It’s incredible how intense juxtaposition can create harmonious, blissful compositions. The longer I look at these sculptures and weavings, the more they make sense, and the more I fall in love! Meet artist Paul Yore.
Please tell us a little about yourself and your artistic background. Where are you from? Where are you now?
I was born and raised in Melbourne, Australia and I live and work in the countryside not far from Melbourne. At university I studied painting, archaeology and ancient history.
What’s your creative process like? Do you like to sketch and plan or just wing it?
I usually have something in mind before I start, however my process is highly intuitive, and I believe that anomalies are part of the work. I allow for a great deal of experimentation to occur throughout making something.
How long might a completed sculpture take to create?
I work across textile production as well as sculptural installations. The installations have been accumulating over a five-year period, and so I never see these works as complete, rather as an ongoing process. My textile pieces are hand-sewn and so generally take between five and ten months to complete.
What’s your studio/work-space like?
I am naturally very unruly, and I hoard a great deal of found matter so my studio has always been a little chaotic. Yet in the last few years I have found it necessary to impose some order in my working space, as it had become unproductively disordered.
Did you always feel destined to be an artist? Were you ever unsure?
I was always an artist, even as a small child. I have always had a tendency towards making things; it is an innate inclination for me. However, I do strongly believe anyone can make art; it is not a special ability.
When would you say you developed the style of art that you make now?
My style came about mainly as a reaction against academic and conceptual art that I encountered as university. I became interested in trying to make things in a very direct, spontaneous way, even if this meant the results were crude or clumsy. The colour scheme in my work stems from my interest in psychedelia, but also has been read as an allusion to gay politics.
What are your favorite art supplies? Are there any that intimidate you?
I feel that I could incorporate just about anything into my work, but I love using found materials, and finding random things, as these speak to the sense of chaos in the work. I am not really intimidated by any particular materials, but I dislike harsh chemicals.
Do you collect anything?
I collect heaps of things: feathers, shells, bottle tops, and lots of other junk. Found materials are the foundation of my work.
What makes you happiest in life?
Life is overrated; I think death will be more relaxing.