John Naccarato An interview by Dario Rutigliano, curator with the collaboration of Josh Ryder firstname.lastname@example.org
The very first feeling I got when I had the chance to get to know John Naccarato 's works, is that Art and Technology are not separated at all, and that it's always possible to go beyond any artificial boundary that limits the intrinsic continuity between a rational approach with a transcendent sensibility. Naccarato shows how this symbiosis is not only possible, but at a certain point unavoidable: his refined search of functional synergy between several viewpoints offers to the viewers a multilayered experience that establishes an area of deep interplay with the viewers: I'm very pleased to introduce our readers to his stimulating works. Hello John and welcome to LandEscape: I would start this interview, posing you some questions about your background. You have a solid formal training and you hold a MFA of Visual Arts, with a focus on multimedia and interdisciplinary research that you have received from University of Ottawa: how did this experience influence your evolution as an artist? Does it still inform the way you currently conceive and produce your works?
First off, thank you so much for offering me this opportunity to discuss my work and research. You're first question poses a very interesting paradox for me. There have been four distinct
periods in my life where I sought out formal training. Each time, the formal experience offered an opportunity to explore new methods and techniques; network with fellow artists and the local community, and gain critical insights into my own objectives and methodologies. However, upon leaving formal training, an extensive period of deconstruction would take place, that is, how to unlearn all that I had been taught, in order for it to become part my own unique understanding and process. My first formal training and experience began in the late 70's at Fanshawe College, in London, Ontario. The program was relatively new and quite unique in that along with the traditional training in painting, sculpture and print, they also offered studies in experimental and commercial film, video and photography. For me, it was like a kid being let loose inside a candy store. I wanted to explore all the media. So instead of focusing on any one specific media, I began to negotiate a way to incorporate them all, which in turn lead me to develop large scale, site-specific installations. One key work I produced at this time, which I came to call, The Question, was primarily constructed with found objects and materials from in and around the neighbourhood, including discarded tv sets, sofas, cardboard, and plastic. The work also had sensory based elements built into it, which would interact with the participant's senses of smell, touch, sound and sight. To the dismay of students and instructors alike, the work would end up taking some 3,000 square feet (almost half) of the available communal studio space. In the Juerg Luedi