WM | whitehot magazine of contemporary art | Interview with Alette Simmons-Jiménez


Interview with interdisciplinary artist Alette Simmons-Jimenez



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chain, I: Kerry McLaney


ed e

s. Image: Daniel Portnoy

Transmutation, installation view, m/m with Plexi carving, chain, glass, silver leaf, enamel,

24x24x108 inches. Image: Daniel Portnoy

thoughts and concepts that clarify this direction even more: “We are all waves from

the same sea...” and “Mono no aware” for example.

Baby Puff Cloud (in front of The Empire is Falling), polypropylene, Plexi globe, LED bulb, base.

11x11x10 inches. Image: The Artist

CH: How do you select your materials?

Materials are often personal artifacts from home or around the studio. Most works

have mini stories built into the material they’re made of. I select this or that

according what I believe I can manipulate successfully into the piece I’m working

on. In “Infinite Ocean (Ifitry)” I had a visual design in my head. I had worked hours

sewing on it, cutting, gluing, and painting. But it was looking awful, so I went back

and tore it all off. I found new materials and redid it again, several times, before I

achieved what I thought was possibly good. It’s trial and error.


Image: Daniel Portnoy

ASJ: As you mentioned earlier “A Stick, A Stone, A Tree” and “Every Other

Breath” - ‘stack unlike topographies’. I do tend to stack layers of influences. In

fact, I use this concept of layering to be able to express a complex maximalist

attitude, employing information from multiple imagery cues and the varied sources

that supply them.

CH: Is there a sound component to the exhibition? If so, can you describe it for

those of us who will not be able to visit in person?

Yes, there is. I have a video component running on an iPad and hung adjacent to

two other works. The installation is called “The Calling Wall”. In the video “The

Calling” sound is the principal element. In sequence, we see, and hear, the rhythmic


Sculpture: :VSP. Image: The Artist



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