Sophia Belkin

Tell us about your process.

My process really depends on what materials I’m using that day. For the paper pieces, I start by picking a color and making a big batch of pulp. As I’m doing this I usually have some kind of form in mind, or maybe a material that I would like to incorporate in with the paper. When I distribute the pulp onto the screen I often end up mixing colors or throwing in other materials such a grommets, string, hair curlers or bits of found debris. Shaping the pulp directly on the screen is my favorite part of the process. I like the tactility and uncertainty involved at this point. A piece can change form dozens of times before its ready to dry.

In general though, my process depends heavily on my studio and the collection of images and supplies I surround myself with. I spend a lot of time scavenging and accumulating materials that inspire me, so my process often starts with me sitting down in the studio and looking around at all my junk. 

What is the inspiration for the abstract forms of your paper pulp sculptures?

With the paper series I often start the process by selecting an everyday object, and then simplifying its form into a more basic symbol. The Hanger started as an imitation of clothing hanger but acquired a ambiguously human quality through the combination of fleshy textures, curves and fabric. 

Five Drop Marker alludes to a human shape, but one that could also be read as a cross, a cactus, or an antenna. I try to align the indistinct quality of the pulp with equally ambiguous silhouettes. To me, they are becoming characters in an ongoing story. Each one is instilled with a definite feeling, but no particular plot line. They are simple symbols that have an unexpected or ironic complexity.

What are your biggest artistic influences?

I spent the last year teaching art to preschool and kindergarten kids and I definitely feel like that impacted my own practice. I really love working with young kids and I think that my affinity for certain materials, such as model magic and construction paper, come directly from my art classes. The other day I walked by a pile of free ceramics outside of a childrens’ pottery studio and pretty much lost it! So many amazing clay pizzas, puzzles and rocket ships!

I’m always inspired by what my friends are making. Suzanna Zak and I have worked closely for years and we are always exchanging images and ideas for future projects. Recently, I have been really into James Bouche’s sculptures and I can’t wait to see how Mike Koliner’s Mud Dance project turns out!

Tell us a story behind one of your pieces.

Both the image of the striped house and the anagram sets were included in a book called The Big Lull that Suzanna Zak and I collaborated on in 2013. I don’t really consider the sets to be a finished piece, maybe more of a brain exercise or a way to supplement an image. Rearranging the letters of one phrase to form another feels like uncovering a story and relates also to the way that I move materials around in my studio. It’s also a nice way to move away from making strictly visual work.

What are you working on now?

I’m finishing up a xerox and collage book called Honey Island and always making more paper pulp. I just moved from New Orleans to Oakland about a week ago so I’ve mostly been working on getting settled in, eating lots of tacos, and not getting lost. 

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