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
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