Atlas Dearborn
they/them
Arcata, CA, USA
Atlas Dearborn (they/them/theirs) is a queer, trans, and disabled artist born in Stockton, CA, practicing in the northern region of Humboldt County. They are a future art educator in their last year at Cal Poly Humboldt with hopes to teach their own jewelry classes one day. Atlas's metal work focuses on patination and exploring topics of identity over time. To them, the act of changing the coloration of metal with no control over the end results acts as simile to transition and the overall experience of being human. Their work is a combination of identity and process art. Similar work can be seen on their Instagram @apalssauce, currently with a website in the works.
“Nostalgia is a ring that harks back to the childhood routine of sitting in a bubble bath with a rubber duck. It speaks not only to the joys and wonders of childhood but also to the horrors and hatred we are shielded from. That blue bath and rubber duck are a safety net that we are unaware we are tangled in, the reality of the world waiting outside the tub. Nostalgia brings us back to when we were carefree, with no worries in the world, just the simplicity of sitting in a bath, laughing and splashing to our heart's content.”
How does your work relate to the theme connection?
“My work relates to the theme of connection through its representation of childhood. The period of early life for people is rooted in curiosity and absorbing new things. When you look back on your life, past all the trauma that comes from living in this world, are these filtered instances of memories filled with bubbly laughter of one's childhood. It is innocent and simple. I feel like once you reach adulthood, forced into ascribing to the rules of society, you hold on to these kinds of memories tightly and try to do everything you can to keep living your life as innocent and simple as the way life used to be. In terms of connection, ask anyone about their favorite childhood memory. It follows the same story surrounding a moment of happiness, laughter, and brightness. It could be as simple as winning a carnival game, a massive birthday party, or a holiday event. All in all, it is something that everyone has at least one memory of that can be talked about and internalized by others. This connection builds relationships as well as strengthens our livelihood. Relationships are rooted in happiness, and the root of all happiness is childhood. Without it, we are nothing, just figures moving through life, ignoring the curiosity we were born with and being forced to be alone."
What role does connection play in your creative process?
“My creative practice is rooted in research and communication. Part of that comes from the fact that I am an educator at heart. A lot of my thoughts often are about how others can be involved in what I do, how every moment is an opportunity to learn and to teach. Looking at my studio practice in metal, I am often at an impasse as to what to do. Thus far, my practice has been rooted in assignments across two semester-long classes. In the grand scheme of everything, I have only been working with metal for less than three years. My practice is small and often has been an exploration of what I can do creatively within the parameters of a graded assignment. However, this has recently evolved into an in-depth exploration of a single interest: patination. Most of my understanding of my work has been through research, reading, and bouncing ideas off of those who are knowledgeable and clueless. I feel like my skills as an educator have allowed me to get this far in combination with my drive. This connection with others has not only given me awareness but also taught others new ways of thinking about things we take for granted."
What connection(s) does your queerness make to the world around you?
“My queerness has been an anchor in my relationships with others, for good or for bad. Before leaving for university, my identity was a source of contempt. When I first came out, my family vowed that the only place I would be called by my name would be in school. At home, I was deadnamed, and only that was allowed. As such, the only connection I was allowed in conjunction with my identity was through school and those who were in a similar boat as me. Years later, months before high school graduation, I saved over $400 and rode the bus downtown to legally change my name without my family's awareness. Long story short, they found out. It was the extreme that led to a better acceptance. Moving away to Northern California, I found myself embedded in a queer community in rural California. You would think it would be the opposite, but all the connections I have gained in the last three years have been exponential. My queerness has allowed me to flourish, with access to a wide range of people and opportunities. I have been able to talk with people I would have never met, giving me a confidence I don't think I ever had. I can't imagine a world in which I wasn't queer and living the way I am now, my art and relationships reflecting my identity through and through."
"Nostalgia", copper, verdigris patination, plastic duck, 2.5" x 1.7" x .63", 2022
Anything else you would like to share about this work? This can be an important part of the process, sourcing materials, or research.
“In my patination practice, this ring was the initial spark for my entire practice. It was the first ever piece I created that has a verdigris. It was made using a fumigation technique of ammonia and vinegar with vinegar brushed onto the surface of the metal and sprinkled with salt. Results began appearing not even a day later. Years later, there is still changes to the surface of the ring, evolving as the years go by."