An Interview with James Ostrer
December 5, 2014 admin 1 Comment
What do French fries, licorice and cream cheese have in common? For many of us, all three foods make it into our diets every now and again. However, it is rare to think of these items together. In fact, it takes an inventive mind, and extreme circumstances, to imagine a combination of these opposing foods. However, photographer James Ostrer creates fine art by combining these diet death traps.
In his critically acclaimed art exhibit, Wotsit All About, Ostrer uses odd but generally acceptable junk food combinations to bring grotesque monsters to life. Showing at the Gazelli Art House in London from July 31 to November 9, Wotsit All About puts various junk foods on display in interesting ways.
The underlying message of Ostrer’s most recent art exhibit is rather clear: our relationship with junk food is horrifying. This reality is, for lack of a better word, sugarcoated by fanciful advertising and winsome marketing practices. However, Ostrer’s photographs reveal a truth that the billion-dollar junk food industry doesn’t want us to know: junk food is not safe. It is addictive and has the power to transform an individual into an unrecognizable being, either emotionally or physically.
Wotsit All About is unique in many ways, but for James Ostrer, it seems to fall in-line with the out-of-the box art he is known for. In prior years, Ostrer has taken his family to a morgue, gone to a brothel, been photographed by prostitutes, collected mattresses from the street and buried himself in “vast quantities of food,” all in the name of art.
If you only know his junk food monsters, you don’t know James Ostrer. In a brief interview, Segmation got to know the English photographer a little better. Through his transparency, insight and unique intelligence, we are beginning to see his artwork, and art in general, in new ways.
- You just finished a solo show at the Gazelli Art House. If you could summarize the past four months in three words, what would they be?
Totally Fudging* Awesome
*Except, Ostrer, in the midst of his war on junk food, did not use the word “Fudging.”
- Let’s travel back in time. If I were to ask six-year-old James, “What do you want to be when you grow up?” what would he say?
I really don’t remember considering the future in that way until at least the age of sixteen which even by then when asked I would get really anxious and just say I don’t know. So in reality at six years old I think I would have been freaked out and just wanted to see my mum and have a snuggle.
- Your artwork is, for lack of a better word, unique. What triggers your out-of-the-box concepts?
All of my work is based on a desire to find or understand my own concept and experience of happiness. My art practice is like being booked into a self-help course that doesn’t have any structure, timeline or preconceived ideologies of what will help me while relying wholly on my desire for positive change. The concepts that I work around are in direct response to what I am trying to unpick about my negative self.
- In your interview with Tony Gallagher, you mention “The Journey” required a “huge amount of research around human behaviour.” In your opinion, how does research enrich art?
I think it totally depends as it can be as detrimental as it enriches…..Obviously historical context and referencing can be very valid and often almost everything about a piece of work…. but as interesting as I can sometimes find this kind of work I can equally find it clinical and boring. I find the visceral relationship between the emotions of an artist and the thing they have made the thing I truly love in art…..so when I see a great piece of outsider art where there has been no influence or contamination from outside influence/research it can blow my mind away like nothing else….
- In the same interview you mention that you use art as a way of expelling your “deepest demons.” According to Aestheticamagazine.com, “Wotsit All About” was your response to a sugar addiction that resulted from, among other things, well-calculated marketing. We know all sorts of people struggle with addictions; many of them have artistic temperaments. What advice would you give the artist who wants to use art as a tool for addiction recovery?
My emphasis would be on the fact that it is a great tool but with all the many complexities and extremes to addiction you need a whole tool box full of things that help to work your way through.
I would also suggest regularly taking rain checks with your process of making art to challenge whether u are simply just excusing yourself to have a continued engagement with something you have a problem with. A clear example of this could be where people use self-harm as a form of artistic expression. I am not saying this kind of work isn’t valid but as an artist (especially at the beginning) you are often every member of your business so unlike if you were working for a company you don’t have a boss or human resources department keeping an eye on you so you need to do this yourself….
- What is your favorite color?
The few seconds of black in a cinema just before a film starts.
View more of James Ostrer’s work by visiting his website: http://jamesostrer.com/home.html.
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