Painter ivyhaldeman and ceramicist GenesisBelanger got on Zoom to chat about personal protests against the beauty industry, little lizards at The Met, and the Upton Sinclair novel that started it all.
, a master of personification, uses hot dogs and suits to bring you to your knees either in pensive thought or despair. “The drama of the painting isn’t in the storyline of the hot dog,” Haldeman explains. “It’s the emotive interaction you’re having with their body language on the picture plane.
BELANGER: Absolutely. But you have a few series that you return to, and you are able to build entire bodies of work from a very specific arrangement of forms. How do you choose them? BELANGER: Do you feel like from the hot dog to the suit, you’re paring down to see with how few elements you can still evoke that non-verbal expression of the body?
BELANGER: I doubt it. And I think when things operate on multiple levels, that’s when they’re most successful. So hopefully they’re both a vacation painting and a critique of America and women’s roles in it. And also with the fewest amount of elements communicating that nonverbal action of the body. It’s interesting that you bring upBELANGER: In fact, I became vegan for 12 years. Vegan for the people, not for the animals. [Laughs]BELANGER: I think I was living in Chicago at the time.
BELANGER: I listen to books while I work so I’m just voraciously absorbing information, but I don’t know that I can draw any direct lines. I think what directly influences me most these days is advertisements. The object changes, but the formula doesn’t. So even though we’re not advertising sex work, we’re still in some ways using women’s bodies as a way to sell things.BELANGER: That’s where it’s most obvious.
BELANGER: Well, I’m not doing that anymore. You realize that there’s a cost, even though there shouldn’t be. The way that one is treated if you don’t participate in the grooming is different and distinct. I don’t find my personal value in being appreciated for being handsome, but it really exemplified how powerful that pressure is. It’s a machine you can’t remove yourself from. Or if you do, you need to be really, really strong.
BELANGER: I want the information I consume to balance my life. I go to all the museums for inspiration though. I love living in New York and being able to go to the museums each week.BELANGER: I never have a fixed favorite object. But did you notice that they’ve taken out a ton more ceramics? I’ve never even bothered to be like, “What are these?” Maybe I should look it up. Some really incredible ceramics were on display, little lizards.
HALDEMAN: Well, I stalk around The Met looking for that one detail where the artist has lost their mind, or where they’ve spent too much time with the object and suddenly they’re putting necklaces on it.HALDEMAN: I can pinpoint it on a map for you. Don’t get me wrong, I would absolutely love to go to The Met with you.BELANGER: We can find out where those cast little mini snakes are from, too.
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