Interview with Greg Pope
Nesodden, August 2019
Q: Why / when / how did you start to work with performance, what is your background, how did you arrive at doing performance?
I arrived via theatre, punk, unemployment, employment, art school, unemployment, theatre, machines, film, cinema, noise.
Q: What is your process like when you make a performance, from idea to actual work?
It begins; details in a photo, remember that painting, what sound?, childish light, controlled hallucinations, a distant glimmer, when this happens it goes dark, all the elements, micro/macro, multiply and deduct, perfect makes practice.
Q: Can you tell us about your latest project?
I am working on a collaboration with Laura Marie Rueslåtten – working from the floor up, with no preconceived plan. At the moment we are recording and documenting and building and thinking. With bells on.
Q: What role does performance art have in your life / artistic praxis? Do you also work within other fields, like installation, sculpture, drawing, and other expressions? How do they influence / inform each other?
Performance has been my main output for the past several years, although my live work usually involves the manipulation of various projection technologies, visual and sonic - so maybe it’s best to say I am more of a shadow engineer than a performer. Other outputs: film, video, sound, curation.
Q: How do you experience or consider the audience / surrounding? What space / surrounding do you find interesting to work in? How does your surrounding influence your work? Do you involve the public? If so, how?
All spaces resonate differently. I have always been interested in occupying space, with light and sound and action. Different spaces suggest different actions. The audience needs to see the actions openly, without secrecy, in order to understand (and help me to understand) cause and effect.
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Q: Why / when / how did you start to work with performance, what is your background, how did you arrive at doing performance?
I arrived via theatre, punk, unemployment, employment, art school, unemployment, theatre, machines, film, cinema, noise.
Q: What is your process like when you make a performance, from idea to actual work?
It begins; details in a photo, remember that painting, what sound?, childish light, controlled hallucinations, a distant glimmer, when this happens it goes dark, all the elements, micro/macro, multiply and deduct, perfect makes practice.
Q: Can you tell us about your latest project?
I am working on a collaboration with Laura Marie Rueslåtten – working from the floor up, with no preconceived plan. At the moment we are recording and documenting and building and thinking. With bells on.
Q: What role does performance art have in your life / artistic praxis? Do you also work within other fields, like installation, sculpture, drawing, and other expressions? How do they influence / inform each other?
Performance has been my main output for the past several years, although my live work usually involves the manipulation of various projection technologies, visual and sonic - so maybe it’s best to say I am more of a shadow engineer than a performer. Other outputs: film, video, sound, curation.
Q: How do you experience or consider the audience / surrounding? What space / surrounding do you find interesting to work in? How does your surrounding influence your work? Do you involve the public? If so, how?
All spaces resonate differently. I have always been interested in occupying space, with light and sound and action. Different spaces suggest different actions. The audience needs to see the actions openly, without secrecy, in order to understand (and help me to understand) cause and effect.
<< Back