The Economy of Poetic Verse: Interview with Stacey Beach
Stacey Beach is a painter without paint, making two-dimensional works of fabric, both solid and patterned, incorporating hand-drawn and screen-printed elements. Inspired by the economy of poetic verse and the transgressive in fashion, she works with collage, beginning with a pared down vocabulary of shape and form. Beach allows the fabric to make its own moves once it is sewn and stretched on a panel, allowing the wrinkles and pulls in the textile to add to the composition. The works embrace awkward and uneasy relationships, exploring the concepts of beauty and anti-beauty, construction and decay, form and void.
Stacey Beach lives and works in Berkeley, CA. She received her MFA from California College of the Arts and has exhibited in California and New York, where she worked as a studio assistant to Takashi Murakami.
Tell me about your creative journey so far. Were you creative as a child? What made you decide to pursue art?
Art making has always been a part of my life, and from my earliest days in school, the art room was where I felt at home and felt that I belonged. My parents were always supportive of any direction I wanted to take, so when I decided that I wanted to pursue art in school, they supported that 100%. I went to both undergrad and grad school for painting and have never looked back. It has always just been what I do. This means I have worked many odd jobs, waitressing, in cafes, galleries, and as an art assistant, but have always had the mentality that these are the job but my work is my artwork. I have had my ups and downs with that balance though, and at times the 9-5 job has defeated my creativity. I feel like I've come to a place where I don't feel like I have any more time to screw around, like this is it, and my drive is stronger than ever to make the work that I see in my head.
Where did your interest in textiles come from?
Since I was a child, fashion has fascinated me, and I love the idea of decorating one’s self. I love the drama of fashion and pattern, form and proportion. I learned to sew when I was young and it has always been a tool in my home, but never a serious pursuit. Painting was my main interest creatively. But after a few years of creative frustration after working as an art assistant in NY, I started quilting when I was pregnant with my son, and sold quilts for a time when I was feeling that I just wanted to make useful things rather than art. I quickly realized I did not find joy in recreating my quilt designs and what I was making was becoming much less quilt-like and much more like my paintings. I feel I’ve finally found a medium that is much more personally connect to my sense of self than paint.
What is your current body of work about?
I am currently working on a series that focuses on textiles and highlights the medium of fabric as the subject of the work. The craft of construction through sewing is of critical importance, the textiles are joined by a thread, not glue, resulting in pulls and wrinkles when stretched on the final panel support. The pulls create line and texture, imperfections and a tactile closeness. I am currently interested in spaces that are traditionally female like interiors and looking at objects of decoration.
Talk about your experience working with Takashi Murakami. What were some highlights and important things you took away from it?
Working for Takashi was a once in a lifetime experience, I am super grateful to have had that opportunity. I admire his dedication to work and art, and the team that I worked with was an amazing group of artists. We were really on a crazy ride together. Painting for another artist is something that was hard on me creatively, we worked such long hours there was nothing left outside of work. I kept pulling back my hours until finally, I needed to make a drastic change to reclaim my creative life and moved to New Mexico. I took this time as a time to work with no one looking, to reassess what was important to me in art. I focused on line drawings and collage. I didn’t paint again for years.
Describe your creative process. How does each work come to life?
It always varies, there may be an image that is stuck in my mind, like the coat in Matisse’s Woman in a Purple Coat and I really wanted to make a piece like that, that had a prominent textile as the composition. Other times there may be a pattern that I’ve designed and screen printed on several yards of fabric and keep playing with until it finds a home. Other times, pieces that didn’t turn out as I wanted are cut up and that edited form is the base for new work. I arrange and rearrange, snapping pictures on my phone like a sketchbook until it is resolved.
What is currently inspiring you?
Matisse, Georgia O’keefe’s biography, textile design, American folk art and the amount of women artists out there right now working like total bosses.