The Process

In Which an Artist Discusses Making a Particular Work

N. Dash, Untitled, 2014

Working within and beyond the confines of her studio, N. Dash creates works that range vastly in size and medium, while remaining deeply rooted in the landscape of New Mexico, where she discovered earth as a material for her paintings and where, when possible, she works in the open air. The intense relationship between her works—the small swaths of cotton she works in her hands until they have all but disintegrated, the black-and-white photographic documentation of these pieces, and her large-scale paintings made with adobe on jute—was quickly revealed in our conversation about Untitled in her studio in Long Island City, New York.

—Sara Roffino

THE BELIEVER: You’re a painter, right? How do you see yourself within the context of painting?

N. DASH: I do consider myself a painter. Sometimes the methods and materials that I use to make the work are outside the traditional bounds of what painting is. Having said that, I use oil, linen, canvas, and other standard means that have been a part of the history of painting. Perhaps the most unconventional material that I use is mud, yet even that is an ancient painting material.

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Sara Roffino is the managing editor of the Brooklyn Rail.

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