Julian C. Duron, Home (2009), acrylic on house shaped panel, 40 x 50 inches, courtesy of the artist.
Jaquet Droz, the historic Swiss watch company, has teamed up with Parsons The New School for Design and the Museum of Arts and Design to create a prize for young designers and artists. Five finalists were chosen from Parsons late this spring and we’ll be speaking with each about their submissions. This week we hear from artist Julian C. Duron.
WHITEWALL: One requirement of the contest was to take risks in concept and design. Where in your project do you think you may have departed from your own style to attempt something new?
JULIAN C. DURON: I don’t think artists need to depart from their “own style” to attempt something new, and much risk can be taken in concept and design without abandoning one’s individual process, aesthetic preference or natural draw to a medium. It is more challenging to me to create something in my own style than it is to completely depart from it. I could render objects in a photo-real or cubist way, but the unknown or risk I face in my work is when I’m confronted with a new theme or object that I want to materialize in the world I have created. My world has rules that I have set up and it is more challenging to follow them than it is to break them. I work on sculpture, video, design, installation, and many other modes/mediums just as regularly as painting, so those practices alone certainly require a “departing” of sorts.
WW: You said that your surroundings play a big role in developing your mindʼs eye and your art is a result of translating that inner eye to canvas. How did this make you an ideal candidate for the contest?
JCD: Making art is meditation. When I start a new painting or project I look at my notes or sketch and execute the task utilizing as much freeform or improvised thought as possible. This meditation allows me to incorporate other thoughts and feelings into my work and the product usually satisfies me enough to keep going. Music, film, fellow artists and my environment also serve an important role in my creative process. The objective of this contest is to identify up-and-coming young artists that show a strong work ethic, innovative work and some talent. One of my favorite things about being an artist in the “internet age” is our ability to connect with other artists working in a similar aesthetic or in the same medium. The banding together forms what I like to call “mini-movements.” I believe connecting with like artists and opening up a dialogue about our work is very important. It has been very helpful in my practice.
WW: Why did you think that your approach to the contest would be precisely what Jaquet Droz wanted when he asked for innovation in design and craftsmanship?
JCD: I can’t be sure what Jaquet Droz had in mind, but I build every panel I paint on by hand, and I work every day even if it’s only for a few minutes or adding one small detail. I enjoy painting landscape and still life because I can sort of manipulate a rich academic tradition and make it something interesting, innovative or contemporary. Like I said, I will keep painting as long my work satisfies me enough to keep going. I work in a very cyclical way, meaning, one minute I’ll be obsessed with painting and the other I’m exploring 8 bit animations or mold making. I want to maximize practice in as many mediums as I can, and also bring people together, communicate with other artists, open up dialogue on the internet (www.fecalface.com; www.jduron.com) and in real life.
Julian C. Duron, Arrangement (2009), acrylic on Panel 27.75 x 30.5 inches, courtesy of the artist.
