AZ: How much is planned and how much is left to freedom and to
the flow of inspiration in your compositions? Can you talk about the
technique you use and how you prepare the base for your works?
GH: I do plan in the way I make art, but within the structures I create I
leave room for possibilities. In my work I strive for exactness, but
perhaps it is paradoxical that in striving for perfection—and never
reaching it—it is there that you actually find it. But perfection starts
to look different. For me this is a key element in my artwork. It is
the imperfect that becomes unique, the flaws that become interesting,
the randomness that leads to new ideas. Perfection as an ideal is a
limited perspective, but very ingrained in us all—very powerful. So to
widen, or change, its hold on our ideas it could allow us to use this
power to see more of the beauty that is around us everyday. Perfection
is everywhere. Its limits come from the perception of the thinker. For
me perfection is allowing each mark I make to reveal itself in that
moment. I have a pretty good idea of what I’d like things to look like,
but I let it be open, to bend or flow as it needs to. Being ok with
that—the boundary between control and lack of control—is what I’d
consider perfect.
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