Adam Crosson is an artist working in Austin, TX where he recently received his MFA in Sculpture + Extended Media from the University of Texas at Austin and is a Co-Director of the house gallery Pig & Pony. With a background in architecture, a Bachelor of Architecture from the University of Arkansas to be exact, Crosson comes to making from a unique perspective. Ranging from outdoor work using concrete and steel to his current black and white photographs made with enormous homemade cameras, Crosson works with conditions of site, identity, and place.
Gracelee Lawrence: I’ve been in a privileged position these past three years in terms of watching your work evolve. I’m particularly interested in your relationship with technology and how it has shifted over time, from heavily utilizing digital fabrication in the past to the present moment where you are making your own camera technology.
Adam Crosson: I feel like I’m coming back to my roots as a maker- where my sense of making comes from. I worked with a contractor after high school, using familiar building materials and manual craft. I think that there is a connection to that way of making that I feel an affinity for. I really enjoyed the first year of architecture school because we were learning how to draft and weren’t introduced to the computer until our second year. I think through materials in a very physical way. Ultimately it is one of the reasons I left architecture- I couldn’t sit in front of a computer eight hours a day.
GLL: Talk a little bit about your shift from architecture to studio art.
AC: Architecture school operates completely in the theoretical space- a theoretical site is fitted with a theoretical solution. I remember having a moment of anxiety when Katrina hit, being torn between the culture of architecture school (never missing a studio class) and the desire to help in a real world problem. I had this moment of tension between what was happening in this theoretical space and what was happening in the real world. My last semester of undergrad it became apparent that I was ready to get my hands in the real world and deal with things directly.
GLL: Founding and directing Pig & Pony has shifted how I think about what it means to show an artists work and what it means for an outside person to become involved with the presentation and conceptual questions that another artist is dealing with. And also the act of re-presenting work in a specific context. I hadn’t understood the trust or impact that is present in such interactions. What has this project meant for you?
AC: The first thing I think about is what it means to be asked to show work. For many of us making art, it is one of the most generous things that someone can do for you. On a basic level what we are doing is a very generous thing, wanting to provide opportunities for people to show work. I think it is an important part of what we do for people and what people have done (and are doing) for us. We have just touched the tip of the iceberg in terms of how much we can dig in to someone’s work, how much we can expand conversations.
To see more of Adam Crosson’s work please visit adamcrosson.com