Carrie Fucile is an intermedia artist focused on sound, sculpture, installation, and performance.
She has exhibited and performed at numerous venues in the United States and abroad including The Walters
Art Museum, The Red Room, the (e)merge Art Fair, Vox Populi, VMK – Gönczi Gallery, and Casa Contemporânea.
Recent honors include a 2016 Maryland State Arts Council Individual Artist Award and a 2015
D’CLINIC residency in Hungary. Her recordings are released through Ehse Records and Protagonist Music.
Fucile lives and works in Baltimore, Maryland and is a Lecturer at Towson University.
Sound is integral to your artwork. Can you tell us how you began to discover sound as a medium to incorporate in your work? What are some of the challenges of working with sound?
As a young person, I was trained classically as a pianist and a vocalist. I first became aware of alternative modes of music-making in high school, when I was introduced to 20th century composers such as Samuel Barber and John Cage. Seeing and hearing a prepared piano was likely the source of my enthusiasm for sound. Later, when I was living in New York in my early 20s, I started to witness “sound art” at various museums and galleries. I very distinctly remember sitting in the dark at the Whitney Museum, wowed by a Maryanne Amacher piece. Later, in graduate school, I began making videos, and people often commented on the strength of the sound. I became drawn to professors, courses, and venues that emphasized sound art and experimental music. This was the jumping off point for my subsequent work. In retrospect, it seems natural that, as both a visual and musical person, sound became the focus of my creative output.
Sound can be challenging because things can go wrong. Therefore, anytime I do a performance or an exhibition, there is a chance something might not work or that things could break down. I have learned to expect these setbacks, but it does not make me any less anxious!
How do you relate to improvisation in your work?
Improvisation factors into my performance work. I always have a structure for what I will do, but I allow room for improvisation so that things are fresh, exciting, and interesting.
Can you guide us through your creative process? Are there other artists (visual, musicians, writers, etc.) that influence your work?
My creative process involves a lot of thinking and then an “a-ha!” moment where I realize something I want to try out. I then go make it or propose it and make it. Usually there is a part of the work that I have no idea how to do, and I end up teaching myself how to execute it. I think that it is really important that I consistently learn new things.
I have been influenced by countless artists through the years. Currently, I am very inspired by the work of Gianni Colombo, Rolf Julius, and the writing of Hito Steyerl.
In “Drift” you are dealing with a lot of big issues—territorial and bodily boundaries, political upheaval, and global capital. How do you bring all of these topics together? Is it important for you that the viewer understand the background and intent of each piece while they experience it?
As an artist, I posit myself as an outside observer who makes connections. I see certain patterns that exist and I explore them. It is great if the viewer gets my intentions, but not necessary. Once the work is out there, it is up for grabs and I am always thrilled to hear other interpretations.
How has Baltimore’s art scene influenced your work?
Baltimore’s art scene has always allowed me to be myself. I am very grateful for such an inspiring, open-minded, and supportive community. People here are interested in making art for art’s sake and engaging with each other. I love how there is always a welcoming venue for a project. People are genuinely excited to share work and foster a dialogue.
