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Lire cet entretien en françaisIan Kirkpatrick is a Canadian contemporary artist and graphic designer, based in Leeds, UK. His works are merging design and references to Art History, especially from Antiquity.[caption id="attachment_1601" align="aligncenter" width="600"] Harder, Better, Faster, Stronger. Acrylic and ink on corrugated cardboard, wood (2010).[/caption]Fabien Bièvre-Perrin / Antiquipop: Ian Kirkpatrick, thank you for agreing to this interview. Your works are making classical antiquity, mainly Greek, and ultra-contemporary visual codes collide. We would like to know more about the reasons behind this mix of genres and references. This interview will focus on Antiquity in your creations.[caption id="attachment_1611" align="aligncenter" width="600"] Artist Ian Kirkpatrick pictured with his World War one Sculpture at Colours May Vary. Picture by Simon Hulme (2015).[/caption]On your website and Instagram, you define yourself as a contemporary artist and a designer. How would you define your art?My art draws on the whole history of visualisation – and therefore can be quite eclectic.  But I think my work is unified by a consistent interest in the iconographies, mythologies, and narratives of the past, which I remix into meditations on the contemporary world.Although I’ve always considered myself to be a ‘contemporary artist’ it’s a label I’ve been less fond of lately, as it often excludes so many other forms of image-making (including design and illustration) that are increasingly relevant to modern experience.  I don’t know if contemporary art is leading the pack anymore as a visual – or even intellectual – force.  So increasingly I’m keeping things more open in terms of how I define myself and my work.  I’m as comfortable being called a graphic designer and illustrator as I am a contemporary artist or sculptor.[caption id="attachment_1612" align="aligncenter" width="750"] Vessel. Acrylic, corrugated cardboard, plastic taps, wine bags (2011).[/caption]In the end, what I am is a fan of visual culture – from around the world and across time.  My work is an attempt to absorb all of these influences and find connections between them, whilst generating something unique and meaningful in the process.Contemporary Art can seem nebulous. Would you say you are part of an Art Movement?I’ve long been fascinated with the great art movements of the past, in particular the ones in the early/mid twentieth century, when people really believed that their art could change the world.  I wonder if that some of that spirit has been lost over time.  That being said, I feel part of an increasingly large community of artists who are growing restless with the status quo of much ‘high art’ and who seek to create work that’s more subversive, politically engaged, and visually dynamic.  I don’t know if it’s a coherent movement as such, but I feel that there is a slow change happening in the art world, inspired largely by the emerging importance of visual genres typically excluded from the realm of ‘high art’.[gallery columns="2" size="medium" link="file" ids="1613,1614"]Now, about Antiquity. What was your first work referring to Antiquity?It was a small sculpture called ‘The Fall of Icarus’, painted in acrylic on a cardboard box.  I’d long been interested in Greek vases– but I was unsure how to transform this interest into a relevant piece of contemporary art.  It occurred to me that cardboard boxes are akin to modern amphorae (i.e. we store and transport things in them, and they are often decorated with iconography and imagery) so I found an old cardboard box and painted it in a ‘Greek’ style.[caption id="attachment_1599" align="aligncenter" width="750"] The Fall of Icarus (after Bruegel). Acrylic on corrugated cardboard, wire (2008-2009).[/caption]But first I tore it into pieces and then re-assembled it, to create the effect of a historical artefact.  On each shard I painted a different image borrowed from art history – all related in some way to Pieter Bruegel’s famous 16th century painting ‘Landscape with the Fall of Icarus’.  When the pieces were reassembled, they produced a constellation of references that recreated Bruegel’s painting but in a contemporary way.Did you think then that Antiquity would remain a source of inspiration for other works?After that first piece, I began to realise the potential of looking at all images as artefacts.  The older images are, the more they become disconnected from their original meanings – making them feel mysterious and filling them with a special power.  I found that by mixing new and old imagery, the new ones would gain some of this ‘power’ through association and, similarly, the old imagery seemed more relevant to today.[caption id="attachment_1607" align="aligncenter" width="600"] Anubis. Corrugated cardboard, LED light, acrylic, PVC (2012).[/caption]Together they could create interesting narratives that could be read in multiple ways and which made our contemporary world appear more seamlessly part of the larger practice of image-making that has been happening since ancient times.  This was a very exciting discovery for me – and so I suppose that, yes, it became evident that I’d be drawing on antiquity for quite a long time in my work!You are Canadian, why looking at Antiquity in the old continent instead of into the history of the Americas?Much of my work actually does make reference, in some way, to the art of the Americas.  I grew up near Vancouver, so there was lots of art from the Haida communities around.  It’s been a massive influence on my own work, especially in the sharp, geometrical structures I create, and the reduced color palette I sometimes use.  Also you’ll find lots of iconography from the Mayans, Incans and Aztecs mixed into my work.[caption id="attachment_1615" align="aligncenter" width="600"] Vision in a Dream. Corrugated cardboard, gold mirror card, blister pack, LED lights, PVC (2013).[/caption]Where do you get your classical culture from? What is the role of your family, your education?My father is a retired high school social studies teacher – and I think some of his interest in history rubbed off on me!  He and my mother are big fans of Renaissance art, which of course was strongly influenced by ancient Greek art – so possibly that was where some of my own fascination came from.[caption id="attachment_1602" align="aligncenter" width="900"] Riddle of the Sphinx. Aluminum, Vinyl (2010). Installation view.[/caption]One of the main reasons I’m so influenced by the antiquity of the Old World is because I do a lot of design work at archaeological sites in the Near and Middle East.   My wife (Dr Sara Perry) is an archaeologist and is the heritage team lead on several large projects – including at Çatalhöyük in Turkey (a 10,000 year old site) and Memphis (the original capital of ancient Egypt).  I do all of the graphic design work for her team and so have the amazing opportunity to experience these sites firsthand and help to visualise them.Why import ancient fragments in your compositions?I think there is something very exciting about re-using an ancient image, hieroglyph, or piece of text within a modern piece of art.  I enjoy placing icons of the past beside, for example, a modern logo or infographic.  It shows how similar the present and past really are – how little humanity has changed.  I often imagine my own work as being like an ‘artefact of the present’: I try to create that same mystique and potency that ancient artefacts have.  At the same time, I don’t believe in simply adding symbols just to ‘mystify’ people.  I like for my work to have meaning and to express ideas – even if that meaning might be difficult to decipher.  By combining ancient iconography with new imagery, I find these meanings can be more universal and can help put the world events of today into a larger context.[caption id="attachment_1600" align="aligncenter" width="900"] Medusa. Ink on corrugated cardboard, wood (2008-2009).[/caption]What is their interest aesthetically speaking?I suppose I have a natural interest in the aesthetic of the ancient world.  Quite possibly this is due to my upbringing – but also it is something that is a bit universal I think.  I see a lot of work created by artists today who enjoy merging past and present iconography.  Likely it was my exposure (possibly overexposure!) to cinema and television which helped inspire this.[caption id="attachment_1616" align="aligncenter" width="1000"] Conversion on the Way to Damascus. Corrugated cardboard, blister packs, PVC, bubble bath, chocolates, toys (2013).[/caption]Also there is a timelessness about ancient art and architecture which stands in opposition to our rapidly changing modern world.  Because of this timelessness, somehow a smooth granite statue of Ramesses from 3000 years ago can seem less dated than a bronze bust of a man in a bowler hat from just a hundred years ago.  At the same time, the aesthetics of past cultures always feel a bit alien to us – and therefore it inspires our curiosity.  Or at least it inspires mine!And symbolically?One of the things I enjoy most about the symbolic meaning of ancient imagery is that it is open to such diverse interpretation.  Over time, images can develop multiple (and sometimes paradoxical) meanings…while in other cases their meaning is lost and therefore they generate an aura of mystery.  The older the image is, the more likely it is to be shrouded in uncertainty – and therefore to become open to multiple interpretations.[caption id="attachment_1606" align="aligncenter" width="1200"] Outpost (with Julien Masson). Digital print (2011).[/caption]I love reading books about the symbolic meaning of artefacts.  For example I once bought two small publications at the British Museum – one about the ‘Queen of the Night’ (a Babylonian artefact) and the other about the Portland Vase.  The books presented multiple, contradictory interpretations of the artefacts based on how their iconographies were read.  The absence or appearance of key symbols could radically transform the interpretations.  I loved how all of these small details could generate so many meanings and narratives, and provoke so much debate.  There is such a weight of history and literature surrounding artefacts of the past – making them very powerful (and sometimes elusive) narrative tools within my own work.How do you find the ancient pictures you use? Via a simple google search or trough a more elaborate process?I don’t have a specific way of finding imagery.  Most of the time my research happens online – often through Wikipedia.  I love how everything is hyperlinked, creating vast networks of related information that can tie the ancient past to the modern day through very strange passageways of related facts.  My work operates in a similar fashion, with constellations of symbols and data that make connections across time and space.[gallery link="file" ids="1605,1604,1603"]Often this research connects back, in some way, to art history – a subject I’m fascinated by and which recurs as a theme in my work.  Our house is filled with art and archaeology books which we’ve both collected over time, and which span from the ancient past through to the present day.  Mostly they just sit on the shelf collecting dust…but sooner or later an idea or inspiration will make me pick it up again and study in depth.  When I really get into an artwork, there will be art books covering the floor, each filled with a sea of post-it notes to identify key pages!Beyond this, many of the commissions I undertake require archival research and visits to museums, in response to briefs relating to specific subjects or places.  This can, of course, reveal some very obscure and potentially fascinating images which might not otherwise be on the internet.  For this reason, searching through archives or storage-rooms or small museums can feel very much like a treasure-hunt!You also refer to an 80/90’s aesthetic in your work. How do you explain your appeal to a recent or distant past?I grew up in the 80s and 90s…so I suppose that is the most simple answer!  I clearly have some latent fascination with some of those aesthetics (whether I’m attracted to them or repulsed by them is a different question).[caption id="attachment_1608" align="aligncenter" width="600"] Rite of Spring. Corrugated cardboard, gold mirror card, moulded plastic, LED lights, PVC, iPod mini, earphones (2013).[/caption]Another reason I’m interested by some of the ‘retro’ designs (notably computer game designs from the 80s and early 90s) is because they actually remind me very much of artforms of the past.  For technological reasons, old video games had quite simple aesthetics and often presented figures and objects within a 2D space – something you see in much ancient art.  Games like Super Mario Brothers also have an abundance of free-floating iconography (such as coins, feathers, stars, etc.) with echoes in Egyptian art and other hieroglyphic forms.[caption id="attachment_1609" align="aligncenter" width="600"] The Stars Which Know No Destruction. Corrugated cardboard, mirror card, PVC, Styrofoam (2014).[/caption]I’m not a big fan of ‘retro’ for its own kitsch or ironic aspects, but rather I enjoy borrowing styles from across history.  So for me, retro really just means anything old… from ten years ago to ten thousand!Finally, what are your plans? Will there be new references to ancient times in your future work?I’m currently working on my first piece of public art – a large steel sculpture that will be unveiled in Leeds, UK this Fall.  It’s a very exciting project and will inevitably contain references to the ancient past!   Also I’ve been working busily on several new 2D pieces which I’ve been posting on Instagram – most of which make reference to ancient artefacts, myths, and symbols.[gallery link="file" ids="1625,1623,1622,1621,1620,1619,1618,1617,1624"]Will my future work make reference to ancient times?  Absolutely!  It’s a bottomless supply of fascinating ideas, imagery and inspiration…why would I ever stop?The team of Antiquipop is based in Lyon, a message to the museums and galleries of our city?Hopefully I will get a chance to come visit Lyon soon – it looks like a beautiful city with an excellent mix of ancient history and very contemporary culture.   I’m particularly interested to check out the Anthropology collection of the new Musée des Confluence…as well as the building itself.  It seems like a perfect synthesis of ancient artefacts and hyper-contemporary design…what more could I ask for?[caption id="attachment_1626" align="aligncenter" width="750"] Detail from my new work 'Altarpiece' for the 'And Did Those Feet' exhibition, opening this weekend in Leeds: http://bit.ly/1WlnixG #williamblake #leeds #art #fiveeyes #devil #moloch #hell #fearnot | https://www.instagram.com/p/BEnkJBTup65/[/caption]Ian Kirkpatrick's website :   https://iankirkpatrick.wordpress.com/Instagram : https://www.instagram.com/iankirkpatrickartist/ [cite]&#160;Other articles in english&#160;