Scott Espeseth

How did you get into making art?

I’ve always done this. The one thing that distinguished me in school since the early grades was my ability to draw.

What are you currently working on?

I’m in the middle of a body of work, still lifes mostly, using black and white watercolor. I’m interested in the strangeness that happens when you encounter something, maybe mundane, but you spend time with it and look at it intensely. You find a lot of presence in the form and history of it.

What inspired you to get started on this body of work?

There are a lot of weird moments in our lives every day, and I want to bring attention to them. I started working in watercolor because it doesn’t want to behave. I constantly have to think about how to get the material to do what I want it to do. This means there are always surprizes.

Do you work on distinct projects or do you take a broader approach to your practice?

One piece at a time, then the next one, and the one after that.

What’s a typical day like in your studio?

Some days are just about looking. I’ll arrange and rearrange objects, turn different lights on and off. I try not to put too much effort into that part, because I’m not making a stage production. I’m either trying to approximate something I encountered elsewhere, or bring out a certain quality of a subject. Other days I’m drawing, measuring, more looking. With the watercolor there’s a lot of laying down washes and waiting for them to dry.

Who are your favorite artists?

Vija Celmins, Giorgio Morandi, Philip Guston, Josef Albers, Kiki Smith, Francisco Goya, Edward Hopper, Martin Ramirez, and so many more.

Where do you go to discover new artists?

When I go to group shows or art fairs, I take pictures of the art I like along with the label information. I then follow those artists on Instagram so I can see what they are up to, and see more of their work if it’s in my region.