Emily Hoerdemann

BIO

Emily Hoerdemann (b. 1985) is a California-based artist who explores language and color through collage, illustration, and photography. She received her BFA in painting and photography from Bradley University (Peoria, IL), and a Masters in Contemporary Art from Sotheby’s Institute of Art (New York, NY). Her works challenge feminist themes with humor and grace, utilizing analog collage with tangible materials to capture the sensory experience of time, nostalgia, and memory. As a result, each work is a delicate placing of aesthetics and color. Emily’s works are in numerous private collections, and have been exhibited in New York, Chicago, London, and Los Angeles.

STATEMENT

The Collages On Color Kaleidoscopes combine feminine images cut from magazines and advertisements and pairs with cutouts of artworks and floral motifs along with found objects and sewing notions. These nostalgia-femme works, saturated in color are descendants of the earliest forms of magazine layouts and scrapbooking motifs. From the ‘commonplace books’ of the 15th century, ‘friendship albums’ of the 16th century, to the yearbooks and friendship books created by 18th and 19th century school girls, which replaced journaling as a way to document their experiences paired with the ephemera and memorabilia from their lives, such as visiting cards, ticket stubs, plants and even trinkets.  The imagery used here attempts to dissect the cult of domesticity, borrowing items such as a blatantly sexist advertisement, a particularly jarring encyclopedia entry, or a snippet of vintage pornography, which all color our perceived depiction of a woman. Paired with items from my lineage, such as embroidery thread from my Grandmother or recipes from my Great-Grandmother, these works seek to confront the traditional fixed image of femininity with humor and grace.

Interview with Emily Hoerdemann

Written by Andreana Donahue

Can you tell us a bit about your background and how you became interested in becoming an artist? What were some early influences?

My Mother is an artist, so I grew up around her painting studio and was always encouraged to play around with paints and other mediums. I attended a fine arts magnet school, so I was involved in art, music, and dance since kindergarten. I started as a music major but ended up getting a double BFA in painting and photography and an MA in contemporary art.

Where are you currently based and what initially attracted you to working in this community? Are there any aspects of this specific place that have surfaced in your work?

I am originally from the Midwest, but after nearly a decade in New York, I moved to Los Angeles. This past year I’ve spent a lot of time in Mendocino and Palm Springs while COVID shut everything down. Luckily, I have a pretty ‘dry’ studio, so I am able to move around with materials and let my surroundings be an inspiration. I particularly love the palette of a Southern California sunset and desert plants.

Can you tell us about your studio space? What are some of the most crucial aspects of a studio that make it workable for you?

Working small-ish allows me to turn just about any table into a studio space, but I do like setting up surrounded by books, plants, and artworks by others for constant inspiration. I have a hard time working if my materials are not organized, so I’m constantly tidying up and taking inventory on what I have to work with, whether that’s magazine scraps, photographs, paints, or knickknacks.

What is a typical day like?

I always start the day with a cup of coffee with my husband, some puppy time with our dog, Poppy, and then we get to our studios and work until dinner with just a break for lunch. I like to give myself the freedom to create, research, or connect with others, but always sitting down and dedicating the time to the process.

What gets you in a creative groove? What puts a damper on your groove?

New materials always get me excited to start making – a vintage magazine, some cookbooks, a trinket from the past.

What criteria do you follow for selecting materials? Do you prefer to maintain a narrow focus or work across diverse media? How do you navigate the limitations and possibilities that result from this path?

For the Collages on Color Kaleidoscopes series, it is important that the materials resonate either personally, historically, or vibe with the color palette. I also select items that really get me nostalgic or give a vibe, like ads, vintage porn, auction catalogs, fashion magazine, coloring books, spare change from travels, and a lot of family ephemera, like photos, recipes, and trinkets.

Can you walk us through your overall process? How would you describe your approach to manipulating materials? What about decision-making and editing?

First, I like to put out multiple colored grounds to work at the same time, usually in different sizes. Sometimes I have a small pile of items ready to be collaged that I already felt a connection to and know I want to use. From there, I begin to assemble a layout before affixing it to the paper. Lots of shuffling, replacing, and removing happens. Once I am sure, I start gluing and taping the elements down – always using archival materials to affix to the surface.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work overtime? How do you anticipate your work progressing in the future?

I love exploring color palettes and how they can evoke feelings or memory. I was always turned off by describing my work as feminist in the past – assuming it would bring a negative connotation or energy to the viewer, but I’ve realized over time that my work is undeniably feminist, and carries a responsibility to interrogate dated notions of femininity, misandry, and nostalgic domesticity.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

I have been working with artists to build or clean up their databases of artwork as an independent archivist. I have previous experience working for artists, non-profits, and collectors in this capacity as registrar, collection manager, and director. Two years ago I went freelance so I could have control of my schedule in order to focus on my art practice.

As a result of the pandemic, many artists have experienced limited access to their studios or loss of exhibitions, income, or other opportunities. Has your way of working (or not working) shifted significantly during this time? Are there unexpected insights or particular challenges you’ve experienced?

Well, I chose to go freelance in the fall of 2019, and of course, the pandemic was lurking right around the corner! I went into lockdown with the optimistic mindset that I was going to really use my time wisely and while it hasn’t been the fantasy self-residency where you can just focus with no worries, it has provided a lot of perspectives that I wouldn’t have gained without that studio time.

In a time that seems to be marked by uncertainty, collective anxiety, and increasing social unrest, why do you think the perspectives and contributions of artists remain meaningful? Do you feel a natural relationship exists between your work (or the role artists play more broadly) and confronting established systems—of power, cultural institutions, or otherwise?

With art, you have a way to share information that may not be on someone’s radar or in the front of their mind. It can be a really special way of communicating. Also, it can simply boost someone’s attitude by experiencing art and creativity, especially in a stressful or trying time.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music—that are important to you? Who are some contemporary artists you’re excited about? What are the best exhibitions you’ve seen in recent memory?

I crush hard on the work by Cynthia Daignault, Yasmine Diaz, and Karen Mainenti. They all three deal with culture and identity in beautiful ways. I also believe that everything that Genevieve Gaignard creates is brilliant. Her palettes, materials, and collage-style rock me every time.

Do you have any tips or advice that someone has shared with you that you have found particularly helpful?

A couple of years ago, the curator Carolina Wheat said to me, “You won’t know you can fly until you take the leap.” I try to remind myself of that in everything that I do.

What are you working on in the studio right now? What’s coming up next for you?

I just finished a series about the Pink Tax paired with auction house sales data called Two In The Pink that I am really excited about!

To find out more about Emily Hoerdemann check out their Instagram and website.