Jonathan Trayte: MelonMelonTangerine

Jonathan Tray te: MelonMelonTangerine

FRIEDMAN BENDA 515 WEST 26 STREET NEW YORK NY 10001

IN CONVERSATION In advance of his exhibition at Friedman Benda, Jonathan Trayte spoke with Glenn Adamson, curator, writer, historian, and former director of the Museum of Arts and Design.

Glenn Adamson: Perhaps we could begin with the name of the show, MelonMelonTangerine. A typically characterful Trayte title.

Jonathan Trayte: It’s entirely made up, just words that came together. I was trying to title a piece of work and this phrase was on the list. It felt absurd, but also descriptive. It makes me think of juice and flesh, growth and the natural world. Of things being edible and delicious, but also repulsive. I was molding melons and other fruits for a series of bronze sculptures a few years back, mid summer. To make a silicone mould for lost wax you have to work in layers which takes time. Also, plaster tends to heat up as it sets, so when I was making the jackets, the melons got half cooked and started to ferment - it actually put me off eating them for about a year. A slightly nauseating, sickly sweet smell.

GA: The blood and guts reality of the studio! You just said that the title of the exhibition, and indeed the work, is located at the meeting point of the absurd and the descriptive. Can you talk about those two concepts in relation to one another?

GA: What about design references? When I talk with contemporary designers, I often expect them to reference the Bauhaus, let’s say. But there on your office wall, you have a Goya plantain chips packet. It seems to me you are drawn more to commercial, even debased sources rather than orthodox design history.

JT: Yes, I think so. I took myself through the Vitra collection and saw all of the chairs in that beautiful building.

I went downstairs to the storage area, where the lighting is and it’s just fantastic. But I don’t really know a lot about it though, to be honest. I remember saying to Marc [Benda] after the first time we worked together, “I really need to educate myself” and he said “please don’t, whatever you do, don’t read up on it. I want you to just keep going on the route you are taking.” I have bought a lot of books, but I don’t like to force myself to go too far into the theory.

GA: As if you had to defend your naiveté, to make room for other things?

JT: I guess so. That could be catastrophic…

GA: Catastrophic sounds exciting. In fact, one of the striking things about your work is the incredible collision of materials and processes that you are bringing to bear. Can you say a little bit about the production of your work, and your trajectory as a maker?

JT: When I take a step back and try to conceptualize what it is I’ve been doing lately, creating this vocabulary of objects, it starts with a feeling of being in awe of nature. Constantly fascinated and fueled by the sheer variety and abundance of it, its unexpectedness that we take granted. We humans get caught up in the day-to-day, in our own self-importance as a species. But there are far more significant and exciting things in the world. You know - money and paying the bills, it seems superfluous when you think about the bigger picture.

JT: This exhibition is my first major solo exhibition at the gallery. The first one [Fruiting Habits, 2018] was downstairs in the project space. So despite all of the restrictions that the current global situation has inflicted, I have been as ambitious as possible. I educate myself through materials. When I finished my undergraduate degree, I worked as a chef. I didn’t feel the urge to go straight onto a master’s course and start exhibiting work.

I wanted to teach myself about process and that started in the kitchen. It led to food packaging and motifs, then back to sculpture. But I also worked for artists like Gary Hume and then on to a foundry for 10 years too. All of these experiences brought materials to my vocabulary, I like to incorporate as much of it as possible.

GA: Is that where the absurdity comes in? Are you perhaps de-centering the human, or challenging our presumption that we look at the world around us in a rational way.

GA: Is there one material that you find yourself sketching in, then adding other materials as supplements to that core gesture?

JT: Yes, though it’s also just poking fun. I am making work that reflects on these issues – there are things far more interesting than humans – but at the same time I’m still making something to sit on and drink a cup of coffee at. There’s a quality of the ridiculous to this activity, like a Monty Python sketch.

JT: I don’t think there is. There are some that are more readily available and less expensive to use. For example, round steel bar: I can weld and bend it, and it’s really cheap. If I make something that way and decide I don’t like it, it’s not a problem to cut it up and use it for something else. Whereas something cast in bronze requires a lot of thinking. In some ways it’s to my detriment, because I over think it when working with precious materials like bronze. I think about all the copper taken from the ground somewhere in the world. You really have to make the most of these energy intensive ingredients. But I think I just need to loosen up a little bit and embrace it.

GA: There’s a great British tradition of slapstick and satire, of which Monty Python is a great example. Viz magazine, Private Eye. Do you see yourself as part of that?

JT: I wouldn’t say necessarily part of it, but I definitely refer to those cultural points, though I was introduced to them later on than most. We didn’t have a television until I was nine years old and even then we barely watched it. I grew up in rural South Africa and we came back to England when I was 5 or 6 years old. So I grew up in the bush, wearing just a pair of blue underpants and sandals and that’s it, surrounded by truly epic landscapes. The other thing is, I do read, but I don’t read anywhere near as much as some of the other artists I know. I get a lot from film, like Wim Wenders’ Paris Texas, or Close Encounters of the Third Kind – the mashed-potato sculpture on a dining plate, the huge thing in the living room with furniture and debris. I can see myself in that, struggling with the mundanity of western civilization, looking out of the window and seeing this wonderful mystery of nature, which we are losing right now.

GA: Are you wanting to capture that sense of threat in the work?

JT: Possibly. It’s not at the forefront of my mind, but there is definitely something of that folded in. Some melancholy, a bit of sadness.

GA: It’s interesting that a single design of yours has several speeds built into it, because of the different processes you are using. The quickness of manipulating the steel, compared to the slow, multi-stage process of bronze casting.

JT: Yes, and making outdoor artworks adds new layers, because you have to think about UV stability, you know, how to make things that can survive the elements. I guess that’s where the fantastical journey meets the modern world, the expectations of the gallery, the collector, the end user.

GA: Yet your finished works also have a quality of improvisation in them. They seem more open-ended than one might expect such an intensively designed object to be.

JT: I do drawings on paper, to present the idea to the gallery before each work is made, but it is still open-ended for me. Sometimes when an artwork is coming together, I will take a step back and think, “oh it’s all happening on the left, I need something on the right-hand side.” So it is a three-dimensional sketching process. What cuts

it off is the punctuation of photography and then shipping.

GA: Can I ask about your palette? Anyone coming to your work for the first time will be struck forcefully by the intensity and range of the colors you use.

JT: The palette is, I would say, critical. It’s what underpins the work, and also what links artworks together in an exhibition, even though it might not seem obvious. Sometimes, if orange is already in the room, I will have to include it somehow in another piece via a different material or finish. On the contrary, there are some artworks in this show that were made previously, we decided to include them during final preparations. For me it can be a challenge, because I have a picture in my mind of how all these pieces are going to come together. Putting another artwork in, even if it was made only a few months previously, introduces a color palette that I hadn’t initially considered. I am sure it will look great though.

GA: That implies that you are dealing with the whole room the way a painter might deal with a canvas.

JT: I think I do, and I struggle. As a sculptor, you don’t know how things are going to behave. You can have a barrel full of crushed glass that you are going use, together with resin or pigments or whatever. Until you put them together, you don’t really know how it will all look - will it clash horribly with the leather you’ve had dyed in Italy, or the wool ordered from a mill in Yorkshire? A painter can mix all the colors together on the palette and see them side-by-side as they evolve, but quite often as a sculptor you have colors coming at you from different sources, some of them seen only on-screen or via tiny samples. You are juggling all of these in the ether, it’s only when the artwork comes together that you can really see it becoming something.

GA: You are describing a kind of studio improvisation that’s elastic, takes place over days and weeks, as all these elements are orchestrated.

JT: Sometimes even months, but there are also quick decisions too. The Kula Sour daybed was originally going to be powder-coated in a very tasteful cucumber mint blue. At the last minute I changed it to an awkward seaweed green. It was a gamble, but I am so pleased that I did. There has to be a fly in the ointment, there has to be a conflict. In the natural world nothing is ever perfect, there’s always something rotting or decaying, or dead and dried up on the road.

GA: That’s leads me to a last question: what does nature mean now? We are all stuck in our houses, while the natural world – in the form of the coronavirus – is exerting a terrible vengeance on human beings. In the face of this, I wonder if your work offers a degree of refuge, or even utopianism. Your seating furniture in particular seems to suggest a place apart, a tropical fantasy land. I wonder about your intention in bringing together this body of work, at a time when our relationship to nature is so much at issue.

JT: I am sure it’s full of contradiction. You think about our position in the world now as a species, in the Anthropocene. The fact that we consider ourselves above and beyond is part of the problem. That’s why the virus is here. We are just taking things far too far, getting involved in parts of the natural world that are just meant to be left alone and travelling constantly. Nothing is without human intervention. But I do see myself somewhat removed from these questions, as more of an observer rather than commentator. Though I know I make work about this intersection, in fact I am obsessed with nature; I take many photographs, I have books about trees, fungi, succulents, minerals, the oceans, all that kind of stuff.

GA: That’s a telling image: a bookshelf full of volumes about succulents, rather than an actual garden. Nature at one remove.

JT: Well, I do also have many succulent plants, cacti and palm trees in the studio. But yes, I wrote my post-graduate dissertation about distance from death. One of my close friends died and I struggled to deal with

it. He was diabetic and had a seizure in his sleep. I was the one who went to his house to find out if he was in there. I had called an ambulance and when we went inside, the paramedic went upstairs, and I searched the ground floor. He came back to the top of the stairs and said, “don’t come up here, because you won’t like what you see.” And I just kick myself, because I never saw my friend’s dead body. That’s part of our western anxiety about COVID, too. We are all going to die, you just can’t run from it. Of course it’s tragic that people die before their time - or what they think is their time. But the feeling of being so removed from this inevitable aspect of life is also tragic. I guess that’s all part of this work, it’s a kind of fascination about the natural world, seen from a distance and at times feeling somewhat alienated by it too.

GA: I’m so sorry to hear that story Jonathan.

JT: The experience was very sad, but it’s part of life, isn’t it? And it’s an important part of who I am. A week doesn’t go by that I don’t think about that friend.

GA: It’s a complicated emotional mixture. Your work has an exuberance, a strong comic aspect, but also a kind of realism, if I can use that word. And that melancholic undertow you mentioned earlier.

JT: I hope so. I certainly don’t want everything to be palatable. There has to be some conflict.

GA: I guess if you’re making a cocktail, you have to put the lemon in.

JT: And the salt.

Atomic Double, 2020 Bronze, stainless steel, brass, aluminum, reinforced plastics, crushed and blown glass, marble, light fittings, upholstery 109 x 90.5 x 43.25 inches 277 x 230 x 110 cm

Black Dakota, 2019 Stainless steel, bronze, brass, polymer compound, reinforced plastics, pigments, crushed and blown glass, light fittings 79 x 39 x 18 inches 201 x 99 x 46 cm

bONZA, 2019 Powder-coated steel, stainless steel, birch plywood, upholstery, animal hide 34.5 x 26.75 x 25.25 inches 88 x 68 x 64 cm

Boobie, 2021 Painted aluminum, stainless steel, cast iron 90.5 x 39.25 x 39.25 inches 230 x 100 x 100 cm

Combination Solar Palm, 2019 Stainless steel, reinforced plastics, pigments, crushed glass 169.25 x 114 x 59 inches 430 x 290 x 150 cm

Desert Lemon Day Bed, 2019 Powder-coated steel, stainless steel, bronze, marble, granite, polymer compound, reinforced plastics, crushed and blown glass, light fitting 134 x 111 x 45.25 inches 340 x 282 x 115 cm

Desert Lights (1), 2020 Powder coated stainless steel, blown glass, brass, raffia, light fittings 78 x 44 x 44 inches 198 x 112 x 112 cm Desert Lights (2), 2020 Powder coated stainless steel, blown glass, brass, raffia, light fittings 64.5 x 39.25 x 39.25 inches 164 x 100 x 100 cm

Grass Green Settee, 2020 Powder-coated steel, stainless steel, bronze, marble, polymer compound, pigments, reinforced plastics, crushed glass, animal hide, upholstery, light-fitting 78.75 x 67 x 39.25 inches 200 x 170 x 100 cm

Jelly Baby, 2020 Powder-coated steel and stainless steel, reinforced plastics, pigments, patinated bronze, blown glass, marble, leather, wool, feather, upholstery, light fitting 96.5 x 48.75 x 40.25 inches 245 x 124 x 102 cm

Kula Sour, 2020 Powder-coated steel, stainless steel, birch plywood, reinforced plastics, crushed glass, black American walnut, marble, polished bronze, cow hide, wool, upholstery, light fitting 52.5 x 75.5 x 53 inches 134 x 192 x 135 cm

Lemon Bug, 2020 Reinforced plastics, pigments, stainless steel, polished brass, leather wool, upholstery, light fitting, cardboard, plywood 50.5 x 41 x 38.25 inches 128 x 104 x 97 cm

MelonMelonTangerine, 2019 Powder-coated steel, stainless steel, polished bronze, upholstery, leather, wool, animal hide, nylon weave, marble 44 x 56.25 x 32.25 inches 112 x 143 x 82 cm

Orange Foam, Cola Moon (1), 2020 Stainless steel, foam, polymer compound, pigments, nylon flock, crushed glass, reinforced plastics, horse hair, light fittings 102.25 x 65.25 x 15.75 inches 260 x 166 x 40 cm

Orange Foam, Cola Moon (2), 2020 Stainless steel, foam, polymer compound, pigments, nylon flock, crushed glass, reinforced plastics, horse hair, light fittings 108.5 x 50.75 x 13 inches 276 x 129 x 33 cm

Pink Kiri Candy, 2019 Powder-coated steel, stainless steel, marble, granite, limestone, basalt, polymer compound, reinforced plastics, crushed and blown glass, light fitting 110.25 x 107.75 x 70.75 inches 280 x 274 x 180 cm

Surf Candy, 2020 Powder-coated aluminum, patinated bronze, stainless steel, reinforced plastics, glass bead, granite, marble, polymer compound, pigments, leather, wool, feather, light fitting 81 x 88.25 x 48.75 inches 206 x 224 x 124 cm

Sundown Swing, 2020 Bronze, stainless steel, powder coated stainless steel, reinforced plastics, crushed glass, granite, basalt, marble, wicker, rubber 119.75 x 177.25 x 67 inches 304 x 450 x 170 cm

Velvet Solar Star, 2020 Stainless steel, painted and powder coated aluminum, reinforced plastics, flock, light fittings 63.75 x 106.25 x 69 inches 162 x 270 x 175 cm

Combination Coconut Table, 2018 Marble, granite, powder-coated steel, stainless steel, polished bronze, nylon weave, light fitting 31.25 x 56 x 31 inches 80 x 142 x 79 cm

Bikini Squash, 2018 Patinated and polished bronze 12 x 20 x 35.5 inches 30.5 x 50.8 x 90.2 cm

Bolobo Lamp, 2020 Painted and polished bronze, stainless steel, patinated mild steel, cow hide, horse hair, light fittings 43.25 x 30 x 8.5 inches 110 x 76 x 22 cm

Desert Riser, 2019 Painted bronze, stainless steel, foam, polymer compound, pigments, crushed marble, sand, flock, neon, light fitting 39.5 x 14.25 x 14.25 inches 100 x 36 x 36 cm

Swamp Light, 2020 Stainless steel, foam, polymer compound, pigments, crushed glass, granite, nylon flock, reinforced plastics, neon 43.25 x 27.5 x 7 inches 110 x 70 x 18 cm

Bikini, 2019 Painted and polished bronze, stainless steel, calf skin 10.5 x 10.25 x 6.25 inches 26.5 x 26 x 16 cm

Velvet Moona, 2019 Painted bronze, stainless steel, cow hide 17.25 x 5.25 x 5.25 inches 44 x 13 x 13 cm

Zonker, 2019 Painted bronze, stainless steel, foam, polymer compound, pigments, flock 9.5 x 27.5 x 4.75 inches 24 x 70 x 12 cm

JONATHAN TRAYTE b. 1980 Present

Lives and works In Margate, Kent

2010

Royal Academy Schools, Postgraduate Diploma Fine Art

2004

Kent Institute of Art and Design, Fine Art BFA

1980

Born in Huddersfield, UK

Select Solo Exhibitions 2021

MelonMelonTangerine, Friedman Benda, New York, NY

2019

The Spectacle, public installation for Sculpture in the City, London, UK

2018

Jonathan Trayte: Fruiting Habits, Friedman Benda, New York, NY

2017-18

SCHUSSBOOMER, Castor Projects, Deptford, London, UK

2016

Polyculture, The Tetley, Leeds, UK

Experiments in Consuming, The Kings School, Canterbury, UK

2014

Pazar, Marcelle Joseph Projects and Istanbul Art Project, Istanbul, Turkey

2011

Nude, Identity Gallery, Sheung Wan, Hong Kong

In the Presence of Nature, Canterbury Cathedral, Kent, UK Under a Pine Tree, Simon Oldfield Gallery, London, UK

Select Group Exhibitions 2021

Split Personality, curated by Alice Stori Liechtenstein, Friedman Benda, New York, NY

2020

What Would Have Been, Friedman Benda, New York, NY

Psychotropics, New Art Centre, Roche Court, Wiltshire, UK

2019

Blow Up, curated by Felix Burrichter, Friedman Benda, New York, NY

2018

The London Open 2018, Whitechapel Gallery, London, UK

Dream Works: Jordan Kasey, Luke Rudolf, Jonathan Trayte & Madelon Vriesendorp, Kate Macgarry, London, UK

2017

Tropicana, Christies, London, UK

You see me like a UFO, Marcelle Joseph Projects, Ascot, Berkshire, UK

Ambiguous Implements, Roco, Sheffield, UK

Identify your Limitations, Acknowledge the Periphery, Vitrine Basel, Switzerland

2016

Milk – A café with Lavazza Fashion Arts Foundation Commission, Christies, London, UK

Table, Tannery Projects, London, UK Closer to the Veg, Fitzroy Allotments, London, UK Gradation, AF Projects, London, UK

2015

WFWI Sculpture Event, Bonhams, London, UK

One Night Stand Exhibition with Maciej Urbanek, Clapton, London, UK Shoppers Guide Converse X Dazed Artist Award, Royal Academy of Arts, London, UK

2014

A Union of Voices, Horatio Jnr, London, UK

Flat Packed, Punk and Sheep, London, UK Shack Site-specific catering project, Focal Point Gallery, Essex, UK

2013

Alignment, Backlit Gallery, Nottingham, UK

Sculpture Alfresco, Marcelle Joseph Projects, Surrey, UK Commission for Shrimpy’s, London, UK Miart Milan, Josh Lilley Gallery, Milan, Italy

2012

Commission for Bistrotheque, London, UK

Bryn Lloyd-Evans, John Nielsen, Jonathan Trayte, Josh Lilley Gallery, London, UK

2011

Bloomberg New Contemporaries, Site Gallery, Sheffield and ICA, London, UK

Restrike, Poppy Sebire Gallery, London, UK

2010

New Contemporary Art, George and Jorgen, London, UK

Assembly, Bearspace, London, UK Modern Love, Simon Oldfield Gallery, London, UK Show One, AF Projects, London, UK Royal Academy Schools Show, Royal Academy of Arts, London, UK Franks-Suss Collection, Saatchi Gallery, London, UK

2009

Bloomberg New Contemporaries, Cornerhouse, Man. and Rochelle School, London, UK

Five Hundred Dollars, Vyner Street, London, UK Premiums Interim Show, Royal Academy of Arts, London, UK

J o n a t h a n Tr a y t e : M e l o n M e l o nTa n g e r i n e

Published by Friedman Benda 515 West 26th Street New York, NY 10001 Tel. + 1 212 239 8700 www.friedmanbenda.com Photography by Timothy Doyon and John Hooper.

Special thanks to the studio of Jonathan Trayte.

All content copyright of Friedman Benda and Jonathan Trayte.

Published on the occasion of the exhibition MelonMelonTangerine, February 18 - March 13, 2021.