ARTIST IN RESIDENCE / KATES-FERRI PROJECTS / ERIC SANTOSCOY-MCKILLIP INTERVIEW

“I am always able to see my dreams but not able to put words to them.”

photography of Eric by Khary Simon at Kates-Ferri Projects
installation photography by Eric Santoscoy-Mckillip

 

Kates-Ferri Projects is the brainchild of husband-and-wife art patrons Natalie Kates and Fabrizio Ferri. Avid collectors and supports of the arts they are committed to ensuring the next generation of Contemporary Artists through their nomadic Artist Residency Program.

CRUSHfanzine invites you to a curated studio visit with February 2021 Artist in residency is Eric Santoscoy-Mckillip located at 323 Canal Street, NYC in partnership with LatchKey Gallery.

Natalie Kates: Eric is a LatinX artist with a personal point of view manifested into his art. Growing up in the border town of El Paso TX, he is paying homage to Mesoamerican step pyramids, Mexican mid-century architecture and stucco veneered suburban homes. Through all of these influences his fully realized works of art are conceptually elevated by shapes and color theory.

 

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NK: How did growing up in the border town of El Paso, Texas influence you as an artist and your body of work?

ESM: My first interactions with art was seeing the murals and had painted signs in Segundo Barrio and downtown El Paso. The way those artists were reflecting their lived experiences and Chicanx culture has never left me. El Paso is located in the Chihuahua Desert, which spreads between, New Mexico, Texas and Mexico. My connection to the color, texture and shape of the land and sky is implemented in my practice through planes of color, horizons and the use of stucco.

 

NK: As your work is informed by Meso-american step pyramid structures over a millennium in the past, what is your hope of someone encountering your pieces one thousand years from now?

ESM: I see my work following in a lineage of makers for thousands of years. Learning and building to connect to the earth, sky and cosmos and well as our built environment and those who inhibit it. We can only hope that the generations beyond us will be able to look at our current moment as a paradigm shift and that artists now were looking toward a future where there is equality and equity.

 

NK: What’s the best time of day to view a specific piece? 

ESM: Having lived a majority of my life in the desert, the rising and setting of the sun and its effect on daily life is ingrained in me. My pieces change through out the day the same way a building or home does. Cooling and warming in temperature and color.

 

NK: How would you describe your pieces to someone that cannot see?

ESM: Forms and shapes that step through space, rough to the touch, intense but sensitive.

NK: How does your color theory tie into your culture?ESM: Color to me is sitting on of a mountain watching a sunset while cactus bloom neon flowers, the saturated plastic flowers you buy downtown, the mismatched paint of a corner store that “works”, an aqua fresca and bag of Queso Ruffels. Color is one way I am able to unpack identity, relearn history and make connections between the past and present.

 

NK: Tell us about the last book you read.

ESM: Reading has always been a struggle for me, I am dyslexic and I have to spend time time with books differently. I do keep books around me everywhere I am. On the studio desk I currently have a book on the Mexican Architect Legorreta, Virginia Jaramillo’s Curviliner and Ellswroth Kelly: Works on Paper. I just finished re-listening to the Parable series from Octavia Butler.

 

NK: Is your art ever in your dreams? Tell us about it.

ESM: I am always able to see my dreams but not able to put words to them. I work through pieces before bed with my eyes close, thinking of the color or imagining the tracing the shape or form, they are closer to visions then they are dreams.

 

NK: Is there a takeaway you would like the viewer to leave with?

ESM: Having spent time studying education and teaching, I think it is important to continually look with fresh eyes, there is always something to learn. Be sensitive in our interactions with surroundings and people. Sin Fronteras.

 

Learn more about Erics work here
Learn more about Kate-Ferri Projects here

 

 

 


 

 

 

Reaching 17,  2021,  acrylic, flashe and stucco on wood 15 x 7 x 3” 

 

Templo 2, 2021, acrylic, flashe and stucco on canvas 24 x 32” 

 

 

 

Azul en Verde, 2021, acrylic, flashe and stucco on canvas and wood 24 x 25.5” 

 

 

 

left: Templo 1, 2021, acrylic, flashe and stucco on canvas 24 x 32” , right: Templo, 2021, acrylic, flashe and stucco on canvas 24 x 32” 

 

 

 

detail of: Reaching 15, 2021, acrylic, flashe and stucco on wood 13 x 2 x 4” 

 

 

detail of work in progress