Five Questions with NANO Artist, Emily Link

Kirby Johnson: In the upcoming issue you explain that you collect elements from cultural lore and intertwine them with your own experiences and narratives. How has this process affected the story telling of your personal experiences and how has it affected your memories of the past?

Emily Link: The personal stories that I reference the most have definitely taken a different shape, especially those from my childhood that were already fuzzy to begin with. When basing sculpture or drawings from memories, I have to work against myself to keep the small details more abstract, or else they’re hard to look at. I have some real feelings of animosity towards one of my large soft figures, even though I created him and he certainly hasn’t done anything wrong. Others I’m more careful with, but he definitely has the most damage. They start to take on their own personalities, just like anything with a face.

KJ: You mention that geological forms function as the first storytellers. If you were to choose a type of geological form/storyteller to represent you, what would it be?

EL: I’m totally mesmerized by volcanic systems and lava. I think if I ever had a son I’d name him “Magma.” We like to think we’ve got a handle on things, but at all times we’re standing over a shifting living thing. Volcanic activity could erupt across the globe and there’s nothing we could ever hope to do to stop it. As a representation of people in general, it could mean that anyone at anytime is fully capable of doing anything they choose – whether with the flow or against, great or terrible. It’s those kinds of decisions that propel us forward.

KJ: You frequently work with textiles and you sew. What pushed you to this medium/craft?

EL: I began using fabric when I studied painting at the University of Houston. Soft forms are malleable and interchangeable. You can let them out, take them in, embellish or remove elements. The variety of textures and colors, and the movement of it are something that I’m really into. The fabric works began as two-dimensional embroidered scenes that were sometimes violent. I like the play between something soft and familiar that we use every day and something grotesque. It’s totally unbelievable as gore, but in that way grosser than something slick and wet. I’m moving towards work that is wearable and can be used in motion on my body or stationary in a space.

KJ: So, I hear that you have a pretty amazing ceramic collection. Can you show us your favorite piece?

EL: I have a soft spot for ceramic figurines, the crummier, the better. My favorite is “Fishpuncher.” In another life I’m sure she was meant to be holding a fishing rod, but now she is poised to strike the fish she’s grasping in her opposite hand.

 

Emily Link was born in Syracuse, NY, and grew up north of Pittsburgh, PA. Since being transplanted to Texas, she has worked to build an enriched cultural past in an environment that exists only for its future. In 2008 she received her B.F.A. from the University of Houston. Link has exhibited work at Good Children Gallery in New Orleans, Louisiana, galleryHOMELAND in Portland, Oregon, Garfo Art Center in Salt Lake City, Utah, BOX 13 ArtSpace,The Joanna and the EMERGEncy Room Gallery in Houston, Texas. She is currently based in Houston, Texas.