Mark Dineen
Dineen was mostly raised in the agricultural communities of northern Illinois. As the son of a carpenter, craft and construction have long been at the front of his mind. Working in the fields, factories, and construction sites of the Midwest greatly inform his perspective on art and design today.
His studio practice explores the plural nature of our material vernacular and its cross sections with craft, manufacturing, domesticity, and landscape. The form of his work varies to include furniture, drawing, painting, sculpture and land art. His work has been exhibited nationally and internationally for over a decade.
Dineen is currently an Associate Professor of Sculpture and the Foundations Co-Coordinator in the Department of Art and Art History at Colorado State University in Fort Collins, CO.
Q&A with Mark Dineen
Where did you grow up? How did it influence you?
I grew up in a rural part of Northern Illinois. Corn Country. As the son of a carpenter, things like craft and construction have always been at the front of my mind. I've worked in fields, in factories, and on construction sites where I was always fascinated by the shared output of industrialization and manual labor. Today I most enjoy trying to collapse, or jump between, the worlds of mass production and craft practices.
What’s the most prized object you own? Why?
My grandfather's pocket knife. Sappy, I admit, but we spent a lot of time working together when I was young and I never saw him without that tool. It was not a special or nice knife and he continuously filed it down by hand to keep it sharp, so it's pretty wonky now, but that wonkiness is the story. The story is what makes it special to me.
In a world overflowing with objects, why continue making new things?
Because (good) objects aren't just things, they are important questions. Making things isn’t only about utility; it’s how people explore ideas, test values, and express meaning. An object can be an argument, an observation, a celebration, an inquiry, or a protest in material form.
What design movement, current or historic, do you think is the most overrated and why?
C'mon... they're all a bit overdone and oversimplified, right? I guess these "movements" are how we understand the past and ultimately the now, which is probably comforting to many people, but I just don't really care very much. I will say, if someone is concerned with what movement they are a part of now they are trying too hard. Just make something and make it for yourself. Ok, ok, but if you really twist my arm, I'll say Minimalism is overrated. Not because it isn't important or interesting, but because it's been hijacked by marketing and so aggressively gutted for efficiency in mass consumption I think most people don't even understand its core principles, which actually bring a lot of value to our lives.
What’s your favorite material to work with and why?
Wood. It smells great, looks amazing, it's warm to the touch, and working with it feels like a collaboration with the tree. I also appreciate how this humble material that predates history is still immensely relevant today.
If you designed a chair describing your relationship with your father, what would it look like?
It would look pretty uncomfortable, painful even, but would be the first place you go when you just need to sit down. Do I get to do one for my mother? Her chair would ruthlessly roast me in front of my friends and then go make everyone lunch.
Tell us about something that inspires you.
I'm generally very interested in learning. I'm always trying to solve a problem, test my limits, or just try something new. I guess the unknown is what drives me back to the studio day after day.
What would you do differently if you started your practice today?
I don't really think about the past like that.
Any advice for young designers?
Work hard, have fun, and be nice. The rest is out of your hands.
Any regrets?
None.
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