A Conversation With British Artist Nick Hornby

You have said that you like to look back at art history for inspiration. How does digital technology fit into that process?

I have quite an a-historic and magpie approach to art history as well as to technology. I approach historic art in the same way as contemporary art – and equally, I mix traditional and contemporary tools and processes. I might spend a day at my computer then a day with an orbital sander and angle grinder, a day with clay and a day with augmented reality.

How does modern technology in general fit into the Renaissance Paragone argument, i.e. the debate of whether painting or sculpture is superior?

Ha – what an interesting question. But also perhaps only in the fictitious realm of this question… as in – in today’s post-digital, post-internet world – it seems obsolete to make distinctions between online-offline. I am my avatar – my avatar is me.

You use the year 1504 in the title of your 2013 New York solo exhibition and then again for your Glyndebourne series. Is it correct to assume that this is because Michelangelo’s famous sculpture of David was unveiled that year?

Yes.

Do you consider Michelangelo’s famous figure to be the beginning of modern sculpture?

I’ve heard that said before. I think the idea of “Art History” has become so problematic that I’m not sure I can answer that question. We’re only just starting the enormous task of undoing the western-centric-ness and gender biases that have prevailed for so long. Modern sculpture as a term seems to reek of that problematic succession of white men. And as a white man – I’m very weary of it. To take another angle – I do think Michelangelo’s work “feels” incredibly ahead of its time… the “unfinished works” that “reveal” the materiality is as close to genius as I could imagine.

Designed By Woulfe consistently tries to incorporate art in their designs and has, therefore, worked with many artists over the years. What advice would you give to interior designers who are considering contemporary sculpture, either commissions or direct purchase, within their projects?

I have great respect for designers – and it’s great to work together on projects. I don’t think there is a formula – but when you can initiate a dialogue early on in a project that can be beneficial. The commission I did with Peter and Philip Joseph for Matches Fashion was a joy to work on – they are fantastic and communicate their vision very clearly. Also a commission I did for Andaz 5th Ave in NYC with Tony Chi – another incredible architect/designer. In both cases we started a dialogue very early on.

Designed By Woulfe has invited Tova Ossad of Ossad Art Management to interview a range of art world personalities. Her fifteen years’ experience working in this sphere has exposed her to many artists, auction specialists, art advisors, conservators, and gallerists, thereby giving the Design Journal fresh insight into the fundamentals of art. This series will explore buying, selling, appreciating, and everything in between.