Céline Manz &
Céline Manz asks Nicola Arthen
Gradients or monochrome?
Monochromes, transcendence. They can be totalizing too, or claim neutrality (one leads to the other). Think of white galleries or the aching colors of some delivery companies. I rather enjoy the rhythm of different colors and marvel at the gradients of glowing metal, fading light or all the skin-tones in this world.
How many plants do you have (studio or flat or combined)?
Nicola Arthen asks Céline Manz
What is the first work of art you recall having seen, ever?
I’m not sure about the actual first one, but the one that stood out since a very young age is ‘The Body of the Dead Christ in the Tomb’ by Hans Holbein the Younger, which is on permanent display at the Museum of Art in Basel – where I grew up. It scared me when I was small, but I was also very fascinated with it; the green-ish skin, the rotting flesh, the strangely distorted limbs – but most of all that expression on his face! To this day I’m quite taken by how eerie it is, all these centuries after it was painted.
When you don’t know what your next work or project will be yet, what do you tend to do – in the studio, at home or elsewhere – to find out?
I’m often working on several ideas at the same time, and so there is seldom a moment where I don’t know at all what the next project will be. As my work is research-based, I often have too much material that I can’t include in just one work, so it regularly happens that one work emerges quite fluidly out of the previous one.
These interviews are part of an ongoing series of short interviews between Unfair artists, originally published through our mailings. You can subscribe to our mailing list through the button below: