foundation / icon / iconClose
foundation / icon / iconClose
foundation / icon / iconClose

Choose region:

Please choose your region:

Blog 1604 Julian Klincewicz Frame Of Mind 4

Julian Klincewicz: Up and coming artist to know now

I don’t like it when artist working today make everything look so hard to get, there is no need for viewers to sit there and look at it and wonder “what was this artist thinking?”. Art it’s not an intellectual exercise and that’s why I like Julian.

In his art there are words, there are images that direct­ly trig­ger some­thing and you don’t have to swim in the dark won­der­ing what are you look­ing at. Every­thing he does is like a puz­zle in his body of work, as some­how all the things com­ple­ment each oth­er — art­works, music, film­ing, fash­ion, every­thing is just well round­ed. Julian’s work includes col­lab­o­ra­tions with Russ­ian photographer/​designer Gosha Rubchin­skiy, New York/​LA based wom­enswear label Eck­haus Latt­ta, con­tem­po­rary painter Kelsey Brookes, as well as Rapper/​Producer/​Designer Kanye West. To this day Julian achieved more in his young life than most of the peo­ple do in their entire lives — from his incred­i­ble opus of work to doing Gym­nas­tics and Cir­cus arts, prac­tic­ing Tran­scen­den­tal Med­i­ta­tion, join­ing Teen-Arts Coun­cil pro­gram at the Muse­um Of Con­tem­po­rary Art, San Diego at the age of 15. Julian is real­ly on it! There is just a cer­tain depth and life sta­mi­na to him — we are fans.

How would you describe your work?
Right now I feel like I’m actu­al­ly at the begin­ning of the mid­dle of hav­ing to re-define it for myself, or maybe loose­ly intu­it what it’s about.

I think most of my work, whether it be videos or silk flags, deals with human­ness. With this feel­ing that peo­ple want to be con­nect­ed to each oth­er, that there’s a real crav­ing and neces­si­ty for empa­thy. I couldn’t real­ly say why my work has that tone, oth­er than that when I look at peo­ple – espe­cial­ly in videos, it’s from a place of real­ly being trans­port­ed and enam­ored by them and their human, and want­i­ng to share that with others.

Blog 1604 Julian Klincewicz Frame Of Mind 8

Why do you do what you do?
I have this expe­ri­ence, that when I look at a real­ly beau­ti­ful pic­ture like some­thing by Bruce Web­ber or Col­lier Schore, or read a poem by Pat­ti Smith, or look at Matisse’s Jazz prints for exam­ple – that they can total­ly trans­port me to a dif­fer­ent world – that for a lit­tle bit I get to live in some­one else’s imag­i­na­tion and vision and real­i­ty, in some­one else’s feel­ing. It’s one of the most beau­ti­ful and free expe­ri­ences, and I think when I make the work I do, it’s me fig­ur­ing out what my world looks like – and maybe some­day some­one else will look at some­thing of mine and feel the same way.

Also I think maybe I couldn’t not do it… I’m not sure if it’s a roman­ti­cized ver­sion of the human/​artist expe­ri­ence, or whol­ly my real­i­ty, but I real­ly feel the need to be mak­ing the things I make, to be doing the things I do, and I start to feel real­ly lost and sort of crushed when I can’t be mak­ing. I try to make work for myself, work that I need in that moment, work that feels true to where I’m at as a per­son, and I hope that it feels that way to oth­er people.

Blog 1604 Julian Klincewicz Frame Of Mind 1

What’s your back­ground?
So right now I’m at the SFO air­port – I think fac­ing North. There’s a Japan­ese boy – prob­a­bly about age 12 sleep­ing behind me on the left with a navy shirt, and his moth­er besides him [slight­ly to the right] strik­ing a sim­i­lar pose to that of The Thinker with a hap­py and sort of every­thing is alright” look on her face. About 20 feet behind them – and dead cen­ter (ie. 6o’clock if I’m fac­ing 12) is an old­er Cana­di­an man with one of those fish­ing hats on and some cloud like whisps of white hair pok­ing out. If we go fur­ther to the right now – lets say 3 o’oclock – far out­side the win­dow is the num­ber 74 in black text on a yel­low box mark­ing Gate 74 – there is no air­plane at gate 74. – there is how­ev­er an Air Cana­da plane at gate 92, which is almost in my per­fi­al vision, though slight­ly too much in my back­ground to be reg­is­tered as more than bright white light, caus­ing me a slight headache.”

A dif­fer­ent type of back­ground would be that I was born in Chica­go, spent sum­mers in Michi­gan, moved to San Diego when I was 7 with my Mom­ma and my Sis­ter. I did Cir­cus arts for sev­en years, got sec­ond place in Moun­tain Uni­cy­cle com­pe­ti­tion, I start­ed doing Tran­scen­den­tal Med­i­ta­tion when I was 13 years old, I start­ed skat­ing when I was 10. My mom became a teacher so that I could go to a Wal­dorf School– in Europe they’re called Stein­er Schools – so I went to a Wal­dorf school and grad­u­at­ed high-school in 2014. I think skate­board­ing has informed pret­ty much every­thing I do in one way or anoth­er – it was one of the first worlds I real­ly could call my own.

Blog 1604 Julian Klincewicz Frame Of Mind

What does your work mean to you? What is it all about? I mean, what are you try­ing to achieve with what you are doing?
It means the world to me. It means that I might be able to make sense and trans­late feel­ing into phys­i­cal or visu­al or vis­cer­al. I’m not total­ly sure what I’m try­ing to achieve, I give myself goals and mile stones to try to hit, because they’re things I like, on a total­ly per­son­al lev­el they just excite me; But ulti­mate­ly I just want to keep grow­ing, to be a bet­ter per­son, to hope­ful­ly some­day inspire oth­er peo­ple, I want to work with/​alongside the peo­ple who inspire me. I want the oppo­site of complacency.

How has your prac­tice change over time?
It’s become a bit more delib­er­ate I think – espe­cial­ly in the past few months I’ve sort of had to re-eval­u­ate what kind of videos I want to make, what kind of instal­la­tions I want to do, what one type of song means ver­sus anoth­er – maybe that’s all the process of try­ing to fig­ure out how it’s chang­ing, or need­ing it to change now.

Blog 1604 Julian Klincewicz Frame Of Mind 3

What do you think makes an artist?
I don’t think I’d feel com­fort­able speak­ing for some­one else and it’s even sort of in a con­stant flux, but for me right now, art is like a lan­guage, or a feel­ing – it’s just how you see things and think things and exist in space… it’s that you couldn’t be any­thing else, you couldn’t not do see the world that way. And I don’t want to sound god­dy or any­thing – because maybe it’s not that for oth­er peo­ple, but that’s just real­ly how I feel.

Who do you make your art for?
This is some­thing I actu­al­ly think of a lot. I make art for myself, so that it can be for oth­er peo­ple. I make art that’s impor­tant for me, that I need to make sense of my world in a more com­pre­hen­sive way, with the hope that oth­er peo­ple will con­nect with it and relate to it, or at least be inter­est­ed in it.

Blog 1604 Julian Klincewicz Frame Of Mind 9

Do you care about how peo­ple per­ceive your work?
I do care for sure, but not in the sense that I’m look­ing for val­i­da­tion. I care because I think everyone’s opin­ions mat­ter and every­body under­stands things a bit dif­fer­ent­ly. But I don’t let the way oth­er peo­ple per­ceive my work dic­tate what kind of stuff I’m try­ing to say. It’s actu­al­ly usu­al­ly more inter­est­ing when peo­ple don’t like your stuff and you can talk about that, because I feel like I learn a lot more that way.

If your art­work could have a sound­track that would start play­ing every­time one would look at your work, what would it be?
Mishi­ma (clos­ing), by Phillip Glass. It’s my favorite song right now, and it feels so cin­e­mat­ic that every time I hear it I just imag­ine movies and motions and it feels like a best friend.

Blog 1604 Julian Klincewicz Frame Of Mind 10

Do you feel there is a right or wrong way to under­stand some­ones works?
I mean, gen­er­al­ly I don’t think there’s a wrong way to under­stand art – it’s such a per­son­al expe­ri­ence, but some­times it depends on how the artist wants their work to be per­ceived. If some­one is mak­ing a real­ly spe­cif­ic piece where the con­text of the mate­ri­als and the ideas are geo­graph­i­cal­ly and social­ly spe­cif­ic, and then tak­en com­plete­ly out of that con­text (which most art is at some point) peo­ple could get the wrong idea about what the artist is try­ing to say… maybe it’s more like an onion & an invis­i­ble onion though – there’s always more lay­ers because your asso­ci­a­tions and expe­ri­ences are dif­fer­ent, and that’s true of the artist and the viewer.

Blog 1604 Julian Klincewicz Frame Of Mind 6

What’s your favourite art­work?
Right now this movie Sans Soleil.

What’s the last exhi­bi­tion that you saw?
There’s an exhi­bi­tion of Asafo flags at the Mingie Inter­na­tion­al muse­um in San Diego, that I went to see with my mom. They’re real­ly real­ly amazing.

Blog 1604 Julian Klincewicz Frame Of Mind 7

What super­pow­er would you have and why?
If I could under­stand peo­ple, that would be ide­al. Like real­ly be able to look at some­one and under­stand where they’re at, that would be amazing.

After that, maybe being able to dis­ap­po­rate like in Har­ry Potter.

Do you col­lect any­thing?
I do! I col­lect tiny books and any objects that feel inher­ent­ly pre­cious to me. I also make sure to get a pair of Gosha socks every season.

Blog 1604 Julian Klincewicz Frame Of Mind 2

What are your hob­bies?
I like chess – bob­by fis­ch­er is wild. I think I need to get some new ones. Maybe play­ing gui­tar? Every­thing is sort of just everything…

What’s your favorite smell?
I like like cit­rus vanil­la? Haha I’m not total­ly sure.

Do you belive in love?
Yes. A mil­lion times yes. I’d say I fall in love (in some small amount) every­day – with a per­son, with a move­ment, with someone’s mind, with a pho­to­graph, with a sen­tence in a book that sums up exact­ly a feel­ing I’ve nev­er bee able to sum up, with the way light goes through my win­dow. Yes – love is very very real.

What book do you think every­one should read?
Jit­ter Bug Per­fume by Tom Rob­bins, Just Kids by Pat­ti Smith, The Broth­ers Kara­ma­zov by Fyo­dor Dos­toyevsky, and No One Belongs Here More Than You by Miran­da July. Also The Hands Of Janne Marie by Rimbaud.

Blog 1604 Julian Klincewicz Frame Of Mind 5

What do you know is true that no one else agrees upon?
That truth is an indi­vid­ual activ­i­ty, that there is no one truth – there are sim­i­lar­i­ties, but everyone’s under­stand­ing is dif­fer­ent, how they’ve been treat­ed and what they expect­ed and what they make of the world and the knowl­edge that they and that oth­ers do not, and the knowl­edge that oth­ers have that they do not have, is always in flux, and so is truth.” Maybe this doesn’t apply as firm­ly to sci­ence – but every­thing else it does for sure.

What was the first expe­ri­ence in your life when you real­ized you had the pow­er to do some­thing mean­ing­ful?
I don’t know if this was the first time, but the first thing that came to mind right now was when I was in third grade, and I was ade­ment that I need­ed to play the Princess in our class play Saint George and the Drag­on.” I think it sort of broke a social wall at my school and I remem­ber a lot of par­ents talk­ing about it as brave and rev­o­lu­tion­ary that I wouldn’t be scared of being made fun of for want­i­ng to be the princess.

Find more of Julian’s work on Vimeo, Insta­gram and his web­site.

Pho­tog­ra­phy Julian Klincewicz

Pho­tog­ra­phy Fea­tured Image Jon Blaj

15 Apr 2016 · neubau eyewear