Early Life and Influences
- Rose B. Simpson grew up in Santa Clara Pueblo, surrounded by generations of artists and thinkers, including her mother, Roxanne Swentzell, and her grandmother, who united making and meaning, and she first sensed that art could be a language for survival from a young age, as everything in her life was a creative process with intention and meaning 10s.
- Simpson's childhood home was experimental, with her mother once turning off the electricity to see how the family could adapt, which was frustrating at times, but ultimately taught her valuable lessons about sustainability and self-reliance 2m6s.
- The experience of living without electricity and growing their own food helped Simpson develop a deep connection with the natural world and a sense of agency, as she learned that she always had a choice and was not a victim to the world around her 2m6s.
- Simpson's mother homeschooled her and her brother, which allowed them to develop a capacity for self-reliance and innovation, and they later chose to attend school, demonstrating that true sustainability means always having a choice 4m38s.
Self-Reliance and Sustainability
- To sustain her sense of self-reliance, Simpson reminds herself that she doesn't need the things she thinks she needs, and by maintaining her relationship with the natural world and being mindful of her choices, she is able to stay in her power and not be ruled by external factors 6m15s.
Cultural Background and Youth Culture
- Simpson's interest in car culture is not about being a fan of movies like "Fast and Furious," but rather a more spiritual and introspective exploration of the relationships she makes and the decisions she takes, including her involvement in the art world and other aspects of her life 8m30s.
- Rose B. Simpson grew up in Espanola, New Mexico, a town sandwiched between two reservations, Santa Clara Pueblo and Ohkay Owingeh, where the youth culture is a mix of indigenous communities and local Hispanic communities, and this diverse upbringing influenced her youth culture, which included lowriders and the cholo culture of the Hispanic community 42s.
- As a child, Simpson's mom had a '52 Willys truck that she built their house with, and Simpson would sit in the bed of the truck as her mom drove through town, watching the cars pile up behind them and dreaming of having a nice car when she grew up, a goal that she eventually achieved 1m6s.
- Simpson has two custom cars that she built for herself to have an aesthetic experience, which is related to the concept of relational aesthetics and Indigenous aesthetic, and she believes that this experience is about being present, enjoying the community, and having a sense of self-worth 2m6s.
Artistic Disciplines and Creative Identity
- Simpson's work moves between disciplines, including ceramics, metal, automotive restoration, and performance, and she believes that she would still be creating and making things even if she stopped being an artist in the classical sense, as she is always imagining and dreaming of new possibilities 4m30s.
- Simpson sees herself and the objects she creates, such as cars and sculptures, as vessels for transformation, which hold consciousness, and she believes that she is a vessel moving and making decisions intentionally in the world, and that this concept of vessels is also related to internal investigation of psychological and spiritual spaces 6m40s.
Concept of Vessels and Conscious Objects
- Ceramic vessels are created to be hollow inside, watching, doing work, and making their own decisions, similar to cars and houses, which are also believed to be watching, listening, and making decisions if one is aware 10s.
- To become aware, it is suggested to start by asking and waiting for an answer, as humans have built a muscle of prioritizing human interaction and stopped understanding that they can communicate with non-human entities 2m6s.
- Anthropomorphized vessels are made to serve as a bridge between humans and non-human entities, allowing humans to build a muscle of communication with that which is deemed inanimate by seeing an anthropomorphized face and starting to feel and listen 2m6s.
Design and Aesthetic Expression in Art
- The sculptures created have eyes that are always open, and sometimes mouths are open as well, but most are closed, which is a deliberate decision to give them the senses, such as ears, nose, mouth, and eyes, to soak in the world and create a relationship 4m42s.
- The idea that artists are vessels for creative communication is shared, and it is believed that creativity comes through the artist, who must be open to allow that creativity to be born through their work 10m10s.
Creative Process and Communication
- To allow creativity to come through, one must go to the place, sit, ask, and wait for an answer, saying what needs to be done, what needs to be said, and how one can be of service, and then listen for the truth to come 12m40s.
- The process of creating involves entering into a studio, getting into a certain place, and asking what needs to be done, what needs to be said, and how one can be of service, and then listening for the answer to come 14m50s.
Aesthetic Development and Personal Taste
- The involvement in determining the aesthetic of a creation is a subject of interest, and it is questioned whether the creator is involved in evaluating the making while making something 18m20s.
- Teaching aesthetics involves helping students find their personal "yum" by letting go of their thoughts and refining their tastes, which can be a process of discovery that requires patience and self-reflection 10s.
- The process of refining one's tastes and finding what truly resonates with them is a matter of tuning in and trusting one's sense and judgment, which can be developed over time with practice and self-reliance 42s.
Animacy and the Soul of Things
- The concept of animacy, or the soul of things, is important in understanding the connection between making and being, and it requires listening and being open to the information that can be gained from silence 2m6s.
- The goal of Rose B. Simpson's work is to leave behind a silence that is full of information and connection, which can be achieved by creating quiet and contemplative pieces that encourage reflection and introspection 2m6s.
