The following is the completed edited transcript of an artist interview of Dannielle Tegeder that I conducted in September 2022
Gina Dominique (GD): And so, with your answers, let's just focus on your work, which is exclusive of your collaborative painting. And…we're talking about one question around autobiography, okay?
Dannielle Tegeder (DT): And are you thinking for one minute, or… five minutes?
GD: There's a brief follow up for each one.
DT: Well…I think that the premise is kind of telling. No, the work is not autobiographical in some way, but I will say that you know that my father was a pipe fitter, and all the drafting, and the way that I draw systems really does come from that tradition. Of course, that's a craft that is being, you know, slowly fading out right this way of making mechanical and engineering joins and using templates, and so forth, so like. And I would say I did that for a long time, maybe not realizing the direct connection to that. So, I don't. I can't say it was conscious it was actually almost unconscious initially. But now…I think it's very different than someone who goes in thinking… I'm Indian or I’m going in thinking that I'm mining this in a very conscious way. You know what I mean?
GD: Yes.
DT: … It's a little bit more conscious because I am aware of it. Yeah.
GD: Well, yours is not specifically, if I understand you correctly…is not autoethnographic, or culturally autobiographic. But, elements do have to do with you very personally in your relationship, specifically with your father... right?
DT: Well, you said autobiographical, but it does connect into, I think, cultural and/or class aspects. Definitely. So not an auto ethnographic one, but definitely, there's a class system that it connects into for sure.
GD: And how do you do you think that you visually, or you, or could visually see that in your work?
DT: Well, I think Well, he's very hard to answer. I mean, I think, that you're aware of it, and you look at my work like… I think absolutely…it resonates with people, and they understand that connection….If you've come to my work and think about immediately, maybe you would immediately read it. (It looks like it’s been done by a) mechanical minded person…it resembles engineering drawings, (or) architectural plans. I don't know if you would connect that to life, …or connect that immediately to a trade. Do you know what I mean?...I do think you do know.
GD: Okay, so we may, or you may come back to some other aspect of that. But we'll move on to the next question now. Do you see your painting as continuing a specific, existing historical, abstract style or era, or as part of a specific cultural painting tradition, either one that you could have formally studied, you know, in your undergraduate or graduate careers…?
DT: Yeah… I think that my work definitely draws upon the traditions of Constructivism, and the Bauhaus. But I think (generally) along those ideas from modernism... it directly quotes modernism and continues it...
GD: So, in the formal academic sense…?
DT: Yeah, in what other sense would there be? Well, there is focus on studying formalism or modern art…
GD: So, your connection to it (Modernism and/or formalism,) and your father’s professional influence as a draftsman happened to match up?...Or, are you saying, it is strictly in a formal sense that you did a deep academic dive into formalism, the Bauhaus and Constructivism that directly influenced you?
DT: Well… I think that you know I mean I've been referencing it, for…over a decade in a lot of my projects. (And for those, I) have used a lot of that (Modernist, formal, Bauhaus and Constructivist) research. So, I would say, yeah, I think it probably is more of a deeper dive, definitely…
GD: And how do you think we the viewer, or you, as both the creator or artist, as well as a viewer, can see it… in specific colors, or a palette, and or in the imagery, or in other ways?
DT:...Say the question again.
GD: Okay... Still on this idea that you draw specifically from modern art, modern art history, or modern formalist painting, right? Tradition specifically, Bauhaus. And constructivism. So, you know, like what what's the visual iconography or color palette? How do you think the viewer sees that?
DT: How much do I do that in my work? Well, I think that there is a direct reference to the color palette of Modernism. So, there's a sentimentality in that palate already. It directly references that palette which are like these.... reds. Not all of the time, but it definitely, I do this somewhat consciously, Right? Yeah. And then, of course there's a whole aesthetic that is referenced with right the hard edges and things like that (I achieve by) ... using the protractors. So, I do think it's like an aesthetic.
GD: And...this to this leads nicely into the next question, which is, do you ever think about formal or informal, again, some people I know, for example have not only studied color theory, but you've taught it right? But other people have never had even a foundation color theory course.
DT: So um, it's all over the map with you know, responses to this question.
GD: Do you ever think about how a formal or informal color theory effects your painting...does it underly a palate which you already referenced?
DT: …Well… I have a very in-depth relationship with color theory. So, for years I taught four classes per semester in color theory, but not only that…as an undergraduate I was taught by Lynn Stokes, who was Albers’s student. So that way of learning color, which is a very systematized way of learning color…you're not mixing colors…In some ways it's a more conceptual way of learning color. So, I think that all of those things are very influential, and… I've always been interested in color systems and alternate color wheels.
GD: What do you mean by alternate color wheel?
DT: There's been, through history, ten different color wheels that we never really… categorized. But you know, this red, yellow, and blue…obviously…wasn't… all of it. That has always been really interesting to me…the way we break down color palettes. And I also just think the way I lay out my work is almost referenced as a color palette, in some ways.
GD: Right.
DT: ...you know. So, in terms of the compositional structure yeah, of a specific piece…there was a great show of color charts at MoMA years ago. That was… was really interesting. I would say it's definitely an important part of my work.
GD: Specifically, because you mentioned Albers and studying with his student, is when you became interested in, what did you say…alternative palettes? Is that the word you used?
Dannielle Tegeder: Alternative.
GD:...do you think about, or do you reference other pallets, too, or do you pretty much stick within the more modernist?
DT: I do reference other pellets, and I look at design, and I look at contemporary palettes. I look at new paint that comes out, definitely. You know.
GD: Yeah, I see that. So, whenever you say that you have… an emotional reference to modernism, and to their underlying ‘sentimental’ palette, that is your baseline palette?
DT: Yes.
GD: I see that. Yeah. And so, when you make a shift from that which I have seen, what's the motivation? Is it an intellectual motivation, or emotional motivation? What are you saying? Why do you shift away?
DT: I think it's a combination. I mean, I think that there's maybe a conceptual decision in continuously pushing the aspects of color. But, I also think it's a formal, and an emotional concern. It's…on an essential level. They're paintings, and they're formal, and so pushing the palette in really unusual ways, you know, is pleasurable to do. You know, for lack of better words…
GD: They are exciting…Okay, and then does philosophy of art, or aesthetics, which you've already touched on in terms of phenomenology, or any kind of philosophy, either formally studied or a philosophy like that you might have written. I think of this, you know, quite famous example... Andy Warhol wrote: 'a philosophy of Andy Warhol from a to be and back again.' So, whether it's of your own devising, your own worldview, so when I say philosophy, I mean, you know, like your own world view. Can you talk about, succinctly and clearly, with color, color, theory, and with your whole sort of motivation and inspiration and art historical lineage, that you paint within a tradition... Do you also consider the philosophical aspect? I mean, if you could, elaborate because you've already touched on aesthetics and Emmanuel Kant.
DT: ... Yeah. So, what you want me to reference philosophers?
GD: …or the whoever has really influenced you as a painter... who's philosophy and it doesn't have to be one person again. It could be like a synthesis of (people), who do you really resonate with? Who are you aware of carrying around with you in your adult life... as a painter, I mean.
DT: I read a lot of philosophy, but I can't say, like anybody... no one's more influential to me than other artists or art history. Really…I can't say, a certain philosopher that I think about that directly links into what I’m doing. I mean, there's a there's a philosophy in her (?) work, maybe... I would maybe call it a philosophy.
GD: …like the idea of painting in more of an extended space?
DT: Yes, I mean that.
GD: That's your aesthetics?
DT: Yes
GD: Then we'll go with aesthetics.
DT: So, I mean, I think that's really a philosophy for a conceptual understanding of the world... I could go into, like I said so many artists, but I don't really have a philosopher. I just find it honestly so disconnected from making art in a lot of ways, you know, I mean, and I think this is where philosophy fails.
I like Wittgenstein's remarks (on Color)...they are interesting to me, which is completely discredited. And because he was a logician, I mean, that I find interesting... that stays with me, but it's like, you know, this is good, but you know it really has nothing to do with the world of philosophy. It just has to do with him, being kind of a lunatic.
What it does have to do with in the world of philosophy, because it is regarded in that world…well, that those remarks are completely disregarded within the world of philosophy, which is funny. Of course...I mean, I guess that actually is what makes it interesting to an artist. Yes, and what I would actually make sense in some way, you know… But I think it's like If we were talking to James, for example, you know, he would just disregard that Wittgenstein altogether. But I think he's fairly disregarded… I could say absolutely the color remarks that are difficult, just because they're on color. He doesn't actually well… you know, I guess, because they are nonsensical, and… that's actually what is interesting to me, right?
GD: Right…in some ways you hang your hat on that.
DT: I mean, in some way that actually would make sense, you know…
GD: Yes… you brought up Kant, and I just wonder if there's something there, or is there some reason why he stays with you…
DT: …. Whenever I think philosophy, like Kant or Hume… the big biggies in philosophy, and they're so German, and what I think about with philosophy… And the idea… of inherent beauty, that us, as humans, recognize an inherent beauty… I don't know if I make my artwork based on that, because I don't necessarily strive to make work that's beautiful. But, I do think there's one thing in making art, and there's something else in looking at art.
Yes, and I do think about those things when I’m looking at other art… for sure. But in making the work… there's a weird disconnect to that in some ways. And… maybe that is interesting. That's why I think the nonsensicalness… that resonates… it should make, or would make sense…
GD: That's great… anything else you want to add to what you’ve already said about not necessarily seeing any connection between either Wittgenstein or Kant or any philosophy and your work?
DT: I mean, to me that is like looking at like a Monet, and looking at a 1960s conceptual art piece, or something… that you could say they're both art, but like they're such far removed, (they are) worlds from one another, you know... I'm sure they're pieces of a creative process that connect to certain philosophers, but not consciously. I'd have to look at it in a way.
GD: Well, even just from this moment, if you… reflect back on a series that you did either five years ago or this last year. You said someone like Wittgenstein, and his remarks on color... Can you think of an element or elements of your color application...?
DT: That's the disconnect is that... I think the idea of going in and thinking... at least about philosophers…
GD: where's the disconnect?
DT: More, I find it pretentious, like, you know, I'm not really thinking about... it in that way. You know what I mean...? I'm really interested in titles.
GD: Um-hmm.
DT: And I am into conceptual poetry and things like that…But I would say… that I'm referencing or thinking about certain… correlations.
GD: After making it, you're looking back in a well, analytical way?
DT: Yeah, I get it… to contextualize it…
GD: Yes, that was really great. And that's all of the questions I have. Do you feel like you said everything you wanted to say?...
DT: No, like that was a lot.
GD: Okay, that was very generous. Again, I really appreciate you taking the time.
