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May 14, 2016

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Against the mainstream, Canadian makes tiny art

CANADIAN artist Talwst focuses on miniature dioramas.

All his artworks are put inside a small box. The artist uses whatever he finds in life as the materials in his creations. It could be the withered grass on the ground or wasted clothes.

Talwst has produced a number of sub series in this format that focus on inserting marginalized narratives into art history and drawing parallels between disparate cultural histories.

Now residing in New York, the artist aims to draw attention to absent or misinterpreted narratives to suggest the non-linear complexity of history and to explore the relationships between different cultures.

Recently Talwst appeared in Shanghai to participate in the “Enjoy French Art and Experience Mesmerising Parisian Romance” event that showcased some of his works for the first time in the city. It is also the artist’s first visit to the town.

To better observe some of the details in his tiny artworks, some works are enlarged by a magnifier on site.

Shanghai Daily sat down for a chat with Talwst.

 

Q: Why do you choose old boxes with covers as the container for your works?

I want them to be boxes that already have been given as a gift. I want it to be that thing that has once been handed to someone. I like that weird new little thing. That’s a surprise.

Q: How do you collect these old boxes, where are they from?

All over the world (laughs).

Actually, I received these boxes from different people all over the world. The Guardian once wrote a feature story about me, and then people kept sending their old boxes to me. Of course, I don’t need those expensive or fancy jewelry boxes. I prefer ordinary boxes but filled with family memories.

 

Q: How long do you spend on each piece?

Some have been worked on over years. Some take a week. But it varies.

 

Q: What’s the criteria for you to choose your subject?

There is no certain criterion. The subject can be everything in life.

 

Q: Do you think you are a very patient person?

I am a patient person. I’ve learned over time to be more patient. I want to make my works feel more and more real. I can have an idea, but my hands don’t know how to do it yet, so I have to be patient.

Q: What’s your impression of Shanghai?

I love it because I want to see the world and I want to see the real, the beauty, the sadness. I want to see it all.

 

Q: What do you think is the charm of tiny artwork?

It’s something that appeals to people. When they see them, they have to get close. So many cultures have small art but contemporary art has gotten bigger and bigger. So I thought: why don’t I go the other direction. It is a longer road. But when my works finally got in front of those viewers, they saw them as something different. This is what has been propelled.

 

Q: In the exhibition, there is a work titled “Here II (Gaia’s Door),” could you explain this piece?

The piece is heavily inspired by themes of nature and Mother Earth, as noted in its title. The clear stream, made from soybean-based resin that was stretched to create the effect of rolling waves, represents the importance of access to clean water for humanity. The koi fish were made from dried orange peels.




 

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