5 Questions … with Alex Podesta
enjoy, from the man himself
https://neworleanscitybusiness.com/blog/2009/12/05/5-questions-with-alex-podesta/
How did you come up with the idea of life-size replications of yourself in bunny suits?
“It started from a desire four years ago. I’d been making tight, formal, sort of academic work. I wanted to get away from art work that felt like it was made for other artists, so I started to dig into my childhood looking for source material for new sculptures. This led to memory of pajamas I used to wear, and that morphed into the idea of full-grown men in bunny suits, although I resist calling them bunny suits. It feels more like chimeras or hybrids than just men in suits.”
What’s been the reaction to your work?
“From confused to positive, and that actually keys into why I like the series as much as I do. I think people can really enjoy them without caring whether they’re art. It’s just an absurd experience (looking at life-size sculptures of men in bunny suits) and you don’t have to get involved in how it functions as artwork or whether it’s important as artwork. It’s just an interesting thing to have witnessed. People look at things harder if they can relate to it, and the most direct way to make someone relate to something is to make it like them. A life-like figure by its very nature is easier to access than a minimalist cube. There’s a game viewers play when looking at figures, especially funkier ones like this. They have a ready comparison for whether it’s right or not and when it comes off well viewers get a kick out of that.”
Where can people go to see your life-size sculptures aside from those on top of the Falstaff building?
“Those pieces were severely damaged in a studio fire a year and a half ago at the ArtEgg (studios on South Broad Street). They’re all stacked up in racks in the studio in various states of disrepair. I moved in there about two years ago after my Mid-City studio was severely damaged during (Hurricane Katrina). My studio was on the ground floor so it took on about seven feet of water. We made effort to get back in there but at that point in New Orleans it was so much the Wild West. It was an easy target for thieves and got cleaned out. They left the artwork but everything else got taken. So between the fire, the flood and the thieves, I’ve replaced my studio three times in the past four years. But if nothing else, people in New Orleans are resilient these days and we’re going to keep making artwork no matter what.”
How do you think prospect.1 fared?
“I thought it was great. It didn’t meet the citywide expectations people hoped for but considering this giant art show was being mounted as the economy took a dive I think it did exceptionally well. But as a nascent exhibition it had the same problems you’d have anywhere – figuring out how to put 80 artists spread all over city and negotiate the logistics of getting viewers out to them. But that’s being addressed for prospect.2 from what I’ve heard.”
How do you view the current visual arts scene in New Orleans, and what has changed the most in the 13 years you’ve lived here?
“In post-storm New Orleans, the St. Claude arts district has become an amazing, vibrant area for art on the city in an area where there were very few things going on before. There are a lot of new galleries with very experimental work. But there’s always been a strong interest in the visual arts in New Orleans. One thing that caused me to move here 13 years ago is that for a city of half a million, the ratio of active serious galleries to the overall population seems to be way higher than any other city of equal size. I lived in Richmond (Va.) which has a fantastic art school and is about the same size but had a third of the galleries. And while it’s less so now than 13 years ago, New Orleans is a cheap place to live relative to Los Angeles or New York or Chicago or San Francisco. The cost of living in the city has increased radically in 13 years but not to those other levels.”