Erinn Coxx Interview

Dwayne Butcher's Artist Interview with Erinn M. Coxx 7/5/07

Erinn M. Cox is a South Carolina native who recently received her MFA from the Memphis College of Art. There her focus was in Sculpture, Installations, and Photography. She has exhibited her work throughout the country as well as in Hungary and Spain. She is currently an artist-in-residence at the Jentel Artist Residency Program in Banner, Wyoming. She will spend the rest of her summer as an artist-in-residence at ElsewhereElsewhere in Greensboro, NC.

Dwayne Butcher: On June 7, 2004 you nearly died. What happened?

Erinn Cox: I HAD A PULMONARY EMBOLISM IN MY LUNG THAT CAUSED MY LUNG TO FAIL THREE TIMES. I STAYED IN THE HOSPITAL FOR 2 WEEKS, MOST OF WHICH I DON'T REMEMBER BECAUSE OF THE VAST AMOUNTS OF MORPHINE, AND THEN WAS ON BLOOD THINNERS FOR A YEAR WITH WEEKLY MONITORING AND TESTING.

DB: Working with the knowledge that you almost died and ultimately will die, explain how does this knowledge manifest itself into your studio practice and how do you wish to translate this knowledge to the viewer?

EC: WHEN I BEGAN WORKING ON THESE EVENTS, THERE WAS A SERIES OF THINGS LEADING UP TO THE PULMONARY EMBOLISM (SMOKING, BIRTH CONTROL, FAMILY HISTORY) I STARTED BY TRACKING EACH EPISODE THAT CULMINATED IN THIS MAJOR HAPPENING. I LOOKED AT EACH SCULPTURE AS A POLAROID, TRYING TO CAPTURE WHAT I WAS FEELING ABOUT IT THROUGH BOTH PROCESS AND END RESULT. THOUGH I HAVE ALWAYS FELT THAT I GOT EVERYTHING FROM WORK THROUGH ITS CONSTRUCTION, I WOULD DEFINITELY SAY THIS IS WHEN I BECAME ABSOLUTELY RAPTURED WITH PROCESS. I TACKLED BIGGER PIECES WITH LARGER QUANTITIES OF MULTIPLES OR SIMPLY LARGER IN SCALE. AND I'VE NEVER TRIED TO HIDE THE PROCESS FROM THE VIEWER, I BELIEVE MOST PEOPLE ARE CURIOUS ABOUT ARTWORK AND OFTEN WANT TO KNOW HOW IT’S MADE. SO, IN A WAY, THE PROCESS IS THE ENTRY POINT FOR BOTH THE VIEWER AND ME.
AS FAR AS TRANSLATING THIS, I DON'T FEEL THIS IS COMPLETELY RESOLVED YET DUE TO ITS NATURAL COMPLEXITY - HOW DO YOU TRANSLATE DEATH IN A BEAUTIFUL WAY? PART OF THE GRIEF AND MOURNING IT TAKES TO WORK THROUGH THIS DICTATES THAT, BUT I DON'T KNOW THAT I'VE FULLY ANSWERED FOR MYSELF YET. RIGHT NOW IT’S ENOUGH TO KNOW THAT I'M OK WITH DYING, THE FEAR OF IT HAS BEEN REMOVED.

DB: You work with a variety of materials, such as; human hair, plaster, foam, glitter, fabric, etc. Do the materials dictate the piece or do the ideas dictate the materials?

EC: MATERIALS ARE LIKE MY DRUG, I LOVE THE WAY THINGS FEEL WORKING THROUGH MY HANDS. AND I WOULD SAY I GO BOTH WAYS IN THEIR SELECTION. MY IDEAS START IN MY HEAD, I HAVE AN EXACT PICTURE OF WHAT AN OBJECT WILL LOOK LIKE AND THEN I MAKE IT. ITS VERY SPONTANEOUS ONCE IT FINALLY HAPPENS, BUT I THINK ABOUT AND RESEARCH THINGS FOR WEEKS AT A TIME. I TYPICALLY CHOOSE MATERIALS THAT HAVE A TACTILITY TO THEM, BUT THAT ARE ALSO TACITLY KNOWN AND CAN HAVE MULTIPLE INTERPRETATIONS FOR MEANING. FOR EXAMPLE, HUMAN HAIR CAN BE COMMEMORATIVE OR SEXUAL. I ALSO HAVE THIS INSANE NEED TO MAKE BEAUTIFUL THINGS, SO THEY HAVE TO FIT WITHIN THAT CATEGORY AS WELL. ULTIMATELY, I LOVE LEARNING NEW PROCESSES, SO ANYTIME I CAN INCORPORATE SOMETHING NEW I'M GOING TO. ESPECIALLY IF I CAN DO IT IN AN INOVATIVE OR INTERESTING OR SURPRISING WAY - EVEN IF ITS JUST THAT WAY TO ME.

DB: You recently had two exhibitions in Memphis, your MFA Thesis show and an installation at The Medicine Factory. How did these two shows relate and, according to Carol Knowles, did you "find optimal conditions for another round of life?

EC: I ENJOYED CAROL'S THOUGHTS, SHE HAS A KEEN EYE WHEN LOOKING AT MY WORK AND SHE PICKS UP ON THE NUANCES AND CODED INFORMATION WITHOUT ME HAVING TO SPELL IT OUT FOR HER. SHE IS MY DREAM VIEWER IN A LOT OF WAYS. THE MFA SHOW IS A TRICKY BUSINESS, REALLY, AND I FOUND IT DIFFICULT TO EDIT DOWN WHAT I WANTED TO SHOW AS THE CULMINATION OF MY TIME AT MCA. AND I FEEL LIKE I DID AND WAS PLEASED WITH THE OUTCOME. I FELT LIKE THE PIECE AT THE MEDICINE FACTORY WAS THE PIECE THAT REFLECTED THE REST OF WHAT I WAS THINKING ABOUT FOR THE MFA SHOW, THOUGH IT REALLY ONLY WORKED IN THEIR SPACE. THE WORK IN MINE, FOR ME, WAS CYCLICAL. IT REPRESENTED WHERE I WAS, WHERE I AM, AND WHERE I'M GOING, WHICH IN THE END IS HOPEFUL BUT UNCERTAIN. THE JEWELS AT MFAC ENCASE ALL OF THAT IN ONE PIECE. 9 IS A CYCLE, 7 OF THE KIDNEYS WERE DISEASED YET 2 WERE STILL HEALTHY. THE NEWNESSS AND FRESHNESS OF THE PIECES SUBMERGED IN THE DIRT ARE THE CONTRAST FOR ME OF THIS DEBATE ON LIFE. I KNOW I WILL DIE, I CONCEDE THAT, I JUST DON'T WANT TO GO HOW I ALMOST DID I GUESS. I'M FINDING IT MORE AND MORE COMPLICATED AS I GO, NOT THE OTHER WAY AROUND. BUT THE AMBIANCE AT THE MFAC TOTALLY MESHED WITH THE AESTHETIC OF THE PIECE IN A WAY THAT I COULD NEVER HAVE CREATED ON MY OWN - THAT PLACE IS MAGIC.

DB: How did you get hooked up with the show at The Medicine Factory?

EC: I WENT TO THE FIRST SHOW AND I EMAILED PHILLIP TO TELL HIM HOW MUCH I LOVED THE SPACE AND ASKED IF THEY WERE REVIEWING PORTFOLIOS. HE SAID THEY WERE AND I SENT IN MY STUFF. I LOVED SHOWING THERE AND LOVED WORKING WITH HIM AND JULIE AND JASON. THEY MIGHT BE THE MOST FANTASTIC GALLERY OWNERS EVER! I HAVE NEVER FELT SO SUPPORTED IN EVERY ASPECT OF THE EXHIBITION PROCESS.

DB: Speaking of recent MFA's. How was your time at the Memphis College of Art? Where did you come from?

EC: THIS IS A GREAT QUESTION NOW THAT I'M NO LONGER IN MEMPHIS, TWO MONTHS AGO THIS WOULD HAVE BEEN A TOTALLY DIFFERENT ANSWER. I CAME TO MCA FROM NORFOLK, VA WHERE I HAD LIVED FOR ABOUT 3 YEARS. TO BE HONEST, I HAVEN'T QUITE RESOLVED MYSELF HOW I FEEL ABOUT MY EXPERIENCE THERE, I'M WAITING TO GET TO THE STAGE WHERE EVERYTHING BLURS TOGETHER AND GETS SUGARCOATED AND I CAN JUST REMEMBER THE POSITIVES. I ADORE SOME OF THE FOLKS I MET, AND I LOVED BEING INTRODUCED TO PHILOSOPHY BY NONA (SHE CHANGED MY LIFE REALLY). I LOVED WRITING THE THESIS, LEARNING TO WRITE AND THINK SO CRITICALLY ABOUT MY OWN WORK AND OTHERS AND GETTING TO WORK WITH SOMEONE LIKE DIANE WAS SUCH A PLEASURE. I LOVED LEARNING METALS WITH RICHARD AND I LOVED, LOVED, LOVED TEACHING WITH NATHANIEL. BUT I ENJOYED CLEANING OUT MY STUDIO AND LEAVING AS WELL. ASK ME THIS AGAIN IN A YEAR AND I THINK I'LL HAVE COME UP WITH A MORE TACTFUL, HONEST ANSWER FOR YOU.

DB: How come you never invited me to be a part of your cool MCA MFA lunch click?

EC: THIS MADE ME LAUGH. AND REALLY, ITS UP TO KEVIN - HE'S THE BRAINS BEHIND OUR WHOLE OPERATION. YOU SHOULD MAKE YOUR MOVE THIS FALL WHILE HE'S CRAZY WITH HIS THESIS, BRING LOTS OF TEA.

DB: You are currently at the Jentel Artist Residency in Wyoming. What are you working on? Has there been any panty raids involving the other artists?

EC: I AM WORKING ON A SERIES OF PIECES TITLED "MANSIONS OF MEMORY" WHICH ARE CAST PLASTER ORGANS, STILL, BUT CREATING HEALTHY UNDISEASED ONES (OR SO THEY APPEAR). I'VE BEEN READING A LOT OF EDWARD S. CASEY AND HAVE BEEN CREATING SOME SMALL DRAWINGS ABOUT HIS WRITINGS AS WELL. THEY HAVE THIS AMAZING PURPLE AND COPPER LEAF THAT I GOT IN BUDAPEST OVER CHRISTMAS, THEY'RE LOVELY REALLY. ITS BEEN SO NICE WORKING ON MY OWN WITHOUT ANYTHING TO PROVE OR ARGUE OVER - THINGS SEEM TO BE COMING TOGETHER MORE SEAMLESSLY HERE. NO PANTY RAIDS YET, THOUGH I AM WITH A GROUP OF ALL WOMEN (4 ARTISTS AND 2 WRITERS). I'M REALLY ENJOYING THE 2 POETS, THEY MAKE THIS REMOTE PLACE FEEL LIKE HOME AND MAKE ME LAUGH HARDER THAN I HAVE IN A LONG TIME.

DB: What are your immediate and long term plans after the Jentel Residency?

EC: IMMEDIATE PLANS ARE TO GO TO YELLOWSTONE FOR A FEW DAYS AND SEE THE GRAND TETONS. TRAVELING ACROSS THE COUNTRY VIA CHICAGO, OHIO, WV, TN, AND NC TO SEE FRIENDS EN ROUTE TO MY PARENTS HOUSE IN SC FOR A FEW WEEKS. IN AUGUST I GO TO ELSEWHEREELSEWHERE IN GREENSBORO, NC FOR A MONTH FOR A RESIDENCY (OF WHICH I ABSOLUTELY CANNOT WAIT TO DO) AND THEN I DON'T KNOW. I WANT TO TEACH, SINCERELY, BUT I'M FINDING THE JOB MARKET UNBEARABLE FOR A NEW ARTIST OUT OF AN MFA PROGRAM. THERE ARE SIMPLY TOO MANY OF US. I HAVE A TENTATIVE TEACHING (1 CLASS) POSITION IN SC FOR THE SPRING BUT WE'LL HAVE TO SEE WHAT ELSE PANS OUT. MANY DAYS I JUST WANT TO GET IN THE CAR AND DRIVE UNTIL I HIT WATER OR RUN OUT OF MONEY. OR FINALLY FIND MY BENEFACTOR WHO WANTS TO SUPPORT ME FINANCIALLY. HONESTLY, I'M JUST TRYING TO NOT MAKE DECISIONS BASED ON FINANCES AND FIGURE OUT WHERE IT IS I REALLY WANT TO BE TO MAKE A GO OF ALL OF THIS. AND IF I COULD BRING MY FRIEND SAM AND HER DOG SOPHIE WITH ME, I KNOW IT WILL ALL WORK OUT.

DB: Who are some of your favorite artists both historically and contemporary?

EC: DALI, LOUISE BOURGEOIS, MATTHEW BARNEY, WENDA GU, DO HO SUH, KIKI SMITH, JOSEPH CORNELL ALL COME TO IMMEDIATE MIND. OOH AND LAURA SPLAN, JASON FERGUSON, TIMEA TIHANYI, AND NATHALIE PHAM ARE NEW FAVORITES.

DB: What is your favorite movie? color? book? smell? and food?

EC: FAVORITE MOVIE OF ALL TIME IS A TIE: BRAVEHEART AND SWINGERS. COLOR: TURQUOISE TO WEAR, PINK TO PAINT.
BOOK: I CAN'T PICK ONE SO I WON'T TRY BUT RECENT FAVORITES ARE IMAGINING & REMEMBERING (BOTH BY EDWARD S. CASEY), PHENOMENOLOGY OF PERCEPTION BY MERLEAU-PONTY, LETTERS TO MILLENA BY KAFKA, AND THE LOVE LETTERS OF RUMI. FOR FUN I ALSO LIKE SUSIE JANE GILLMAN'S HYPOCRITE IN A WHITE POUFFY DRESS, GREAT SMART ASS MEMOIR.
SMELL: SUN TAN LOTION.
FOOD: MY MOM'S RED VELVET CAKE.