"... many ways to look at art"

A total of 60 pieces of art by young artists from Los Angeles have been exhibited at the Salzburg Hangar-7 since September 20. From their own perspective, each one of them created personal instructions for a visit to ‘LA Potential’. The last artist to guide us through his work is Eric Yahnker, who started his career as a cartoonist for ‘South Park’.

What three things, characteristics or frame of mind should we approach the exhibition ‘L.A. Potential’ with in order to come out of the viewing enriched?

Firstly I’d say that individuality is at the core of the LA art scene. In addition, adherence to any one particular mode of working can be stifling to the artist. A gradual and steady evolution and ability to alter things that may have already proved successful is what provides for endlessly fresh ideas and creativity – and thus the potential for continued personal challenge to the artist and their audience. Thirdly, there’s as much fun to be experienced as there are challenges.

Reading a book or going to the movies is not a big deal. But visiting a gallery for some takes a lot of overcoming. How does one get over that?

There has always been a very specific elitism that follows high art and culture which essentially filters out the ‘uninitiated.’ It is what separates it from the rest of the visual universe. Although there are safer entry points for general audiences within low-brow contexts, I am not as concerned with general audiences overcoming their fear of being challenged when they walk into a gallery or museum institution. However, if I did want to help alleviate some of this apprehension I would tell newcomers that art is simply a visceral and intuitive personal experience. You don’t necessarily need a doctorate in art history to appreciate and comprehend most contemporary work – and audiences are not required to ‘like’ everything they see. In fact, they’re also encouraged to hate it with a passion.

Let’s say we’ve overcome our fear of entering. Should we first get an overall perspective from Hangar-7? Should we follow a system? If yes, which one? Or is it simply about walking up to the first picture that stands out the most and take it from there?

My advice for audiences entering any art atmosphere is to not enter with pre-conceived notions. In fact, expect to leave the exhibition not really knowing what it is you’ve just seen – but be open to the possibility that an image may linger or ‘stick’ with you over time. This is the first seed of discovering one’s personal taste. Just as art-making shouldn’t follow a set of rules, neither should art viewing. There is no one way to look at art. It is simply personal and instinctual.

Let’s saunter over to your own pictures. Is there something you want to tell us before we take our first look at them?

Although it goes against the grain of my belief to tell people how to view my work, if I wanted to put it in a certain context, I’d simply say it’s better to ‘read’ my work than merely view it. As the designer uses composition or the colorist mixes their palette, my work revolves around ideas. It is not perhaps just a drawing or sculpture before you, but a host of ideas and references that lead your eye and mind around each piece. Generally speaking, my titles are just as important to the work as the images themselves, and the device of ‘comedy’ is the lens through which most of it can be viewed.

Please help us to find access to your pictures. Perhaps with a bit of background information about your work. Or maybe if you could give us a feeling for how to best receive the messages you want to relay.

Don’t be afraid to laugh at the work, and don’t be afraid to take it seriously either.

Please choose one of your exhibited works and give us a few details about how it was created.

Using ‘Abraham Lincoln with Softened Features’ as an example, I simply found a ready-made plaster bust of Abraham Lincoln and sanded it down until Lincoln’s trademark rigid or angular facial structure disappeared.

During the creation of your art, how much do you think about the people who will look at them for the first time? How much does it serve as a mode of communication between you and those in Hangar-7, and what message should the observer receive?

The only audience that truly concerns me when making my work is myself. I cannot be beholden to pleasing others. When conceiving the work, my first thought generally circulates around ‘what would I want to see if I walked into an art space? What would give me pause … excite me … challenge me … make me laugh?’ With this kind of thought process I think the communication between the audience and me is simply one in which they can feel assured that when they’re in the presence of my work, they are in fact in the presence of me. My work and I are one and the same. Essentially, it’s all autobiographical.

And finally, please give us the opportunity to show off in front of art-lovers: Is there any specific meaningful detail in your work that’s only visible on a second viewing?

There are too many details to count. My work is intended to continue providing new meaning and definition long after the first and second viewing.