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| 1.. How long have
you been working with mixed media?
The work on Pieceofshow started with the Masterbastards
portfolio. The first pieces in that set - Making Soup, Retreat
and Boxers - were done in 2000. I had been experimenting
with mixed media for a couple of years before then though.
In 2000, things started to click.
2. What materials do you primarily use?
My materials consist mainly of acrylic paints, gel mediums,
ink, various types of paper, tape, glues, and a couple of
common industrial chemicals (my secret sauces). Some of
the effects I can achieve with these materials aren't really
conducive to conventional illustration - they feel arbitrary
and flashy. I'd like to expand on what I've been doing,
but it'll have to wait for another time.
3. I've read that fire has become a re-occurring tool
used within your work?
To a degree, yes. Some of the tapes and chemicals I use
do strange things when they're heated. Matches have become
almost like a painting tool for me. I like the controlled
randomness I can get with fire - the effect is something
unlike anything I could achieve otherwise.
4. Please describe the concept and design process behind
each of the following projects:
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Imperium II
Imperium II came as last-minute flipside to Imperium I. The
shadow of the protester is meant to imply powerlessness or
insignificance - it's a generic, cut out shape with no features,
details, arms. It's meant to contrast the tension, anger and
presence of the figure to which it's attached. |
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Empire VI
Empire VI was a leftover concept from my first Harper's series.
After doing the portrait of Bush with the military gear, pistol,
and target dummy, I decided to see this one through to a final
state. I prefer it's subtlety to the immediacy of Empire III.
Strangely, it seems that people are interpreting Empire VI
as both an endorsement and an indictment of the man. |
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A-1 . 2
A-1 . 2 and the whole Noh portfolio served as a demo for the
approach I wanted to take in visualizing the author's story.
I began each piece by collaging my own pencil and ink drawings
with fragments of existing photography, which I then proceeded
to paint, painstakingly, with acrylics. The idea was to retain
the spirit of the photographic elements/collage, but let the
piece evolve into something new and of itself. The photography
was a convenient starting point, but the painting allowed
the fragments to gel, and, more importantly, it allowed me
to shape the mood with colour, a lighting scheme, focus, etc..
After the paintings were completed, I scanned and cleaned
them digitally (to brighten the whites, sharpen the edges). |
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My Cigarette
My Cigarette was never intended to be a complete piece. It
was an experiment done towards the beginning to see how I
might be able to bring facial elements into the ink style
- before this, I'd only used teeth. There was no concept.
I just took a pencil drawing I had done of Jean Paul Belmondo,
photocopied it, and then spliced it with a separate ink drawing.
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5. When you start a new
project do you begin with a final image in mind or do you create
and develop an environment and
characters as you progress?
It varies according to the type of work being done. With commissions,
I have less of an opportunity to experiment - the final needs
to stay close to the initial sketch. With my own work, I follow
a similar working path, but I allow the piece to evolve and change
- it's more exciting for me to discover a concept or look as it's
being formed.
6. How would you describe the Toronto art&design scene?
Has Canadian culture influenced your work?
I don't see the Toronto scene as being that different from any
other. There are plenty of disparate voices, some communicating
well, some not. Perhaps my impression of it is just underdeveloped
- I tend to be affected more by the content and quality of work,
rather than it's geographical origin.
Canadian culture hasn't influenced my work directly, but the
perspective I'm afforded as a Canadian does shape the content
and spirit of what I do.
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| 7. Have you been given
creative freedom within your client work?
Yes, fortunately I have - with two or three exceptions.
8. What advice would you lend to students of art & illustration
who are looking to break into the world of commissioned work?
I'm not really at the point yet where I can offer worthwhile
advice. However, I do think honesty is important - with oneself,
with the quality of one's work, with one's career ambitions. It's
heartening to receive compliments, but an exacting, un-biased
critism is almost doubly helpful. Finding a source for that kind
of truth is very important.
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| 9. What was the last great
movie you have seen? what was the last great book you have read?
I can recommend three films -The Battle Of Algiers, The Fog Of
War and Spring, Summer, Fall, Winter…and Spring.
One of the books I'm reading now is an older favourite - Murakami
Haruki's The Wind-Up Bird Chronicles.
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