DeWitt Brinson: In this coffeeshop, there is a man sitting beside me reading the bible out loud, quietly to himself. Not in a crazy way. Just in a I'm-doing-this-it-is-a-little-annoying-but-not-that-bad way. How would you depict that as a collage?


Kim Vodicka: I guess the collage would have to be slightly annoying to look at. This is a tough question for me because I never see something in “real life” and decide to write a poem about it or make a piece of art to represent it. I sort of work in the opposite way. I’ll just shit something out one day and be like, “Man…this is a little annoying, but not in a bad way! Reminds me of that guy I saw reading the bible out loud to himself in the coffee shop last week,” or something like that. If I write or make art “about” anything, I’m never, ever aware of it in the process.

  


DB: What don't you like about these pieces? Pretend you didn't create them, but you know who did and that artist is snarky, so you want to hate on her. What would you say?


KV: “You’re gonna be a failed writer with a dead cunt.” Someone actually said this to me once. I believed him at the time, but I know better now. Call me smug, but I don’t really have any problems with the pieces. I wouldn’t bother submitting anything that I didn’t believe in whole-heartedly.



DB: What role has pop-culture had on America's intake of socio-political information?


KV: Pop culture makes everything lovably dumb.



DB: Do you read a newspaper everyday or frequently? If so, which one/ones and what parts do you read if not the whole thing?


KV: The news is a black, white, and red all over hot mess of a doozie.



DB: When you think of someone famous and considered beautiful, what facial expression do you usually picture them having and why do you think you do that?


KV: I don’t really care about the faces of the famous and beautiful. I just imagine what their farts smell like. We’re all a bunch of assholes who fart and fear death.











DB: If you were twelve years younger, what would be different in these pictures?


KV: If I was 12 years younger, then I’d be 12 years old. When I was 12 years old, I made collages of Kurt Cobain’s face, so I guess that’s what you’d be seeing instead.



DB: What's your cash flow like? How do you think that effects your view of society? Do you think if you had more or less your opinion would change?


KV: Society is stupid. If I were rich and famous, I’d spend my money as ostentatiously and nihilistically as possible.



DB: Who do you hate to see smiling? Or who has smiled in the past and it's just made you so angry?


KV: Smiles don’t make me angry. Sometimes smiling is hard to do, though.



DB: What is the point of the body as an object? What are its uses visually as opposed to the sounds it makes?


KV: The body as an object, the objects being what are essentially paper dolls cut out of magazines that are not bodies but represent bodies and have been pasted onto bodies of text…I guess I relish the thought of getting to be a pornographer of sorts, an evil puppet master who makes her own objects out of images of women who have already been objectified. But I’m really into the idea of forced sisterhoods between women, in this case fashion models and porn stars, who really both engage in a kind of pornographic display, and queering them together in a way that is troubled because it is as much a loving gesture as it is a violent one.



DB: I really enjoyed these, but my favorite was the smiley face. I love smiley faces. There's no real question here, but I wanted to say that and give you a chance to say more about the audience you want your work to affect and more about your urge to use collages to reach them. What are you thinking?


KV: When you create anything, you run a very high risk of it being misunderstood, misused, misinterpreted, etc. It’s an inevitability that I’ve resigned myself to. Which is why I don’t think it’s important to have any particular audience in mind or any certain message to deliver. As an artist, I don’t even think it’s necessary to know what you’re doing at all. Not knowing, or allowing any knowledge of my work to reveal itself to me over the course of a long time, tends to be the way I roll. There is meaning and significance in absolutely everything, even the shittiest shit that ever shat, and one’s failure to make meaning is, I think, a failure of imagination. So I guess what I’m saying is I run on approximately 99% intuition. I spend time making things, and when they’re “right” I just know. And whether or not anyone else is interested or cares is really a matter of their freedom of choice. God Bless America.










kim

vodicka



interviewed by the tender, young, virile, writer DeWitt Brinson

Kim Vodicka grew up in Lafayette, LA and received her B.A. in English from UL Lafayette in 2010. She is currently working on her MFA in Poetry at LSU, where she is also a Graduate Teaching Assistant, Co-Coordinator of Delta Mouth Literary Festival, and a DJ at KLSU. Kim has been published in Shampoo and Ekleksographia. Her first full-length book of poetry, Aesthesia Balderdash, is forthcoming from Trembling Pillow Press.

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