In Conversation with Jym Davis

Interview by Jordi A. Bello Tabbi

Visuals by Jym Davis

Masks are sculptures, but they add a significant human component to it. Where does your inspiration come from? My inspiration really comes from the long history of wearable art. This includes fashion but also theatrical and ceremonial outfits. I have a particular interest in traditional European folk festival outfits. Masks are my main inspiration but I see them as an extension of an overall aesthetic I am attempting to achieve. That is why my modeled mask photographs always feature a fully designed wardrobe.

What about who’s under the mask? What’s your relationship with models/people who wears your work?

I usually model my own masks for photography projects but that is not my preference. It is only a necessity because I like to do photoshoots in remote and difficult locations like swamps and deserts. When I do get to work with models, it is a very special privilege. When a model wears a mask there is less inhibition. The self-conscious qualities disappear and there is a complete freedom in their movements. It is a wonderful thing to witness. I have also created masks for ceremonies, performances, and even a wedding! In those instances, I want the wearer / performer to come up with their own significance.

Wearing a mask dehumanizes the person who’s wearing it, giving sort a power. Do you think people are more authentic while posing with masks?

I can only speak to my work but I do hope that my masks help connect people to their environment more. When I wear an outfit and a mask in the desert I feel out of time and place. In some ways also I feel outside myself. This allows me to be an outsider looking into a landscape. I’m less inhibited and my self-consciousness dissolves. I hope that other people have a similar experience.

You are not only an incredible artist, but also a talent gatherer running a successful Instagram page (@_false_face). What do you think about contemporary mask making artists?

I am always really happy to find new artists who are exploring maskmaking. Over the last few years, there has really been a renewed interest in the craft. And I know of artists making masks out of so many materials: wire, plastic toys, raw materials from nature, paper, jewellry, felt and fibers, and so on. I get a lot of messages asking for advice about how to begin mask-making. I always remind people that you can really make a mask out of anything. I’ve seen some great photos where artists created masks out of leaves and tree bark. So you don’t need a lot of expensive art materials to create something interesting.

We live in a world where “masks” are worn everyday, Instagram filters, face-tunes, avatars, are all digital versions of what a mask has been in history.

What’s your point of view on identity vs facade?

A lot of people have a strong desire to reinvent themselves. The internet has definitely accelerated this. Masks, in both physical or virtual forms, allow people to become something else. We are only born with one face but masks have that unusual quality of letting someone transform but also become anonymous. I have often wondered why artistic masks are not more prevalent in the same way people wear jewelry or hats. And I don’t mean masks for protecting against viruses. But why do people only wear fashionable masks for special events like festivals or masquerades? I’d like to see artistic face coverings become an everyday part of people’s lives. I once had an idea for a campaign called “replace your face” that encouraged people to wear artistic face coverings as a fashion statement. With global public surveillance becoming so ubiquitous maybe it isn’t such a bad idea.

Masks have been used by mankind since the beginning of times and in any culture usually for ritualistic purposes.

What’s your research on pre-existing traditions and how are you innovating this art form?

I try to present my masks and outfits without too much backstory. I really like when people bring their own interpretation to my work. I will say that I go to great lengths to make the artwork seem ‘timeless’. By that I mean I use art making materials that have been around for millenia…nothing modern and certainly not plastic. I also photograph my work in landscapes without any hint of human habitation. So in that way the images may appear as science fiction or a very ancient culture. I like artwork that maintains a mystery and avoids easy explanations. Of course, I don’t live in a vacuum so you will detect influences here and there. As I mentioned, I love old European traditions like Busójárás in Hungary and Mamuthones in Sardinia. However I am careful not to copy anything and I strive to create my own worlds.