Breathing New Life into Found Objects

This article is part of a series of Nutelos Interviews with artists, you can read the rest here.

Actress Catherine Streter works with what she got – literally. New York City uses things like dolls, magazine clips, and old ads to build layers of layers in their work. Strange results: The faces that have been restarted on top of the bodies are impossible to have a new life on their paintings. Streeter’s work was shown in Harperand New York TimesAnd NutelosAnd I recently sat to answer our questions about its creative process, and why do you prefer the things that have been found, and what scientists can learn from artists.

How did you decide to follow the art is the path you want to take?

I always knew that my way was art. It was one of the few things in my life that I did not doubt a second. As far as my memory returns, I liked telling visual stories and creating novels. Before I understand what it means to be a professional artist, I was drawing and becoming on laptops. When he was a teenager, the inspiration came from the secret culture around me in the new media – MTV in the 1980s, art galleries, as well as from the magazines obsession. Once I had to determine a functional path, the art school gave me a greater understanding of that, and I was very excited to work hard to find my voice, and to know where I might fit with everything.

Can you walk for us during your creative process?

My work is very similar to the concept of collage itself, it is something that is assembled together from many different bits. There are scraps, notes and graphics. Keep the pieces of the pieces and clips of a different printed material. I have two different paths depending on the project: If it is a commercial mission or commission, I start with the subject or content, and I plan for art around it. If I am working on personal work, I often do not have a specific starting point. I tend to experience more and allow her to be a warning flow.

I created art for a cover story Nutelos Issue 47, “Great Forgotten”, about how the earth loses its memory. What about that story took your imagination?

The story was very touching, and I liked the way he wrote the summer of Brightorius. Her brother’s experiences were revealed to the history of the Earth in a way that allowed sympathy and understanding. It seems that the awareness of the sciences and nature is clear, but we often see it objectively. It has inspired the focus on the fact that the Earth has layers experiences, just as humans do. One event can have a ripple effect on multiple levels, and each event is the following; Each piece of the story has a meaning; Cause and effect.

The story felt perfectly for cholera. The metaphorical layers that show themselves in a timely manner made me think of paste stickers in the city’s buildings. I thought about the texture of everything; Peel edges reveal dull details. The damage to the weather that occurs, however, in life, we are often considered rejected by it and assume that the destruction will be covered with modernity.

Is there anything you think can scientists learn from artists – or vice versa?

Both science and art understand abstract concepts, and nature is constantly adapting to change in mysterious ways. I think science can borrow from artists because very creative people embrace mystery easily. On the other hand, science can inspire artists to pay attention to patterns in nature. This is an important aspect of creation. Repetition can inform their artistic approach and their understanding of their work.

I found a lot of your business features, magazine cuts, and other redused materials. What attracts you to integrate the things in your art?

I love photography, and as much as I like to take pictures, I rarely use my photography. I am attracted to the printed pieces of history, and I inspired the use of faces that excite the quality of the dreamer nostalgia. The reshaping of the elements of our human timeline looks like layers of a new novel, which is similar to the concept of layers that belong to the fabric.

When you are looking for possible elements to use in your art, what is your interest?

I love the colors of the old inks on the old leaves, and the consistency of the pages of old books. Disadvantages in printing inspire my work. Sometimes, you can put pressure on something that is destroyed to pressure to keep it gentle, or to be perfect. Used commodity markets and savings stores are places in which I sometimes search for me.

How do you deal with personal art for commercial projects?

My personal art is constantly formed because it comes from daily experiences. Thought patterns are formed in concepts, and moments of martyrdom can be occupied during the day, a creative mental space for growth from them. I am sure that we all do so; As creative people, we see the world around us as sparks that can ignite the idea of ​​launching it. A commercial technician is a different mentality from this, although I still adhere to the ways when working with customers. My favorite projects start with a few words or one wide idea because sometimes less for me. I would like to throw a wide network from there and invent abstract and literal concepts. I faced a challenge with the same degree through projects that are based on a lot of information as well. It is a good exercise to start with a large pile of straw to find a needle in it. For me, commercial work has always been a great balance in making art and problem solving.

How do you decide when a personal project ends?

Most artists are likely to say that it is often just a feeling. I tend to be perfect, which surprises people because my work is not like what one thinks in this regard. There are no life -like elements outside my collage pieces. I do not focus on presenting, views, or color theory in the same way that we learned in the art school. My process is mostly intuitive and is guided by pulses, even in the drawing stage. The concept of finishing from one piece to another varies. Summoning something is to feel that I can’t do anything more, or improve it. I have learned that sometimes I do not trust my intestine in this matter that will lead to excessive thinking and excessive work, which may reduce its strength.

Do you have any upcoming projects you are excited?

I have a lot of planned personal projects for the new year I am excited. I also look forward to challenging myself in new ways, such as working on a larger scale, and building on a series of current works. Get out of my comfort zone is important and a necessary reminder that I am constantly learning, and if I only continue to do what has succeeded in the past, I will risk stagnation. I often think about the Newton’s first law in this way; If I stay in the movement, I will stay in the movement. I aim to embrace this inside the studio as well as in life!

Interview by Jake Curry.

Driving image from the door of courtesy Catherine Streter.

• Spread on February 25, 2025

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