Artist’s Biography
Amy Genser works with paper, paint, metal and wood to explore her obsession with texture, pattern, and color.
Evocative of natural forms and organic processes, her work is simultaneously irregular and ordered.
She uses paper as pigment and constructs her pieces by layering, cutting, rolling, and combining paper.
The process is a meditation, which Amy describes as a beautiful dream. Her hands take over and her mind is quiet.
The natural world is a clear source for Amy’s work. She is fascinated by the flow of water, the shape of beehives, and the organic irregularity of plants, flowers, rock formations, barnacles, moss, lichen, and seaweed. Her pieces bring to mind aerial landscape views, satellite imagery, and biological cellular processes.
Amy’s love affair with paper began in 2000 in a paper-making class at the Rhode Island School of Design, where she got a masters degree in Graphic Design. Amy lives in West Hartford, CT with her husband and three sons, and spends her summers on the beach in Rhode Island.
Bio Source Amy Genser
Interview
Artist: Amy Genser
By Carol Real
When did you begin to adopt your unique style?
I developed my technique and style around 2002. I discovered paper as a medium while working toward my MFA in Graphic Design at the Rhode Island School of Design. After graduating, I experimented with paper as a sculptural medium. I landed on the circular module soon after graduation. I set up my first studio in 2001 and it grew from there. My plan was to spend two years starting my own business and if that didn’t work out, I would revisit my plan to teach graphic design.
Do you come from an artistic family?
Yes! My mother, Vicki Eisenfeld, is a studio jeweler. She designs, constructs, and weaves semi-precious stones and gold into amazing, wearable art. My aunt, Nancy Eisenfeld, was an incredible abstract painter and she showed me the power of nature as inspiration.
When I was in college, my mom told me not to become an artist because it’s not an easy way of life. She said I should become an investment banker, even though neither of us understood what that meant. I was always inspired by her work and she showed me a world of brilliant craftsmen. I never planned on becoming a visual artist—it just developed. I never thought I had anything to say through my work. Unless I had an assignment, I didn’t know what to make. It was only when I started working with paper that my ideas were born. I couldn’t stop making.
I no longer make my own paper, but I mix existing colors or paint it to meet my needs. There are many paper options around the world.
What is a day in your life like? What hobbies do you have? What other artists inspire you to create?
I live with my husband of 22 years, a social worker, Geoff, and my three teenage sons. A typical day has me waking up at 6:30, getting the kids off to school (much easier these days than when they were younger), and then taking my two dogs for a nice long walk. I get to the studio mid-morning and don’t look up for seven hours. My days are full of creating work, managing projects, ordering materials, coordinating shipping, meeting with clients, directing my assistant, and keeping the studio organized. During my workday, I listen to audiobooks. I literally plug into my work and don’t turn off until I need to leave.
Inspirational artists: Olga de Amaral, Melissa Meier, Magdalena Abakanowicz, Maya Lin, Andy Goldsworthy, Chun Kwang Young. Each of these artists creates distinct and captivating works of art that inspire. Their works often reflect their personal views and perspectives, making them an invaluable source of creativity and inspiration for others. Their works are also a testament to the power of art. I also look at the work of many aerial photographers and that insane Hubble space telescope.
My hobbies: Doing puzzles, which is kind of funny considering I basically build my own puzzles all day long. Spending time with my husband, sons, dogs, and friends. A little gardening in the summer.
What is your creative process like? Where do you find your materials?
My work evolves as I work, rather than starting with a specific plan in mind. The process is intuitive. I start creating and then “see” something in the work that guides the rest of the piece. It’s a back-and-forth process, designing and building. It’s a puzzle, creating each piece as I progress. I use a variety of substrates and work in various sizes. My smallest piece is 5” x 5” and my largest is a 1,500 square-foot gallery. I paint my substrates with acrylic paint and gel medium, and then papers are added. Mulberry paper (aka Kozo) is my paper of choice, with Chiri close behind. The papers are adhered with construction-grade glue and varnish is applied to protect the finished piece.
What’s the most indispensable item in your studio or practice?
Jenni Freidman. She helps me with everything! She’s been with me for 5 years and I don’t know how I survived without her.
Your creative and meditative work requires coordination and fine motor skills. How long does it take to create a piece?
Completing a piece can take a few hours for a small piece or months for a larger one. I get lost in the process. It’s my favorite part. I concentrate so hard on my work that the chaos of living in the world temporarily fades away.
What is it like to work in large dimensions with such detailed and meticulous movements?
The bigger the better! A prominent theme is the relationship between micro and macro. The larger the piece, the more I can push the concept.
In terms of detailed and meticulous movements, it can strain my body. Back pain and carpal tunnel syndrome come with the process. I try to pace myself and take breaks. I have to listen to my body or I get into trouble.
The complexity of your work makes it take many months to complete. What is the biggest challenge you encounter in your practice? Were there times in your career when you were frustrated?
The biggest challenge is the inconsistency, but the mystery is also exciting. I have to earn a living and it can be stressful without a steady income, but I wouldn’t have it any other way.
Of course, there have been times I was frustrated. There are different kinds of frustration. Luckily, I have only had a handful of challenges working with clients. I think my background in graphic design helps me translate someone’s language into a visual realm.
Another hurdle is keeping myself inspired and motivated. Doing mostly commission work has its pros and cons: while it’s amazing to have a steady flow of work and work with wonderful clients, sometimes I get bored. A few years ago my projects were all very similar. I felt I was initiating myself. I needed a challenge to stretch my abilities.
I had long wanted to create sculptural work and knew an assignment would allow me to explore this interest. I approached the Fuller Craft Museum about creating a site-specific installation.
Tell us about your current show, Shifting. What will the visitor experience?
I spent two years developing the site-specific installation for the Fuller Craft Museum in Brockton, MA. I envisioned my work coming to life beyond the walls and becoming dimensional. Shifting is the result of this exploration. While visiting the museum, I was struck by the beauty of the land and water hugging the museum. As a New Englander, I knew the transitions between the four seasons in this environment would be quite visible and stunning. As the museum is nestled into the environment, I tucked my work into the gallery’s framework within the museum. I used my language of paper, paint, metal, and thread to create an installation that shows the strength of each season and the changes in between.
Where in the world would you like to go with your work?
I hope to push the sculptural boundaries of my materials. My goal is to create outdoor sculptures that converse with their location and visitors. I also love putting parts of my work into the environment. I then photograph the still life. It’s my visual response to the landscape.
When my children are grown, I hope to travel to residencies all over the world. Traveling is so inspiring and I look forward to getting lost in new environments and experiences.
What is your mantra?
I don’t think I have one. My mind goes blank when I’m working. Any ideas for me?
Editor: Kristen Evangelista
