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NEWS

News, updates, and blog entries from 2014-2017.

ESCAPE FROM NEW YORK

When I started this interview, Neuwirth and I hadn’t met, altough we had been following each other on Twitter for a few months. As I saw him pop up in various time zones, tweeting at all hours of the day, I knew I had to speak to him regarding the “Escape from New York” series of interviews where I ask people about their studios outside the cultural hub of the Big Apple. Specifically, it was his comment to a status on Facebook that I wrote that intrigued me to learn more about his studio practice: “Shout out to people who use the little desk area in hotel rooms to actually do work,” I wrote. Neuwirth commented, “You mean my studio."

Studio Shot: London © 2014

Studio Shot: London © 2014

During the last two months of 2013 I made my most current solo exhibition MMXIV working in hotel rooms in Phoenix, Las Vegas, Montreal, Beijing, and London. I did manage to squeeze in one 15 hour day in my Seattle studio wiring transformers (20) with my girlfriend in between catching planes. And it’s pretty much like this constantly. I mean, this is where I live: in transit. Constantly having to compartmentalize every part of my life is a way of life. A traditional or single location where the work is made is just not possible for me but it’s also a personality thing. My geographic dislocation is as diverse as my personality is and they work together to fuel the work. For me, the studio is relative. It’s wherever I am. It’s my iPhone 5s a Samsung NX1100 digital camera, emails, texts, phone calls and countless hours on social media. It’s like artistic project management.

I finally met Neuwirth when he visited New York partly in order to deliver and install one of his neon pieces. He told me that he had made a sale over Twitter, and it wasn’t his first. Not only does he scrape content from the internet, but he makes transactions over the platforms we use just to express ourselves. I asked him to go into depth about how he uses social networks to be his own dealer.

Sometimes the ripples hit other shores. For instance, I sold the work IRL to a net/new media artist recently over Twitter. I had been posting carefully captured Polaroids of works from MMXIV knowing the bulk of them would make an impact. Like I knew, over time, the collection of them would sink in and boom… this artist dropped the tweet that began the relationship. I was already going to be in NYC for 36 hours to attend the ARTFCITY party and set it up so that I could install the work in his West Village apartment and project space as well. So, a work generated in Beijing, fabricated and displayed in Seattle, shared over Twitter, and brought in my backpack on a redeye flight in the dead of winter was installed in NYC. All from casting a single stone.

IRL: neon, glass, transformer, GTO, supports, silver, zip ties, cinder block, 12 in. x 1 in. x 6 in. | Dylan Neuwirth © 2014

IRL: neon, glass, transformer, GTO, supports, silver, zip ties, cinder block, 12 in. x 1 in. x 6 in. | Dylan Neuwirth © 2014

For Neuwirth, his geographic restlessness demands a certain a way of multitasking; it’s the lifestyle of an artist who has to juggle other projects and a job in an age of anxiousness that is mirrored in his art.

Then it’s like I see I myself not as a regional artist or attached to any one place either. I want to be everywhere. Make work that looks like it could be anywhere. To be singular and be synonymous at the same time. Like a totally underground electronic artist who infiltrates the top charts only to return to the murky depths again.

Studio Shot: Seattle © 2014

Studio Shot: Seattle © 2014

The day after I met Neuwirth, I woke up and reached over for my phone. He had Tweeted me a message. He was already flying somewhere over the continental United States on his way to the Philippines.

Read the full interview with Alex Teplitzky from his series "Escape from New York." MMXIV was originally exhibited, and made its debut, at Vermillion (Seattle, WA) in early 2014.