A R T I S T   S P O T L I G H T

Z I P P O R A H   T H O M P S O N 

PASTEL: Can you talk a bit about your background? Where did you grow up and go to school? Were there any elements of your upbringing that influenced your art?

ZT: I was born and raised in North Carolina. I'd lived there all of my life until my recent move to Athens. I was raised in a loving, but very strict household. My sister and I spent our days enjoying what freedom we had in the backyard, biking in the neighborhood, reading, collecting, drawing, creating—and doing anything else fun that we could quietly conjure up that didn't get us into too much trouble. We had some pretty serious coin and rock collections. I believe my early love for collecting and organizing has greatly influenced my practice. I still find myself gathering random objects that usually wind up incorporated into my work at some point or another. I like to create arrangements and environments in my work. From an early age, nature and the outdoors were a huge part of my life, and you will find that much—if not all—of the inspiration of my work has some connection to the world around us.

PASTEL: When I look at your art, I think of little environments, homes, intimate objects and spaces that belong to somebody—how would you describe your work? 

ZT: I definitely agree with your interpretation of my work and the inclusion of little environments, intimacy, and sacred spaces. Reverence, death, ritual, scars/wounds, nature, animism, primitivism, mythology, and spirituality are also prevalent within my latest body of work. I enjoy working in mixed media format, combining various materials and techniques. I typically like to create intimate pieces that seduce the viewer and transport them to a place of contemplation, reflection, and/or meditation.

PASTEL: Can you talk about your creative process? What does a regular day in the studio look like for you? 

ZT: I would have to say that my creative process typically begins with the layout and relationship between various materials, textures, colors, etc. Usually, my concept develops over the course of the project. However, there are particular concepts that I'm incredibly moved by that dictate what materials and techniques are used in a piece. I'm most drawn to intersections between various media and the interesting juxtapositions created when different elements are coupled together. A good day in the studio consists of a fair amount of play with what's around me, great tunes, a fair amount of processing / brainstorming, and long hours.

PASTEL: Where is your haven? Where do you feel the most yourself / able to carry out your work? 
ZT: I really enjoy working in my studio at the Lamar Dodd. For the most part, everything I need is there at my fingertips. My prime working hours begin on sunny afternoons and extend into the evening. Occasionally, I work at home (even though it can be more difficult), and sometimes I'll work outdoors when it's sunny.

PASTEL: I had the privilege and pleasure of taking your first class this past spring, and I really liked that you encouraged us to talk about our reasoning behind each project—how we came to an idea and what it meant to us . . What was your most recent project, and can you talk about its conception? 

ZT: Thank you! It was a privilege and pleasure to teach, indeed! I think that without any meaning behind the work, there's not much reason to make anything. I really wanted my students to grasp the importance of producing conceptually strong work. 

My most recent project, Echoes of the Forest, was created during a residency at Elsewhere in Greensboro, NC. Elsewhere is a former thrift store turned into a living museum. The building is flooded from floor to ceiling with art projects and installations from resident artists who have visited over the years. The conception of my project was actually influenced by an existing installation created by a previous resident in a room called, The Glass Forest: a space where organic meets inorganic, and walls are lined with glass and mirror. The Glass Forest is the most beautiful, quiet, and sacred room to me in the entire place (although, it's lacking completion, and a few areas within the room had become empty, dead zones).

I wanted to preserve and reactivate this special forest space by maximizing its full potential and bringing new life into the barren areas. I created a terrarium, cabinet of curiosity-like environment with hybrid 'plant-animal' creatures—using moths, mushrooms, and moss as inspiration (each of which seem to flock to and flourish within secret, undisturbed places). I took on the role of 'forest conservator' and 'preservationist'. Introducing new life to these areas and transforming the spaces into those of the otherworld was an incredibly satisfying experience.

PASTEL: What was your favorite part about teaching a class? Do you think that teaching is something you'd like to continue? 

ZT: I would have to say the students' excitement and enthusiasm. That kind of energy is contagious and makes me want to be the best professor and artist I can. I also really enjoyed watching the development of everyone's work over the course of the semester. I hope to continue teaching and have it be an important component of my career.

PASTEL: Are you currently listening to any particular music or looking at any work that's informed your style? Do you listen to certain songs while your work?

ZT: I am always looking to be inspired by literature, music, and other art. As far as music is concerned, I can appreciate a wide variety, but the music most conducive to creating work typically consists of SBTRKT, Little Dragon, Florence and the Machine, and Erykah Badu. If any songs by those guys are playing, then I'm good to go. I've also got some really great reads currently influencing my work, including Primitive Mythology by Joseph Campbell and Man and His Symbols by Carl Jung.

PASTEL: In your opinion, what is the best part about vein an artist? The worst? 

ZT: I think the best part about being an artist is the ability to make a difference through visual media: to inspire people to feel and to think and to believe. I don't know if there is a "worst" part about being an artist . . . getting to do what I love is worth the grind.

PASTEL: What themes do you find yourself continually addressing in your work? Have they changed at all over the years?

ZT: Recurring themes within my work—as mentioned earlier—are ritual, spirituality, tragedy, death,  rebirth, mythology, primitivism, animism, and nature with tribal influences. I think it's natural for concepts to evolve and shift over the years. The heart of the ideas that my work explores has remained the same.

PASTEL: Do you have any upcoming projects or plans for your work? Where do you see your work developing in the future?

ZT: I have a solo show in September entitled, Menagerie, at the Lamar Dodd, that I am ridiculously excited about. It will be a slightly new direction for my work, including surrealist ideas and dreamlike worlds inspired by primitive and creative mythology. I think I would like to spend more time after the solo show continuing to explore these ideas, but one can never know what will come next. I would love to see my work continue to develop into that which is incredibly powerful and life changing for both the artist and the viewer.

PASTEL: Is there a particular work or project that resonates with your above the rest? Why?

ZT: I would have to say no, not in particular. The entire body of work that I've created since beginning the exploration of themes of death and tragedy (i.e., scarring, fragmentation, wounds) is probably the most personal and important to me.

PASTEL: Your work exhibits a wide variety of technique and skill including embroidery, weaving, sculpting, and more! What is your favorite mode(s) of creating work and why?
ZT: I would have to say weaving, felting, and ceramics, since each of these offers great sculpting possibilities. For two-dimensional work, I most enjoy embroidery and drawing.


PASTEL: I recall you once mentioning that you started out studying in the field of science (I believe it was medicine?). When did you realize that art was what you wanted to pursue as a career? Was it scary to make that change? 
ZT: Indeed. I was influenced by my mother who, at the time, really wanted me to become a doctor (I should've listened to my dad who told me to follow my heart, but that's besides the point). I've known since I was five that I wanted to make things for the rest of my life and pursue a career as an artist. But at the time, I didn't have enough confidence in myself, my decisions, or my work, so there I was - a Psych/Pre-Med major. There's still a very special place in my heart for Psychology, which I am currently nurturing through my work and development of ideas concerning dreams and surrealism (amongst others). However, I will never again attempt to pursue something to please someone else. It's just never a good idea. It was incredibly difficult to drop everything and study art, but I knew I had to.

PASTEL: What are some of your other interests outside of art?
ZT: I enjoy spending time with my husband and poodles (Gemma and Gigi). I love great food, yoga, and most definitely thrifting. I am a sucker for a good thrift shop or antique store. I'm also hoping to carve out more time in order to pursue other interests, i.e., cycling, horseback riding, hiking, and camping.


PASTEL: What do you want people to take away from your work? Do you ever find that people have different reactions to your work than you expect?
ZT: I really just want people to be moved—whether they're moved to tears, anger, reflection, joy . . . or whatever. I want viewers to be drawn in—away from the hustle and bustle of life, even if only for a moment. Many times the audience brings unexpected perspectives or night which adds to the strength of a piece. Sometimes it's exactly what I expect, and other times, not so much. But regardless, if I can create some type of powerful stimuli that causes an emotional response, I feel that I have accomplished something, and that I must create more.

A R T I S T   S P O T L I G H T

Z I P P O R A H   T H O M P S O N 

PASTEL: Can you talk a bit about your background? Where did you grow up and go to school? Were there any elements of your upbringing that influenced your art?

ZT: I was born and raised in North Carolina. I'd lived there all of my life until my recent move to Athens. I was raised in a loving, but very strict household. My sister and I spent our days enjoying what freedom we had in the backyard, biking in the neighborhood, reading, collecting, drawing, creating—and doing anything else fun that we could quietly conjure up that didn't get us into too much trouble. We had some pretty serious coin and rock collections. I believe my early love for collecting and organizing has greatly influenced my practice. I still find myself gathering random objects that usually wind up incorporated into my work at some point or another. I like to create arrangements and environments in my work. From an early age, nature and the outdoors were a huge part of my life, and you will find that much—if not all—of the inspiration of my work has some connection to the world around us.

PASTEL: When I look at your art, I think of little environments, homes, intimate objects and spaces that belong to somebody—how would you describe your work? 

ZT: I definitely agree with your interpretation of my work and the inclusion of little environments, intimacy, and sacred spaces. Reverence, death, ritual, scars/wounds, nature, animism, primitivism, mythology, and spirituality are also prevalent within my latest body of work. I enjoy working in mixed media format, combining various materials and techniques. I typically like to create intimate pieces that seduce the viewer and transport them to a place of contemplation, reflection, and/or meditation.

PASTEL: Can you talk about your creative process? What does a regular day in the studio look like for you? 

ZT: I would have to say that my creative process typically begins with the layout and relationship between various materials, textures, colors, etc. Usually, my concept develops over the course of the project. However, there are particular concepts that I'm incredibly moved by that dictate what materials and techniques are used in a piece. I'm most drawn to intersections between various media and the interesting juxtapositions created when different elements are coupled together. A good day in the studio consists of a fair amount of play with what's around me, great tunes, a fair amount of processing / brainstorming, and long hours.

PASTEL: Where is your haven? Where do you feel the most yourself / able to carry out your work? 
ZT: I really enjoy working in my studio at the Lamar Dodd. For the most part, everything I need is there at my fingertips. My prime working hours begin on sunny afternoons and extend into the evening. Occasionally, I work at home (even though it can be more difficult), and sometimes I'll work outdoors when it's sunny.

PASTEL: I had the privilege and pleasure of taking your first class this past spring, and I really liked that you encouraged us to talk about our reasoning behind each project—how we came to an idea and what it meant to us . . What was your most recent project, and can you talk about its conception? 

ZT: Thank you! It was a privilege and pleasure to teach, indeed! I think that without any meaning behind the work, there's not much reason to make anything. I really wanted my students to grasp the importance of producing conceptually strong work. 

My most recent project, Echoes of the Forest, was created during a residency at Elsewhere in Greensboro, NC. Elsewhere is a former thrift store turned into a living museum. The building is flooded from floor to ceiling with art projects and installations from resident artists who have visited over the years. The conception of my project was actually influenced by an existing installation created by a previous resident in a room called, The Glass Forest: a space where organic meets inorganic, and walls are lined with glass and mirror. The Glass Forest is the most beautiful, quiet, and sacred room to me in the entire place (although, it's lacking completion, and a few areas within the room had become empty, dead zones).

I wanted to preserve and reactivate this special forest space by maximizing its full potential and bringing new life into the barren areas. I created a terrarium, cabinet of curiosity-like environment with hybrid 'plant-animal' creatures—using moths, mushrooms, and moss as inspiration (each of which seem to flock to and flourish within secret, undisturbed places). I took on the role of 'forest conservator' and 'preservationist'. Introducing new life to these areas and transforming the spaces into those of the otherworld was an incredibly satisfying experience.

PASTEL: What was your favorite part about teaching a class? Do you think that teaching is something you'd like to continue? 

ZT: I would have to say the students' excitement and enthusiasm. That kind of energy is contagious and makes me want to be the best professor and artist I can. I also really enjoyed watching the development of everyone's work over the course of the semester. I hope to continue teaching and have it be an important component of my career.

PASTEL: Are you currently listening to any particular music or looking at any work that's informed your style? Do you listen to certain songs while your work?

ZT: I am always looking to be inspired by literature, music, and other art. As far as music is concerned, I can appreciate a wide variety, but the music most conducive to creating work typically consists of SBTRKT, Little Dragon, Florence and the Machine, and Erykah Badu. If any songs by those guys are playing, then I'm good to go. I've also got some really great reads currently influencing my work, including Primitive Mythology by Joseph Campbell and Man and His Symbols by Carl Jung.

PASTEL: In your opinion, what is the best part about vein an artist? The worst? 

ZT: I think the best part about being an artist is the ability to make a difference through visual media: to inspire people to feel and to think and to believe. I don't know if there is a "worst" part about being an artist . . . getting to do what I love is worth the grind.

PASTEL: What themes do you find yourself continually addressing in your work? Have they changed at all over the years?

ZT: Recurring themes within my work—as mentioned earlier—are ritual, spirituality, tragedy, death,  rebirth, mythology, primitivism, animism, and nature with tribal influences. I think it's natural for concepts to evolve and shift over the years. The heart of the ideas that my work explores has remained the same.

PASTEL: Do you have any upcoming projects or plans for your work? Where do you see your work developing in the future?

ZT: I have a solo show in September entitled, Menagerie, at the Lamar Dodd, that I am ridiculously excited about. It will be a slightly new direction for my work, including surrealist ideas and dreamlike worlds inspired by primitive and creative mythology. I think I would like to spend more time after the solo show continuing to explore these ideas, but one can never know what will come next. I would love to see my work continue to develop into that which is incredibly powerful and life changing for both the artist and the viewer.

PASTEL: Is there a particular work or project that resonates with your above the rest? Why?

ZT: I would have to say no, not in particular. The entire body of work that I've created since beginning the exploration of themes of death and tragedy (i.e., scarring, fragmentation, wounds) is probably the most personal and important to me.

PASTEL: Your work exhibits a wide variety of technique and skill including embroidery, weaving, sculpting, and more! What is your favorite mode(s) of creating work and why?
ZT: I would have to say weaving, felting, and ceramics, since each of these offers great sculpting possibilities. For two-dimensional work, I most enjoy embroidery and drawing.


PASTEL: I recall you once mentioning that you started out studying in the field of science (I believe it was medicine?). When did you realize that art was what you wanted to pursue as a career? Was it scary to make that change? 
ZT: Indeed. I was influenced by my mother who, at the time, really wanted me to become a doctor (I should've listened to my dad who told me to follow my heart, but that's besides the point). I've known since I was five that I wanted to make things for the rest of my life and pursue a career as an artist. But at the time, I didn't have enough confidence in myself, my decisions, or my work, so there I was - a Psych/Pre-Med major. There's still a very special place in my heart for Psychology, which I am currently nurturing through my work and development of ideas concerning dreams and surrealism (amongst others). However, I will never again attempt to pursue something to please someone else. It's just never a good idea. It was incredibly difficult to drop everything and study art, but I knew I had to.

PASTEL: What are some of your other interests outside of art?
ZT: I enjoy spending time with my husband and poodles (Gemma and Gigi). I love great food, yoga, and most definitely thrifting. I am a sucker for a good thrift shop or antique store. I'm also hoping to carve out more time in order to pursue other interests, i.e., cycling, horseback riding, hiking, and camping.


PASTEL: What do you want people to take away from your work? Do you ever find that people have different reactions to your work than you expect?
ZT: I really just want people to be moved—whether they're moved to tears, anger, reflection, joy . . . or whatever. I want viewers to be drawn in—away from the hustle and bustle of life, even if only for a moment. Many times the audience brings unexpected perspectives or night which adds to the strength of a piece. Sometimes it's exactly what I expect, and other times, not so much. But regardless, if I can create some type of powerful stimuli that causes an emotional response, I feel that I have accomplished something, and that I must create more.