An Interview with Artist Regula Stocks (Honorée)
Journalist: According to your vita, you have been a full-time artist since 2003. Your desire to invent and create must have appeared much earlier. When was that? Please describe your artistic development.
Artist: In my childhood, I was fascinated by representations such as “king“, “witch“, and other fairly-tale images. I drew with pencils, coloured-pencils, crayon and tempera. Over time, castles became my favorite theme.
When I was older, I designed miniatures using filigree, technical pens. I also painted with pastel crayons. I reworked some of those paintings later. In the years before 1985, I mainly painted on glass. I took Art classes at Kunstgewerbeschule Basel and Freie Akademie Freiburg. During that time, in 1987, I showed a selection of my earlier work to one of my teachers. “Your style is already highly original,“ he said, “what else could you wish for? Stick to your course.“
In the period before 1991, I experimented with different materials, like tulle and wax. After that, I took a recreational break. When I turned to my Art again, I did gouaches, collages and applications. After 1998, my interest turned to three-dimensional pieces. I've been a freelance, full-time artist since 2003.
Journalist: In the course of your exciting life, you have met many other artists. Who, or what, made a profound impression on you?
Artist: My parents had a collection of exotic objects, masks and trophies which deeply fascinated me. My trips to foreign countries led me to Paris, Chartres, Florence and Milan and contributed to widen my horizon. A number of friends of the family were well-known artists of the time, such as Paul Hübner, Herbert Bohnert, Furio Cavallini and Karlheinz Scherer.
Journalist: How do you approach your artwork? Are you guided by a precise idea, or by your inspiration, or does your work develop during the working process?
Artist: When it comes to creative ideas, the work in fact tends to develop in some kind of autonomous and often surprising fashion.
Journalist: Please talk about your influences. Does your everyday life have an impact on your Art?
Artist: Contrary to the contemporary trend, my Art neither relates to the ups and downs of my everday life, nor to the general problems of the present.
Journalist: What inspires you then?
Artist: I'm inspired by hikes through pristine landscapes, especially in regions like French Burgundy, where sites of sacred Art meld into the beauty of their surroundings.
Jounalist: Do you have a message, or is your work the message?
Artist: My oevre stands for itsself, it's autonomous and its meaning is hidden in the unconscious.
Journalist: How did you come to pick your pseudonym Honorée, and what does it mean?
Artist: Years ago, I gave the name Honorée to my beloved whippet. Later, I also chose it to be my pseudonym.
Journalist: A number of pieces of your work appear to me as some kind of reservoir, in the sense of stored information on a theme, a culture or something comparable. Is that thought palpable for you?
Artist: It is certainly valid to imagine a deep kindredship with the treasures of ancient cultures. It's most obvious in the “Triptychon“.
Journalist: How do you define yourself as an artist?
Artist: My work is untouched by the academic Art. I do not adapt or imitate in the way artists with a more intellectual approach do. All of my issues originate in me and I pick the materials for their transformation. Clichees from classic Art are of as little interest to me as are the currents of contemporary Art.
The following quote from Art historian Max Imdahl describes the essence of my work: “Introduced into the language of Modern Art, archaic images will appear as the after-glow of a sunken world; they will go on living in a space of the restored presence. They carry the sign of people's longing for their return.”