#sparkchamber 112822 — Adriene Veninger

As we flutter from fall and drift toward winter, we tend to embrace a more inward focus — the perfect mood for today’s #sparkchamber guest, artist Adriene Veninger. Born in Bratislava, Czechoslovakia, now living in Canada, Adriene says, “I knew pretty early on that pursuing an art practice was the way for me. I spent my childhood either alone or in adult company so solitude was quite comfortable and comforting, good preparation for the profession that was to follow.”

Particularly known for her toned silver prints, Adriene looks to nature, letting the camera reveal the individuality among the aggregation. Speaking of leaves and seeds, “Nature’s plant life’s discards, abundant and ever present. In their multitudes, one appears indistinguishable from another, and their very abundance renders them almost inconsequential. Yet, when photography bestows its gaze upon them in their singular forms, suddenly we are encouraged to consider them as individuals which in turn can stir our sensibilities towards feelings of unanticipated tenderness towards these simple forms.”

Equally stark and soothing, familiar yet otherworldly, Adriene’s work is included at the National Gallery of Canada in Ottawa, the Museum of Contemporary Canadian Art in Toronto, and the Museum of Fine Arts, Houston as well as held in collections around the world — W Hotel, New York, Four Seasons, Tokyo, Toronto Hilton, the Bank of Montreal, Banana Republic, Boston, Metropolitan Life and more.

1.] Where do ideas come from?

An artist’s early work seldom reflects the mature work to come, it takes time to hit one’s stride and find the way to the work that can then sustain the practice for the long haul. My work unfolds sequentially, in that one series directs where the next one needs to go.

2.] What is the itch you are scratching?

Habit. Once this is established...the rest really is just showing up and working.

3.] Early bird or night owl? Tortoise or hare?

In the early years of my career, the audience played a larger role in my coming to understand my work. Now after many decades, I do work even when there is the possibility of no one seeing it.

4.] How do you know when you are done?

I would be done...if I was bored by my own work. But perhaps that is not the question you are posing.