Studio Interview with Melissa Torro

Melissa Torro is an aspiring young painter studying at the Mason Gross School of the Arts in New Brunswick. In her senior year of her studies, Melissa is preparing for her Thesis exhibition in the spring. I recently sat down with Melissa in her studio and chatted with her about her body of work and future direction.

Paintings are generally rectangular and have very little dimensionality. The series behind you are all boxes; what the inspiration behind these unorthodox canvases?

I like the idea of something interacting within the gallery space, the idea of the painting getting in the way of the viewer. It creates a unique viewing experience where you can’t photograph the painting and get the same view, you have to be there to interact with the work.

So do you have some sort of fascination with boxes?

Not particularly. Its just a happenstance of the presence of material. Its more masculine, its holds a greater presence.

Is it truly a painting or a sculpture if it consumes 3 dimensions?

That’s part of the point, because I want to be nontraditional and controversial. The work is unorthodox, but still contains the main elements of painting. Strechers. Canvas. Paint. They’re just organized in a different manner, it’s still a painting.

Since you’re working in such a different manner, what’s your mental approach before creating a piece? How did you mentally arrive at box?

Truthfully, it all has to do with inspiration. When I visit a gallery or museum I try to spend time with works which confuse me most. I try to reach a level of understanding and solve the issue of communication. Ultimately, I’m trying to learn from the experience as a whole.

I think it a good thing that you’re try to work at your limitations and lack of understanding. Since you draw inspiration from other work, can you tell me who is inspiring you most right now?

Robert Ryman, Rauschenberg, and Robert Smithson. Knoble as well.

What attracts you to them?

The aspect of interactive work, Knoble’s paintings manage to interact directly with the viewer with almost vibrating colors. It’s hard to explain, you have to see it in person, and that’s the point. Ryman’s white paintings as well. They’re all white, but have so much variation. The physicality of Rauschenberg’s work also entices me.

I see that physicality throughout your work, and the boxes physical presence is just a further extension of your interests. Do you see yourself exploring other geometric shapes?

I’m not quite sure, but I wouldn’t be surprised if it came to that but not quite yet.

This is almost an impossible question, but do you think you can envision your future work?

I can’t really think beyond the present, its kinda overwhelming. I think I may incorporate a sonic aspect in the future, sound is interesting.

So what’s the impetus to move across different mediums?

Work builds from one to another, sometimes it materiality, other times its simply creative impulse,its all cumulative.

On that note, why paint?

My mind works in terms of canvas, I don’t know why I still paint.

It’s a question of material then?

 Yes, what feels and looks right.

Are you strictly going to deal with canvas, is this a permanent or transient thing?

I wouldn’t say permanent, but for the immediate future. It’s an amazing object.

That’s interesting, I’ve lost most interest in canvas recently. What would be the ideal, perfect treatment for a canvas? What should be the ultimate destiny of a canvas?

The transition from pliable fabric to rigid object. But without losing the identity of the canvas. Its destiny is to be stretched.

So the canvas is interesting and paint is a mystery. So is paint or canvas the vehicle?

The canvas.

Could you possibly justify the canvas as a complete piece?

No, it’s a parasite, it needs something else to survive. Maybe it’s I’m a performance artist who enjoys the building of the painting more so than the actual work. The building of the painting is a fascinating experience.

I agree with that notion, I’m often more interested with the work than the work if that makes any sense. That’s an interesting concept to leave me with. I’m interested to see which direction the rest of work goes this year.