Contributor: Gilmore Tamny
Gilmore Tamny is the author of one book of poems, The Small Time Smirker and In Nevada I Was Rabbity or FLUFFY CLOUDS (Joe Books). Her essays, artwork, interviews, short stories and op-ed pieces have been published in Madison Smartt Bell’s Narrative Design, Not A Rose by Heide Hatry, The Dan Clowes Reader, Columbus Alive, Sojourner, Chickfactor, Petrichor Review, Pindeldyboz, Ohioedit, Turk’s Head Review and Foliate Oak. She wrote songs for three albums, under the name The Yips. In 2002, she received an MFA from Emerson College. Currently, her agent is working on finding publication for two novels, one of which is being serialized at Ohioedit.
3ER: Describe your art-making/photography process?
GT: I suppose I’m of the just sit-down and-do-it school. Which is not to say I sit-down-and-do-it with some unfailing, laser-like beam of focus I can conjure up at will. Ha! Sometimes it’s effortless and totally fun, sometimes it’s kinda ho-hum and sometimes it’s just heart-sickeningly discouraging. But I do my bestest to take advantage of whatever time I have to just work on the art. I also try to get out of the way of the work whenever I can and just generally not think about it a whole lot. This may, of course, be completely disastrous way to go about it for someone else. Everyone’s routines are by necessity very different.
3ER: What do you like about limits?
GT: I tend to be a structure gal, so limits work well for me. I like that the limits of non-representational work can bring about these insane degrees of subjectivity. What a piece means to me or be expressing for me, may or may not be something I can put into words or even understand. But, if I’m lucky, it may be able to express something to a viewer whether or not they can put it in to words and even if it isn’t what I was feeling when I drew the picture. Just even having a shot at that is awesome. I guess articulation, especially the kind you didn’t know you knew—hey, it’s a kick! This could hold for representational work as well, but, to me anyway, it’s more pronounced in the non.
3ER: What do you want to tell our readers about your piece?
GT: It might have taken longer than you’d think (?). Or shorter.
3ER: How do you know when a work is good?
GT: I believe you mean my own? Well, that’s hard to say, especially I tend towards the old punk rawk party line that expressing what you want as exactly as you can is more important than the end results. BUT (but!) it would be disingenuous to say I don’t think some works are more successful than others. I know I like a drawing I’ve done when it’s like my eyes focus, sort of give it a good chew and then sit back, sigh and relax. That sounds ridiculous. Eyes don’t do that! But that’s what it’s like.
3ER: Which artists/photographers inspire you?
GT: Dan Clowes is pretty much my favorite living artiste. Outside of that, I’m a painting junkie, particularly a big fan of Rothko, Turner and Caravaggio, although I don’t think any of these drawings I’ve been doing look particularly inspired by them. Boy, I would love to see what Dan Clowes would do with abstract art. I’m sure I’m forgetting 10000 people I will kick myself about later.
3ER: If you could have created any piece of art or taken any photo, what would it be?
GT: There are some rocumentaries I wish I’d filmed but that’s really because I’d have been there! That “Watson and The Shark” painting might have been fun. Is fun the right word? Hmm. It’s like the “Candyman” of paintings. Hard to get out of your head!
3ER: Where can we view more of your work?
GT: I have a tumblr and will have a website of my artwork soon if I do not freak out over the logistics.