Molly Sydnor

VV: What is the most important part of your process?

MS:There are several important parts of my creative process. Concept, Process, and mood. I always need good ideas for my concepts. My work plays with alot of things and if the conceptual aspects are not there I cannot feel compassionate about the work. Process is an integral part of my creativity as well. I like doing things with my hands, I like historical processes with fiber and I enjoy repetition. Mood is a big key as well because it strongly effects the work.

VV:When you are in a creative block-what are some ways that you get past it?

MS: If I have creative block I go out. I workout, bike, go to parties, meet with friends, and network. The best thing to do when blocked is get out and not think about it. If I’m blocked it could be because my ideas are not there and communication is the best way to get my ideas back. Im also creatively triggered by my surrounding and those around me. Getting out of the studio helps feed that.

VV:How can galleries better support the artist? Are there other venues that interest you?
MS: I think a lot of galleries focus heavily on whose selling well, and whose the next best thing. It would be so cool to find a gallery that focuses on helping artists start their career, or hosting networking for artists, or having crit nights. I think local pop ups that don't have a entry fee would be so beneficial to finding new talent. Maybe the gallery world is never going to be that, or maybe im interested in a different thing completely. When I threw my own show at my house I didn't charge artists to enter for the opportunity to show their work. It was alot of time and effort on my end and I didn't get paid for it, but sometimes compassion and a thirst for something more, something bigger comes free at first.

Andie McGovern

VV: How does your background/culture shape your creative process or work?

AM: Growing up in a 90’s westernised society like Australia has influenced my creative process immensely especially when exploring popular culture. I am often inspired by bright colours, old animation and film that I love to recreate in a different medium. My Filipine culture has also acted as a great source of inspiration. I love learning about our traditional tribal tattoo art and would love to combine my current artistry with my culture to form a new wave of modern day Filipino art.

VV: When you are in a creative block-what are some ways that you get past it?

AM: Creative blocks are part and parcel of being an artist. The best way I’ve learnt to live with them is self-care, by relaxing the best way you see fit. For me, I play a lot of music videos and video games which inspire the flow of my work. When the creative bug comes knocking yet again, it’s an indication that I’ve properly rested, both physically and emotionally.

VV: What is one thing that you would like people to remember or take away from your work?

AM: Feeling. It doesn’t matter if it makes you laugh or cry, as long as it makes you feel something.

VV: How does your identity shape your creative process or work?
MS: My work is my identity. I don't separate the two. Through layering and storytelling, my work is interactive, utilizing ideas of the human experience. It is always embedded with identity and body image. I intend to stimulate conversations about the complexity of gender, race and sexuality. Growing up mixed but almost always surrounded by white people really effected my childhood and how I saw myself. After moving to Baltimore, a predominantly black city, I was forced to deal with many forms of impostor syndrome. I no longer knew who I was because I always identified myself by how others saw me. It wasn't until after leaving Baltimore and moving to Dallas that I truly felt comfortable with my racial identity that I began exploring my sexual identity. I came out queer, started dating women, and proudly identify as a queer woman of color. All of my work in some form or fashion is related to homosexuality, feminism, and race.

VV: What is an exhibition or single piece of artwork that stands out in your mind? Something that is unforgettable?

MS: Samuel Freeman Gallery presenting the solo installation by Devan Shimoyama, at Pulse Miami 2018. Im honestly getting chills just thinking how important, influential, and life changing this exhibition was to me. I didn't know Shimoyama until I saw this and it changed my perspective on what I thought I was doing with my work. I was in a weird rut, a super strange time in my life and this intall was the most beautiful, unapologetically black, queer, colorful work I had seen in person. Unforgettable is an understatement. I then got to meet him at Basel the following year!

VV: You recently had a censorship/block on Instagram. In your opinion, what are some ways to combat this issue and how will it affect your posts in the future? Do you believe IG has seen its zenith?

MS: An Instagram censorship absolutely effects my work. But at the same time my work is about censorship. Many people are offended by the questioning of this. Many people are offended by not following the status quo and not following what we are told is "normal" and "the way it is". My work is calling out the hypocrisy and the bullshit. Its saying enough to inequality and oppressive systems. My work is inter-sectional and feminist and many people are offended by that. If all it takes is someone who doesn't like me reporting my post for my work to be taken down then that's Instagram's problem. If me, a queer women of color is too political for you, I wont apologize.

VV: P.S. I've always been intrigued with the idea of shaving my head. What's the biggest change that you've noticed with this style?

MS: TIME! What do we all want? More time! and thats what you get with no hair. You somehow get all this time that you never had before. With a shaved head I can go anywhere more carefree than ever. Its an amazing thing to experience.

VV: What is the most important aspect of your creative process?

AM: The most important aspect of my creative process is conception. The idea must be solid to produce the work. This process is always the longest undertaking, compared to the actual construction of the artwork. Sometimes it may take years to gather the right thought processes before execution.

VV: Last year you came to NYC to participate in a few art exhibitions. What are some differences in the art scene between Australia and the U.S.?

AM: A couple of major differences between the art scene in Australia as opposed to the U.S. is that the indie art vibe is HUGE! People are also willing to support you with your artistic endeavours. The city I live in is quite small compared to other cities and can appear quite clicky. I hope to add to the scene I currently live in by enriching it with inspiration from my travels.

VV: What are some new projects that you are working on?

AM: Like many artists, I have a plethora of projects I am working on. Right now, I am working on a couple of very different exhibitions. One is a pop-culture 90’s themed solo exhibition for myself which involves paintings, drawings and installations. The other exhibition is quite a personal one about illnesses that people suffer in silence. The mediums in that particular project will be involving collages of mixed media. I am also working to bring together both local and international artists to my city, via an art event which I will be busy curating and planning over the next couple of years. These are just a few projects I’m working on, as well as many others that I vlog about in my weekly art life.

VV: Any closing thoughts?

AM: Every artist struggles, we all know that feeling too well. Support can go a long way.