Feature – Sean Hart

Here’s another excerpt from the 3rd issue of BBB with one of our favourite dudes, Sean Hart.

BBB: Your work is almost exclusively text-based, what is it about text or lettering that has influenced you to use it as your primary source of your artistic message?

Sean Hart: THEY SAY WAR IS PEACE. PEACE IS SECURITY. SECURITY IS ORDER. ORDER IS COMFORT. COMFORT IS MONEY. MONEY IS HAPPINESS. FREEDOM IS SLAVERY. IGNORANCE IS STRENGTH. TO DOUBT IS USELESS. TRUST OUR MASTERS. FOLLOW OUR LEADERS. PRAY OUR GOD. PAY OUR TAXES. PLAY OUR GAMES. RESPECT OUR RULES. WEAR OUR UNIFORMS. HELP US TO MAINTAIN ORDER BY BUYING OUR  WEAPONS. WATCH OUR PROGRAMMES. DRINK AND EAT OUR MANUFACTURED PRODUCTS. SLEEP DEEPLY. DREAM OUR DREAMS AND THEN YOU WILL BE WHAT WE ALWAYS WANTED YOU TO BE. YOU WILL BE  GOOD CONSUMERS. YOU WILL BE POSSESSED BY THE POSSESSORS. YOU WILL BE GOOD CITIZEN. YOU WILL BE CIVILIZED AND YOU WILL BE HAPPY ……. I SAY “FUCK THEM”.
I use words because like the prediction of George Orwell in “1984″ the “Novalangue” is already here, so it’s a war of words…
My work is above all a work of writing – with the paint then with the light.
It is a set of poetic correspondences which declines under various series of texts which I stage in  the space then photograph. Every image, every series is enough for its own existence but they all revolve around the same dream, the same idea, the same envy, the same themes to add up and answer some of the others. Crystallizing “stories” ceaselessly in movement, carrying in them the dream and hope in action of an extreme freedom.

BBB: How does the urban landscape define how you choose to create your work?

SH: As a director, I take into account every details of the space / time in whom I register my text. His geography, his story, his architecture, his colors, his flavor, his music, the hour of day night in which I take my photography …

BBB: How important do you feel the typography is in your work? 

SH: I create the typography I use – I want to have a typography very simple, like typography used for advertising.

BBB: How would you crib your strategy in the choice of lettering you pick?

SH: 99.9 % of the text I use comes from me, the other 1% is quotes from people I like.

BBB: We have seen that you create work in other languages, do you think it’s a necessity to create work in the English language as opposed to others?

SH: I write a lot in english because it is short, good for slogans, good for punchlines and goods for word games. Sometimes I write with the language of where I am, for the music of this language and also because sometimes it’s difficult to traduce without losing good meaning.

BBB: Do you feel it’s more important to create your work in the street as opposed to a canvas or a panel in a gallery? Why or why not?

SH: In fact I can’t do what I do in a canvas, but I also have some idea for canvases and installations. In fact, I am looking for a gallery to expose the photography of what I do in the street and to show theses canvases, installations.

BBB: Knowing that your work is out in the street and with the ephemeral nature in doing-so, does it create a sense of gratification or paranoia, knowing that your work may be erased?

SH: For me, like I response in the first question, the finality of my work is the photography. It’s very important to understand that. So I don’t have any problem with the idea that my stuff can disappear. In fact, I like that. I like movement. I can never understand “street artists” who cry about their lost pieces just like I can never understand capitalist rappers. 

BBB: How do you feel the public reacts to your work and its message? Does this even matter?

SH: I paint sometimes during day and I talk with a lot of people. For sure it’s important what they think. And about how they react, when they’re not angry, it’s a nice to talk.

BBB: How would you justify your creating your work in illegal fashions to someone who’s opposed to the craft?

SH: I don’t have a general response. It depends who I have in front of me and it depends on this person’s arguments. But I would like to not have to justify that. 

BBB: If you could only use one word for the rest of your artistic creations, what would it be and why?

SH: I don’t know.

BBB: If your studio was about to burn down, what three things would you grab from it before it torched and why?

SH: It’s funny you ask me that because I don’t have a flat. I travel a lot so I leave in a lot of difference places. So I don’t carry a lot of stuff. I try to be as light as I can be. I also try to be as detached of material things as I can, but today I still need my computer, a pen and piece paper.

BBB: What can walls, abandoned buildings and bed mattresses expect from Sean Hart in the future?

SH: For that you have to follow my work in my website.

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