Name: Marela Zacarias
Age: 34
Occupation: Artist
City/Neighborhood: Gowanus, Brooklyn
Current Show: “Supple Beat” at the Brooklyn Museum, through April 28
Your exhibition “Supple Beat” at the Brooklyn Museum features four wall sculptures inspired by the Williamsburg Murals. Those murals — the first entirely abstract public murals in the United States — were created during the Depression for the Williamsburg Houses, a public housing project for workers. What interested you about the murals, and how did they shape your own designs?
I liked the story of the Williamsburg Murals as objects. They were painted by young unknown artists against the artistic current of the time (when social realism was the norm); then they were painted over and forgotten about until their re-emergence in the ’80s, when they were restored and placed at the Brooklyn Museum in a permanent loan. I see these works as resilient objects that bounced back from adversity — a nice metaphor to think about in the aftermath of Hurricane Sandy, which is when I wrote the proposal for the show.
I also enjoyed interacting with them visually — I looked carefully at the color palette and composition of each mural, then scrambled all the visual information into my own interpretation of the works.
In previous interviews, you’ve noted that the Williamsburg Murals are a testament to the government’s respect for workers during the Depression era — a type of respect that doesn’t necessarily endure today. What role should the government play in facilitating art in public spaces? What role should artists play in addressing labor issues?
A good start to facilitate more public art (and art in general) would be to give more financial support to organizations that are on the ground and that are already providing opportunities and projects for artists. I appreciate the variety of approaches coming from a healthy mix of organizations that are putting forward artistic initiatives. The WPA was a great financial resource that took care of a lot of artists in need of work. At the same time, the kind of art that it supported was a bit narrow.
As artists we are on a tough spot to be able to address labor issues because each of our experiences as “working artists” is different. Some artists rely on grants and part-time jobs to survive while others have a business and make a good living from it. We are all over the spectrum. There are, however, some important similarities in our needs — like having access to good healthcare, or having some kind of security for retirement. It would be great to be able to achieve something like this as a group.
You’ve created more than 30 murals across the United States and Mexico. At a time when street art is becoming increasingly mainstream and commercialized, do you see a difference between that kind of public art and murals created in partnership with the community and local government?
I think that street artists have a lot more freedom and can be more creative than artists who are painting murals in partnership with the local government (which usually happens through non-profit organizations). Street artists do not need to get their sketches approved by committees, or take into account the opinions and suggestions of a group of people before they can create (unless they are commercial ones, of course). Painting “approved” murals, however, gives you the possibility to work and engage with the entire community for long periods of time, which I’ve always really enjoyed — and which I am now doing through different kinds of projects.
Your folded, rippled wall pieces — neither painting nor traditional freestanding sculpture — look as if they are scrambling up the walls of the museum’s lobby. They strike an interesting contrast with El Anatsui’s wall sculptures, also on view at the museum. Are you influenced by other artists who blur the line between painting and sculpture?
I arrived at the convergence of painting and sculpture through my own path and investigation; but now that I know more artists who are “blurring the line,” I am starting to think about my work as part of a larger context. I was just in a panel with Valery Hegarty, for example, and we were talking about how we both create the illusion of three-dimensional paintings as a statement about the themes we explore. I think that having this kind of conversations with other artists opens up a dialogue.
What project are you working on now?
I’m working on a site-specific commission and on more than 12 smaller works at my studio.
What’s the last show that you saw?
“LaToya Ruby Frazier: A Haunted Capital,” at the Brooklyn Museum.
What’s the last show that surprised you? Why?
“NYC 1993: Experimental Jet Set, Trash and No Star” at the New Museum. It was surprising to learn that many of the artists were showing in small alternative spaces at that time. It was nice to see how so much collaboration and improvisation led to groundbreaking artistic careers.
Describe a typical day in your life as an artist.
I wake up at 8 a.m., make coffee, shower; I have breakfast with my boyfriend and then I go to the studio. Once I arrive I make coffee again and I start working. I usually sand, paint, layer all day unless I have somewhere to go — like an opening, or a party. Sometimes I go home for dinner, as I live only three blocks away from the studio. I also receive a lot of visits, which is something I really enjoy.
Do you make a living off your art?
So far, so good.
What’s the most indispensable item in your studio?
Coffee.
Where are you finding ideas for your work these days?
In the past.
Do you collect anything?
Tape balls from each of my projects.
What’s the last artwork you purchased?
An artist book made by S. R. Rose and J. J. Seitz. I bought it at their two-person show at Heliopolis Gallery in Greenpoint.
What’s the first artwork you ever sold?
An un-commissioned portrait. I was six years old. My mom took me to her office and I decided to draw individual portraits of her co-workers and then charge them for the drawings. I made so much money, it was great.
What’s the weirdest thing you ever saw happen in a museum or gallery?
Seeing my works being installed at the Brooklyn Museum was pretty weird.
What’s your art-world pet peeve?
I don’t have one yet.
What is your karaoke song?
“Bohemian Rhapsody” by Queen because there is a part for everyone at the bar — the sopranos, the basses, the tenors, the hopelessly tone-deaf. And then everybody head-bangs together, like in “Wayne’s World.”
What’s your favorite post-gallery watering hole or restaurant?
Depends on the area where I’m making rounds. Lately I’ve been going to a lot of openings in LES. Some of my favorite spots in that area are Casa Mezcal — love the ambiance and they obviously have amazing beverages. Lolita is nice for a quick drink before or after openings but some of my guy friends prefer The Magician — because it has cheap beer and a jukebox.
Do you have a gallery/museum-going routine?
Not really. I go by the shows I want to see and try to plan around them.
What’s the last great book you read?
I just finished Susan Sontag’s “Illness as Metaphor.” I don’t know if I would qualify it as a “great” book but I found it very interesting.
What work of art do you wish you owned?
A dress by Sonia Delaunay (preferably more than one).
What would you do to get it?
Trade it for labor.
What international art destination do you most want to visit?
Mexico City is always fun and there is so much happening there — but I would also like to spend some time in Amsterdam and Berlin.
What under-appreciated artist, gallery, or work do you think people should know about?
Heliopolis Gallery in Greenpoint. It’s very small but they have been putting together great shows. Paul Ramirez Jonas has work there right now (through April 7th) and it was quite a treat to see his work in such an intimate setting.
Who’s your favorite living artist?
Nari Ward. I really admire his work and I also like and respect him as a person. He was my thesis advisor at Hunter and we have kept in touch since. I also love Emily Mason, she is very much a mentor to me.
What are your hobbies?
I enjoy dancing and organizing really fun parties.