. I do a lot of curatorial and programming work with a collective, that I am part of, called the Dirty Dishes Collective ( ) We do a lot of community-based programming, creating alternative modes of bringing people together within academic spaces. Something we had been doing for a couple of years was creating a zine library as a way of showcasing other perspectives and bringing them into the academic context. Even when you have a solo show, you are never doing anything completely alone, it鈥檚 never just one person. There are always so many more thoughts and concepts and ideas that belong to other people or are shared and I think they deserve to be brought into perspective. It鈥檚 very difficult, especially in the context of this exhibition, when you鈥檙e talking about queer history in such a broad sense, to do so alone; it makes sense to bring in other voices.
For the past couple years, I have been thinking more about accessibility in art spaces and making sure that people will be able to have a better understanding of what they are encountering. If this is the first art exhibition someone has ever been to, where do they start? So having this reading nook makes things a bit more user-friendly, and also provides somewhere to sit in a comfortable chair.
T.B-L. Many of your works contain found objects that have made their way to you through family, friends or have been thrifted. What does using something that has been part of someone’s life within your artworks means to you and what is your process to decide which objects to use for any given artwork?
C.P.: That is a really good question. I don鈥檛 want to just chalk it up to intuition or subconscious decision making. A lot of the people in my life know who I am, what I do and what I like. They will often give me things that they know will speak to me in some way, shape or form.
I think the first time I took an object or material from someone else and implemented it in my work was when I was visiting my parents in the context of the sale of my childhood home. We went through a bunch of boxes of things, and I was feeling so sentimental and sad about it. They gave me a huge yellow quilt, which later became the star-shaped comforter piece. My mom had said, 鈥淥h, I don鈥檛 know if you are going to like it, it鈥檚 falling apart a little bit, but it鈥檚 been in our family for so long. You could cut it up.鈥� Maybe this is like a 鈥渟elfish artist moment鈥� but I was just thinking about how gorgeous the colours were and I was really drawn to the way the fabric was falling apart. I wanted to keep that aspect as it held so much history; it鈥檚 been passed down multiple generations and it was almost a challenge to use it. So, it was a combination of things visually: about how does it looks, what the extent of the story behind it is, and how can I make this work together with my paintings.听 The stories that they carry with them are a huge part of it, and it鈥檚 about how we interact with the world: a combination of story and intuition.
For a longer version of this interview, consult听/art-gallery/exhibitions/cassia-powell-in-between-you-and-me/
