© 2022


Surreal, Resilient, Psychedelic Futures: With Lindsey Price

Interview, Words MARYAM ARSHAD

Location FUTURE


A surreal harmony. Brutalist architecture is minimal, raw and divisive. It hones in on elements which are strong and withstanding. Design that is brooding, an impermeable presence. Psychedelia brings about tones and textures and emotions that can’t be explained in simple terms, or elaborate terms. It houses a body of emotion that is coated in stop-start cycles of imagination, never ending and exploratory in nature. Retrofuturism attaches itself to notions of past, future and anticipation. In an imperfect harmony, these elements adjust and settle between each other.

Lindsey Price’s self titled “collage paintings” inundate the senses. Vivid multiciplicites of architecture, design, cutouts, landscapes, and colour. Unknown locations allow for imagined futures, materialised over and over again by Price, to immerse themselves within parts of reality. The works are evocative, each housing an intimate, vivid environment that is channeled through Price’s thoughts and experimented with. 

As Price constructs these digital-physical hybrid works, influenced by her sentiments towards futures that are not isolated in nature, she challenges the invisible boundaries that exist when we imagine and dissect futures that are in close proximity. 

For Price, imagined futures are resilient, matriarchal and contribute a myriad of elements. In breaking past surreal and dreamlike states, a new environment positions itself at the forefront of the mind. One that is complex and sublime. One that harmoniously ties culture to people, and people to place. 

Behind each construction, Price engages with moments of deeper thinking and perspective, immersing herself (and others) into these spaces. Placing pieces together in search of an “imaginary but attainable” environment. A paradise is materialised. One that could almost be mistaken for a divulging glimpse into futures we imagine and dream about. 

In digitally and physically constructing these fantasies and imagined futures, does it become a means of bringing ideas to life?

LP  I believe envisioning the future is an inherent part of making it a reality. This is what I mean when I say the imaginary is just as real as what we consider “real life.” Whether it’s digitally or physically, I am visually bringing my fantasies into the world, which gives them a life of their own.

Do the “collage paintings” elicit a different array of emotion and thinking post construction?

LP My work is a reflection of my current mindset. My environment and what happens in my life dictates how a piece comes out. In that way, they’re a development of my own psyche. I have a notion that I need to see through until the end. Once I work through it and see the visual outcome, it becomes clearer, but along the way I'm not entirely sure. The pieces I put together guide the outcome.

How do your dreams and fantasies become materialised?

LP I've always had a mind that runs constantly. My work acts like a release of thoughts all at once that I want to express visually. It’s a feeling from my ever-wandering mind. I just follow where it leads.

The environment that you become embedded in with these works is multi-layered. There are more standout elements like the brutalist architecture and more subtle elements like the psychedelic shapes and textures. What is the environment like for you?

LP My work depicts an imaginary but attainable environment, one in which women are at the forefront. It’s a paradise both philosophically and environmentally, where nature and the artificial can live harmoniously.

Brutalist architecture strips away aesthetic. It revolves around honest, raw, minimal design. Why is this type of architectural and spatial design an element of the imagined futures?

LP Brutalist architecture creates differentiation within a space, adding moments of quiet as well as juxtapositions to nature. There’s a push-and-pull in such spaces much like dreams. These are idealized scenes that bring together opposing forces in order to realign what we think is possible.

Psychedelia and consciousness. Is psychedelia a key force in shaping these environments, or does it act as a tool to offset other parts?

LP It's a key force in adding to the obscure and dreamlike quality of my compositions. Adding such imagery alongside brutalist architecture, like I mentioned earlier, creates a dynamism I often see lacking in visions of the future. The world we choose to create can be a mix of many things. In fact, I’d argue that the world needs to be rooted in multiplicity.

Retrofuturism alongside vintage fashion. How do these manifest themselves in the works in cohesion?

LP I've gathered tons of vintage magazines throughout the years, and I think about the spaces, environments, and feelings I want to create. Mixing old and new, future and vintage, is a way to both elicit and confront nostalgic thinking in a future context. It’s about turning “what we could have been” into “what we can become.”

Although surreal, the elements when operating as a whole appear to be in harmony. How does harmony sit within these imagined futures?

LP  I'm interested in creating a combination of places, people, and moments in culture that develop into a story of visual harmony. These are, of course, surreal but they’re also aspirational. The imaginary world is just as real.

Aside from design, are there any other types of thinking that come into play during the “collage painting” process?

LP I think about not only my fantasies but those present in other people's minds as well. I like to think how a viewer’s environment and life experiences may alter how they see a piece. If I can leave the door open enough for interpretation, then I think a piece is successful.

Where and how do you think artists interact with environments?  

LP Artists are inspired by what physically surrounds them. That can be our cultural environment, our literal environment, our generation, social media, printed matter, and so many other things.

Art has the power to traverse these environments, impact us as human beings, and inform our perception of the world around us.

Lindsey Price, having moved to and remained in the West Coast, found art was the only route through which she could express herself. Her practice was always experimental, traversing through various forms, unable to stay still. She later settled on mixed media, fusing photography, painting, design and animation into the “collage paintings” she creates today.  


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