Seth Orion Schwaiger

Episode 53 · January 7th, 2019 · 56 mins 14 secs

About this Episode

"In a way you can use words as a lure to get people to think in a way that’s more expansive. To think in visuals, and in space, and in symbol that’s beyond language. To find meaning between words. So writing about art is really fun. Because art can mean things that really can’t be touched on with language. But you can kind of lead a reader to it. You can take these glancing blows at what arts meaning is and maybe through that long series of glancing blows map out a silhouette. And maybe people who are doing all this reading can guess at what’s within that boundary. I love that it is so populist and accessible, language itself. The written word can bring people to something that’s for a lot of people inaccessible."

Seth Orion Schwaiger is an artist, curator, critic and arts writer, and teacher, who splits his time between Austin and New York with his wife Elizabeth, who is also an artist. As a writer one of his goals is to attempt to communicate intelligently about art in a way that everyone can understand. In recent years the art creation side of identity manifest in three exhibitions of work in different cities, which were called Complex 1, Complex 2, & Complex 3. In the interview we speak in detail about each exhibition, his approach to the different aspects of his practices, the Austin art scene, its strengths and weaknesses, and his future plans. Have a listen, share any feedback, and be sure to check out Seth’s work if you have the chance.

Some of the subjects we discuss:

Yearly schedule
Artistic origins
Meeting wife
Role of the artist
Aspects of practice
Complex series
Pump Project space
Complex 1
Something to prove
Complex 2
Processing the past
Complex 3
Christian cult
Dance production
Exhibition details
Any clarity?
Scott’s work?
Pushing limits
Writing & words
Masters thesis
Merit of work
Future hopes
Austin art scene
City funding
No advice
What’s next

This interview has been edited and condensed for clarity.

Intro music generously provided by Stan Killian

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