Bruce Nauman, the acclaimed contemporary artist known for his boundary-pushing work, recently offered insight into his creative process and reflections on his artistic life. Speaking candidly, Nauman described his persistent drive to keep producing art, even when the ideas might initially seem unpromising.

Identifying himself as a studio artist, Nauman emphasizes the importance of the physical act of going to his studio daily, regardless of whether he creates something new or simply spends time reading or resting there. This routine, he explained, underpins his ongoing engagement with art. Early in life, Nauman played classical guitar and bass violin, often performing at colleges, dinner parties, and weddings, but acknowledged that unlike music, his art did not require intense practice—he simply did it.

In a demonstration during the interview, Nauman used two green fountain pens, tools he carries regularly. He regards these pens as serious instruments, rather than mere writing implements, noting that having such tools on hand serves as a reminder of his identity as an artist. He recounted a moment when, with his eyes closed, the pen stopped working because it was held incorrectly, an episode reflecting the unpredictability in the creative process.

Nauman also shared details behind elements from his past works, such as the catfish skull displayed on his table. The skull is a remnant from his project “One Hundred Fish Fountain,” which involved creating molds of whole fish procured directly from fishermen through a friend, Donald Young, who was tasked with securing intact specimens. The process, however, introduced certain logistical challenges, including managing the odor of the decaying fish on the property, which affected household dogs.

On the subject of his personal life, Nauman reflected on his marriage to fellow artist Susan Rothenberg, a painter whose working habits contrasted with his own. While he refrained from interrupting her studio time, Rothenberg occasionally sought his opinions on her work. Both were able to sense when an artwork was nearing completion or required further effort, yet neither found it easy to leave a piece unfinished. Nauman acknowledged this shared tendency to continue experimenting and revising, underscoring the persistent nature of artistic creation.

Overall, Nauman’s remarks illuminate the interplay between routine, tools, collaboration, and persistence that underpin his approach to making art, offering a window into the ongoing questions and challenges that fuel his practice.