Much like his work, Corwin has always been a bit of a mystery to me. I visited him in Brooklyn a few years back and after spending the day gallery hopping we found that my car had been towed. Because he is extraordinarily kind, he sat with me for what seemed like hours while I waited to retrieve my car. On my drive home I thought about how little Corwin had revealed about himself after hours in conversation. He talked a lot about art, ideas, conspiracies, the universe, but very little about himself or his own work. I thought he is just like his art; vaguely suggesting matter, but with a focus on the visceral. While that’s true to some extent, he was actually very forthcoming about himself when I made it a point to ask the next time we hung out. I think he is just much more intersted in the world around him than he is interested in talking about himself or his work. Though curiosity is a common characteristic in many artists, modesty is not.
So I am very pleased to present an extraordinary fellow…
When you first joined the project, you were mostly working with pastels and charcoal, but in the last couple years you’ve worked in digital format. What prompted this shift? Do you feel more comfortable with one or the other? Should we expect another shift into different media?
The main reason for the shift to digital was prompted by work. At the time I was doing quality assurance for drawing apps, Draw Something & Draw Something II, so I was testing a lot in the drawing screens on devices. It can be tedious and repetitive work, so I started making my own drawings to keep things interesting. It just seemed like a natural progression to digital since I was working with it every day. That being said, I look forward to moving into different media and exploring the possibilities there, I do miss the tactile aspect of working with charcoal & pastel.
Who or what are your major influences?
That’s difficult to pinpoint because I’m highly influenced by everything around me. Generally, I’m moved by films and documentaries, the radio, and the weather (I love looking at wind maps). I’ve always been interested by the notion that images, memories, and ideas are floating in some sort of realm and pass through us; so maybe what influences is part of that force.
You’re utilizing Instagram for your current series (and, by the way, it’s my favorite feed). What are your thoughts on using social media for artwork?
The use of Instagram is also a side effect of doing quality assurance: I was creating a lot of test accounts (Facebook, Twitter, Instagram, etc.) and was posting to social media. So the Instragram feed was born out of this testing scenario, then evolved into its own being. Abstractly I find social media problematic, but at the same time it creates a seemingly limitless platform. When I was working on Draw Something, the most exciting thing to see was the amount of drawings being created and shared by total strangers and friends. It was pure in the way that it seemed to tap into that early awe when creating drawings as a child, the profound glee of it. So social media can be used to that effect, and additionally to create some sort of virtual gallery that’s totally accessible, I like the democracy of it.
You DJ a radio show called Tesla Effect for Newtown Radio based out of Brooklyn. Tell us about the show and your audio work. Do you ever include audio in your Project Dispatch subscriptions?
The initial idea of the show was to create an experimental radio documentary platform. Though it still has elements of that idea, it’s gotten a lot more ‘experimental’. A lot of time I’m playing short wave or AM radio through a filter, or just manipulating static. So the episodes tend to turn into sonic collages, or just tone fields with distant voices. I have not included audio before in subscriptions, however that is an excellent idea!
Have you made any discoveries in your practice as a result of becoming a member of Project Dispatch and making work for subscriptions?
Since becoming a member, the most exciting thing has been transitioning between different themes and media. So Project Dispatch has been a catalyst in creating new material and not getting stuck. Also the act of packing and mailing work is a very interesting ritual and perfect if you are obsessive compulsive. It can force one into taking care of their own work, which is an important thing.
If you could pick three artists from the Project to subscribe to, who would they be?
I’m too indecisive to pick three artists, there is so much great work. So I would choose the ‘Sampler Subscription’.