Erik Sommer of Mott Projects set some time aside in his busy life to talk to us about how MP began, opening a space in Catskill, NY, and his own practice.
1 Hour Tooth Whitening, cement dentist office, installation, 2018
—————————————————————————————————————————————————————————————————————————————————————————————
How and when did Mott Projects get started? What was the driving force behind you starting it?
Mott Projects started as a way to help promote my friends' work. I started noticing these accounts on Instagram that would showcase art, and frankly the work they were showing was lame. So I decided to give it a try. Once it started taking hold I built a website and began interviewing my friends. There are now over 30 interviews on the site. The plan all along though was to open a project space or gallery, a physical space to exhibit work, which now I am finally able to do.
Where did the name Mott Projects come from?
Just from being in New York City. I had a studio in East Harlem for years, but for a couple of weeks one time thought about moving to Mott Haven in the Bronx just to change things up. I ended up not moving, but when it was time to pick a name Mott seemed to fit. Mott Haven, Mott Street in Chinatown. There is a Mott Avenue in Brooklyn and Queens. It is very New York. And I like the idea of a project space.
You have worked with some of our favorite artists. How were you able to build that network and are there any tools that have helped you with that process?
I just sort of went for it. I knew that the product I would turn out would be quality, and once I had a few interviews published and exhibitions lined up other artists saw that I am careful and thorough and hopefully easy to work with, so that made things easier. I also try to encourage new or more challenging work, allowing artists to take risks. My outlook has always been less is more. I want to only keep working with select artists, and only do a set number of shows a year. The goal is to present high quality professional work while keeping a DIY project space mentality.
Harvest, Mott Projects installation view, Martin Lukáč, October 2021
Recently, you have acquired a space in Catskill, NY. What has the transition to operating a physical space been like? Is there an end goal with the MP space or are you just taking it one step at a time?
I had been looking for a physical space in the city for a long time, and would call every time I walked by an empty storefront. The lowest quote I got once was $5,000 for 10 days for a space downtown, which is pretty silly really. A lot of these spaces have been sitting empty for years. When COVID hit my wife and I headed upstate and my first goal was to find a studio. I ended up finding this amazing space just off of Main Street in Catskill. The space is incredible. One day I realized that it was rough and raw enough to work as a project space. Aesthetically it had what I was looking for. It is probably not the permanent home for Mott Projects, but for now it is perfect. Actually I am not too concerned with finding a permanent space yet because I like the idea of curating shows at different galleries too.
You just had your inaugural show for the new space. How did that go? What are your plans for the future of the gallery?
It went really really well. I sort of fell into this upstate Hudson Valley art scene. Catskill is a super cool town with a lot of artists and collectors. The response has been very positive, and the gallery is beginning to get a bit of attention.
Harvest, Mott Projects installation view, David Matthew King, Erik Sommer, Royal Jarmon, October 2021
You are also a successful, working artist. Your work is extremely unique and it looks like the process would be pretty insane to build these sculptures. Can you speak to your process? Where did it stem from? How have you been able to acquire that aesthetic? Has it changed over time?
As I learned in grad school, my work is about the effects of time, chance, control and beauty. I did once focus more on painting, but over the years have found ways to incorporate installation and three-dimensional work into my practice. I like being able to move between different forms and materials and use whatever process will best help answer the current question. Living in New York for so many years allowed me to witness and appreciate decay, so that has definitely been an influence. The new sculptures, the big drywall pieces, were a personal challenge for last summer. I had made a few smaller pieces for a show, and knew that the next step was to take them bigger. So I did.
Is it difficult to ship your work? How do you go about shipping the larger pieces?
Yea, it sort of sucks. I have no problem if a piece chips or flakes during transportation, but I know that horrifies collectors and galleries so I try to be more corporate about it. That being said, I also have no problem getting rid of work once it has served its purpose.
Untitled, drywall, paint, brackets, cement, wood, 63” x 52” x 26”, 2021
We know you aren't originally from NY. Was it difficult for you to initially get involved with the NY art scene? What was that process like?
I am originally from Minnesota and was involved in the music scene there for a bit before moving to NYC. It did take some time to really find my crew here. Some of that was probably my own fault- when all of my friends moved to Brooklyn I moved to East Harlem. Eventually though Taylor White introduced me to Paul Cooley, and that was it. I feel very lucky to be a part of Deli Grocery.
How do you split your time between running MP, practicing your art, and maintaining a full time job?
I drink a lot of coffee. I mean, making art will never stop. Even if I am not physically in the studio I am constantly thinking about projects or ideas. Sometimes the dreaming up part is the best part. Mott Projects so far is still fun, so that helps. My current job is remote, which is also a huge plus. And, I am lucky to be married to an incredible and supportive partner.
Cocaine Cowboys, street posters, paint, wheat paste on canvas, 74” x 52”, 2020
Last time we spoke you mentioned attempting to expand overseas to become active in Europe. Are there any plans on that front you can share? Nothing that I can share yet, but Mott Projects is now at a point where artists are reaching out with ideas, so a few things are definitely in the works.
What are the biggest challenges that you have had in working with artists? Everyone has been pretty cool so far. As you know, the organizing and shipping and writing and website and media stuff all take a lot of time, but I really enjoy it so it doesn't seem like work. Yet.
What are your top 5 living artists? How about your top 5 dead artists?
The first time I saw a photograph of Christo and Jeanne-Claude's 'Valley Curtain' it totally changed my perception of what art could be. It was no longer just paintings on a wall. It could be anything. That was a big moment for me. Then a few years later I was lucky to help install 'The Gates' in Central Park. I think I am still learning from them. Other artists, dead or alive: some of the artists I've shown with at Deli Grocery maintain a permanent space in my thoughts, Damien Hirst's 'A Thousand Years', Klara Lidén, Mike Ballard, Josh Kline, Katharina Grosse, David Hammons. I have always taken a musician's sensibility toward my career. Someone like Doug Martsch has it figured out.
Untitled, drywall, paint, brackets, wood, 63” x 48” x 25”, 2021
We are super grateful to have you curate a show at our space opening April 1st. Have you ever curated a show in LA? What is the process like when you are curating a show for a different gallery?
I am so excited for this. Seriously. I can't wait to start inviting artists. This will be my first time doing art stuff in LA. My plan is to treat it more or less how I treat a Mott Projects show. I want to make sure things are planned far enough in advance so the artists have time to finish work, get it packed and shipped, and we have time to see everything before we hang it. All of that stuff. It is your space so I will be respectful of your wishes and rules, and am really looking forward to working together. I have so many ideas! Get ready.
What are your thoughts on NFTs?
Some people are making a lot of money off of them, so good for them.
If you could go to dinner with Elaine de Kooling, Helen Frankenthaler, or Joan Mitchell, who would you take? Why?
Wow, that is a great question. I have to go with Helen Frankenthaler. Her work is stunning, and I feel like color field painting always gets overshadowed by abstract expressionism.
The Candy Store, drywall, paint, street posters on canvas, 36” x 36”, 2018