Daniel Hojnacki

Please Don’t Let Go!

 

Wavepool – When did you begin approaching photography in such an interdisciplinary fashion?

Daniel Hojnacki – I began altering and experimenting with photography while still attending Columbia College Chicago in attempts to overcome my frustrations with what was deemed ideal or correct ways of making a photograph. I began to incorporate materials into the postproduction and printing techniques of the photograph. Leading me to print on various surfaces, such as tape, spackle, and paint.

Wavepool – What about the medium keeps bringing you back? Do you anticipate abandoning it sometime in the future?

Daniel Hojnacki – The photograph continues to be an amazingly versatile subject and medium for its quality to represent both the real and fictional world all at once. I abandon and return to the medium almost on a daily basis inside the studio, working both on paintings and photographic based work simultaneously.

 

Sunset Shade

 

Wavepool – Tell me about the materials you use. What about them interests you and what do they add to the conversation?

Daniel Hojnacki – My materials become my obsessions, working with them for long periods of time until I feel I have exhausted them in a way. For past projects and pieces and I used a great deal of scotch and masking tape, this material had such deep resonance to me for its ability to bind, fade, and obscure. I could place photographs immediately to the wall, watch them become worn and disfigured overtime. Conceptually tape was my way of speaking about fragmented memory and the role time plays in the photographic process. Today I have been using a lot of window screening material and wall spackle. It’s coinciding from my continuing interest in domestic space and where that space meets the outside or “real” world, and windows, like photographs are how we see that world. Where it is leading me at this point, I can’t really say, but I feel it, and I am fascinated with it.

Wavepool – You have a few works that were created in public spaces. What is satisfying and exciting about that process?

Daniel Hojnacki – Public work has always been an interest of mine, because it leaves the confines of the studio and gives immediately to an accessible audience. How I might like to transform a gallery for an exhibition is how I may want to transform a public space or wall as well.

 

Venetian Window

 

Wavepool – You recently had a residency in Argentina. Was it refreshing to work in new setting? What did you work on while there?

Daniel Hojnacki – My residency in Argentina was not only refreshing, but also reassuring. In the sense that artists should not rely solely on their comfort space and studio as a place to create work, and that taking risks outside of that is just as important. It gives you the time to let go and experiment with materials and collaborate with people you otherwise may never have discovered.

Wavepool – What artists have influenced the way you think about making? Do you cite any traditional photographers as major influences?

Daniel Hojnacki – Jon Houck, Andrew Wyeth, Uta Barth, Curtis Mann, Christian Patterson, Jonathon Pivovar, Daniel Shea, Justin Nalley, Annika von Hausswolff, Jeremy Everett, Gerhard Richter, Anselm Kiefer, Spencer Finch, Heidi Norton, Ed Ruscha, Philip Guston.

Some O.G. photographers I never stop looking at: Robert Frank, Stephen Shore, Gary Winnogrand, John Divola.

 

(L) The Canyon and (R) Untitled from Monoliths

To see more, please visit Daniel’s website.