Kris Trigg was interviewed at the LCB by Graff.io's Andy & Guy in May 2019. This is just part of the interview with Kris, following his solo show with Graff.io at the new venue, Graffwerk in Leicester.
How would you describe yourself as an artist?
Experimental, observational, colourful.
What is abstract painting? Are you an abstract painter?
No, I don't think I am an abstract painter. I think I am an abstract image maker. I'm not afraid to use paint but it's not my weapon of choice at the moment. The Gaffa tape and vinyl for me - the restrictions are more exciting because they are more of a challenge to work with. To change direction of the lines and colour, require a little more thought. So I've latched on this style - it's very much about processing what I do - something that you need to do enough times to get out of your system - to feel comfortable to know that that's muscle memory stored & you can use it again.
So, we are in the Relms of Abstract Expressionism - this is about physicality, you talk about process a lot... You went into this exhibition, into this space -had to deal with this space - how do you keep sane, how do you not panic?
I think the anchors are always going to be a strong point in whatever image I use, so in this case it was the framed screen printed skyline - the Zizag.... My work will always have an anchor that has been developed from an initial drawing... All my work develops from initial drawings, what I observe - again this body of work has been architecture. I don't know if this would have been my choice 20 years ago but now I it seems to resonate strongly now and I feel that there's a connection and feel quite comfortable. So I know that I've got a solid structure to work with. Without hopefully sounding too arrogant, I do know that i've got some confidence in my ability and that I can piece it together.... You know there's enough experience whether I've been teaching it or whether I've been doing it, I know how exhibitions work - I have recently had this experience to be part of a show with Graff.io
So if 20 or 21 year old Kris had came up with the same work, what do you know now that you didn't know then? Would you have struggled?
Yes, very much so. I wouldn't I'd have had the confidence to do so back then. nd I think my work was very different back then. I mean, my degree was in illustration. Initially I wanted to be book illustrator - so it was very character / narrative led with the things that I was doing then. And as it's gone on, I've evolved nd become more comfortable with my work, and maybe the time that I've had since then to step back from it and observe what other people have done has had a really big impact on what I do.
There is a theme with this company ( Graff.io Arts ) - we are working with creatives that somehow tread a line between art and design and aren't worries about this move. With you it more that it's been over time. Do you see yourself going back? Are there any benefits in training in design to going being a fine artist?
When I first started at art college it was a more general pathway. There was a period when I went into graphic design, I then went back into general art and design and focused on illustration. I suppose there was fine art as well, but I was in an environment that is actively very open & we were encourage to be as far reaching as try as many disciplines as possible. But it's like your formative years, your training, it beds in with you & so I feel that my work can go very commercial, in fine art I can also paint for it. I have started to develop my sculptures as well. So it works on many levels
How do you feel about selling? Are you looking forward and thinking, how am I going to sell this work?
Some pieces that I do I can see them as something commercial. As prints, as cards, as posters. The canvas painting white jey / area 0 it's a bit unknown, so I am actively developing this area. If the opportunity does come to place it there, I've got the product to work with, as a product or an installation.
You talk about your practice and it's obvious that you're very involved & informed in that. But then you can say about products, and think about it commercially. Is that of our time, that artists can do that?
I think they are all products, where it's in a gallery or in a shop, they are both commercial venues in one way or another aren't they? I've said this to you guys a lot - not that I am not precious about my work, I take a lot of pride in what I do. precious about where it goes or what direction it goes, because this is very unknown to me still. Not many people have the chance to enjoy the journey like this, so for me, this is part of the excitement, so I will grab hold of it and let it direct me as much as it directs me.
So part of your process that you call an artistic process - it's very fluid and it works in a way that could work commercially as well.
The body of work that I am working on at the moment, I have already started the process of how it will become a poster.