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On the corner of a street in downtown Portland, Kelly Tunstall opened her sketch book and, unknowingly, showed her future boss her work. Shortly after meeting Chris Hotz from NEMO Design, a firm who has done work for snow brands like K2, TransWorld, Smith and Morrow, Kelly (still a college student at the time) was hired on as a designer. Now Kelly's work can be found all over galleries in her adopted home of San Francisco and in art rich places like New York City. Like artists of yore, she is multitalented working in illustration, installation, multimedia and even on jewellery collaborations. She is currently showing a collaborative installation (with husband Ferris Plock) called Trace Elements at the San Francisco Arts Commission Gallery.
What is your earliest memory of personal artistic expression?
I can’t remember not drawing, if that counts? The first thing I remember making were all these things I would cut out of paper. I never had markers or pens so it was all coloured pencil and pencil on plain paper, no tape either. I figured out all these things I could make out of paper -- 3D houses, cars, and paper dolls (of course). I would spend my summers as I got older editing wardrobes out of vogue (checked out from the library) for my paper dolls. My favourite was this compact with makeup drawn on one side and a miniature tv screen on the other side -- MTV was on the static little screen. I totally want to make a real working one now just for fun.
What is your connection to snowboarding?
Largely through NEMO Design where I started designing in 1998. Chris [Hotz], Jeff [Bartel] and Trevor [Graves] had just moved on from Morrow Snowboards, and I was their fourth employee, hired literally, by Chris off a streetcorner by the virtues of my sketchbook.
When did you leave the snowboard world behind?
Sadly, I came to college at CCA [California College of the Arts and Crafts] and left NEMO behind.
Now you live and work in San Francisco. What role does the city play in your life and work?
A huge part; everything is inspiring, but mostly, having access to a variety of art materials counts most to me right now. Finding stuff that I like to work with is hard -- I’m always experimenting with something new. Since my relationship with the city is not a new one now, we’re like old friends. I feel like it’s lost its newness, but I’m always surprised by a new neighborhood I haven’t met every other week or so!
Does your work tell your story or the story of others around you?
Largely, it’s interior tales that I’m telling, but I really kind of just let my mind go when I’m painting, so it’s really pretty subconscious work. I tend to absorb stories, observations, colours from my surroundings, so a lot of that comes out in the work.
Do you have a central message that you seek to convey?
Not particularly. I just really love what I do truly and if what I do makes other folks happy, then that’s a minor miracle. There’s so much out there. I think it’s important to reach out and grab something if it touches you. So yeah, if it’s anything it’s connectedness.
Do you have a defined process that you like to walk through that helps you create?
Sure, but I try to adapt it always to keep it fresh. Every show is a new challenge, so the concept phase -- before I start anything -- is the most important, deciding where to go with a major body of work wants to go is a great challenge. Then I get all the stuff I need in order: panels, go buy paint, clean the studio, sketch, do basecoats, washes, play with colors all the way along. I do best with long stretches in the studio. We recently moved the studio, which is really kind of like uprooting a fullgrown tree. Starting a new show right now, so that is interesting...
Do you have a favourite piece or series that you have done so far?
The last one is always the favourite.
In what ways do your peers inspire you?
That they are there. It’s nice to be on the same ship with someone.
Do you have any tips that you would give that would help people better observe, appreciate and learn from art?
Try it, and remember there are no rules. Boundaries are getting further and further out. I think we’ll start seeing nice chunks of code in museums soon.
What is your role as an artist?
To think about lots of stuff, see lots of stuff, experience things, push it all together and put artwork back out as a record. Tomorrow is always new.
Has the role of an artist changed over time?
Hmm. If the above is true, I don’t think so, it’s just the techniques and modes of expression that have.
Where are you headed next with your work?
However it wants to.
Check out Kelly's website: www.kellytunstall.com
Special thanks to Sheep.
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