“Harmony” – Artist Heather Kocsis

PWL: For someone who has never seen one of your pieces can you describe a typical piece in your own words?

HK: My work is both sculpture and painting. I build architectural sculptures of where we live, work, and shelter, of our time-kept places, inviting the viewer into another dimension of experience. Using layers of wood, I piece together an architectural composition, using the grain of the wood as a paintbrush. The construction takes the most time, and I stop when I am certain the right texture will respond magically with the paint when the oil colour is applied. Architecture is my metaphor to connect with people on a soul level; imbuing our stories into the work. The artwork is designed to be mounted on the wall, and yet the work shifts and changes as the viewer interacts with the piece from different angles, creating a relationship with the piece you cannot experience with a flat painting.

PWL: Your pieces are neither painting nor architecture but somewhere in between. What attracted you to that space and how does it impact your choice of subject matter?

HK: I specialized in the historical methods of printmaking when I studied at Queen’s             University, where I received my Bachelor of Fine Arts Degree. I fell in love with the techniques of etching, lithography, and screen-printing; using my problem-solving mind to create a layered, colourful print. During my time at Queen’s, I was fortunate to study in Italy, and when I first saw and entered the cathedrals of Florence, I felt something within me shift. After completing university, I did not have easy access to printmaking facilities, and upon preparing for an exhibit, I began the process of developing new ways to produce my art. While painting in my studio one night, I noticed a reference photo of a city streetscape laying on the floor. It had fallen next to a piece of weathered plywood. In that moment the texture of the plywood echoed the texture of the buildings and I immediately noticed the connection. Tearing apart the wood and using my engineering mind to build was incredibly satisfying and I felt the excitement to create like never before. That was in 1999.

I believe that sometimes it is not until the buildings are gone that we realize how much they shaped our identity. I believe that each building holds history and the stories deeply affect us. I am increasingly interested in how we feel when we are within certain spaces and how it affects us as well.

PWL: The occasional bird but no people –  a landscape more familiar to us all in this coronavirus world.  Do you ever wonder about the people who occupy your buildings and walk in your streets?

HK: There may be no apparent figures in my work, however, there is an unconditional human presence. With each factory, place of worship, or a humble cottage, I am moved by all who have sheltered within these spaces. I do not just hear their stories, I feel them. I am also very intentional when I am creating the work, instilling a certain emotion within the piece. Whether it is hope, optimism, sadness, or joy. I think that is why most people of different ages and backgrounds resonate with the work; there is human emotion within it.

PWL: How did you approach the project of “Harmony”?

HK: After our initial conversation within your space where the work was to be installed, I envisioned the essence of a journey, harmony, peace, optimism, and old and new with the overall feeling of connectedness. I was excited to implement your own photographs of your favourite architecture in the community. I thought that was really cool. I first photographed the sites you recommended and then created a drawing. After I listened to your insightful changes, I started building and completed with painting. It was an enriching collaboration to co-create an imagined streetscape that in essence, honours the K-W region.

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PWL: How has the pandemic affected your work and now that we are slowly opening up, what is on the horizon?

HK: I had a solo show planned for June 5 – to July 10th in Cambridge. After exhibiting extensively throughout North America since 1999, this would be my first solo exhibition in my hometown. Needless to say, it is postponed. Initially, when everything was shut down, I was still able to create since I was still inspired to work, and working in isolation was not new to me. However, at the end of April, the physical distancing was taking a toll and I hit a wall. Thank goodness for the turn of Spring, and Nature remains profoundly therapeutic. I am currently collaborating with a choreographer and video artist to create a video of the dancer dancing within one of my sculptures. This is a very new and exciting project. It will express our experience during the pandemic and hopefully foster healing and connection for the viewers of this video performance piece. As things start to slowly open up, I am welcoming appointment-only visitors and I ensure they will feel safe and comfortable. I am fortunate to have a private entrance and I am able to diligently clean the entrance and interior of the studio. Hand sanitizer and disposable masks are at hand. I look forward to studio visits to view the showroom and create new connections. You can visit www.heatherkocsis.com for more information of my work or email for a private viewing to learn more about the process:  heather@heatherkocsis.com