| Nicholas di Genova is a 25-year-old artist based in Toronto, Canada. His series of recent paintings on Mylar were the subject of an exhibition at Chelsea’s Fredericks and Freiser gallery. Colleen Becker: "Death from Below: The Upper Layers of the Hades Geofront" is a rather lengthy and specific title for a show. Could you explain its significance and relationship to the images? Nicholas di Genova: When I began making work a few years ago, I started by drawing lots of biomechanical fish creatures. |
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Nicholas di Genova – Colleen Becker
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Nicholas di Genova is a 25-year-old artist based in Toronto, Canada. His series of recent paintings on Mylar were the subject of an exhibition at Chelsea’s Fredericks and Freiser gallery.
Colleen Becker: "Death from Below: The Upper Layers of the Hades Geofront" is a rather lengthy and specific title for a show. Could you explain its significance and relationship to the images?
Nicholas di Genova: When I began making work a few years ago, I started by drawing lots of biomechanical fish creatures. They started as small, vulnerable creatures, and as time went on, I found myself creating creatures with more of a militant edge to them. After a few years, I discovered that I had essentially created a fully fleshed out army of fish-like creatures and labeled them "The Children of Poseidon." At that point, I took a little time off from drawing, to try to figure out where to take the story next. I figured that I could create an opposing army, but knew that it would take just as long to flesh this second army out. So "Death from Below: The Upper Layers of the Hades Geofront" is the introduction to this second army, named "The Hades Dynasty." The Hades Dynasty is a large society of creatures whose lands extend from just below the earth’s surface, down to the core of the planet. It is broken up into nine separate clans, ruled under nine separate governments, but all nine are in alliance. Geofront is a word made up by Japanese comic artists. I think it was coined in the 80s. It is simply a huge, man-made cavern.
So, this show is an introduction to this realm. At this point it is unsure if Hades is hostile or not, but Poseidon is considering a preemptive attack on the clans regardless.
The show is the first of a few that will reveal "The Hades Dynasty."
CB: Is there an actual textual narrative that corresponds to your work, such as a corresponding written story, or is the "story" perhaps less fleshed out, as in, say, a non-verbal dialogue between images?
NdG: As it stands now, the story takes the form of a non-verbal dialogue between images, except for the statement that accompanies each show, which serves to "set the scene." Within a few years however, I want to start translating the story into graphic novel form, to really start to flesh out the characters and the relationships between them. These shows serve as a bit of a character development phase for the overall story, and the delay between show and written story serve as time to reflect on the narrative, to make it as convincing as possible.
CB: Of what importance is story-telling to your artistic practice?
NdG: I have to admit that I am much more into comics, literature and filmmaking than I am “gallery art.” I am usually drawn to work that has an obvious narrative, but I am also into beautiful pictures, so to me, comics are the pinnacle of this. I grew up with them and continue to read as many as possible, and since trying to make comics myself and discovering how difficult an art it is, I have mounds of respect for the creators. So yeah, my practice is pretty much propelled by the goal of becoming a good story-teller, and by the motivation to eventually create something that my heroes might appreciate.
CB: You say that you’re less attracted to "gallery art" than to other forms of visual culture such as comics, yet you exhibit your work in a gallery. How might you position yourself within the spectrum of visual culture?
NdG: Only some of my work is exhibited in the gallery. I try to make just as much work that is intended for the street as well, and to put out little books and ‘zines. I guess the idea is to do the same sort of stuff on the street and in my ‘zines that I would in the gallery, to try to bring audiences together in a way. I guess I’m trying to bring people who might dig my street art and ‘zines into the gallery to see the work in a different light, and I’m trying to do the same with gallery goers, trying to turn them on to some street art and ‘zines, stuff to which they might not normally be exposed.
It’s clear that street art and ‘zines are already “big money” in a way—obviously trying to bring the audiences together is nothing new, but it does feel nice to get to have my hand in a few, somewhat separate “scenes”—to see my street art buddies come out to my openings. I think it is clear to my audience that I have an interest in gallery art, but it is not exactly my focus. I get all sorts of e-mails from people who have seen my shows, asking things like: "Have you read ‘so and so’ comic?" or: "Who’s your favorite street artist?," without me telling them that I am even interested in those things. So yeah, I hope my interest in comics and street art keeps my gallery work fresh, and visa versa.
CB: Who are some of your heroes? Do you reference them within your work?
NdG: I’ve got quite a few heroes, I’m always looking to people further along in their careers for inspiration; Barry McGee, Jeff Soto, Thesis (Canadian street art legend), Dalek, Masamune Shirow (creator of Ghost in the Shell), Katsuhiro Otomo (creator of Akira). I’m never really referencing these people though, maybe because their work is so new. I have a nagging feeling that I’ve referenced Otomo before, but I can’t quite pinpoint where. But I definitely draw inspiration from them, which is a non-direct way of referencing someone I suppose.
Jacques Cousteau is a big hero of mine. He and my father are responsible for introducing me to the beauty of nature, which is a big part off all of my pieces. I guess I’ve referenced Dante with every single piece that I’ve created over the last year. I guess it’s nearly impossible to depict the nine levels of the underworld without a tip of the hat to Dante. Oh, and Mr. Dressup practically raised me.
CB: What’s next for you in the immediate future? Any upcoming shows or events?
NdG: In one week I’m off on my first vacation in five years! I can’t wait, I’ll be spending seven weeks in Italy working on a comic with my girlfriend. Well, so it’s not really a vacation I guess since I’ll be drawing every day, but it’s as close to a vacation as I’ll see for a while! Next show will be next summer up here at le. Gallery, and before then, just getting some work ready for some fairs: The Toronto International, The Armory and Volta. Yup!
