Interview: Spartanburg, South Carolina-based Multidisciplinary Artist & Antiques Dealer Elizabeth Bagwell
Elizabeth Bagwell is a multidisciplinary artist from Spartanburg, South Carolina. When viewing the variety and richness of her art, it is readily evident that Bagwell’s mind is perpetually abuzz with a creative force. No single description or word can effectively capture the essence of her diverse artistic output. Hard-edge abstraction, vintage children’s book illustrations, and calligraphic motifs are among a litany of characterizations that begin to articulate her corpus. As a multimedia artist, Bagwell applies her artistic vision to innumerable mediums: massively scaled horizontal abstract canvas paintings, starkly outlined figurative illustrations on paper, paint-streaked Christmas ornaments, etc.
In 2023, I conducted an email interview with Bagwell to learn more about her active studio practice, extensive involvement across media, and thematic motivations.
Liam Otero: I admire the openness of your Artist Statement, particularly when it comes to your embrace of working in a multitude of mediums, styles, and scales. As I went through your website, I felt there were no limits to your creativity! When it comes to your working methods, do you hone in on a single project or do you devote yourself to multiple projects at any given time?
Elizabeth Bagwell: Thank you! I do love creating across mediums. I'm typically working on multiple pieces at a time, and have them spread out on my studio floor. I find it easier to work on several pieces at a time for a few reasons - 1.) the works build off of each other and 2.) from a practical standpoint - while I'm waiting on one piece or section of a work to dry - I can flip over to another piece and all my materials are already in use. Typically, I work in short stints - 30 minutes to an hour. I find the act of creating to be tiring - mentally and also physically when I'm working on larger scale works. Large canvases are heavy and awkward to move around! I don't think the average art viewer realizes how physically and emotionally taxing painting and creating [in general] can be. Because of this, I find that I work best in shorter stints, and then I work on more administrative tasks I need to accomplish for my art practice or appraisal/antique business.
L.O.: Are there other mediums you hope to work with in the near future?
E.B.: Yes! I'm extremely interested in several different materials. I am almost always researching materials that are "new to me". I hope to work soon in metals (brass & copper) and have begun to dabble in clay. I specifically like when traditional materials are used in an innovative way and would also like to try water soluble oil paints.
L.O.: Lines, marks, and black ink are among the most prevalent motifs that appear across your works. Could you please elaborate on why you find these visual markers so captivating?
E.B.: That's a good question. Honestly, I'm not sure why these motifs are so prevalent in my work other than I like the graphic quality of lines, marks, and black ink. I like a line or mark that appears to have spontaneously occurred, even though in reality there's often been a lot of prep work behind the scenes before that mark(s) was made. It just looks effortless. A lot of thought goes into all aspects of my work, from the choice of support(s) used to a mixture of mediums, framing choices, etc. Typically, every aspect has been thought about quite a lot ... and then thought about some more. I do a lot of thinking!
L.O.: For your abstract pieces, I found great delight in studying the direction and position of your brushstrokes, specifically when it came to your more minimalist paintings. Often, it seemed like your brushstrokes were deliberately and meticulously choreographed to the point where it reminded me of calligraphy or as if you were using paint to convey a pictorial language. Did you intend to achieve this effect, or did this manifest organically?
E.B.: Funny you should say that! Over the years, I've had others notice the same calligraphic effect/feeling. I didn't really notice at first, but I can definitely see it now! I have practiced and studied calligraphy in the past, so it shouldn't be a surprise that it shows up in my work. Calligraphy, typography, and beautiful penmanship is something I have always been drawn to from a young age and have observed. I have taken a formal class in the past - many years ago now, but I drew, hand-lettered, and designed my sister and brother-in-law's wedding invitation suite and have addressed envelopes for other weddings/events in the past. I would say this developed organically over time because they are shapes and marks I am naturally drawn to and find fascinating.
L.O.: It is not very often that I encounter artists who are also antiques dealers, to which I find this professional overlap to be quite remarkable. How does your work as an artist affect your approach to antique dealing and vice versa, as I imagine this must give you a distinct perspective?
E.B.: Thank you! My love of art, design, and antiques all fuel one another. Buying and selling antiques inspires my own art - I like to learn about other artists, makers, and their practices, and I also try to soak up the details that I feel makes an antique/vintage piece of art "pop" and incorporate those details in my own work. I also have an obsession with antique and vintage frames. I have a stash and use them when appropriate on my own artwork and on the pieces of art I collect for myself. I also feel that being an artist helps me when looking at antique/vintage art I consider buying. I'm familiar with many mediums, styles, and art & framing practices/techniques employed over the last 100 years. I think that my passion for these two topics plus interior design make my own artwork stronger. The antique/vintage items I curate are distinctive and stand out for their artistic, handcrafted bent. That is my goal at least, and there is always something to learn ... every day!