Tante volte si parla di KAWS ma raramente è KAWS a parlare. Quindi, se interessa l’argomento, non potete perdervi questa nuova intervista realizzata dal team di Hypebeast in occasione dell’ultima personale, ‘The Nature of Need’.
Come sempre, sotto un breve estratto mentre qui avete il testo completo.
What exactly is the theme of your latest “The Nature of Need” exhibition in Hong Kong?
It’s not exactly a theme, but more a continuation of the painting series that I’ve been doing. I wanted to do a show that just focuses on painting this time. I think I’ve been wanting to do these vertical paintings for a while. I did some when I did the Aldrich show in 2010. I had one painting that was seven feet tall by one foot wide. If it wasn’t for doing that mural I would have never considered that composition; but after doing it, it has just been on my mind to do a strong series of them. Seeing this space, I thought it would a good time to pair this, so it’s like an installation or they can exist on their own.
How do you approach other projects with companies and collaborators? What is the connection between your personal work and other work?
If I am approached or if there is an opportunity to do a collaboration with a company, the projects I make at that time have to align with my personal work at the time. So, it is actually that when the “other” work comes in, it sort of falls within those parameters of what my personal work is during that period. Whereas with this work for “The Nature of Need,” it’s just what I am making as a sort of growth and progression from my past personal work. For projects like Ikepod or Hennessy the best way to treat collaborations and projects like that is to do exactly as I am doing at that time and it always seems fresh for me. It’s always a way to sort of maintain interest in what I am doing – regardless of what the project is. I get requested all the time to do something specific, like something I was doing 10 years ago. That doesn’t interest me, because I always strive to continuously grow and progress.
When it comes to being under Perrotin’s roster of an eclectic mix of artists, do you have to entrust them to curate you properly? Is there any trust issues when being represented by them, and being placed next to any other artists within that roster?
I think that’s something you have to think about as an artist. I like working with Emmanuel because he does have a really diverse program. And it’s better than being with an artist that only shows people who paint blue or something like that. You can definitely find these niches that I try to avoid. But it’s the same thing with working. I feel that there are people that know me as a toy designer and will only think of me as a toy designer, or a graffiti artist or a street artist. Yet, throughout all those phases, I could care less about carrying the flag for this movement or that movement. I’m more thinking about the work I want to make and getting the work out. So even now with me doing this show I don’t want to be thought of as a gallery artist. I’d rather them say this is a project he did, and he can do this, or work in this way.