The List (Issue 589) - Andrew Mezvinsky
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November 1, 2007 In Press

The List (Issue 589)

Alexander Kennedy talks to Andrew Margolies Mezvinsky about his new work at Glasgowís Fridge Gallery, Southside Studioside Studios

Alexander Kennedy: Can you tell us about the work youíll be showing at the Fridge Gallery, your themes and subject matter?

Andrew Margolies Mezvinsky: The show is called Traumatic Ice Cream Dreams and deals with how your mind works when it falls into a dairy-induced slumber. Being mildly lactose intolerant, these dairy catnaps taken in the middle of the day have skewed my perspective of the rest of the working day. So, the figures are grounded in their own specific ecosystem of traumatic dairy-ness brought about by run-ins with death and weather (the local news).

AK: You come at the canvas from two very distinct, almost opposite, directions, treating it as a place where figurative work creates readable scenarios and as a medium in itself. Can you discuss this tension?

AMM: The tension you refer to between the painting as an object and of its illusionary qualities have always fascinated me. The surface of a piece should have just as much interest as the narrative statement the work makes. The scenarios are like quick snapshots, but I donít like to tell the viewer exactly what the work is about. It takes too much away from the viewer.

AK: Can you tell us why you decided to use materials other than canvas?

AMM: Painting has always been an inventive artform; techniques should not be limited when you approach a painting. I call my pieces fabrications, to get away from the history of painting. Paintings are ëuntouchablesí. Look, donít touch. But my work takes more of an active role as an object. People are able to relate to the fabrics I use within a split second, (fashion, quilting ñ fabric is all over the place), making them want to go up and physically touch the pieces, not just standing back appreciating the illusion of space, but wanting to get into the space itself.