Nimer Aleck II grew up in central Michigan spending time in family members’ garages and sewing rooms because, well, that’s what Michigan landers do. That’s right, I said Michigan landers. And people from Connecticut are called Connecuters. This should give you sufficient ammo just in case anyone from ye ole’ Nutmeg State ever cuts you off during rush hour.
Nimer has a Bachelors in fine art from Central Michigan University and is currently working on his MFA at Georgia State University. His focus is to create work that prods at our choice of purchase and how it’s intertwined with who we consider ourselves to be, but never taking itself too seriously, there is a jolt of humor in his highly-crafted pieces of art.
His three headed hammer looks as though it could very well be sold at Lowes right next to the two-panned shovel and 8-pronged wrench (see Multitools).
Courtney Hammond/Dashboard: Explain the absurdity in your tools and in your work as a whole. Why a three-headed hammer?
Nimer Aleck II: I find absurdity, and humor to be an excellent tool for breaking down some of the contextual barriers between my art and the community that views it.
Dash: Why do you assume there are barriers? Do you produce work assuming that your viewer is coming from a completely different place than yourself?
NA: Not that I assume a complete disconnect - but I prepare for the possibility of one. Assuming the barrier gives me more of an opportunity to account for them and therefore I shoot for a general relationship instead of such an abstruse one.
Dash: So you offer a user-friendly art commentary? Now share with me a peer inside this theory of consumerism.
NA: The buying and selling of goods is the process in which the majority of the general public uses to relate to the outside world. Nearly all of our needs are satisfied through some system of marketing and consumption.
Dash: How does that translate into your art?
NA:I have chose to immerse myself, and my work, in the research, observation, and pensive commentary on our existing culture of consumption. This interest is further fueled the contrast between my personal theology and the observation of my own addiction to the act of consuming. How we consume, the materialization of value, and the flux in our value system created by an inherent lack of conservation are major themes in my artwork.
Dash: Do you feel it a struggle to make works that are statements about issues outside of the art world? Why do you feel it is necessary to do so?
NA: I find that all too often those of us who spend our days completely immersed in the arts begin to focus our commentary back on ourselves and focus only on the culture surrounding the fine arts. Most the time it works out or goes unnoticed by the majority of the art consuming public.
Dash: Do you feel that artists have a responsibility to purchase, trade or barter each other’s work in order to maintain a sense of support?
NA:I have always been one of those artists with bare walls. While I believe the cultivation of a community of artists is important, I have never put much weight in the ownership of art. Unless you end up with deep pockets then you best give some support of a more fiscal nature. Good friends, collaborators, and connections end up being of much more support to an artistic community, for me, than a few hundred bucks or a sculpture between friends.
Dash: Deep pockets I don’t have – however, my addiction remains solid. What is this award series you are working on? I saw a mountain of disassembled trophies in your studio recently. Are you working on something or are you a part of an over the hill t – ball league I am not aware of?
NA: No t-ball. And you aren’t suppose to see those yet.
Dash: Sorry, I am a sneak, and am still going to punk you out so - do tell.
NA: Most recently my work has focused on the proliferation of award culture and its effects on our perceptions of value. This current body of work uses the iconography of the popular modern trophy to
display and understand the way we appreciate value. Materials and techniques have been chosen that point out visual tools used by industry to alter our recognition of value. It is my goal to expose the disconnection between perceived and tangible worth.
Dash: f anything is a pure example of fake worth – it is a trophy. Seems these days - kids get trophies for not pooping on the floor. Who am I kidding; I still have my, “didn’t poop on the floor this Wednesday” trophy in the attic. I know there isn’t any intrinsic value in it - but its so shiiiiinney. Strange - I suppose I am a sucker for fake gold and tiny athletes just like the next guy.
More Nimmer.
EDITORS NOTE: Playing the “guess what people from [insert state here] are called!” Is a very good game to play on road trips.
