By Tia Porter
Sheila Pepe has made a name for herself as a dynamic conceptual artist who is unafraid to touch on feminist and queer topics. With a background in ceramic sculptures and crochet installation pieces, Pepe has dipped her feet into various art forms.
In her experience, she has not only learned what audiences react to, but what it means to create art. “You can’t be half crazy as an artist,” Pepe said, “you have to be completely crazy.”
Sheila Pepe (left) and Samira Homayouni (right). (Photo by Tia Porter)
Pepe, who last visited Purchase in 2021 to share her experiences as an artist, gave a lecture on Feb. 5 in the Visual Arts building before a crowd of students and professors alike. More than 50 members of the Purchase community gathered to listen to her speech. “Purchase is a great place to study,” Pepe noted. “It’s got all the classic minorist stuff going on and all the updates. I love it here.”
Among the audience were members of Lachell Workman’s 3-D Processes class, including Nick Grossman, a freshman majoring in graphic design. He agreed with Pepe’s statement about artists needing to be 'crazy,' but only to an extent.“I agree, but I think people in the arts like to pretend they’re crazy,” Grossman said, “but it’s not self-aggrandizing.”
Daniel Griffin, a freshman interdisciplinary art major, agreed that Purchase is filled with resources for those looking to make a career as an artist. “Art is created from original thoughts,” Griffin said. “And Purchase is a great place for artists to learn.”
While speaking at Purchase, Pepe worked alongside Samira Homayouni, who managed the recording of Pepe’s lecture for Purchase’s archives. The School of Art and Design has a collection of digitally archived lectures from 2012 to 2017 available through Artstor. More recent lectures, from 2023 onward, can be found on Purchase’s Vimeo page.
The artist began her lecture by sharing a PowerPoint with the art she once showcased in Rome. She spoke of her trip; the art she saw and the artists who inspired her. During this presentation, Pepe brought up that the label “conceptual artist” was one she had been given, not one she had chosen for herself.
“They call me a conceptual artist; I agree,” Pepe said. “At the time it was being thrown around as a particular kind of thing…I always play with what do you think is conceptual and what do you think is not.”
Wendy Lipp, a professor in the Visual Arts department, attended Pepe’s lecture and understood why the artist had been given such a label. “I generally think labels are ridiculous,” Lipp admitted. “As regards to 'conceptual art' as an entity, I find it very exciting… For someone's experience of a concept to be communicated by them through their work feels like the heart of the process of expression. But if we are trading in labels, I think 'conceptual artist' fits nicely on Pepe… But I also think part of the greatness in her body of work is how many other labels are appropriate: drawer, architect, master crocheter, sculptor, etc.”
“I just wanted to see what people would do,” Pepe said as she tried to explain why she started making art. “If I can keep doing this for the rest of my life, keep a roof over my head, and be able to retire without being a bag lady, I’ll be okay.”
Pepe also spoke on the importance of claiming differences without judgment. Many elements contribute to Pepe’s identity, and by extension, to her art. As a lesbian whose family came to America from South Italy, she put a strong significance on cultural understanding and explained that it’s important to know the intricacies of one’s background. “Each of us, whether you think so or not, comes from a culture,” said Pepe.
Sheila Pepe Going Through Her PowerPoint. (Photo by Tia Porter)
Pepe has made it clear that she believes in promoting temporal pieces. While discussing her process, Pepe explained that many of her older works are cannibalized when she starts new pieces. In doing so, her art carries layers and memories from her journey. “I’m married to ideas that represent temporality and scale,” she said. “Taking space up permanently doesn’t seem like a good idea for art anymore. It’s hard to stand under a big, physical thing and not feel tiny.”
Pepe shared that she hopes every piece she makes has the chance to see the light of day. “There’s a lot going on in the studio all the time,” Pepe said. “Do I get to show it all in public? Not for a long time.”
There are many subtle details in her pieces. Her crochet installations often involve spreading the yarn across the space resulting in chaotic yet intentional patterns resembling spider webs. Pepe revealed that this webby design stems from feminist themes. “It’s for people who were Pagan in part of the 70’s and 80’s," said Pepe. "Part of feminism that was really just about Pagan, witchy stuff.”
An announcement for Sheila Pepe’s Lecture in the Visual Arts Building. (Photo by Tia Porter)
A question new artists may have when putting their work out into the world is: how do you know when a piece is ready? Pepe has developed a useful system that helps her know when an art piece is finished. “You set up a criteria for what finished is, and you can measure that,” she said. “Then you have guidelines for yourself. They’re all based on precedents in art. I use history to guide me.”
Another audience member, Leora Hiltzik, an undeclared freshman, found Pepe’s advice to be especially inspiring. “Art is something everyone in their own way can appreciate,” Hiltzik said. “All people see art differently.”
For up-and-coming artists or even those who see art as a hobby, Pepe expressed her belief that there’s always time to put a fresh spin on what art is. “Trust nobody else is going to figure it out the way you can.”
At the end of her lecture, Pepe shared a glimpse of her plans for the future. “Before I die, I’m going to make great art with nothing,” Pepe said. “I love making something other than the 'Sopranos' show up in American culture.”
Sheila Pepe (Photo by Tia Porter)
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