![]() One collaborator in particular has made the biggest impact on my work, my husband Matthew Creech. FEELD jumpsuit designs, “Antibody03” and “Antibody04,” 2017. Left to right: Yam foraging FEELD project, 2016. We’ve hosted a bartering event, called DRIFT, and are currently working on a series of digitally printed jumpsuits to be used as anti-camouflage while we lead the community on a walk to forage for invasive edible species in Florida. We are interested in the intersection of social practice, alternative money systems, and art. I’m currently collaborating with an artist collective, FEELD, that includes Ola Lindefelt, Wren Turco, my husband Matthew Creech, and myself. Now that I’ve established a collaborating relationship with a few artists, our goals have changed into creating a body of work together. ![]() In the beginning, I worked with my collaborators towards a specific motivating deadline–exhibition date, grant-submission date, performance date. Collaboration with other creatives was my solution. Much like other artists, when my grad-school bubble popped, I craved a creative framework. ![]() The intensity is wearing, but it forces you to create good work often. Included in the grad-school experience are a slew of deadlines, with repercussions if not met. Grad school is a creative bubble, where other artists are constantly coming in your studio and giving feedback, encouraging you to edit, manipulate, and trash your ideas. Photo courtesy of Madison Creech.Ĭollaboration has absolutely enriched and changed my work. Madison Creech, Fumihiro Kikuchi, Juan Coel Rodriguez, and Tony Obr ,“Zugunruhe,” 2016. Often, when I collaborate, I find my voice quietly in arranging others’ images into patterns, into animations, or onto a malleable surface like fabric. In my opinion, neither result is better than the other both results are valid and natural. The second result I like to call the “Marina Abramovic and Ulay Collaboration,” in which a third artist is born out of the interactions of the two collaborating artists. It becomes obvious which artist was dominant and took the lead on the project. The first result produces art that favors one artist over the other. In my practice, I’ve learned there are one of two results that will happen in collaboration. Collaborating is luxurious in that way through observation, my years of art experience can be multiplied. MC: Collaboration gives me a window into another creative mind, into the usually private studio decisions, mistakes, and uncertain elements before they are erased. How does collaboration function in your practice? Have any of these collaborative projects changed your own approach to art-making? SD: You have created work in collaboration with dancers Fumihiro Kikuchi and Juan Coel Rodriguez, musician Tony Obr, artists Colleen Donohoe and Molly Koehn, and, most recently, your husband, illustrator, Matthew Creech. The Internet and accessibility of information has impacted my generation’s (and future generations’) experienced nostalgia. Music and celebrity brands are intertwined with our memories. Our pieces combine the traditional craft of quilt-making with digital fabrication and image sourcing to engage in contemporary storytelling. Historically, quilts have been used as a framework for storytelling. Madison & Matthew Creech, “Cuz the Boys ‘N the Hood Are Always Hard: N.W.A.,” 2016. I feel like a lot of my collaborative work with Matthew consists of iterations of these connections and comparisons. Our mind is subconsciously making connections and comparisons between the memes, the news, and our personal lives. Each update occupies the same amount of space as the next. In one scroll through Facebook, you will find a tongue-in-check meme, then a newsworthy injustice, then a series of baby photos, etc. Madison Creech:Within contemporary culture, we consume information and images without hierarchy. How do you see this work in conversation with a contemporary culture of sampling in the music industry and on the Internet? Sarah Darro: Your series of sculptural quilts, LOL-a-Bye Felicia, incorporates digital fabrication techniques and humorous references to music and pop culture. ![]() Madison is featured in In Residence, which is on view in HCCC’s Artist Hall through May 20, 2017. HCCC Curatorial Fellow Sarah Darro recently asked Madison Creech a few questions about the processes and inspiration behind her work. Madison Creech, “#TBT Smiley ,” from the series, “Always Low Brow Always,” 2016. HCCC’s major emphasis is on objects of art made primarily from craft materials: clay, fiber, glass, metal, wood or found/recycled materials. Houston Center for Contemporary Craft-Houston Center for Contemporary Craft (HCCC) is a nonprofit arts organization founded to advance education about the process, product and history of craft. ![]()
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