Francesca Cozzone and I met in our Intro to Figure Drawing back in 2007 at the University of Wisconsin-Milwaukee. We became fast friends, taking many classes together until graduation in 2010. I went on to graduate school in New York, and Francesca took some time off, developing her studio practice. Francesca made the decision to pursue a Masters degree, and made the move from Chicago to San Francisco to attend school at the California College of Arts.
I am very happy to welcome her to The Coastal Post as a co-founder and the West Coast Editor.
Studio Visit done on 3/24/14
Why did you choose to move to San Francisco?
My dad was in the marines and he was based at Camp Pendleton in Southern California. My dad always talked about how he could go a couple hours to the mountains to ski and a couple hours to the ocean and swim. It always fascinated me to have this ability to experience all the seasons to your choosing. So when I started applying to graduate programs California was top of my list for locations.
How do you choose color?
I stopped using color in my first year of undergrad in response to the use of color in the school environment. But I found my way back to color through the very same reasoning that I left it out of my work for a little while. San Francisco, the city, not art world, has this great idea of color in the houses and the landscape. They use beautiful pastels and sometimes-crazy bright colors like cobalt blue, and then there is this weird layer of fog left on everything. So you have this beautiful color that is kind of clouded by this fog dirt. I really enjoy this secretive dirty beauty.
What is a typical day in the studio like for you?
My day starts out simply by list making and setting a tone for the day. Each day has a different vibe, so I like to pick an album (most recently, Of Monsters and Men) or movie (most recently Frozen and Tangled) I can listen to, to get me into my movements of making. I always start with the largest project of the day, and I use breaks from the larger project to make smaller pieces and paintings.
What items do you have in your studio space, what things do you need there to help you create?
MUSIC. Clean space. I clean out my studio once a week as I start a new week of projects. I need my bkr bottle of water. I have two, a pink one with an orange heart on it, and it says “it would be really nice if you had your shit together.” My newest one is light pink and is a liter. I need to drink a ton of water, so I’m not a mess. COLOR. Images of material inspirations. A microwave for making things. Concrete patch & Buckets. I have lots of chairs, stools, etc. because community is important to me and I love having my fellow studio mates to visit with.
What Materials do you use?
I use cement; this material reminds me of growing up and working with my dad in the shop. I like to focus on materials; I like the relationship between cement and making cement. Cement was something that I used to make with my dad. I enjoy the feeling of coldness. The coldness is much like the forest it is comforting to me. Coldness is not something that is a bad thing for me.
I also introduce many found objects, usually 2x 4’s, which are easy to obtain. They have a previous life and I don’t need to make them. I only have to repurpose them.
Another material I use regularly is soap. It is a uncontrollable material. I like that is organic in its appearance. The soap is used to help balance the structures I make.
How do you choose color in the work?
I choose one color at a time; I make a piece and pick a color for it. There’s no recipe for the choices yet. Secondary colors are more evident then primary colors in my work. I am drawn to secondary colors. I pick the color that needs to represent the piece. I like the play of warm and cool colors and light and dark.
I spend a lot of time in the Ink section at the art store and paint swatch section of Home Depot. I absorb the many choices of colors and bring back those ideas to my studio.
How is the work made, is it series based, or instinct based?
My work is made based on instinct rather than a series. I tend to move through things quickly. I find myself making new work weekly. This is the way that I connect ideas and certain themes in the work over time.
For me it is about creating structures that are precarious. I also seek out materials that are somewhat precarious. It is a fight between having and not having a structure.
How do you think the viewer sees, and interacts with your work?
I believe my materials and color choices are what invite the viewer into the space. I have been struggling with my relationship to my viewers and their point of entry. I’m making precarious objects reminiscent to spaces and I make these ‘spaces’ just out of reach. I’m asking a lot out of the viewer, and they respond to the pieces through my material and colors choices. They want to touch the objects and know what the materials are.
Can you tell me a little more about these stories?
The stories are about a paragraph long. They are based on my childhood experiences. I wrote one story about oatmeal. When I was a kid we pretended that oatmeal was fairy dust. Another story is about making brownies from a box. The feeling of the boxed brownie powder was different than the feeling of making homemade brownies. There is a correlation to the materials used in the objects and memories from my childhood. In many respects, I am making recipes.
Do you title your works? Do you see that as a way into the work?
I have been starting to explore them. I would like to have that be point of entry to the work. I’m not sure if they are successful yet or not. I think that titles could be the point of conversion between the written work and the physical pieces. Sometimes the work has the date of when a story took place.
What is your concept?
I experience my memories through the materials of my childhood surroundings: fairy dust, cement to construct stability. While some materials signify a foundation, other materials are uncontrollable adding a force that is always just out of reach. I am searching to create structures that have a whimsical appearance and strong foundation when in reality the foundation is precarious. I’m searching for my definition of a tangible home.
What artists are influencing you right now?
I have been looking at Rachel Harrison’s work to understand how to introduce the pedestal to my work. I want to play with how work looks on the floor or how to incorporate a pedestal into the work. I’ve also been looking at Isa Genzken she makes weird sculptures and strange stories. She is an example of how the stories and the work go together but can also work independently.
I do lots of research on Pinterest. I use the section for DIY and Craft looking for science experiments. I look for ways to make fancy things for cheap, and how I can turn that design process into my work.
What was the last exhibition you saw that has stuck with you?
Mitzi Peterson’s exhibition 3:43. I’ve been trying to look at more sculpture. For me it is a new education in the way I work. Mitzi uses concrete too. She also uses silk, and I enjoy her idea of using solid materials with elegant materials. All of the work is very precarious; you don’t know how they are standing or how they are held up.