It's part 02 of our wonderful interview with Katia Ganfield. Didn't see part 01? Katia is an artist and award winning filmmaker from London, by way of Brighton. She currently resides in a vast guardianship property near Cambridge with her kitten, Vlad. The subject matters of experience and emotion are key to her work, often making the audience the subject of the film. Katia repeatedly breaks with convention and makes us contemplate our own screen presence with often unsettling results. Specialising in Dada, subliminal messages and their effects on the mind; Ganfield's films have been screened across the world and has collaborated with the likes of Dazed, Peroni, M&C Saatchi as well as a huge catalogue of incredible music promos and underground projects.
Katia says: Art is an incredibly impactful medium to question and make an impact on politics and society. It’s a way to connect our subconscious to reality and connects us to the things that are so important. It’s one of the main reasons why I make art, to have a positive impact on society and people, in one way or another.
Lets talk NO TAPE INSIDE. How did it all start?
NO TAPE INSIDE was the culmination of me creating a montage in response to the collective of artists I was living with at the time in Hackney Wick, London. It’s this idea of capturing things when there is no tape inside, accessing the subconscious and creating a platform, which showcased my creative process and the way I interpret the world. It was key in my experimentation as an artist, looking through archive footage and utilising cut and paste (William Burroughs) methods to explore what I was trying to express artistically.
Where do you get inspiration from?
Whether it be a £5 note, or a person, every single thing has a story, a background….a beginning, a middle and, eventually, an end. I love being able to walk down the street and build my own characters inspired by ones that already exist, noticing details like bin bags floating in the wind or rain aggressively bouncing off window panes. Inspiration is everywhere, its just connecting to it and appreciating it. I love being able to have the opportunity to interpret the world in that way and build other worlds and meanings from that.
How do you know when a film is finished?
A film is never truly finished. I’m a perfectionist with my work and will always watch back a film thinking of how it could be made better. I find when you feel like it’s finished, it’s good to push yourself a little bit further, and then a little bit further – and only then, may it be somewhat near completion. Feedback from fellow artists and people you creatively trust is always a good indication of whether it is finished or not.
Do you enjoy taking risks with your work?
Creating this work is a risk in itself. I always try to push the boundaries and rules within my work. The idea of conforming to things is entirely soul numbing. I like to use the analogy of a horse race, and the fact they all wear blinders. The winning horses have one objective, win the race. It’s that idea of GO GO GO – if the horses weren’t wearing blinders, they’d be looking each other and not be focussed. Much like in life, find your goal, focus in on it and go – don’t look to your left or to your right at what other people are doing. Trust your instinct and your gut.
Which is more important to you, the original concept behind the work, or the way it is executed?
With original concepts, they always progress and change and I feel like being too attached to the original concept can limit you artistically and actually have a negative impact on the final execution. Having a level of trust between all the people in the project involved is very important. In my opinion, it’s good to have a solid concept but be open to change and what inspires you on the day. Working with different budgets too can be limiting and you have to be able to adapt to that.
You can find more of Katia's work on her website or visit her instagram for more.
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