Elizabeth Bergeland: Redefining Masculinity
Philadelphia-based artist Elizabeth Bergeland is known for her large-scale, vibrant paintings of men in various poses. Through her work, Elizabeth invites the viewer to consider the impact of toxic masculinity in America, while inspiring meaningful conversation that will ultimately lead to change. In this interview, Elizabeth shares the evolution of her work and process, and dreams for the future.
Tell me about your background and where your creative journey began.
I grew up in Denver, Colorado, and attended the University of Colorado in Boulder where I received a BFA in painting and Anthropology. I always wanted to be a (career) artist, but when I finished my degree in 2006 I think I was just really overwhelmed by how to make it happen. In retrospect, I realize that at 22, I was in no way equipped with the emotional maturity, work ethic, ingenuity, nor the discipline an art career would require. (I'm in complete awe/confusion over artists who manage to hop right into an art career at a young age!) Instead, I took a “real job” as a designer (in bridal fashion actually), married my college sweetheart, started a family (I have three kids), and moved across the country (4 times). We ended up in Philly and when my kids were all finally school-aged, I just kinda hit the ground running. I was just so ravenously ready to pursue art in a more elevated, fulfilling form, so I crammed my kids into one bedroom so I could have the other for a studio, quit my job, and just started painting and drawing non-stop. I often describe the feeling of that transition into full-time art-making to be more like a compulsion or a command rather than an intentional decision. As E.B. White perfectly stated, “A writer who waits for ideal conditions under which to work will die without putting a word to paper.” It was time.
Where do you find inspiration for your work?
I tend to think of inspiration as a subconscious operation. We're all just constantly absorbing inspiration from everywhere, all the time- in ways we don't even realize.
When I am being intentional about digging for inspiration I tend to find myself pouring through the work of performance artists, conceptual artists, or poets/writers (which is curious, because my work doesn't fall into any of those categories, nor is that where I aspire to go. hmm....). Recently, I've been circling back on the early work of Marina Abramovic and David Hammons (LOVE!). Also- I seem to always be carrying around some essay or book by Joan Didion.
Obviously, I think seeing art in person, whenever possible, is SO IMPORTANT, so I always have a schedule of current shows and exhibitions that I want to go to. Sitting in front of other artists' work is always inspiring. I always feel differently about work when I see it in person- its like seeing a band live for the first time.
How has your work shifted and evolved over time?
Oh my gosh- it has shifted so much. Most of my old work feels pretty unrecognizable to me at this point. My work in college was very experimental and derivative (as is necessary at that stage!). It all looks a bit unfinished to me now. The most notable shift in my work happened when I had some real stake in what I was pursuing - when I decided to start making art as a career (scary!). Having skin in the game like that really pushed me across the board - technically, conceptually, and with the scale that I even attempt. I'm currently working on canvases 20 times the size I used to work on and using bolder, brighter colors. I've also pushed myself to build a cohesive body of work, as opposed to just lots of one-off pieces that don't necessarily go together. This devotion to a theme or concept really requires a lot of discipline and has been so good for me to see an idea all the way to its end.
What does a typical day in the studio look like for you, and how has your art practice grown or changed?
I keep very regular studio hours. Up until the pandemic, my studio had always been in my home and I would work kind of odd, late-night hours. When my family was suddenly all homebound 24-7 for work/school I found a studio outside the home and now I'm pretty much 9-5. My husband and I juggle work and kids, so we trade days on who is home and who goes to work. Right now, I'm getting four days a week in the studio and will pack all my administrative work (emails, applying to art shows/prizes/grants) into the days when I'm home. A typical studio day starts with about an hour of responding to emails, and then I just paint up until the hour I need to get home. I'm currently preparing for a solo show (my first!) in the spring so I keep a pretty tight schedule.
Which experiences have impacted your work as an artist?
This is a bit of a blanket answer, but overwhelmingly, the experience of motherhood has impacted my work more than anything. I'm drenched in it [being a mother] all the time, but when I take a moment to step back and actually watch what's going on, the whole thing is pretty nuts. At first, they're just these tiny people that you're crazy in love with but then they start to grow up and they're so funny and interesting and insightful and you legit start to really like them (hopefully!) and they really force you to rethink the world.
Right now I'm working on a series of paintings about [American] masculinity. This entire project was prompted by an experience I had with my (then 10-year-old) son in the schoolyard. He has always been a physically and verbally affectionate kid in the home and with his friends, but I had started to notice a shift in him. It seemed like he was feeling pressure to be less affectionate with his friends in public - he stopped hugging his friends or holding their hands etc... We were headed into winter break and he had spent weeks picking out and wrapping thoughtful gifts for his friends. When it came time to pass them out in the schoolyard he suddenly panicked and told me he didn't want to give them to his friends because he was worried that they would think he was dumb. This was brand new and it honestly broke my heart that he felt barred from those sorts of experiences (and how many others in the future?!?!). The ways in which masculinity hurts women is well known and oft-talked about and a big, important part of the current social conversation, but this experience prompted me to start looking at the ways that masculinity hurts boys and men too. I started interviewing and painting men and it's honestly been extremely humbling for me. I've felt such a big shift in my perspective in the way I think of men, generally, and have really started to notice the loneliness that so many men and young boys feel. I so badly want to see people being able to grow up with the ability to express their feminine and masculine sides without fear of teasing, violence, or isolation.
How has Instagram impacted your art career?
Oh, Instagram. For me, (and probably most people), the love/hate with this platform is real. Instagram is a critical aspect of making art as a living today. There's no question about that. At times, it can feel exhausting because I became an artist because I like to make art, not because I like marketing and producing content for the gram. But...se la vie. As soon as I was able to acknowledge Instagram as a vital, beneficial tool for my career, the platform started feeling less taxing to me. On the one hand, you need to produce content and be concerned with your image, but on the other hand- duh! We're a social species, and opportunity, always, no matter the business, is in some way linked to who you know. It's how we feel connected to a particular product or piece of art. We want to know about the person behind the art or the gallery or the piece of writing. People need people. When I think of it all that way, I'm so grateful for Instagram! I have potential access to so many curators, collectors, and art lovers that I never would have been able to encounter pre-social media. Instagram has introduced me to so many artists that I love and has given me an incredible community to bounce ideas off of and receive valuable feedback.
What are your future goals and aspirations?
Ooooh- future goals and aspirations.... I want the moon! haha. Big, big dreams would be a show at the Whitney or some major museum or gallery. I'd love to see my work in the collection of a museum and to establish a steady collector base. Ultimately, though, all I really want is to be able to afford to keep making art. If I can continue to make enough to keep making art, I mean...it would be hard to ask for more than that!
Follow Elizabeth on IG: @elizabethbergeland
Website: www.elizabethbergeland.com