Interview with Jordan Griska

Philadelphia-based artist Jordan Griska was recently interviewed by emerging Philadelphia artist and 2010 Moore graduate in Fine Arts Kelly Kozma to talk about what he's working on now and how he lives and works in the city.

Can you tell me a little bit about yourself and your background as an artist?

I would say my interest in art started in high school, or even younger. I was into building skateboard ramps and things like that. If I needed something I'd try to make it myself. In high school I was more into drawing than building. I wasn't sure what it meant at the time but I enjoyed doing it. I grew up in a family of doctors but they were very supportive; maybe not in the sense of it being a career but they did support my work. I went to George Washington University on a scholarship. I started getting more serious about my work and realized it might not be the right place for me to grow, so after a year I transferred to Pennsylvania Academy of Fine Arts (PAFA). I did a combined program with PAFA and UPenn (University of Pennsylvania) so I was able to get both the academic and technical training I needed. It was important for me to have a well rounded education and that is where I realized that I was going to be an artist.

Being a recent graduate myself, I am constantly getting the question 'What are you going to do now?'  It's definitely a time of uncertainty and can be a bit daunting. Can you talk about the goals you set and steps you took after you graduated to transition from student to working artist?

One of the biggest roles in my post graduation career was establishing a group of other artists to be around. I work collectively with 5 guys, all graduates from PAFA. We bring together our tools and ideas and feed off each other's energy. Setting goals is also important. You need to be constantly applying for things even if you are busy with your job.

Speaking of which, what is your day job?

I do a lot of construction, framing, and building stuff. It works because it's flexible and I can spend time in my studio. On a side note there is a gallery opening on Juniper, Jolie Laide, that is commissioning many large works from me so I will be able to pay myself with that.  But in terms of succeeding as a working artist you have to keep your motivation and ambition strong. Find out what's available to you and go for it. It's also important to set perimeters. Work in your studio like it's your job. My friends have said I'm the hardest working person they know without a "real job." I also recently became a fellow of CFEVA, which has allowed me to network and find more opportunities.  

You talked briefly at the Net Nights event about the injury you experienced during one of your performance pieces.  Did that affect the way you approach your work or provide inspiration for future pieces?

It definitely affected the way I approach my work.  A lot of times you get caught up in the creative aspects and forget the practical ones.  It opened my eyes and taught me to scrutinize everything, especially when it comes to performance pieces that interact with the audience.  I learned to open up to people and ask them for help when it came to the engineering of my pieces.  You can contact other universities and talk to artists who really know their stuff.  It's important as an artist to reach out for help. It's just like making friends and then you know all these people with different skill sets. Most artists are willing to help when they can. After the injury it didn't take long to get ideas for new projects though.  My body slowed down, but my mind didn't.

You mentioned your collaborative workspace, Philadelphia Traction Company.  Would you talk about the benefits of being part of a collective and how the group came together?

It started out with me and my friends John Greig and Billy Dufala. They were a couple years ahead of me at PAFA. They saw my work ethic and skill sets and we had similar interests.  We talked about getting a big space with inexpensive rent, where we could come together, share tools and make work.  It started out with the three of us and then grew to six people. The advantages? Well, six heads are better then one.  We all are doing different work and have different skill sets. Some guys are working with molds, others bronze...steel...wood.  So it's nice to have all these different areas of knowledge.  It's also six times the amount of money for tools and the space.  It's great when you are setting up for a show because you can ask for help without overwhelming one person.  I remember at my first solo show everyone came and helped out.  Where would you find funds to pay people otherwise? I think it works because we are all doing different stuff. If we were doing the same thing there might be more of a competitive nature. It's also the mentality of a group and learning to share.  I used to be really particular about my tools but I've opened up a lot and have learned that having a sense of community is more important than having my own possessions. Having someone else in the studio is great, even if you aren't talking because it makes you want to be there and work hard.

What can we expect to see at your upcoming show?

I've been working on these honor boxes, titled Honor Box Reflection. They are newspaper boxes that I cut in half and then weld back together; creating a symmetrical structure that gives the illusion of a reflection. I wanted to address natural disasters like Katrina and the whole impending apocalypse. I'm taking a common object from the street and manipulating it, making you imagine that you are looking at it in a flood. I wanted to take a look at the phenomenon of natural disasters, which seems to have heightened since I was a younger, and create a 3 dimensional sculpture out of a 2 dimensional reflection. The conceptual aspects are important to me but I incorporate aesthetic value into what I'm making too. You never know who is going to see your work and I want to create a dialogue with as many people as possible, not just other artists.

What goals do you have set for yourself as an artist? Where do you see yourself in 20 years?

I'd love to be showing in New York and internationally; the wider the audience, the better. The more places you are showing, the more funds you can get. I lived in Italy for five months and did a residency in Switzerland and it was really great to find out how similar people are despite their differences in culture. There is a dialogue about art wherever you go. 

Do you think with recognition and money comes pressure to make a certain type of work?

It can, but the way I see it is that the more money you get, the more power you have to discuss what's important to you. It's a luxury to be able to choose what you can and can't afford to do. I want to create works that reach as many people I can. Different people and different audiences allow for more opportunities, which allow me to make more work.