This past Friday, I paid a visit to Deborah Simon who has an upcoming show at NY Studio Gallery‘s LZ Project Space opening this Friday, May 20th. Deborah has been a painter and sculptor for several years now and will be part of the Sculpture Space residency in Utica, this coming October and November. She has worked at the Bronx Zoo building habitats and “intellectual toys” for the animals, and her work reflects the understanding of the dual nature of man-made versus natural environments and the drawbacks and necessity of both. Her sculpture’s present a strange encounter and cause the viewer to approach the animal in an unusual and raw manner, suggesting a reevaluation of the nature of human and animal interaction.
We truly appreciate her taking the time to talk about her work and upcoming show.
The 22 Magazine: You worked at the Bronx Zoo correct? Can you tell us a little about what you did there?
Deborah Simon: Sure, I did some design work. It was everything from giving exhibits face lifts to mural work, to sometimes just flat out designing and building exhibits. [I also built] intellectual toys for the animals. With that you have to make everything look natural. So [you have to make a] tiger toy that looks [for example] like a rotten piece of wood. It was one of those oddball weird request situations, keepers would come and say we need hummingbird feeders made out of XY and Z and we’d have to figure how to make them look natural.
The 22: How did you get into that kind of work? Did you study design in school or elsewhere?
DS: No, I’ve got a fine arts background. [I studied at] San Francisco Art Institute, which prepares you for nothing but making conceptual art. I just happened to have a realistic bent to what I do, which was thoroughly discouraged but…
I started working as a muralist and then the zoo had an ad in the paper. I replied to it and got hired. It’s one of those jobs where the guy who runs the department is fantastic, and he just expects that you need a lot of on the job training. You need to be able to weld, you need to be able to fiberglass, you need to be able to do some basic carpentry. There are just so many skills that no one person is going to have them all. They do invest in teaching you quite a bit [so], I learned a lot, and it all goes back into what I do.
The 22: In regards to your artists statement, which talks a little about the animal confronting the viewer in an unrestricted environment, did working at the zoo conflict with ideas of how animals should be treated in any way?
DS: I think it’s a conflict a lot of the people who work at the zoo have, because everyone who works there more or less loves animals. We all have multiple animals, we are deeply concerned about animal welfare. Some of the holding areas are very old and not that great. Some of the animals are permanently on medications because [there is] not the best ventilation but, on the other hand, you can’t just let them go. [I believe] Finland ran into this problem. They decided it was cruel and inhumane to keep this baboon exhibit. They decided it was inhumane to keep more tropical animals in Finland, but they couldn’t get rid of them because they breed really well and every zoo has a ton of them. So, they were going to euthanize them but the public had a fit and they had to keep them. So, now they have these unhappy baboons; animals that are obviously not doing well, but there are no other options for them. [I think] a lot of the people [that work at the zoo] go through this. [They think] these animals didn’t ask for this, they didn’t want to become ambassadors of their species, but on the other hand sometimes when your standing and watching the public watch these animals and they suddenly make this connection to the human traits of the animals you really hope it does something. They are suddenly more aware of them and, you think, I hope this means that it will translate into something, maybe [that wouldn’t be there] if they hadn’t seen it. Then again, zoo animals they don’t behave like wild animals, they have three meals a day, they sleep all day. [In the end] it’s a lot of mixed emotions.
The 22: A lot of your animals actually are puppets or look a lot like traditional marionettes. Stylistically how did you decide this was how you were going to build?
DS: It’s weird because I have this totally anal goal to be as accurate as humanly possibly, but I’m always reminding myself it’s art, not taxidermy. I was living in India for a while and India is a very sculpture oriented place. I had been painting for years and years at that point, and maybe it was just being around so much sculpture. I was home in the states and one day I just thought, what would happen if I make sculpted animals with fake fur? The hyena was the first one. I found [the hyena’s fur] in the bargain bin and I thought, this looks just like spotted hyena fur, no wonder it’s on sale. I brought back Sculpy and fur and whatever else I thought I wouldn’t be able to get in India, and just started working. I was originally thinking of porcelain dolls-[with] the hard heads and the soft body. I was thinking more along the lines of what would it be like to make these things so they look like creeped out porcelain dolls, but they actually ended up a little but more like [weird] taxidermy.
The 22: They seem to have this really human quality, a very aggressive straight on gaze…
DS:I feel even though animals are a really popular subject right now, it’s always animal as metaphor or animal as parable. They play the role of an odalisque and they don’t confront the viewer. They are a stand in for history, they’re a stand in for human behavior, but they are never just themselves, and when they are themselves it’s more kitschy animal art. I want it to be as if you were walking into their space. It’s kind of that feeling when you out in the woods or hiking, or even in Central Park [where] it tends to be a bird of prey, a hawk or something, and you have that instant where they look at you, and you look at them, and you have no idea what’s going to go on. Especially if it’s big enough to hurt you. Then it’s this totally different interaction than the zoo or anything else. Your walking into their space, and they are psychologically dominating it. The sculptures themselves are going to be hung so your going to have to walk around them. They force you to move around them instead of being on the walls or giving a pathway.
The 22: Can you tell me a little about Coyote Pursue’s puppet project?
DS: It was a pretty amazing experience. Collaborating was new to me but Matt Reeck is a good friend and amazing to work with. We shored up each others strengths and weaknesses really well. I would never have been able to direct something like that. I think in the future I may do more puppetry but do it so it’s video.
The 22: Is there a difference between building the puppets versus building the sculptures? Is that something you had to learn?
DS: Yes. St. Ann’s puppet lab is a nine month program so they are a huge resource, but it took me forever just to figure how to walk them. It took me two months just to build one, to actually physically construct it so that it moved properly. Once I got the basic structure it took me weeks to figure out how to string it, and that’s one of the times the lab was great. I brought them in and said I don’t know what to do, and one of the guys [showed me], and it was done. It was wonderful.
The 22: The piece itself was about a world where humans are gone, and coyotes are the only ones left right?
DS: [Matt Reeck] is a wonderful poet and he gave me a book of his poetry and asked me to illustrate it. At the time I was just feeling like, I don’t want to paint anything, and I don’t want to sketch.
[But] I was thinking [the poetry] would be perfect to do a puppet show with, and so we said what the hell, we’ll write a puppet lab. We threw it together in two weeks, and we were really surprised we got in. Originally we had taken three of his poems, more short prose really, and the one we both had a very clear vision-that was the same vision-was [the coyote] one. We started building and time started ticking by, and we realized the other two we’re never going to make it, and that we wouldn’t have time [to perform more than one]. You only got twenty minutes tops to perform. So, we decided just to focus on the coyotes, and it was really based on his writing, and [the idea of] not using the animals as parables but to be really Darwinian about it. What would a coyote really be doing if they were wandering around in this world with nothing really left. We were thinking of it as The Road but with coyotes.
The 22: Did you do a cover for The Beastie Boys [Intergalatic]?
DS: I had actually done the paintings and they ended up on the cover. The paintings were actually in the small works show at NYU and Mike D’s wife bought them. So, she came over to my studio and she’s chatting and we’re having this very nice conversation, and she keeps talking about her husband’s band and so I’m thinking….ok, band whatever and being polite, I ask oh what band is your husband in? And she’s says, The Beastie Boys, and at that point I’m immediately intimidated. So about six months later, they called to see if it was ok with me if they used it as an album cover and I just thought….ooook, twist my arm. It was just this little freak thing, they were just these little freak paintings, that I wasn’t planning to do as a body of work or anything.
The 22: What about the memento mori series paintings? Can you talk a little about what this series means to you and why you decided to do it?
DS: I think in that series I’d been reading a lot about evolution. I was thinking about how death influences life. I was thinking about a Darwinian perspective, you have these animals with these constant pressures, and it’s survival of the fittest but also thinking about viewing what human’s do in the world [destruction and pollution] as unnatural, but it is natural because we are part of the world and this is part of what we do. Animals routinely destroy their environments, but they don’t do it in the same numbers that we do. Elephants constantly trash environments and have to move on, but there are so few of them, they aren’t ruining Africa or Asia-we sort of beat them to it. I guess I was thinking about that simple pressure and interaction, and how some of your stiffest competition is from your species. You know species always have more children than your going to need. You really only need a one to one replacement and chances are that’s all your going to get if your lucky.
The 22 Magazine 