The Woskob Family Gallery is a space for contemporary arts and culture in downtown State College, PA.
Artist Q & A: Pete Schulte
May 31, 2017
Hi Pete! Can you tell us a little more about the Letter Edged in Black series of exhibitions and how you move between wall drawings, works on paper, and exhibition making?
A Letter Edged In Black 6: We’re Finally On Our Own is the most recent in a series of concise solo exhibitions that I have produced. Each exhibition in the series is comprised of works on paper, wall drawings, and (on occasion) objects. It is my hope that the constituent parts of these shows cohere, through installation and curation, into a single unified experience that responds both to the architecture of the gallery as well as the cultural climate in which the work has been conceived and developed.
Drawing is the cornerstone of my creative life, it is how I think, stay in motion, and negotiate the world. In my day-to-day drawing practice the work is intimately scaled, and hinges on the nuanced touch of my hand as it interacts with my tools (graphite pencils) and drawing paper. The impetus to create the wall drawings is two-fold; to work on a larger scale and to see how the ideas and compositional devices employed in the works on paper translate when they are not dependent on – or completely divorced from – the subtlety and nuance that characterizes the works on paper. I have done several large-scale wall drawings over the last few years and find the results thrilling. On some level, they are completely in sync with the works on paper, yet completely different. Something like an ouroboros, a small work on paper will generate a large wall drawing, the wall drawing in turn inspires an entire series of new works on a paper.
We’ve worked together to arrange a film series to accompany your exhibition including Anne Truitt Working, Agnes Martin With My Back to the World, and The 100 Years Show following Carmen Herrara. What are some ways these films or artists have been influential to you?
That is a huge question, as each of these artists have influenced me immensely in a variety of evolving ways over the course of my life as maker. Suffice it say that each lived a very long and productive life and made work that embodies that experience, with a deep and abiding commitment to her craft, and not fitting neatly into any defined lineage or art-historical box. All three utilize the language of abstraction as a carrier of meaning and an economy of visual information, which for me is all the more mysterious considering the profound emotional resonance of the work they produced.
What’s happening in your studio now?
(Sigh…) I am settling into a long summer in the studio, which will take the form of beautiful little carriage house that my in-laws own beside Lake Norris in Andersonville, Tennessee. I am preparing a wall drawing and installation for a group show at The Montgomery Museum of Art that opens in November, as well work for a sizable solo exhibition at Whitespace Gallery in Atlanta that will open next spring.