Initially trained in a traditional atelier format, artist Monica Rezman takes a nod from formal aesthetic investigations that found roots in the early 20th century while simultaneously staying current with ongoing current advancements in artistic production. Her artwork melds and transforms hair, cardboard, traditional media, and formal analysis to create sculptures and paintings that remind of early Modernist precursors while clearly being of this place and time. This week The COMP Magazine visited Rezman in her Logan Square studio to discuss her long intermittent relationship with Chicago, her Pollen Path and Woolgathering series, the long winding passage that she continues to pursue, and her plan for 2019.
Monica Rezman, entanglement charcoal drawing on inkjet from from my hair, factory in India series, 2008
Though you’ve resided elsewhere, you’ve been living and making work primarily in Chicago for a number of years. I believe you grew up in the northwest side of the city. Chicago has changed dramatically since your youth. Can you perhaps share with us how you see yourself developing as an artist in contrast to the city’s evolution?
I grew up on the far north side of Chicago in West Rogers Park and went to an experimental high school on the southwest side where I spent a majority of my time in the art room. I went to the Art Institute and then moved to New York briefly after school where I soon realized I could live a better life in Chicago. Although I have a love/hate relationship with this city, I’m still amazed by the energy, growth and space that is here. For the past fifteen years, I’ve had a studio practice in my coach house in Logan Square. I’m quickly growing out of the space since I’ve begun making textile based sculptures. I’m planning on building a large studio in Mexico and living there half the year once my daughter graduates from high school. I’m not a big fan of winter!
Monica Rezman, Pollen Path charcoal drawing sculptures,
Packer Schoff Gallery, Chicago, 2014
You were initially trained in a traditional atelier format. Looking at your early drawings and paintings of the figure I notice a sense of attention to observation and delicate precision. Are there any individuals who you see as piquing this interest in formal ideas and techniques? Can you discuss any thoughts on how this foundation informs your present day approach?
After I returned from New York I realized that I had to making a living and didn’t want to get a job so I started printing and designing fabrics that would be made into clothing and home furnishing. I was exhausted after doing this for ten years and realized that I wanted to go back to making art. I left for Italy for six months to study traditional drawing and painting at the Florence Academy of Art. This was the beginning of the exploration into training my eye into the study of nature. I returned to Chicago and spent the next four years in a small Atelier that has since closed. I compare this study to classical music and am grateful for my time spent in this pursuit, but I really wanted to make jazz. I believe when you have a solid foundation it will always sneak into play a part in the work.
Monica Rezman, collection of sculptures, Trinity Christian College, Chicago, 2016
In the Pollen Path series you are working with hair while investigating ideas of organic processes, gestural abstraction, and the nature of creativity. In part, this work references past artforms, yet is firmly of this time. What prompted the use of this material? Can you discuss the tactile process as you see it paralleling your conceptual investigations?
I’ve always kept my materials limited while pushing their boundaries. Using vine charcoal provided me the perfect medium to pursue my drawing practice while keeping it pure and simple. The hair drawings started out as paintings but I was never able to create the nuance and fragility of hair like I could with the charcoal. The charcoal felt like a cross between a brush and pencil yet has the movement of sculpting. I was able to play off line, mass and value to an extreme. I fell in love with the messiness.
Monica Rezman, Pollen Path Drawing, 2014
In another series, Woolgathering, you work with hair, charcoal drawing and photographs. I see you being concerned with illusionary aspects that are created in the combination of these materials. Can you offer insight into this observation, perhaps noting how the act of looking can be interpreted as a visceral experience?
When my daughter was young she played a significant role in my work. I photographed her with hairpieces on her head, in motion, as if to signify a girl moving through the complicated and illusory transformation from girlhood to womanhood. I was trying to evoke mixed emotions all at once including feelings of exuberance, eroticism, sadness, fear and hope. I was able to treat the photograph as a piece of drawing paper where it was difficult to distinguish between the two. I was always surprised that the work had such a visceral response. I had galleries tell me that people thought the hair was real and wouldn’t go near them. I really never expected a response like that.
Monica Rezman, painting and sculptures, Cleave Carney Gallery,
McAninch Arts Center, Glen Ellyn, Illinois, 2017
When I take pause and consider your lengthy practice I come to the idea of attrition and perseverance. By far, the majority of serious artists spend long periods of time toiling alone in the studio, thinking, making mistakes, refining, and creating. What do you see as important in terms of sustaining your career over a lifetime? Is it the journey? A fixed voice prompting you on? The daily tactile experience?
Sometimes I do wonder what keeps me going into the studio and working alone everyday. Many times I have thought about doing something that involved others, paid well, and had a more linear path. I do believe I am a creator and if I wasn’t making art I would probably be miserable. The career path of an artist has always been a little elusive to me. In the end it’s always about the work.
Monica Rezman, fabric and cardboard sculpture, 2018
What do you value most in your artistic practice?
I value my persistence and dedication to getting up every morning and going to work in my studio.
Monica Rezman, studio view, Chicago, 2018
Your studio is brimming at the seams with work. Navigating the conversation and making the portrait reminded me of my first encounter looking at photographs of early 20th c. artist (e.g., Brancusi, Matisse) studios. Are you planning to share the work any time soon? What’s the plan for 2019?
Brancusi and Matisse, two of my favorite artists!!! So far for next year I am having a two person show with an artist who works in Berlin, Tina Tahir at Freeark Gallery at the Riverside Art Center and the winter show at The Franklin. I’m also hoping to do an artist in residence in Morocco that I put on hold from last year.
For additional information on the aesthetic practice of Monica Rezman, please visit:
Monica Rezman – http://monicarezman.com/
The Drawing Center – http://www.drawingcenter.org/viewingprogram/portfolio8dda.html
Chicago Artist Coalition – http://www.chicagoartistscoalition.org/programs/fieldwork-residency/2017-2018/monica-rezman
Merida English Library – http://www.meridaenglishlibrary.com/meet-artist-monica-rezman/
Navta Schulz Gallery – http://www.navtaschulzgallery.com/artists/monica_rezman/biography.html
Monica Rezman, collection of fabric and cardboard sculptures, Chicago, 2018
Monica Rezman, artist, Chicago, 2018
Artist interview and portrait by Chester Alamo-Costello
