Meet Kim Miskowicz!
In our latest electronic interview, Kim Miskowicz tells us more about what "Place" means to her and her project. Read on to learn more!
Tell us briefly about the focus of your work. What are some of the themes you are exploring these days?
I am currently exploring interruptions of idealized place, either physical location or emotional place. Place, for me, is personal. Place is the setting of every moment I want to remember. A large portion of my video archive was shot knowing what time of day and season to capture places I spend most of my time either on a hike in the Bay Area, from my studio window in downtown Oakland, or visiting family in New Mexico. Another portion of footage is from desperate attempts to hold onto memories of vacations where I shoot whatever I can to gather image references that I might want to remember or use in the future. These shots often have interruptions of the place I attempt to capture, such as a crowded composition of a park designated scenic lookout, or audio of summer sounds of crickets and cicadas at the North Rim of the Grand Canyon interrupted by the starting of a car. It is the interrupted moments in special places that I want to explore at Project 387.
What are you looking at, reading, or listening to right now that is influencing your work or process?
I follow a London artist Theo Tagholm on Vimeo whose experimentation with video and landscape is inspiring. I recently enjoyed seeing Wim Wenders’ early short films at the BAMPFA and follow new developments in storytelling with Virtual Reality ever since reading an essay by Andrew Marantz, “Studio 360.” I intake a well-balanced diet of serious and amusing media; recently Paul Bogard’s book, The End of Night, Eric Schlosser’s Command and Control, and new flash fiction by Kara Vernor. I listen to countless comedy, pop culture and educational podcasts, not specific to current projects, but undoubtedly indirectly influencing my state of mind.
What does a typical day in the studio/office look like for you?
I have 4-5 hours/day to work in the studio. My studio is across the street from a playground in a congested area of downtown Oakland where there is a lot of street noise from kids playing, cars honking and fighting for parking. My space is filled with obsolete digital and analog cameras, editing equipment, projectors, books, papers, half-finished projects, sewing machines, older work and the art of others. I walk into my studio around 7am, look at notes to myself from where I left off either from video editing or a landscape collage, load a podcast and start working for a few hours. If working on a collage I spend time cutting, gluing and stepping back to check the composition. When working on a moving image project I have my hands in multiple formats playing with Super 8mm, miniDV, camera phone videos and scanned textures from my sketchbook. If I have a moment, I will check if there are any films showing that week at BAMPFA, San Francisco Cinematheque or elsewhere. When I am finishing up for the day, I leave notes to myself for the next time.
What's the best advice someone has given you about your work? The worst?
The best advice: When you are finishing up in your studio for the day, take notes of where you left off and what you want to do next with your project if it isn’t finished. This way the next time you return to your studio you don’t have spend as much time toiling with your next steps. I can’t think of any worst advice. The only bad thing I can think is assuming that what works for one artist will work for another.
Are you involved in any upcoming shows/events/happenings?
I currently have a collage showing as part of Common Ground: A Celebration of Our National Parks at the David Brower Center in Berkeley, CA.
What are you most looking forward to at Project 387?
Hours of uninterrupted time, getting to meet and converse with artists in a setting other than an art opening, learning about Gualala, CA, its history and environment.