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SARGON KHNU, is an interdisciplinary artist currently based in Berlin, whose ethnic origin is Assyrian, derived from the ancient indigenous Mesopotamians of Akkad and Sumer. He investigates how sexuality is portrayed in society and how it influences the formation of our self-perception and socio-cultural norms. His work provides a space for reflecting on sexual minorities and gender, as well as on the human body and its modification in society by using sculpture and objects in digital and physical embodiment as visual platforms In his artistic practice, the concept parallels that of a Drag Show, serving as a means of transcending societal constraints. It offers an avenue to adorn himself in the garb of his choosing and embody any desired identity, liberated from the confines of social norms.
Hi Sargon! It’s a pleasure to sit down with you! First question that I always ask. How does a regular day look like for you in Berlin?
Thank you for inviting me for this interview!
First thing in the morning, I prepare coffee while simultaneously cuddling my cat, and feeding him. After that, I head to my studio in Wedding, where I make another cup of coffee, and then either turn on my computer or engage in sculpting using a 3D printer, including processing and painting the sculptures. Depending on the project I’m working on, I break it down into three stages: the first involves responding to emails and handling logistics, the second is the development of concepts and ideas, and the third stage is where I actually create and work on the project. I also visit a gym studio to draw inspiration from the bodies and behaviours of gym people who have muscular physiques and take selfies in the locker room. It’s always a lot of fun and inspiration.
I’m curious. Growing up, what kind of kid were you? What did you enjoy doing and how did you spend your time?
Because I stuttered in my childhood, I chose hobbies where I didn’t have to speak much, and my actions spoke for me, a way to express myself and communicate with society. Due to my issue, I sort of distanced myself from a society that didn’t accept me.
Primarily, it involved creating and playing video games. By “creating,” I mean drawing, sculpting, and sewing! I crafted various objects and paintings from an early age, even staging mini fashion shows for my family, mixing different clothing found at home with created accessories and items – it was fun.
In video games, I was particularly inspired by how game levels were designed, the atmosphere, clothing, and characters. I also enjoyed playing MMORPGs in the early 2000s, where the social aspect was crucial. You interacted with other players, and there was this kind of virtual reality, immersed in an expansive, fantastic online world with other people. I could create my character, immerse myself in it, and play a bit of a role-playing game. But, it was another place to escape from society. But I can freely socialise and make friends there.
Going through that, stuttering, has it influenced your future work in any way?
I think it did have a significant impact on my ability to focus on a project and bring it to completion as I imagined it. It also helps me distance myself from a society that imposed certain standards on me. I would say that I still stutter occasionally, but not as severely as before, having overcome various fears and anxieties from my past. Yet, this is one of my traits that makes my personality whole. I believe everyone is beautiful just as they are; society, however, imposes certain norms, creating different complexes and concerns about how people look and what they do.
Do you remember how old you were and how you got introduced to the different graphic design programs? And which programs do you use now?
Around the age of 21, I was involved in creating various visual live performances for parties and raves. Essentially, almost every day or weekend, I worked in different clubs, executing live VJing with a controller. However, it wasn’t graphic design; the programs I used were Resolume and TouchDesigner. With these, you could take the audio output from a DJ or performer and connect various effects to respond to the music – it was a lot of fun. The club scene felt like a second home to me.
I created visual shows for artists such as Grimes, Scooter, A$AP Ferg, Inga Copeland, Slum Village, Baltra, and many others – I can’t recall all of them now.
As for the programs I currently use, it’s primarily Zbrush, Substance Painter, and occasionally the Adobe package with C4D. I became familiar with them around 2018 but started using them extensively in 2021. I always say that programs are just tools; it doesn’t matter which medium an artist uses. What’s more important is the concept and statement they embed in their works.
What made you gravitate towards 3D and digital art, and not something more traditionel like painting for example?
Well, I think it’s because of my background. Initially, I created visual performances on screens and projectors, and I enjoyed spending time with computers and technology. However, now two sides of me have found balance. I also attended sculpture courses at university and, in my childhood, crafted various handmade objects. Combining all these elements brings me joy at the moment.
Since I worked with clay, it was easier for me to understand how sculpting software on a computer functions. I essentially replicated the same stages we did at university. At that time, it was more cost-effective for me as a student, as I didn’t have to buy materials each time. Being a traditional artist can be quite expensive. Currently, I use a 3D printer to translate my digital objects into physical ones. Then comes the process of assembling them, deciding on coatings, and arranging their placement.
I’m learning a lot about new materials and techniques. It takes a significant amount of time because you have to wait for things to dry, bond, or complete a certain process. However, this process inspires me and helps me understand how to transform or connect things between traditional and digital art.
I know you just touched on this topic a little bit, but at some point you start working with physical sculptures, created in 3D. How did you get introduced to that? And how long has it taken you to get as good as you are now?
Thank you very much. I began creating physical sculptures from clay and plaster back in university, blending them with 3D renders and screens as installations in 2021. So, I had skills in working with materials and an understanding of how to bring it all together. I believe that’s why 3D printing came so naturally to me. I can spend a long time with a material and an object, which greatly stimulates and immerses me in another reality, especially when I see my works in physical form.
I conducted my first 3D printing tests exactly a year ago, at the beginning of 2023. I’ve always wanted to translate what I do on the computer into physical objects, essentially bringing my created world into our reality and giving the viewer a piece of me to observe their reactions. My first creation was 3D-printed glasses, and many people immediately expressed interest in purchasing them. Although I’m still in the development and production stage, I do plan to create a limited collection based on the positive response. Inspired by this, I continued experimenting with my characters and materials on top of the prints. I conducted extensive research and continue to explore various experiments.
Afterward, I was invited to participate in exhibitions with other Berlin artists at the Untitled gallery in Berlin. Around the same time, I was assisting in creating a bag for Ottolinger for Paris Fashion Week. Everything happened so quickly, and the efficient coordination of a great team inspired me. I decided that, in a similarly short timeframe (less than two weeks), I could create a large sculpture for the exhibition. During this period, I worked non-stop in the studio, combining different parts of the prints and learning from small mistakes about how various materials work and react to different post-processing substances.
Where does the inspiration for the various characters and creatures you create come from? And who are they?
I draw a significant portion of my inspiration from society, various social groups, and nature with mythology. My characters are like a blend of different social groups, sexual minorities, and people’s perceptions of them. They also have philosophical reflections on questions about sexuality, stereotypes, and societal norms. However, it can be anything; I don’t confine my inspiration within specific boundaries.
In one of your previous interviews you describe your art as a drag show. Can you tell me more about that? And why are homosexuality, philosophy and mythology topics that are important for you to document?
Certainly, a Drag show is like a Ballroom or any other activity that gives you the freedom to transform for a while and showcase yourself as you truly are or how you want to present yourself, without any alienation and in a safe space. Where you will be accepted as you are. For me, my art is also a safe space where I can express and transform as I wish, not just performative but more visually. It’s like in online games when you create a character and sort of transform yourself, but there are constraints of certain genders and norms that I don’t particularly like. Because of this, I create my own realm and show.
These topics are important to me because, in my art, I also conduct research and immerse myself, doing so openly. I feel that many people consider these aspects their weaknesses, but I believe they are actually strong facets of one’s personality. I still see in the news and social media that in different countries, issues like homosexuality are still prohibited, and you could end up in prison or even be killed because of it. I think it’s crucial to talk about and depict these matters in various spheres and contexts, so that people don’t perceive them as weaknesses but rather strengths! As I work visually and conceptually, I incorporate these themes into my works. It’s very important to me that people aren’t afraid to show themselves in the metaverse or reality. Sexuality or how you look shouldn’t be something illegal.
Can you walk me through your creative process. From beginning, to end result?
It varies, but for instance, I come across a topic or read something that resonates with me, no matter where – it could be a random occurrence on the street or in a store. I start delving into it, looking for synonyms and contexts, and then I create the visual part based on fashion and slightly erotic photographs or even people’s selfies. However, this is just one example. Sometimes an idea lingers in my mind for several months, and it’s only after a certain period that I find the time to bring it to life.
What motivates you?
The audience’s response is highly motivating for me, as well as my context and the dialogue with the audience through my creativity.
How would you describe a perfect day?
If today I were to remove everything I currently have, I would say that yesterday was my perfect day.
Any future projects coming up?
Yes, I work with a fashion label, and I also have a significant project for a gallery. Hopefully, I’ll show it to you soon; currently, it’s in the final stages, involving a lot of paperwork and organisation.
Alright Sargon. I always ask these two questions at the end of an interview. The first is. What’s your favorite movie(s) and why?
These are films by Wong Kar Wai, especially “Happy Together,” and by Peter Jackson, “The Lord of the Rings.” I feel that these are movies I can watch anytime and immerse myself in the characters, story, and atmosphere created by cinematography.
The second is. What song(s) are you currently listening to the most right now?
That’s the “Warcraft 3 Frozen Throne Soundtrack – Undead Theme”