AN INTERVIEW WITH LINDA HESH

HAS: How did the idea of appropriating commercial advertising techniques (as seen in your Billboard series) emerge in your work?
Linda Hesh: When I go to Gay Rights Marches, I am drawn to the handmade signs the protestors carry. It’s so personal, direct and often very clever. But they are only seen for a few moments as they pass by. I imagine what it would be like to have a huge marketing campaign using those slogans. That is when I decided to photograph billboards. Once I began shooting, and trying out various phrases with different photographs, I could see how the images would play off the slogans and visa versa.
HAS: Have you always worked in series? How did you arrive at that creative process?
Linda Hesh: I think all artists work in series whether they acknowledge it or not. You are thinking about a process, or a technique or a concept. Then you experiment with the presentation, which naturally means you do several pieces which then is a series.
HAS: From the Opinion Benches to the In The Garden series, text is an important part of your artwork. When did you begin placing text on objects?
Linda Hesh: 35 years ago.
HAS: Tell us a little about your background—you’ve worked in diverse areas, including jewelry design— and how those past interests have evolved into your current work.
Linda Hesh: In college I had a double major of photography and metal. When I graduated, I chose to focus on metal since it seemed I could support myself by creating a line of silver jewelry. It was the 80’s and many artists did interesting wearable art to make money. I also did one of a kind pieces of jewelry that were shown in galleries. This is an art form that is shown more in Europe than in America, but there are a few galleries here. In both the production line and the gallery work, words and phrases played a big part, whether actually in the work or as the title. I switched to photo based work after Photoshop was firmly established. It was much easier to print in color through digital means and I could alter the images. I started with a series about jewelry and what it means to decorate ourselves. From there, my concepts developed along social issues.
HAS: You’ve included two interactive artworks in your show. What do you believe is gained when a viewer is able to interact physically with an artwork?
Linda Hesh: It’s a direct communication between me and the viewer. They are included in the finished artwork and they seem to really appreciate this.