This story is a part of Picture’s April problem, exploring motion and the way it modifications us from inside. For the difficulty, the artist Grace Weinrib created an unique paintings based mostly on the issues her father left behind. On this as-told-to interview, Weinrib shares her course of.
For the previous couple of years, I’ve been going by means of my dad’s collections. For context, my household moved to Santiago de Chile in ’92 from L.A. — I used to be born there. My dad did cartoon voices. He labored with Hanna-Barbera Cartoons, and he married a Chilean, my mother. My father handed away in 2006; me and my mother are right here, and my sister moved again to L.A. in 2019.
I’ve been going by means of my dad’s issues — one, as a result of I made the time. Two, as a result of I felt prefer it was the suitable second to take action. It’s a very emotional course of, in fact. Subsequent yr goes to be 20 years since he handed away. I’m 41 — I didn’t have him for very lengthy. I’ve been sorting by means of the issues, selecting what I’m going to maintain for myself, what I’m going to present away. The journey of doing this has additionally had quite a bit to do with giving these items a second alternative and a second life — getting them out of a warehouse or room or field and anyone truly utilizing it and giving it a brand new that means. There’s one thing symbolic and transformative about that that I’ve actually loved, and I didn’t anticipate it.
“I am realizing the reason why I’m interested in making small format works right now has to do with the universe that I’m referencing, which, in the case of this series, are books, the old world of lists and stationery and discarded pieces of paper.”
From the sequence “crystals of sulphate of soda and lime,” collage, pencil, ink, stamp, tape, frottage on paper, diptych 22.5 x 30cm, 2025.
I’ve gone to storage gross sales and flea markets, and I simply put my little stand there and make every little thing very nice. It’s enjoyable to do the analysis, determine what every little thing is, as a result of I’ve all kinds of objects, like fossils and minerals and Avon thimbles from the ’80s and Japanese toys from the ’60s. I noticed that I used to be doing a lot work, taking photos of and measuring every little thing. I used to be like, “This is art.” It is a challenge — this can’t be one thing that I’m doing on the aspect.
You will note within the work some stationery from my dad’s bookshop, which was on Melrose: “Lenny’s Book Nook: Unusual, used books bought and sold.” A part of what’s fascinating to me is the fiction that you need to create when anyone passes away — you type of fill within the blanks. And reminiscence could be very tough in that sense, as a result of anyone tells you one thing, and then you definately bear in mind it in a sure manner. That additionally informs the work, that unusual manner that reminiscence capabilities. It’s fascinating how, for instance, my dad’s bookshop, I’ve remembered various things from it. I by no means went there. I simply have slightly bit of information. Artwork is an excellent fertile place to make associations since you create one thing that’s form of parallel to actuality.
I’ve additionally began new collections within the course of. For instance, I accumulate lists that I discover once I go to the grocery store, and anyone simply drops their listing on the ground — I’ll at all times be the vacuum that may clear it up for these individuals. I discover them endearing, like one thing that anyone made with completely no pretension for it to be artwork. And that’s additionally one thing I like about stationery. It’s not meant to be creative.
I’m realizing the rationale why I’m serious about making small format works proper now has to do with the universe that I’m referencing, which, within the case of this sequence, are books, the previous world of lists and stationery and discarded items of paper. I additionally realized how intimate drawing could be, and a variety of this material shouldn’t be very simple to speak about, it’s very private and personal. So the truth that it’s small has hit very near house.
Going by means of containers and going by means of issues is extremely messy. It’s not like every little thing suits neatly in a field. Like, “Oh, here is the sector with my father’s smoking pipes” — it doesn’t go like that in any respect. For instance, the toys that I’ve been going by means of, they’re in all places. I feel that this sequence, in that sense, pertains to that overlapping of issues, the expertise of going by means of issues. I’m nonetheless wanting on the works, however the overlapping and the transparencies of the papers that I’ve been utilizing, it’s opened up one thing actually new and fascinating for me.
—As informed to Elisa Wouk Almino
Studio desk of Grace Weinrib, that includes work from the sequence “crystals of sulphate of soda and lime,” combine media collages of coloured pencil, china ink, india ink pen, carbon paper switch, rubber stamp, correction tape, masking tape and frottage on paper.
(Courtesy of the artist)
Grace Weinrib was born in Los Angeles and is an American Chilean visible artist and instructor. She at present lives and works in Santiago, Chile.
