Richard Vosseller

Vienna, VA | by March 7, 2011


I vis­ited Richard Vosseller’s stu­dio in late-​​December 2010, just after that first bit of east coast snow.  Work of this mag­ni­tude presents a num­ber of chal­lenges to the artist, many of which are sim­ply prac­ti­cal.  Our con­ver­sa­tion [dis­clo­sure: I have been friends with Vos­seller at least since we were both in a group show at Trans­former] skimmed the sur­face of Vosseller’s work and the whole time I was try­ing to com­pre­hend the real­ness of it all — the solid struc­tures which would emerge out of the drawn ram­blings of an artist who works large and wants to work larger.  Vos­seller talked about an inter­dis­ci­pli­nary process involv­ing draw­ing (“it all starts with draw­ing,” he said more than once), paint­ing, model con­struc­tion, as well as exten­sive knowl­edge about mate­ri­als, join­ery meth­ods — and then of course one has to actu­ally build the thing, trans­port it, install it.  At the time of my visit Richard had work in “Skate­board­ing Side Effects,” the inau­gural exhi­bi­tion at Arti­sphere in Ross­lyn, Vir­ginia.  He ref­er­enced the skate­able art­work as some­thing designed and built to be used, dif­fer­en­ti­at­ing it from other projects.  Often they are tem­po­rary, which strikes me as being unfor­tu­nate con­sid­er­ing the amount of time it takes to plan and exe­cute one project.

Richard Vos­seller



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