PP: The show was called Dancing in a field of Daisies - if you walk into a field of daisies, it’s similar to the world - some flowers are getting a lot of sun, some aren’t - from a far it looks beautiful but when you get in and see them they’re all going through completely different realities. That’s usually how all of my work starts and how I hone in, and then research comes and more ideas sort of come in and land where they land.
DM: - Does music play any way into your work or methodology?
PP: In my jewelry sometimes I’ll stamp lyrics, and I’m always listening to music while I’m creating. Funny enough, I don’t know why, but I think that music definitely influences my jewelry much more than other times. There’s a certain flow when you work with jewelry, a lot of my pieces are very organic. I’ll take a block of silver and chop it down, put grooves in it, and it’s purely based on the music.
DM: - How did your perspective change coming from Lisbon back to the scene in New York?
PP: Lisbon was a huge inspiration, I’ve been around Europe a good bit, Lisbon is one of my favorite spaces. The energy, the shitty graffiti, the light, the architecture. Not all of the graffiti is shitty, by the way.
PP: Now Lisbon is a lot more popular. When I was out there it was less on the map. You’ve seen Paris, and Berlin, you know what the energy is like there. In New York, there are big things - there’s money, art, design, etc - in Lisbon, there’s just purity. It feels untainted. They enjoy their culture and way of life a lot. There’s an ease of life, that lets time pass as it does. I felt a lot of bliss there, and I was finding more natural materials, being more raw with my own work - using more stone. The thing that was important was that lack of urgency, and being able to find refinement in that.
That being said, that’s also the thing that’s more unique to New York. When you’re really trying to work and do shit, it takes a little more effort and there’s sort of a lag in Lisbon, the urgency isn’t there. In New York, the pace changes. You can have more new things, more quickly. Things are more refined, the inspiration isn’t so much eclectic, not much outside - people are the thing that inspires. The things they do, the idea of the city being the first point of contact, the place where shit hits first. The connections are endless. I love Brooklyn, I’m super into the skate scene, so I love that too. It’s New York, you know.
DM: Can you tell us what you’re currently working on that you’re excited about, or what you have coming up? What’s the long term vision?
PP: I have a Pink Essay show coming up - they’re sick, they’re two dudes, David and Matt, who started a visual library of different designers and chairs and furniture that bridges the gap between fashion, design and art, so we’re super aligned. It’s really sick to see what a lot of those artists are doing, it better verbalizes what I’m trying to create. I have a show with them on the 4th of November, so I’m working on a pretty funky chair. Other than that, just continuing to play with things. I have a moss collection that I’m finishing the last piece for - really just trying to get some more structure, and come out with series.
PP:The moss pieces are playing with elements, first with moss, then with the sky, then eventually going to play with the other elements. I have chair that’s inspired by rain. I have piece called Between A Rock and A Hard Place, it's a rock, a cushion, and the wall. I want to keep using plays on words. There’s still some Lisbon in me, just jumping idea from idea, so I’m trying to find more of that grounding and really come out with series and small bodies of work.
Phil Panza is a multidisciplinary artist working out of Brooklyn, New York, in furniture, jewelry and design. Follow his work on Instagram here.