We’re excited to introduce you to the always interesting and insightful Emery Hall. We hope you’ll enjoy our conversation with Emery below.

Hi Emery , thanks for joining us today. Can you talk to us about a project that’s meant a lot to you?

While on residency in Iasi, Romania, there was an overwhelming moment during the exhibition that was equally validating as it was warming. Short premise- The residency was about a month long and started just after the war between Russia and Ukraine began. As an artist, my work is centered around the marginalized aspects of daily life and how these moments or tangible things are fundamental elements to a community’s identity.

The story:
the city of Iasi is on the border of Moldolva and has a foundational history in religion. The city prides itself on the number of public parks and its closeness to nature and the arts. However, the number of trees and proximity to forests made it a haven for small creatures and especially crows. So many crows that the sky would darken as they flew between parks. Each morning on my walk to the city center, down one of the seven the long hills of Iasi, the crows were always there, massing across the sky, just like in the movie ‘The Birds’. As I conversed with locals and the residency hosts about their city and their feelings about architecture, colors, flora and fauna- the crows were not really mentioned. They were an aspect of life that was not thought about much. The crows were seemingly akin to pigeons in any other city. This is when I felt I could do something to highlight their massive presence in the preexisting neutral way of local mentality. I went to the nearest park and collected all the feathers I could. Then affixing them to a 4′ disc for the exhibition. However, the single disc appeared lonely and I needed to compliment it to link it to the city in some way. One day, returning home from the city center, there was a landscaping company removing a linden tree. This tree happens to be the chosen religious symbol of the city. It was here that a mated disc was created to partner the crow feathers. A serendipitous occurrence.
On the night of the exhibition, these discs were hung, centered at eye level, and unexpectedly well loved by many visitors. Numerous participants came to me and related their own interpretations of the discs and how impactful it was for them. People related a lifetime of things ranging from; childhood stories, their grandparents stories, views on current politics, the nature of changing times since covid, all the way to how their city would prevail against all evil (represents by the crows). It was this dialogue with the community that left a sincerely mutual feeling of understanding.

Emery , before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

My name is Emery Hall and I am a nomadic place-based artist, primarily creating installations within a community. My artistic work is centered around the marginalized aspects of daily life and how these elements are a silent foundation of unity.

However, like many people, I did not expect to be where I am today. In high school, I did not initially consider art as a profession at all. I was preparing myself to study neuroscience and the loss of grey matter in children. I never liked children though. Nor did I enjoy the idea of sitting in a lab for the rest of my life. Wether it was to please those around me or just the fantasy of projected success, this had seemed to be the correct career path, even though it lacked my own heart. This all changed my junior year, I became good friends with the Technology Integration Specialist who happened to have a PHD in Fibers. She truly transformed my outlook on what life beyond higher education could be and so I decided to give it a try. I attended Arizona State university, declaring Fibers as my major with only the knowledge I liked the tactility fabrics and enjoyed art, but with certainty, did not want to pursue fashion. For some reason I felt that clothing construction would be a cutthroat path and I was not ready fro such competition. Hence, the reason for studying textiles in another context. While studying, however, it was required to take a sculpture course. This completely opened up avenues I never knew existed before- foundry, fabrication, and the observance of objects that hold space. It allowed for new ways of articulation through absolutely unhinged exploration. I took every class I could in the sculptural arts. I am very thankful for the supportive community at the time of my matriculation as it acted as a keystone to my success today. While in school, many opportunities became available- and whether it was for the best or not- I most always said yes. I ended up freelancing for two large-scale public artists in town while working towards my degrees. This became the deciding factor where I knew the life of a full-time artist was not only achievable, but also a sustainable career. As a studio-hand I learned an infinite amount about what awaited beyond graduation, but most importantly, I can wholeheartedly attest that working for accomplished professionals not only equipped me with a marketable skillset, but simultaneously increased my level of craftsmanship to a point I could make informed decisions within my own work at an exponential rate. I graduated at the beginning of Covid and continued to work for the artists in town and accepted another job working as a wooden bass luthier. At the time, the future was incredibly uncertain, I had absolutely no plans for graduate school, student debt looming, no access to a studio space of my own, the burning fever of lockdown and high tensions at home, I knew I had to do something and began to search for residencies. Not long after, I was accepted to a few abroad- proposing projects based on themes of material permanence and the ephemerality of transition. Each residency experience was immensely informative. Having never left the States I felt incredibly overwhelmed and in awe of all the newness of a different place. This is where I began to veer from the idea of being a stationary large-scale public artist, as my mentors in Phoenix, and find ways to celebrate the little, forgotten things of unfamiliar places that, as a foreigner, appeared absolutely entrancing. I jumped from residency to residency and in the summer of ’22 I received a fibers fellowship on the East Coast, it was going to be the longest stint anywhere in the previous two years. I was excited to have a dedicated studio space again and a supportive community that was constant. Going from residency to residency is a wonderful way to make connections but living out of a suitcase and no sure access to equipment can also have its tolls. As a Fellow, I reconnected with my fibers roots and decided to weave. In all honesty, so much time had passed since the last time I wove, that I had nearly forgotten how to even begin. It was not long into the fellowship and with a great surprise, I founded a very prominent weaving community not too far away. This group of extremely knowledgeable and generous individuals completely inspired me to re-pursue weaving as a mode of artistic expression in the highest form of their craft. I learned so many tricks and a history so rich it felt like an endless cauldron of fact. As the summer came to a close, I began reapplying to more residencies, now with a focus of honoring traditional methods of creation. After accepting a residency in the Northeast, I fell into a position at a small boat restoration company. Working primarily with hand tools, the shop focuses on solid wood vessels pre-1970. I am working there currently while creating a new body of time based installation work, continuing the themes of transition and incorporating all that my journey has shown this far.

Is there something you think non-creatives will struggle to understand about your journey as a creative?

There are a few things that I have encountered that some non-creative individuals seem to have difficulty with.

1- the trust in what feels right
While skill is necessary to complete a goal, ‘creative intuition’ also plays a large role. Yes, there is a right and wrong way to a technique or method and this part can be formulaic without fail. This is akin to a task-oriented profession. However, many artists in the creative act are conduits for creativity. There is an element of mystery that has no defined answer and it is up to the maker to determine. There has to be a level of self-trust within the maker. This intuitive trust can be encouraged and supported but it can also be hindered.

2-that time is an absolute necessity- whether it be time for reflection, silence, or play
I have struggled with this in many ways- wether it be from my peers, family, or even strangers. I find myself defending my time more than someone who holds an office day job. It seems many don’t understand that just like in their own profession, mine also takes time. Even though I am self-employed and working on art, it is an unreasonable expectation that my working time should be held at the same level as a weekend fling. Art is as serious as any other profession and has many facets. Each step of the process holds time, space, and energy. Some parts are quick and easy for some, and other parts take a large deal of effort. While there is a lot of room for play and lightheartedness, creating should still be held with the same serious respect as a full-time job.

3- having a dedicated space to create is a huge help.
For a very long time, I only had my bedroom to create. However, this proved to be a struggle as I enjoy working large scale and with processes that are very involved. A rented bedroom is not conducive for “messy” work and has changed my methods of creation as an artist. In a very understanding world, a separate space would be available for individuals to create freely without the worry of a project’s inherent chaos. This space, wherever it may be, must be thought of and considered with the same respect as an office. This is where the artist works. Shaming how they create or organize their thoughts will not encourage positive growth.

What’s the most rewarding aspect of being a creative in your experience?

Being able to create a space that resonates with others. A space that encourages nostalgia through interpretation. this has been a very important part of my journey- the ability to produce work abstract enough that my own interpretations do not cloud the imagination of others. It is most rewarding when I hear the audience sharing stories of their past with others freely. The act of sharing history openly, as an act of giving, is one of the most unifying experiences.

Contact Info:

• Website: https://emery-hall.com
• Instagram: Mold_E_Cheeze