Daydreaming Through a Child's Eyes with David Calfo

Opening on Friday May 8, 2015, "Daydreaming Through a Child's Eyes" is a solo exhibition by Pittsburgh artist David Calfo. Through this exhibition, Future Tenant worked with two high school apprentices through our AMP'd program and involved them with hands-on arts management practices. Our apprentices and David transform Future Tenant into an interactive dreamscape, where children and adults are free to let their imaginations run wild. Prior to the exhibition opening, Development & Outreach Manager Christine Nolan conducted an interview with David to know the stories behind his work.

David Calfo, "Cape of Imagination", 2015

David Calfo, "Cape of Imagination", 2015

Could you give us a brief introduction of who you are and how you became an artist?

David: My name is David Calfo, and I'm a Pittsburgh salvage artist, historical renovator, community activist and adventurist. As long as I can remember, I have been building things. After doing historical home and business renovations for years and creating art pieces on the side, I decided to see where my passion for artistic expression will lead me, and have been focusing on art full time.

Can you give a short description about the concept of the work you are showing?

David: The pieces for this exhibit stem from my love of the Saturday cartoons from my childhood. Back in the days before computer games, we had to create our own adventures. Cartoon characters would strap rockets to roller skates or build gizmos to catch the roadrunner, and in the afternoons we’d head off to the woods with whatever tools we could scrounge up from the garage to build these contraptions on our own. The
Rocket Sled in this exhibit was inspired directly by the creations of Wylie E. Coyote. Others are evolution of my childhood imaginings.

What is your creative process? How long does it usually take you to complete a project or artwork?

David: It really just depends on what I have taken inspiration from. Once I see something in my head, it could take as little as a day to, in this case, about 3 months, to complete. Depending on the medium I’m using to express my vision, whether through photography, painting or more elaborate construction, time can be highly variable. Sometimes I start working on something in my shop only to be startled by the sun coming up the next morning. Some projects I have to draw out first and may spend the next weeks or months gathering materials I need to make it a reality.

How does your work with found objects inspire certain pieces?

David: It really just depends on the found object and how it fits into my internal “cool factor” process. It could be anything from the shape or size of the object, or just how I see it in relation to other things. Inspiration is hard to articulate.

You talked about your work for Daydreaming Through A Child’s Eyes being inspired by nostalgia and youthful play. What sorts of things do you want your audience to take a way from experiencing this show? What were your “youthful imaginings” when you were a child?

David: I want the adults to remember their childhood play and hopefully this exhibit will evoke memories and forgotten feelings of endless summers spent running around, creating games or toys out of whatever we could find. Memories of a happier, simpler time. I‘d like kids to want to put down the game controller and take some inspiration to create their own play, to imagine and to dream up crazy stuff of their own instead of
relying on something else entertaining them. As for me, I’d always imagined being sort of a Superman- able to fly or dive to great depths in the ocean without the need for a plane or a submarine.

Do you admire any other artists?

David: All of the Renaissance artists- not only were they artists in their own right, but they were students as well. If I had to pick one, I think it would have to be Leonardo Da Vinci: inventor, artist, dreamer.

Are you working on any new projects at the moment? If so, where can we follow your work?

David: I’m working on an Earth Day event and a Bike Rack submission for the Cultural Trust. I am always working on new pieces, so the best way to keep up with me is through Twitter: @davecalfo

How did you find out about Future Tenant?

David: Future Tenant actually found me! You selected me to show some pieces from the Arbor Aid show in 2013.

Flash Interview Series - with Melissa Bryan

"Flash: From the studios at the CMU School of Art", is a group show presenting work by 10 talented young artists from Carnegie Mellon University's School of Art opened on Friday, April 3rd. "Flash" refers to a sudden appearance of inspiration, just like how art is born. During the exhibition period of Flash, Visual Programming Manager Kate Lin will be interviewing the artists to know the stories behind their work.

Could you give us a brief introduction of who you are and how you became an artist?

Melissa: I’m not sure what people would want to know about who I am. I’m an art student at Carnegie Mellon University. I’m from Michigan. Half of my family is Belgian. I have a cat who acts like a dog. I find slow walking pedestrians to be incredibly frustrating. I enjoy running during thunderstorms in the summer. 
But none of that helps anyone with my art. I have an annoyingly high sensitivity to the spaces around me. I became an artist by making things constantly throughout my life and unquestionably calling it art. The rest is just how I perceive and translate things. Making art is like scratching an itch. It’s vaguely satisfying when you scratch one itch, but then a bunch of other spots start itching; if you don’t scratch any of the itches it drives you crazy.

Future Tenant is very excited to have you bringing your 3D installation into the space. Can you talk about the concept for this piece Outlier? What is the message behind this piece of artwork?

Melissa: I don’t think there’s a clear message behind Outlier. It came from a personal dilemma that is more of a jumping off point than a take away for the viewer. Otherwise it feels like I’m just regurgitating a bunch of emotional garbage. The piece is presented more as a guide than as a concrete statement. I only hope the viewers spend time with the piece, asks themselves a lot of strange questions, and finds their own meaning in the work.

I know that you spent a long time installing “Outlier”, what was the biggest challenge or most enjoyable thing during the installation for this piece? Where did you find all those leaves!?

Melissa: Fitting a piece into its space and deciding what elements are necessary are always the hardest parts. Planning for a smaller space and bringing half of my studio with me to install eased the problems I had both with finding the “essentials” of the piece and adapting those to the space. It was less stress and more enjoyment than usual. The leaves came from Schenley Park, where there are a lot of leaves.

What is your creative process? How long does it usually take you to complete a project/artwork?  

Melissa: My process involves a lot of in progress decision-making. I typically start with a rough conceptual direction and form for a project that evolves and adapts as I work through problems and find new opportunities. I choose materials more for their function than their inherent meaning, but end up using a lot of found and non-art materials.
The time a project takes is largely irrelevant to me. Everything takes twice as long as I think it’s going to. My projects become something that I live with either non-stop for a couple of weeks or consistently over a longer period.

Do you admire any other artists?

Melissa: I look at a variety of artists. There’s something extremely pleasing about formal arrangements. People who can tie a pear to a cinderblock, put it in the right lighting, and make it feel perfect. I hate them a little, too. I like weird and well-composed photography and paintings. Things you have to spend a lot of time with but never really make sense. Lee Jin Ju’s paintings, for instance. I look to David Altmejd more consistently than anyone else. 

Are you working on any new projects at the moment? And where can we follow your work?

Melissa: I’m working on two projects right now. One is for CMU’s Miller Gallery in May and consists of a table with a tablecloth that becomes a mountain with clay buildings on it. The other is largely unresolved but has to do with structures and how memory can confuse time and will potentially have a performative aspect that activates sculptures. My work can be found on my website.

Where do you see yourself in five years?

Melissa: I have a perception of time that generally fails to incorporate both the past and the future into the present, so I can’t conceptualize a future self very well. If nothing else I hope to not be paralyzed from the neck down or have a desk job.