Scott Teplin : Valentiger Interview April 2006

s for a quick 'roots & fruits' question: You are a detailed craftsman with a printmaking background; how does this mix with your unique and sometimes seemingly insane concepts?

I'm actually not that interested in printmaking. I came to art quite late – I took my first drawing class in college. I decided to declare art as my major just before my senior year – and since I had taken two lithography classes - I didn't have much else to apply to grad school with. I ended up in a printmaking program of a school that didn't care if we made prints or not (the school's printmaking grad program actually dissolved last year). Concentrating on drawing didn't fly in undergrad or grad school – so I took the next best thing – printmaking (painting was/is too hard).

What is the importance of drawing and the need for detail for you?

I tend to use detail as a crutch. It's kind of like an insecurity thing. I try to get out of it from time to time – but I occasionally go back because sometimes it just gives me pleasure to look at hyper detailed stuff.

Where does the medical reference inspiration come from?

My father is an ear, nose and throat surgeon, and my grandfathers both were dentists (along with two uncles and a cousin).

In your 'rooms' drawings, there seems to be a statement of compartmentalization; what are some of your concepts?

I don't really have "concepts." The first one was a portrait of my girlfriend's apartment from memory. I use isometric perspective because I work from memory/imagination – and perspective doesn't exist in my theoretical world – only the real world. I never place people in the rooms – because that would subtract from the viewer's subconscious ability place her/himself into that environment. I think it's kind of important to leave enough clues to encourage the viewer to want to imagine what might be going on in the room – but not so many that it gets boring after the first glance. Another reason I started the rooms series is because I wanted to contextualize objects that I obsess over (I have a ton of isolated drawings of beds, hot tubs, chairs, etc…). The way I often work is, I complete a drawing (usually born out of a page from my sketchbook) – and I see all kinds of stuff that I could have done. So I make another, and the cycle continues until my attention turns elsewhere.

The way I often work is, I complete a drawing (usually born out of a page from my sketchbook) – and I see all kinds of stuff that I could have done. So I make another, and the cycle continues until my attention turns elsewhere.

Personally, with your 3-D isometric perspective in your 'rooms' works, they could be compared to possible concept models for 'Sims' game prototypes…

Feel free to send them my number.

Tell me about your interest in the book arts?

I got to running with some book artists when I first moved to New York, after college. I wanted to learn to draw better so I put myself on a regiment to draw for four hours a day, and I was filling factory made (in other words: shitty) sketchbooks with tons of stuff. One of my book arts friends, Nugent J. Vitallo (now an entomologist trying to save New Zealand from invasive insects) offered to bind me a sketchbook using the papers of my choosing. It was the coolest thing I ever owned – and after that I was totally hooked. Upon completion of the first book I decided to learn to bind them myself, and I now have about 15 hand bound filled sketchbooks. I'm incredibly picky about how each one is made – and with what materials. Each one runs me about $100 in materials alone so I'm kind of forced to make the stuff inside them worth drawing. I like that – almost every page in every book ends of with compositional considerations.

Do you ever include hidden messages (Easter eggs) into your work? http://en.wikipedia.org/wiki/Easter_egg_(virtual )

Not really.

How is your website complementing your work and vision?

It's a total mess – much like the pig sty that is my studio. I started the site 7 years ago not having a clue as to what I was doing. It just grew and grew – and only a few years ago I was alerted to the concept to FOLDERS. My wife, who is a professional web designer (the same girl I

did that first room drawing for) offered to redo my site – until she saw what a mess it was. I know this is idiotic, but I don't sell anything from my site because I hate the idea of someone seeing an image at 72 dpi and wanting to own it. Lines are super important in my work – and you really can't get a feel for them online. You have to see them up close.

Greatest influence: video game, cartoon, or comic. Why/what?

Wacky Packages. I just loved the art – the trompe loeil of each product popping off the card – the goofy faces – the gross drippy stuff everywhere – and the irreverent attitude. I was totally obsessed with my collection as a kid and I would spend every dime I had on those things. Mad magazine too. My junior year in college a friend introduced my to Dan Clowes' work - and from there I discovered some great "alt" comics artists who I still love today - R. Crumb, Renee French, Jim Woodring, Chris Ware, Al Columbia, Joe Sacco, Ivan Brunetti. Contemporary artist influences would include Arturo Herrera, Tom Sachs, Inka Essenhigh, Paul Noble, Jenny Holzer, Chris Burden, Tom Friedman…. I know I'm forgetting lots of others.

Are there any newer artists that you enjoy, or that you would consider to be new heavyweights?

I really like Sara Eichner's pattern paintings, Taylor McKimmon's drawings/paintings/installations, Sarah Oppenheimer's systems. But to be honest – I don't know much new stuff out there anymore because I don't have time to get out and see new shows.

What is the best art advice you were ever given?

Don't underestimate your audience.

If you were given an entry into the 'Famous Artists Quotes' book.would you have one to add?

Don't underestimate your audience.