One common theme with photographers is translating what one sees in their minds to the frame. This habit floats with us throughout our lives and we are gifted with the ability to create a window through which the viewer can peek into the lives of strangers and in some cases the mind of the photographer.
With Jane Szabo her work takes us into her inner self. It is rare to find such a unique translation of the 'self' in a photographer since most photographers photograph themselves to manifest this subject. Szabo chooses to show us elements of her memories that describe her as a woman, an artist and as an individual. The dresses she creates stand floating over a set of shoes or other objects that compliment the story of each outfit.
During a couple visits to her studio at the Brewery Art Colony in Los Angeles, CA Szabo maintained an almost obsessive work ethic creating dress after dress as if there were so many in her mind waiting in line yet to be made. With Szabo's exposure to the Set Design Industry one can't help but see the correlation to her current creations and the fact that she spent a lot of time around materials that she now uses to make her dresses. Almost osmosis but more environmental inspiration one might surmise.
To view Jane Szabo's work in person check out some of her upcoming events.
May 1-3, 2015: Photo Independent / Art Fair - Los Angeles, CA
June 7, 2015: Variable Voices, Lamperouge Gallery - Los Angeles, CA
July 11, 2015: Masks, Phantom Gallery - Hawthorne, CA
July 31, 2105: Kaohsiung International Photo Exhibit, Taiwan
Do you think if you had made the project ‘Reconstructing Self’ at a younger age that there would be more attachment to the sculptures?
Yes, that is a good observation. I build the dresses to be photographed, and in that sense they are an end to the means. Though I have always worked in a similar way and create very intuitively, the dresses in particular are so fragile and therefore transitory. They are just not built to have an extended lifespan, and I think there is some beauty in that impermanence.
You have a history of being in the set design industry. Can you elaborate on this and do you think that time and exposure had an impact on what you are creating presently with ‘Reconstructing Self?’
My background in film and television world started some time ago as a way to help pay my way through graduate school. One of the earliest projects involved making and scenic painting custom props for storefronts and rides at Disneyland Paris. To start working at that level from the beginning instilled in me a high attention to detail and quality control. As my career continued I learned more and more about materials and creating visual imagery. The act of building the dresses for this project has been a terrific blend of all my skills coming together into a final photograph.
Your studio space at the Brewery Art Colony has played a major role in your artist development. How important do you feel a dedicated studio space is to the artist and how has it changed your trajectory in the art world?
I don't think I said my space at the brewery has played a major role in my trajectory in the art world, but it has been hugely important to have the room to work, and now store over two dozen dresses. I actually have always enjoyed working from home where I could start and stop working at any hour, but space was just too limited to make the kind of work I needed to be making. More importantly, it has been my involvement with several local arts organization who sponsor critique groups, portfolio reviews and seminars that have helped me become engaged in the local art scene; from there I have gained an incredible network of peers.
If this project is titled ‘Reconstructing Self’ but the physical objects you photograph are impermanent then are the ‘dresses’ fleeting memories of yourself that you wish to capture?
I think memories and ideas and dreams are all somewhat impermanent and fleeting. How we feel on a day to day basis just changes; so while the work does relate a lot to memories and past experiences, I think that it also addresses the future and what may be.
Are the dresses more than memories? Feelings? Do they play a role in more than one of the five senses? Smell, Touch, Sound?
They are indeed memories and feelings, but they are also attitudes and moods. Smell and sound don't really come in to my thinking so much, but tactility is hugely important to me. The act of building the objects is the act of feeling the material and shaping it in the way that the material wants to move. I do not come to the studio with a drawing of a dress to be built...I just start handling the materials and it tells me what form it will take as it is being built. But as far as senses are concerned, I think ideas play a larger role - so if thoughts count as a sense....
You mentioned you took a home economics class in school, yet schools today have chosen to cut classes like home ec and art. Do you have an opinion on this ‘cost cutting’ measures that schools have been enforcing and how you see the importance of art in middle and high school education as compared to your own upbringing?
I took some time to think about this question before answering, and I think it is a perfect last question. I think the answer you might be expecting is that I took Home Economics. and learned how to sew a dress and clearly this is like art, so we need this in our schools.
Well actually, it couldn't be further from the truth, as I had limited exposure to art making in high school. When I was in school in seventh or eighth grade, the boys took wood shop and the girls took Home Economics. There was some crossover, but mostly it split right down the gender line. It never even occurred to me to take wood shop. I was excited we were going to bake something and that was enough for me. I made a dress. A really ugly brown velour dress that was basically a rectangle with a V-neck collar. And somewhere around that time I got the idea that being a workingwoman meant you would have to wear panty hose. By the time I got through high school, I just knew I could not enter the work force and dress in corporate attire. So there you have the reason why I decided to pursue art - I just knew I did not fit into a corporate wardrobe. I wonder what I would have decided if I had taken that wood shop class so long ago!
Networking is a catch 22. You can’t anywhere unless people know you and people can’t know you unless you get out and go places. Can you describe how networking has played a role in your art practice and encouraged momentum in getting your art seen?
After grad school I had very little skills at networking and though I showed a bit, I really did not have the skills to get my work out into the world. Fortunately I have overcome my discomfort about talking to people about my work and am thrilled to now have social media which makes it so much easier to stay informed of upcoming events and to connect with people who are equally engaged in contemporary art. I am constantly amazed when I meet people at openings who are familiar with my work even though we have never met because they have seen my work on Facebook or other sites. I try to follow other artist’s posts and attend their openings and events because it is so important to support your peers.