Greg Marshall Invited:

Heidi Holt


Figure 1: Back of Greg's 1994 graduating exhibition postcard

Figure 2 Front of Greg's graduating exhibition postcard illustrating Hrehor Productions Gregory Marshal: Department of Cultural Deficit...Control

What were your dreams in founding the society?

Simply, providing a physical collective studio space that artists could afford and have access to.

Figure 3: Greg Marshall. From the Thank You for Ensuring the Success of This Historic Event series: Count. 1994. Graphite on chalkboard, 7.5 x 10 inchesMarshall_GraphiteWorkInstalled_web

Did you ever think it would last this long?

I think we hoped it would. You never know with these things – but I am grateful that it has.

If you were blowing out the sixteen candles on the society's birthday cake, what would you be wishing for?

Continuation and fruition of the society.

Where were you at as an artist when you made this work?

Experimenting with video and performance art, object-based work, and installation art.

What advice would you give artists just emerging from ACAD today?

Stick with it. Although it easier said than done, perseverance pays off. Always try to remember why you went to college in the first place and keep that with you.

Figure 4: Greg Marshall. That Place I Knew. 2010. Computer generated image, LightJet digital print, 16.66 x 33.33 inches.

What would you like viewers to know about your current work?

Although I started commercially in print, during the past 13 years I have worked as a motion graphic artist in various computer-based practices—everything from broadcast design to 3D animation, compositing and visual effects. From this technical background I have drawn my own work—or perhaps reclaimed it as my own. One would think a graphic artist would want to break away from the computer to create tangible-like objects rather than staying steeped within a digital realm. I change my mind too often and I've been formed to think in a non-linear fashion, which a computer can accommodate. Over the years, while dealing with my commercial involvements, I have tried to attend to my own work but perhaps it has not been as consistent as I would like. Still there is the urge to create and say something.

Some of the positioning in my work deals with memory and its recollection and construction. I'm interested in how we perceive things in the form of cognition, which is rooted in memory. The computer graphic image (CGI) print, That place I knew is setup in a photographic manner, suggesting the recording of a chance event or encounter. Also, the near 16:9 ratio format is an HD video reference, denoting a video freeze frame.

The picture could also exist as an animated sequence. The image perhaps intends itself as a landscape almost without reference to scale. The landscape is flawed, suggesting other possible outcomes of representation and abstraction. The pin-like objects possibly mark a place, time or event, but we may also be looking at some sort of kinetic relationship. I think it's this constant shift that attracts me to this work. The image composed within the palette of a computer is thus easily disseminated, but it doesn't exist in the same way until it is printed and seen in its intended scale. Scale, and motion versus static are curious things.
Other artistic approaches interest me, such as short animated projects. The primary common thread to my artistic endeavours is that they are computer-based. For now I'm pursuing the static image, as it allows me to distance myself from my commercial work. With the advent of computer technology we are even more bombarded by the disposable image, which is rigged with linear meaning. It seems essential to have or reclaim one's own space.


Some of Greg's recent work with CGI can be seen at

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