Working, questioning, and searching for more. That’s what the process of Jane Szabo is often reflecting upon. A self-proclaimed workaholic, Jane will most often be letting you know what she is up to, where she is at, and what she has accomplished. A supreme promoter of all things art-related, Jane’s always working, always hustling, always persevering in her efforts. You’d know this simply by following her social media accounts to find that there are art references in even her frequent posts of a strictly personal nature. Her thoughts and ideas on image-making creep into even the most mundane aspects of daily life. She shares her ideas and workflow with others who seek her experience. She’s a learner and a sharer, not ever fearing failure, as that in of itself is part of the process - and in my opinion, part of her success.

It’s an obvious choice to peer into the mind and work ethic of someone like Jane Szabo, as it is an individual like her that will strive for 100% in all of her efforts. You would do well to seek her audience and delve into her art resources. If you don't have the time for that, then simply sit back and find some answers within the time she has graced us with in answering some of my questions. Come for the images, stay for the information. Many thanks, Jane!

Bio -

Jane Szabo is a Los Angeles based artist with an MFA from Art Center College of Design in Pasadena, CA. Her work investigates issues of self and identity. Using hand-made constructions, self-portraiture and still life as a vehicle to share stories from her life, her work merges a love for fabrication and materials, with conceptual photography. Szabo's background in the film industry, creating prop and miniatures for theme parks, and overseeing set construction for film and television, undoubtedly informs her creative process.
Szabo’s photography has been exhibited widely, including solo shows at the Museum of Art & History in Lancaster, CA, Orange County Center for Contemporary Art, the Yuma Fine Art Center in Arizona, and the Los Angeles Center for Digital Art. Her work has been included in exhibitions at Oceanside Museum of Art, the Griffin Museum of Photography, Florida Museum of Photographic Arts, The Colorado Center for Photographic Arts, Photo LA, The LA Art Fair, San Diego Art Institute, Los Angeles Center for Photography, Foto Relevance Gallery, the Kaohsiung International Photographer Exhibition in Taiwan, and Foto Fever in Paris, France.
Her photographs have been featured in many publications and blogs including: The Huffington Post, Lenscratch, Mono Chroma Magazine, Silvershotz, Bokeh Bokeh, L’Oeil de la Photographie, F-Stop Magazine, Foto Relevance, Fraction, Your Daily Photo, A Photo Editor, Don't Take Pictures, Art & Cake, Diversions LA, ArtsMeme, and others.
Jane Szabo's work is in the permanent collection of the Los Angeles Museum of Art (LACMA), the Lancaster Museum of Art & History (MOAH), and in private collections throughout the US, and Europe.

Interview -

Michael Kirchoff: Every photographer experiences that spark that drives them into the direction of image-making. How did you get your start, and what were your early influences?

Jane Szabo: My initial impulse to pursue the arts came from an innate understanding that I wouldn’t fit well in the corporate world, or a traditional job. This understanding came before any artistic skills were discovered - I had to trust my instinct and learn what I needed to know to get me where I am today. While still in high school, I started working in the school over the summers, painting classrooms and doing other similar repair work. I loved the work; working with my hands was the right fit for me. I decided to major in art in college and pursued a fine art program focusing on painting. I was also shooting with my father’s old 1950’s Minolta, and learned the basic photo and darkroom skills at that time.

MK: If such a concept exists, what does a typical creative day consist of for you? Do you consider yourself a workaholic, or do you keep a schedule of time for family, socializing, vacation, etc?

JS: I am an absolute workaholic. Every single day involves some aspect of my art career, though often not the fun art-making part, but handling tasks that come with being a professional artist: maintaining inventory logs, writing statements, doing PR, packing and shipping work, printing and transporting work to framers and galleries, etc. Until recently, I was working part time at a day job in a scenery construction company, but following a catastrophic building fire, have returned to work full time to help the company get back on its feet, when I am in town. Balancing a heavy work schedule AND continuing to keep up with my artwork means I do not get much sleep, as I am usually working 14+ hour days. 

Due to family and art commitments, I have been traveling a lot these last few years. This frequent travel gave rise to my current project, Somewhere Else; work that I have created almost exclusively while on the road. The trips are so much more rewarding when I am able to take the project with me, and make a new image! I wish I was better at carving out time for R&R and vacation, but I am honestly much happier when I am doing something. Sitting around just isn’t in my genes.

MK: What is it that you get out of creating photographs? Is there an overriding theme in your work that you feel best represents you as an artist?

JS: As a conceptual artist, all of my work revolves around ideas. The recurring themes are grounded in self-portraiture, story telling, and identity. Making each series requires digging deep into my self, purging emotions, exploring family history, and contemplating who I am in this complicated world. Making art helps me process my world; it is a way to express and release the burden of personal challenges.

MK: For you, what is it that makes for a successful photograph?

JS: I am a demanding viewer of imagery - and I put that same standard on my own work. A beautiful image is a good start - but it isn’t enough. A successful photograph must be visually compelling - and also convey an idea and/or an emotion, and leave room for discovery. A successful image offers many layers of meaning, allowing the viewer to interpret, create a story, and experience the work in a multitude of ways. 

MK: Does a body of work ever begin to form strictly through the editing process? Have you ever changed the direction of a body of work midstream?

JS: My work grows and is refined in the editing process, but it is not defined by the editing process. Generally my project will begin as an idea, which then leads to a visual interpretation. As I make and edit the work, I can see what works, and what doesn’t. Many of my projects have multiple versions before I find the best way to communicate what I am trying to say. Writing the statement - which happens well after the work has begun - often helps me refine the work, more than the editing of the images. Writing the statement helps me clarify the ideas - and forces me to assess if the images are conveying the message I intend.

MK: Do you have to be in a particular headspace in order to work on a specific collection or can you simply just pick up where you left off? Do you feel that you are working through a body of work intuitively, or have you already created the path you want to take ahead of time?

JS: My work starts with the ideas; I think intensely about the work before I begin, and during the development of a new series. I think in the car, in the shower, and in my sleep about the ideas behind a new series. But, when it comes time to start building a prop, or shooting a scene, I leave that headspace and work intuitively. I allow myself to break the rules, and to respond to the moment - open to the magic that may happen through accidental discovery. I generally only work on one project at a time. I find that I need to stay focused on that line of thought. If I start thinking about something new, I know that the prior series has run its course, and is complete.

MK: Is there work by another artist that you are currently paying attention to more than anything else? Does the work of others inspire you to go out and create?

JS: I am drawn to artists who explore materials, and energize spaces, regardless of the medium in which they work. Installation artist Tara Donavan excels at transforming common materials into surreal landscapes. I am in awe of Andy Goldsworthy site specific sculptures that draw your attention to the assembled structures, and to the landscape itself. Thomas Jackson’s colorful assemblages that float in a landscape fill me with whimsy and joy. Each of these artists depend on a sculptural element to make their work come alive.

MK: Is there anything about your creative process that you feel people miss or are misinformed about?

JS: Yes! As a mixed media artist using a camera to make photographic images, I have encountered some confusion about what I really do, and what is the finished product. All of the props I fabricate are made specifically to be photographed. They don’t really have a purpose outside of the photographic scene. People often ask to see the props themselves, and I have come to realize that I need to incorporate some of these elements into exhibition proposals, because the viewers enjoy seeing these elements in person.

MK: Do you collaborate with like-minded individuals on projects, or do you find it more productive to handle everything yourself? Are there any collaborations in the past that have been particularly beneficial? 

JS: As a control freak, I am perfectly happy taking on all of the work myself. My projects are all self driven;  I do the work alone, from building the props, staging and shooting the images, and of course the printing. That said, I also jump at new opportunities, and have had several successful collaborative projects, working with painters, filmmakers, and mixed media artists. Working on collaborative projects gives me the opportunity to be more experimental, both in the medium and the process. I have found that every collaborative project I work on informs the work I make for myself, as the new materials and techniques explored in an experimental work eventually begin to appear within my primary bodies of work.

MK: Was there a specific point in time where you felt that you had found your voice in photography and became satisfied with the direction of your work? Do you ever truly find yourself in a good place with your images, or are you always searching for more?

JS: I am my own worst critic, constantly finding fault with the work I make. And honestly, I think that is an asset - as this leads me to make better work! I am always striving for more, and trying to push myself further. Over the last several years, I believe I have finally found my voice, and the ability to make the visual imagery I have in my head. It has taken some time for all of this to come together.  Of course, since every project I make seems to be so different, each project I start sometimes feels like starting that learning curve all over again. But that is exciting. I just couldn’t keep churning out the same work over and over again as I would be so painfully bored by the process.

MK: Do you have any other creative pursuits, or has photography become the one obsession that always takes precedence?

JS: At this time, my photographic projects are basically all I have time for right now. Obsessed is the right word! I do however, make time to give back to my art communities, volunteering at the Los Angeles Center of Photography as a workshop assistant, as well as teaching some practical skills workshops, and mentoring artists through the Kipaipai Artist Development Workshops. I have also taken some time to attend artist residencies, which allow me to explore my projects in a concentrated way, and/or with a new intention.

MK: Was there a particular milestone or turning point in your career that set you off on a higher level than ever before?

JS: Every year I set some goals or milestones, and I am pleased that I have generally surpassed my expectations. But, even seemingly big advances are ultimately just rungs on the ladder that I am continually trying to climb. In 2017 The LA County Museum of Art (LACMA) purchased an image from my series Family Matters for the permanent collection, which truly exceeded any goal I had set. Now of course, I am setting the bar even higher!

MK: What is it about your work that attracts the attention of curators and gallery directors? Is it more about the concepts behind the image or the image representing the concept?

JS: I think the curators and gallery directors that are drawn to my work are interested in both the conceptual ideas I present, and the unique way I have of working, creating custom props, and making imagery that tells a story. My work is always about the concept, but viewers are first drawn to the visuals. The ideas are subtle and the images leave the viewer thinking. Though I may have a very specific idea behind each picture, I leave plenty of room for the viewer to interpret and create their own story. I find that even though the viewer may not know my exact intention, they feel the emotions or sentiment I am trying to convey.

MK: In speaking to future generations of photographers, do you have any words of wisdom to those setting out to make their mark in the photographic world?

JS: Follow your heart, dare to take risks, and make work that is uniquely you! Always be willing to learn new things, and find a strong community of artists that can provide honest and critical feedback. Most importantly, be nice, work hard, and act like a professional. 

MK: You’ve always got something in the works, Jane. What’s coming up next that won’t already be over by the time this comes out? Exhibitions? Books? Any thoughts on another future body of work? Inquiring minds want to know.

JS: Michael, you’re right - I always have something in the works...and the first half of 2020 is no exception. 
 
- Photo LA takes place at the Barker Hangar in Santa Monica from January 30 - February 2.  I am honored that my newest series Somewhere Else will be featured prominently in the Susan Spiritus Gallery booth.

- Somewhere Else will debut as a solo show at Foto Relevance’s stunning new gallery space in Houston, opening on February 8, along with work from my series Family Matters and Reconstructing Self.

- Work from the series Somewhere Else is currently on view at Building Bridges Art Exchange in the exhibit All Women Are Dangerous II at Bergamot Station. The show is up through February 8, 2020.

- Sugar and Spice and Everything Nice from the series Family Matters has been included in an exhibition at the Oceanside Museum of Art. The show is on view now through May 31, 2020, and there will be a reception with the artists on Saturday, February 15, 2020, 6–8pm.

- Also in Houston, I will have work in the Houston Center of Photography Print Auction. The event starts with an Auction Preview Exhibition, with an opening reception on January 17. The auction gala takes place on February 13.

- I have also been working on a body of work commissioned by the Museum of Art & History (MOAH) called #countmein. (I guess I lied earlier when I said I don’t work on two bodies of work at once!). This series is outside my typical way of working in that it is a social documentary project about the 2020 Census. I have been making hundreds of environmental portraits of people who live and work in an area of Lancaster, CA, historically underreporting region during past US Census counts. These photos will be featured in an exhibit opening on May 9, 2020, at the museum, as well as shown in a variety of public spaces throughout the city in 2020.

You can find more of Jane's work on her website here.

All photographs, ©Jane Szabo.