INTERVIEW:

Simon Tosky:​There is an intense colored grid in many works in the show, reminding me of some sort of mind matrix. What is this magical setting?

Bianca Fields:​In my larger-scale works, you will find a grid in almost each and every one of them. That is usually the starting point for these works - prior to even coming up with a composition. As I begin to work on top of this, an optical effect is activated and presents a feeling of the infinite and inescapable. I think simultaneously, it sits on the surface and reminds the viewer that these works want to be true to themselves and aren/t trying to fool the viewer into something other than the reality that we know. I think this becomes formal play in dealing with the topic of everything being real.

Simon Tosky: ​Your characters seem to really speak in terms of human conditions despite originating from animals or pop culture. How do you view your characters and how have they evolved over time?

Bianca Fields: I​am currently suffering in terms of my relationship with my subject, and I am starting to think that this is what’s fueling my excitement in approaching the work. I think the home of these works will continue to originate from the cartoon world, but will also be rendered through a psychological analysis of oneself. The nature of that process is abject and perhaps at times even painful. The more that I narrow down to one selected subject and closely examine that; for instance, drawing the Count von Count over and over again, the more it is evolving in a way that feels like I am depicting myself. These works are revealing to me in that way. Sometimes I feel discomfort in looking at them because I know that they are me.

Simon Tosky: ​Undeniably humor and fun run through your work. How have you cultivated these attributes?

Bianca Fields: I​think I would have defined humor in my work a lot differently just six months ago. Ruminating and obsessing are two things that I waste a lot of time in my life doing. Not over people, or things, but maybe words and sounds. They always go unresolved, so then I revisit them and reintroduce them in my work. It feels like a game at times. That’s where I am right now with that.

Simon Tosky: ​Also your titles are pretty funny too - a lot of sexual innuendos. How does sexuality play a part in your work?

Bianca Fields: I​have always struggled with titles, so now I only title my works in bulk, lol. I’ll look at all of the paintings together and what almost feels like a mental metronome going off in my mind, I'll begin naming them one by one so they can feel rhythmic. Kinda like the childrens book, “​chicka chicka boom boom.”​ I made a painting based off of that book one time.

I guess sexuality does play a part in my work, in terms of placement and uncomfortableness. I like to dance around it a tad bit. I like the idea of having arms so long that you don’t really know

how to fold them at the dinner table, so you end up having to put your elbow in your crotch in order to stabilize it.

Simon Tosky: ​The integration of spray paint in your work that seems very natural. The fusion between spray paint, acrylic and oil in your work shows a delicate and energetic battle between line, color, and mark making. How important is it to you to be working in mixed media?

Bianca Fields: ​Working in mixed-media is still sort of a new process to me. I almost forgot that I did. I try to stray away from my works getting too busy visually, while simultaneously still wanting it to reach the right level of annoyingness. Whenever the palette starts feeling complimentary or uniform, that’s when I begin layering colors on top, or warping the character to literally stretch the viewer's eye away from the moments of rest. I never imagined myself using drawing as a medium to create this haptic experience of looking.

I’ve come around to drawing a lot more this year; I didn’t spend much time exploring it in school. Now that it is more familiar to me, I’ve fallen in love with the feeling of my works being a lot less precious to me. I can throw it away if I don’t like it. Or it will blow away in the wind.

Simon Tosky: ​There is a near perfect tension in these pieces, whether it be between character and background or character v. character. How do you find the balance in these situations?

Bianca Fields: I​almost never come up with a composition of a painting before approaching it. If I say that they are studies I am lying. I like the idea of creating studies for my work, but they are almost always intended for muscle memory ... or maybe an itch I had to scratch that day. Sometimes I will create an entire drawing just to make the eyeballs look in a certain direction or something. Because it’s funny. It’s almost like a certain body part has a mind/personality of it’s own.

When I “attack” and intuitively approach the work, I think a lot about the yin and yang, especially as of lately. It always feels like whenever there are two characters stuffed into a work together, they are both one concept and separated in two opposing forces. Usually this concept is considered a much deeper rooted feeling, yet a simple idea - such as feeling invisible. As a black female artist creating in the midst of injustice; slowly processing everything this year, I’ve been able to learn how to confront how difficult it has always been to amplify my voice in my art. I think the fearless approach to my work is beginning to show that, resembling tension, awkwardness and fear.

Stay up to date with Bianca’s work on Instagram @beeyonkerz