| Jon Schluenz is a New York based artist who works with paintings, installations and sculpture. His latest show in the M Gallery titled “M is for Mmmm” proves him to be not only talented, but also on his way up in the New York art scene. I had a talk with Jon about his thoughts on art, ritual, killers and bunnies. Matilde Digmann: How would you describe the main themes in your artworks? Jon Schluenz: The themes kind of come and go on their own. Right now I am really into painting teeth. |
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Jon Schluenz – Matilde Digmann
Jon Schluenz is a New York based artist who works with paintings, installations and sculpture. His latest show in the M Gallery titled “M is for Mmmm” proves him to be not only talented, but also on his way up in the New York art scene. I had a talk with Jon about his thoughts on art, ritual, killers and bunnies.
Matilde Digmann: How would you describe the main themes in your artworks?
Jon Schluenz: The themes kind of come and go on their own. Right now I am really into painting teeth. I used to be a little more political and emotional in my work, but that’s just where I was at the time. Now that I’ve aged a little, I find myself following something in my work that I am trying to uncover, but at the same time I don’t know or really want to know what it is. I am way more into process and practice than I’ve ever been.
MD: So, you would say that your work doesn’t evolve so much around personal issues anymore?
JS: It does sometimes, but I’m not so angry about it. When I was younger, not that I’m ancient now, I was a lot more pissed I think—in an outward and confrontational way. I really needed to get people’s attention and to push myself in order to put myself out there. I’m not so concerned with what people think of me anymore, and I think that has really made my working methods much different. There’s not so much pressure.
MD: Your artworks seem mainly to portray animals instead of people. What do you think is the reason for this?
JS: That’s interesting you notice that. I think that animals are easier for me to look at because they are pure in a way that people aren’t. They are very gut instinct and easy to read. There are things in animals that remind me of things in myself that are good, things that I want to be more like. There is so much about people that drives me crazy, and so many things about myself that I don’t like to look at. Animals are easier to work with. They are more obedient.
I think it’s a way of channelling personal issues into something that feels safe. I can make an angry bunny, but people won’t really see it as that. I am able to put those feelings and issues out there in a way that feels safer for me, more secret. People look at a bunny and say, "oh, cute, bunny," but then the piece is called The Favour Will Be Returned. I know what its really about, and everyone gets to figure out what they think it is. That might seem really dark I guess, but it’s also something I like about art—that it exists on so many levels, for so many people.
MD: The work For Killers seems almost like an alter or a holy place for contemplation—what is the story behind this piece?
JS: It’s about the other side of murder and the way that people who kill are judged. There is an angel in the piece and its wing is broken. The angel is a symbol of the way that we judge people who kill. I’m not saying that people who kill people aren’t messed up in some way. I’m saying that people who kill probably have a reason that makes sense to them. I’ve never done it, but I can only imagine how strange and crazy it must feel to do something like that. I’m not sure what we should do with killers. But, I think the way we deal with criminals in the United States and a lot the world is pretty crazy. There is no rehab for people in prison. We just lock them up and say they are bad.
MD: There also seems to be something almost religious in your sculptures in particular. Can you tell me a little about this?
JS: I like the idea of altars and worship. I like it when you go into a Chinese restaurant and there are those little fake candles with the red lights, the fake oranges, the little bowl of water and the fake incense sticks. It’s all ritual; it’s all intention and focus. I like placing things in that context, framing them as something sacred. Everything really is, if you want it to be. You can worship a pencil as much as you can worship Jesus. It’s all just an idea.
