Interview with Carlos Von Shmidt for Artes Newspaper

How and why did you become interested in Japanese art and culture?

When I was a child, my grandmother has a boarding house in New York City, in the Theater District, that catered to actors. These actors traveled worldwide and always came back to New York bringing trinkets from the countries in which they had performed. My grandmother had quite a collection of these mementos. My favorites were gifts from Asia. I always said, when given the opportunity, I would one day make these trips. In 1978 and 1980, my husband and I got just this opportunity to go to China. At that time, one was required to stop in Japan before proceeding China. On both occasions we stayed awhile in Japan. We then decided we liked what we saw and made plans for a special trip just to Japan. Each time we went we became more entranced with the culture and artifacts. I did decide very early on that I would not use the motifs and design I saw there. I felt the works I saw there were too elegant, too ancient, and I was also afraid that once starting to use these influences I would never be able to go on to other ideas, non-Asian ideas. I was absolutely right. My thoughts on art seem permanently drawn to Japan. I find great satisfaction in being able to use these motifs in my art. I also seem to look at other art differently, looking for whatever influences other artists may have had.

What aspect of Japan impressed you most during your visit to that country?

Japan is an ancient culture having started sometime before 10,000 BC. It's a country that has a continuum not unlike the ginko...a prehistoric tree. The arts (this includes all of them) in Japan, have been purposely developed and nurtured even designating "national treasures." While three is astounding beauty in the landscapes, temples, gardens, museums, tea shops and antique shops, there exists a dichotomy; a lot of "plastic" and pochinco parlors along with and sometimes next to these beauteous sites. This is, of course, the way of all cultures. But I concentrate on the beauty that always amazes me.

When exactly did you realize that the kimono presented an endless source of possibilities?

It wasn't until a few years after my first visit to Japan, around 1986-7 when I was thinking through a new set of paintings. In doing the research for the paintings I saw that there was unlimited imagery to develop. It's been nonstop since. It it possible and I sincerely hope not, that this Japanese vision will elude me and I shall have to look for a new "voice."

What is the difference between your Kimono Project and Ginza Kimono?
What is the difference between Ginza Kimono and Haiku Kimono?

"Kimono Project" is the overall title to all the artwork I've done in the last 16 years. When I started I thought it would be a two year project. Time has proved me wrong. I chose that title for the first color etchings I did in 1983...but it represents what I thought would be one project, lasting perhaps two or three years. I had no idea it would take on a life of its own! So, "Kimono Project" was the first color etching and after I did them I found I had been released as it were. I began to get a rush of ideas for paintings that were very different from what I had been doing. But I decided to try out the imagery as an etching and when it was perfected I started on the paintings which let to other paintings and so on. But to answer your question, the difference between them is the passage of time. As I continue with the kimono, I become more inspired and fond more ways to do the imagery. The Kimono Project is essentially two dimensional, done in the traditional etching manner. The Ginza kimono series is three dimensional. The various parts of the image are printed separately and then collaged together. They have folds and pleats and are layered. The difference between "Ginza Kimono" and "Haiku Kimono: is methodology. The image inn "Haiku Kimono" was printed as chine-collé, that is, it is printed on a Japanese paper and glued to another paper. This gave me the opportunity to use a very fragile but very beautiful paper that was shot with silk slubs. It gave a depth to the printing as well as surface interest.

You have shown at the Suzuki Gallery in New York since 1983.
Has that gallery sponsored your exhibition in Japan?

I have always wanted to have a show in Japan. Ms. Suzuki was working on the prospect of a show in Tokyo. May I say that Katsko Suzuki was always supportive of my work and extended herself to have me represented in museums. Last December she died. She loved art. She was one of the people who was able to learn from other cultures and give me help and inspiration for hers.

How do the Japanese react to your Kimono, Hanabi and Haiku Projects?

I'm not quite sure how to answer this question. Most people who see the work and talk to me afterwards have only the nicest things to say. They are curious as to why my work is about kimono and how it got to be this way. I have never had a Japanese person act differently. Japanese people have the same curiosity, but with a sense of pride I think, that their culture is so admired. I have called upon my Japanese friends many times to pick their brains, as it were, and they have always been ready to help. One friend, Yukio Irwin, has acted as an interpreter, especially for the titles of the work. Most people think I have caught the essence of Japan.

What circumstance led to the creation of your hanabi?

I don't recall that there was any particular circumstance that led me to "hanabi," unless one could point to the hanabi collages. These were done with the trials and proofs and another series of etchings called "Ginko Kimono." I save all he bits and pieces from various are projects to use in making other pieces of art. It proved fortuitous. After I finished the set of collages, it occurred to me they would make great paintings. As I worked on this idea in rough charcoal sketches, the small pieces of wood, it became clear to me the painting should be outdoors and very large. It was an exciting project; one that is still ongoing.

Would you say that, given their tridimensional nature, the outdoor paintings you call "hanabi" could be regarded as sculptures?

Many people call these paintings sculptures, and that is fine. I wanted to do paintings
For outdoors, but there was a major obstacle; where do you hang the work? There are few walls and one cannot hang a painting on a tree. [Although I may have to investigate this.] I had a vision of the paintings free standing. As such, they needed to be dimensional. When you see them in an outdoor setting, the appellation "outdoor painting" makes sense. The paintings must have this "sculptural" structure to support the image. It becomes perforce the canvas, albeit made of aluminum. They are not limited to outdoors, they look very fine indoors.

Color plays a fundamental role in your work. Although your style reveals a clear Japanese influence, your colors are essentially American. Please comment on this statement.

When I first started to paint, my palette was mostly shades of gray. There was, of course, black and white with high colors toned down to subtle shades. But after I started to do etchings I realized one could do marvelous things with color. It became increasingly exciting for me to do elaborate color combinations. Now...I can't say I will never go back yo my original palette, but I believe it is unlikely. As for my American colors...You are right, they are American. But...my research tells me that the colors we associate with the Japanese woodcut are actually much brighter. I have many antique books of kimono patterns. These show a much different color intensity. Also, the mixture of colors and patterns is uniquely Japanese. Other sources of my color sense come from my American contemporaries like Frank Stella, Willem de Kooning and artists like Matisse, Bonnard, Vuillard...and well, you can see where I'm going. Inspiration comes from all over the world.