edited by Bonnie Jo Stufflebeam
Alex Stock has been involved with Spiderweb Salon since 2012 when they submitted illustrations to the Children of the Candy Corn zine released at that year’s Fall Masquerade. Since then they have regularly had work in zines and displayed at Spiderweb events. When asked about their first experiences with Spiderweb, they said, “I love Spiderweb Salon and believe it and collectives like it are essential for the DFW DIY art community.” Well, we think artists like Alex are essential to our hearts.
Alex Stock, Separation
You seem to be well-versed in both 2D and 3D forms. What mediums do you most enjoy working in in both fields?
For my 2D pieces, I usually work with ink on paper or acrylic on canvas with the occasional addition of some aerosol paint. The sculptural work I’ve been creating is more experimental then my 2D work while both discuss the same themes. In my 3D work, I combine fully original sculpture with modified found objects. My sculptures incorporate resin, clay, foam, mattresses, latex, and aquarium tanks with my found object of choice, animal bones. I even have a few rancher friends who will text me pictures of dead animals and ask if I want to come pick them up.
What subjects are you drawn to?
I’m drawn to macabre imagery and biological themes. I frequently use animal skeletons, whether it’s actual bones or those that are drawn or sculpted. My work juxtaposes bright, pastel, abstract backgrounds with images of tension or violence.
Alex Stock, Catharsis
What have been some of the most rewarding experiences you've had as an artist?
Don’t let this go to your head, Courtney, but being invited to contribute to Spiderweb has given me some of the more rewarding moments in my pursuit of the arts. Everyone involved is serious about art and extremely supportive, it’s given me a community to lean on, and I’ve been able to actually sell art. So many events thrown by others turn out to be parties in disguise. In contrast, Spiderweb puts the art and artist first, and that has led to me feeling respected and driven me to become more prolific.
Who are some of your influences?
It’s hard for me to trace back who immediately influences my work. However, some of my favorite artists are: Donald Judd, Frank Stella, Dan Flavin, Ed Ruscha, Jenny Holzer. I’m especially drawn to Judd; I went to Marfa a years ago and was blown away with his work at the Chinati Foundation. I find myself drawn to sculptures with a minimal style, though I don’t seek to emulate that aesthetic. Some artists that I’ve enjoyed in local galleries even though they’re not all from here are Dan Lam, Adam Palmer, Paul Winker, Barbra Horlander, Alex Ebstein, and Howard Sherman.
Alex Stock, Weaponized Intimacy
When did you get involved with Spiderweb Salon?
I first became involved in 2012 with submitted illustrations to the Children of the Candy Corn zine which was released at that year’s Fall Masquerade. I’ve regularly had work in zines and displayed at events since. I love Spiderweb Salon and believe it and collectives like it are essential for the DFW DIY art community.
Any upcoming shows or projects you'd like to share?
Currently, I’m finishing a large sculpture made of foam mattress pads carved with an electric kitchen knife, coated in latex, adorned with papier mache and aerosol paint. It will debut at the Spiderweb Salon Winter Formal; come check it out.
This year I’m experimenting with increasing the scale and scope of my work. I’m working on a new series of paintings with similar themes to my previous work, but much larger. I’m also collaborating with local hacker and artist Nick Cassiani on some new media installations, sculptures, and pieces that incorporate the digital with the tangible.
Alex Stock, Madness
Alex Stock is a self-taught, multimedia artist and are currently working on a master’s in biology at the University of North Texas. They work in many different mediums including drawing, sculpture, painting, installations, zines, and digital media. Their work is best known for being biological in nature and using colorful but macabre imagery.
