Artist Interview: Candi Farlice

Photo by Jeremy Moffett

What altar were you most surprised or excited by?
My favorite piece is the one with the computers and the headsets by Howie Katz because I have a big family and I realize how we’re losing the ability to communicate. Through my nieces and my great-nieces, they don’t communicate with me and I really want to know them. They drift off into this zone of phones and tech. And I think [tech] is really important––I’m a very tech-y person– but what is happening is that they’re losing something, the ability to get to know me and me know them. Well, I know them but they don’t know me, and one day I’ll be gone and they won’t know who I was. It’s family. It’s sad.

Candi talks about the importance of ‘process’ in her work:
I have a really strong process, process is everything for me. So as I work, everything has a reason for being there, like even down to the tacks. I wouldn’t want to call it juju but something like a spirit makes me make the objects and do things to them that keeps them alive.
EG: So they’re sort of extensions of you?
CF: Exactly. Yeah, stories.

On Ferguson: So, how does your altar specifically speak to contemporary issues. I feel like when you come to this you immediately start to see Ferguson, Trayvon Martin, all of these traumatic events you’ve been seeing on the news. Can you talk a little about that and how it has impacted your work?
This piece is actually about Ferguson because it was like one more thing on top of a lot of things. So when that happened I was very angry but then I got very sad because it keeps happening. So I just want people to think about: Why do we keep repeating the same things over and over again that are negative? Let’s try to move it to something more positive.

Photo credit: Jeremy Moffett

Did your concept change at all between when you submitted your application and when you completed your altar?
I actually had another piece– it was about hope, it was a chandelier and then [Ferguson] happened and I went, “Rene [the exhibition's curator], I have to shift my piece,” and I called him and I shifted to this because it was a now issue and I needed to talk about it now.

About the Interviewer:
Elena Gross is a CCA Extern for SOMArts Cultural Center and a graduate student in the Visual & Critical Studies program at California College of the Arts.

Art by Candi Farlice, photo by Jeremy Moffett