Luckey Remington

Where are you from and where do you reside?
I was born and raised in Springfield, Oregon. I currently live in Los Angeles.
What are some themes that you find constantly appearing in your pieces, intentional or not?
Transience, negative space, repetition, escalation, augmentation, clarity and order. Creating simple and elegant work without being pretentious while maintaining a certain amount of naïveté and vulnerability.
Which came first, music or visual art? And how does one inform the other?
Music entered my life first but I feel that it informs my studio work less and less with each passing day. There are the same personal struggles that exist in trying to create both music and visual art but for me the processes are very different.
Do you remember the first work of art that captured your attention?
I remember seeing a piece from Yves Klein’s, “Anthropometries of the Blue Epoch” series and thinking it was so vibrant and just really cool. The work stayed with me, perhaps it was the richness of the hue of blue or the apparent ease and seemingly simple gestures or perhaps the use of monotone color. Upon learning more about Klein’s life and work I felt compelled to research further.
How has your work developed in the past few years, and how do you see it evolving in the future?
I have made an effort in the last several years to transition away from using cut paper in my work. I do find that using paper is very fulfilling, but I knew that a greater challenge existed in scaling up the ideas and compositions that I had worked out on paper. Creating large sculptural pieces that are rooted in some of the designs from the paper studies also required me to find a new system of development, which is a challenge, but also the fun part. I’m preparing to fabricate some public art pieces that will require me to work with somewhat unfamiliar materials, as I have only used wood and plywood in my sculptural pieces. Preparing work for public art presents a new obstacle for the studio and that’s considering degradation of work due to exposure to the elements over time. But again that is the fun part, finding the solution.

Form and Color I-II

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