Vestal Magazine

All works copyright Al Wadzinski, images are courtesy of NY Studio Gallery LLC
Italian Stallion, Mixed media, approx. 101" x 46" x 60"

Amalgamations of objects. Choreographed chaos. Al Wadzinski plays with symbolism, making serendipitous connections between mixed media and unearthing hidden meanings. The Minnesota-born artist draws on his Native American and Polish heritages to create art that employs found objects repurposed in sculptures that are both earthy and industrial. Currently showing at NY Studio Gallery on Manhattan’s Lower East Side, his exhibit “False Idols” is rough yet meticulously crafted – adjectives that well describe the lanky Wadzinski.

S.T. How do you define art?

A.W. These days, it’s become almost indefinable. It’s everywhere and it’s nowhere. Some of the best art, I’m not even seeing: it’s swept up in the artist studio and never noticed by the outside world or even by the artist. The best art can be right on the floor in front of you. Art is a lifelong exploration for anyone who is involved in it, as a collector or an artist.

S.T. The title of your current exhibit is provocative.

A.W. False Idols speaks to the worship of consumption. It’s also a bit about my own obsessive-compulsive consumption of materials in making a few serial, ritualistic works, such as horse heads and alien masks. They almost become ritual fetish objects for me. They’re objects of worship for me because they are about the essence of a horse – not the image of a horse.

Q, Mixed media, approx. 55" x 36" x 45"

S.T. What is your creative process?

A.W. Sometimes I begin with an object, which can be an inch or five or ten feet in diameter. Sometimes I sketch a work before any objects are found, but often I find an object and something clicks, so I go with it. After that, there is a lot of manipulation of the object to see what more is there. Sometimes I go on a wild goose hunt for one particular object to finish a piece, such as religious nightlights for my most recent large-scale sculpture of a golden calf.

S.T. A golden calf?

A.W. I collected bones for years and threw them into a shopping cart in my studio. I ended up installing the entire shopping cart of bones – and it became my Golden Calf.

S.T. What is the theme behind it?

A.W. Starvation in the modern world resulting from greed and consumerism. This is also symbolized in the shopping cart. Cows contribute to world starvation through overgrazing and using tons of grain to create smaller portions of meat.

S.T. That sounds vaguely anti-materialist. What belongings do you treasure?

A.W. My studio, for obvious reasons. After that, they change because I’ll treasure something one day and then, the next day, discard it. I’m like a magpie. I don’t have one particular thing that stays. At the moment, it’s my rusty old jeep out back, because it’s the latest thing of any size that I’ve acquired. I treasure something, covet it, hold it for a while, and eventually I’ll put it into art. If it’s something that works, like a machine, I’ll probably play with it for a while, then eventually it will work its way into a sculpture.

S.T. Reverence and irreverence.

A.W. Nothing is sacred.

S.T. What informs your work?

A.W. Growing up, my family had a strong connection with the outdoors: my parents eventually relocated to live year round in the woods. My son and I spend a week every summer camping on the border of Canada and northern Minnesota, so a lot of inspiration comes from time spent in natural settings. Although, I admit I am also inspired by living in the city.

S.T. What are your influences?

A.W. Growing up it was often picture books of art masters and ancient cultures. Then, as formal sculpture, Rodin and Giacometti. Now, it’s mostly a broad range of artist friends. I’m also influenced by historical nonfiction, which I’ve been reading a lot of the last three years.

S.T. Your work contains a wide array of materials.

A.W. I prefer working with objects that can be manipulated to their full capacity, objects that are more forgiving such as fabric, leather, or any object that can be coaxed into a new form, that’s malleable. I almost bought a used wedding dress the other day. I had no idea where it was going to go but I was fascinated by the detail work on it. I have a thing for zip ties. I love to sew, weld, stitch and bolt objects together. I tend to stay away from glass… unless it’s a glass eye!

Left: Installation view with the artist, Cache Cow, Mixed media, approx. 168" x 124" x 45"
Right: Cortez, Mixed media, approx. 49" x 27" x 22"

S.T. Some of your pieces are massive, while others quite small.

A.W. Until recently, I enjoyed working on a large scale. But I’ve embraced downsized work for practical reasons. Smaller pieces are more accessible for private collectors and can become more intimate to handle: It’s fun to pick something up, hold it and move it around, rather than just standing in front of it. I can engage with something small.

S.T. If you could own three famous works of art, which would they be?

A.W. The most expensive ones, of course! Michelangelo’s David would be up there. If I could own anything, why not go for the best? Picasso’s Guernica. And anything by da Vinci.

S.T. Vestal is devoted to fashion, which is transient in its nature – but also an exercise in constant reinvention. Your work is similar in taking the past and refashioning it. What is your style?

A.W. I don’t know if I have a certain style. Lack of choosing a style lets your style emerge.

Al Wadzinski’s work can be seen at and purchased through NY Studio Gallery, 154 Stanton St., New York, NY 10002, info@nystudiogallery.com.

Go to Archive