In the last few years, longtime Oakland resident John Casey has become a fixture in our art community with his drawing, sculpture and installation, and curating. His work, in which his characters are totemic representations of his psyche, has been garnering critical acclaim and is included in the collection of the di Rosa Preserve in Napa and the de Young in San Francisco. He is also one of our most consistent local art bloggers, often giving a candid look into the creation of his own work as well as spotlighting many noteworthy local art shows on his website. I recently had the opportunity to talk with the artist about his new show (Distant Cousins), biomorphology, his art–making process, and the future of Oakland’s art scene.
Theo Konrad Auer: Your show Distant Cousins is your first solo in Oakland since 2005. What is the significance of its title? Is it an expansion upon the narrative and themes you have utilized previously or something new altogether?
John Casey: This show is a continuation of my exploration of "emotional biomorphology," a phenomenon that takes place in my alternate world where people's physiques morph based on their emotional and psychological states of mind. The beings that inhabit this other world are similar to us humans, but they live by different physical and biological rules. They are related to us but more like cousins thirteen times removed, also known as Distant Cousins.
Auer: What is your background? I know you are from the Boston area and had been involved in the art community there. How did your time there affect you as an artist? What did you bring from that to your art as it is now? What brought you to the Bay initially?
Casey: I grew up north of Boston in a small town on the coast called Swampscott. I went to school at Mass College of Art and studied painting. After graduation, my wife Mary (who I met at Mass Art) and I opened a small gallery called the Evil Twin.We curated some great shows there. Those years after graduating school, when I was working in a shared studio with other artists, were probably the most formative. I still keep in touch with those friends. I managed to exhibit my work in a few interesting venues. One of the coolest shows I was in was a group show at the Decordova Museum in Lincoln MA (http://www.decordova.org) called "Terrors and Wonders: Monsters in Contemporary Art."
Auer: In Oakland, you've given time to community-minded efforts, helped gallery-sit at the much missed and loved Boontling Gallery and even curated. Did it feel like a natural growth from your primary role as an artist?
Casey: I curated a show at the Front Gallery with former 33 Grand gallerist Alex Munn. Putting that show together was fun and challenging. We actually did gallery visits with all prospective participants. I met some nice folks and got to see some great work spaces. I can see how curating could be a natural practice for me since I see a lot of art anyway. But, it requires a level of commitment I am not quite ready for on a regular basis. Gallery sitting or other volunteer work is just a small way to contribute to the art community as a whole.
Auer: What went into the work you created for this show - timewise, process-wise, and intent-wise? How did these things change from the time you had the idea for it to the time it has come together?
Casey: I will have a number of pen and ink drawings, a largish installation involving drawn characters on plywood cutouts, and a sculptural element. Some ideas I developed months back have evolved into something different as I created work for the show. That evolution, or change, from concept to execution is a natural part of my process.
Auer: What is your take on Oakland's often hyped art scene as it is now in time of economic uncertainty?
Casey: I don't know if Oakland's art scene is "hyped." That implies that the attention to Oakland art is unwarranted. I think the attention is fully warranted. As far as the Oakland art galleries weathering the current economic storm; I think most Oakland galleries, thankfully, are not completely dependent on art sales. Although some may close, my guess is that many will survive and will probably thrive since the art public could use the positive distraction of art. At least that is my hope.
Auer: I know you hold another job like many, many other artists. How do juggle the roles you take in your life?
Casey: Most artists I know have a day job or some sort of freelance gig. Finding a balance between a day job and studio time is an art form in and of itself. My job as a property manager allows for flexible hours, which is helpful. Most of my tenants who know me as a property manager do not know my secret identity as an artist. And I'm okay with that.
Auer: I know you are a frequent gallery opening attendee and hit many museum shows here and far away. Where do you see our local art community going in the future? Does the future hold any promise for art in America in a time of economic uncertainty?
Casey: I cannot predict the art future of Oakland art or art in America, and I wouldn't even attempt to. I just try to enjoy the current energy level and quality of the shows in the Bay Area and document the ones I like through my blog (http://bunnywax.wordpress.com). Worldwide economic trends tend to be cyclical and the art economy is, of course, closely connected. If the scene is suffering a downturn and some galleries are forced to close, I suspect new venues will open. Hard times often spurs creativity and adaptability. Ultimately I hope the galleries remain strong and continue to grow and develop in spite of the current crisis.
Auer: What does the future hold for you? Where do you want to see your art go in the future? Another book? Future shows? Any more curating?
Casey: I'd like to simply continue the exploratory aspect of my work. As far as publishing another book of my art, that seems inevitable. I also have work in some group shows coming up and a solo at BellJar (http://belljarsf.com) in San Francisco in June. You can check out updated info on my website (http://bunnywax.com).
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