Lindsay Montgomery lives in a world where unicorns and bubble gum travel in the same sentence along with glitter, puff paint, barbiecakes, florescent anything, Paris Hilton, gossip magazines, and more glitter. Did I mention glitter?
It's no surprise that through her exposure to pop culture via mainstream media she has combined her adoration for celebrity princesses like Nicole Richie, Paris Hilton and Kim Kardashian with her love of pictorial arts. Through her Advancement to Candidacy Montgomery demonstrates how idolization can manifest into a 3D form while still using paper and paint and of course glitter.
In addition to the traditional elements Montgomery has also incorporated poloraid images into the mix thus bringing back a nostalgia from the 80's that gave us a personal momentos shared only within one's own hand.
1. You use vibrant colors in all of your art pieces. Does this evoke some type of emotional reaction within you when you do this? And are you trying to evoke a reaction from your viewer as well?
I have had a hypersensitivity of how colors are their best selves next to another color, specifically with pastels and neons next to an ordinary color. I think it has to do with my need to control my external space by placing certain color items next to another to feel at peace. I am attracted to the most hyperreal, unnatural colors that remind me of candy, my childhood toys, specifically barbies makeup and fake orange skin color in the eighties, gems, nail polish, makeup, and royalty. I am constantly archiving every price up request product I love in high fashion magazines in my sketchbooks, so I pull colors from fashion a lot.
2. You have fluctuated from 2D to 3D with your work. Is there are sculptor within you that you are trying to bring to the surface? And what do you think you are capable of making one day that sculpture is helping lead you to?
I consider everything I make a painting, even if it has three dimensional elements. I have always been intrigued by installation and transforming a space in order to transport a viewer into a piece of my elaborately ornamented world. I think what I am craving is creating an over the top environment and space that conveys my ideas of abundance and obsession completely.
3. With your Barbie Cakes I noticed a stepping back of perfection that a lack of control seemed therapeutic for you. Are you more inclined to experiment with a sort of chaotic system of working? One with less control and more of a discovery during process?
Perfection and control is something I struggle with on a daily basis. Letting go is something I am after in my art work and in life. Keeping track of every item I own down to the square inch of space that it resides in is something that is evident in the way I work. I'd love to get to a place in my work and in life where I can be less perfection oriented.
4. Celebrity has a strong hold on your work. Can you speak to when this subject matter first entered your work? And why you feel celebrity performance is the highest form of art?
I think the image production of artists and celebrities (which to me are synonymous), is a high form of art. Specifically with celebrities because they have a constant exchange with what the public demands of them and they constantly have to reinvent themselves according to the most contemporary American Dream. My favorite female celebrities, Paris (Hilton), Nicole (Richie), Lindsay (Lohan), Kim (Kardashian), Britney (Spears), Mary-Kate and Ashley (Olsen) have been a part of my work since they became really really famous, which was around 2005. I think that is when the public and paparazzi's relationship with fame really changed.
5. The writings that accompany your shows are an art form all their own. Do you feel the writing extends the art and is your intent to give the reader a second experience through words after they have seen your pieces? And can you give us a little taste of your colorful writing style?
For me writing is an extension of my work, to give a viewer another point of access if they need something else. Since I work non-representationally, and in a very high culture meets low culture manner, certain people judge what they view like they judge celebrities. They are looking for something to explain the spectacle, so I give them the same world again but in words.