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Posts Tagged "interviews"

10 Questions with Matthew Woodson.

Matthew Woodson’s work showcases a technical ability for drawing scarcely seen while also maintaining a consistent level of beauty to the work that propels it to the realms beyond normal creative output. I recently jumped at the chance to ask Matthew some questions about his work and life, what Matthew replied with displays the thoughts of an intriguing individual whose point of views are one of a kind, just like his art.  Check out the Q&A with Matthew below and check out more of his art:

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Sam Wolfe Connelly Interview & Preview.
Artist Sam Wolfe Connelly has a solo show, “Nocturne,” opening this Friday, February 8th at Roq La Rue Gallery in Seattle, Washington.  Sam lives and works in New York City where he moved to recently after graduating from Savannah College of Art and Design in Georgia.  He grew up in Virginia.  I sat down with him to ask a few questions which you can check out below as well as get an exclusive sneak peak of some of the pieces in the show:
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Your show next week at Roq La Rue, how many pieces are you showing and how long did you work on them?
Nocturne will feature 13 new pieces I made over the past eight months, with 8 drawings and 5 paintings.

Where do you think the dark side of your art comes from?
Well particularly for Nocturne, I based all the pieces off of my sleeplessness the past few years. It’s something that’s had a large effect on my life, and in fact all 13 pieces were made after dark. My brain gets so wired at night and it’s pretty hellish to be laying in your bed for hours gazing at the ceiling just wishing you could shut off or be somewhere else. I really wanted to capture that kind of agony in my work for the show. In general I’m much more drawn to sadder emotions because they always seem to be the ones that resonate the most and reveal a much deeper relation between what I’m feeling and what the viewer might be feeling. But that’s not to say that all my art has the intention of being something terrible. I think that the interpretation “joy” always seem so simple and static, but with a scene that might seem “dark” there are so many more levels of interpretation that other people can walk away with. I’m not here to tell people what to feel, only to build some sort of emotional bond with an image based on what I know in my life.
Describe your use of colors and why you choose the tones that you do.
I always find my eye to be attracted to warmer palettes when it comes to coloring my images. It seems like my pieces aren’t whole unless they have a warm tone in them. I really love the look of paper or canvas yellowed from age, so I think a lot of my pieces are trying to capture that fermenting quality of the medium. No matter what though, black and white is probably my favorite to work in. It just feels more right than anything else in the world and there are plenty of days I just wish color didn’t even exist.

Do you use photographs for reference?
Most of my drawings are a mix of photo reference and improvisation. Pretty much all of the photos I take are from my crappy camera phone, which helps to keep me from getting too obsessed with how close the fine details are to the actual thing. A lot of the time I’ll shoot reference of a subject I need for a drawing without planning out the lighting and then do the illumination of it from my head as I go. Taking liberty with the shading helps keep things a little more interesting.
Do you consider yourself an illustrator completely or would you argue that illustration is just as high brow as fine art?
I usually think of the “brows” of art, that they should be used when classifying the market side of things rather than labeling the art itself. To me whenever you begin to categorize art like that, it feels like it totally limits what the piece actually is and what it’s expected to be. So first and foremost I usually just see myself as an artist rather than an illustrator or fine artist. I really like elements of both illustration and fine art, but have always seen my art ending up in the gallery world. I’ve been told a bunch to never say that publicly if I want to continue getting illustration gigs with art directors, but fuck it. Whatever art director isn’t willing to hire someone based on the fact that they want the best of both worlds isn’t worth working with.

Should there be any walls between the different art genres now that the Internet is making art so accessible?
I think when walls are publicly built between art genres, whether it be in the gallery scene or publishing, creativity just falls flat on it’s face. There are endless examples of where you can see artistic segregation in the community and how it negatively effects its reach of audience because people in charge of what’s deemed appropriate for that category of art are too damn stubborn to look at something new for once. I don’t necessarily think that all art, especially with the internets extreme fascination with pop culture, could or even should exist on the same level. I do however think that when it comes to personal taste, individuals are the ones who have the right to think what they want. The only damaging issue arises once they begin to voice that opinion as fact, which is true with nearly anything.
 What the hardest part of illustration and what is the easiest? Is there any middle ground?
Hardest part would probably be dealing with clients who don’t know what they want and give you a run around when it comes to deciding what the final image is supposed to look like. Illustration seems to be only as hard as the person you’re trying to work with. Some gigs you and the art director are on the same level and it just flows into something great. On the other hand, I’d say the easiest part of illustration is the fact that you do have a set goal to accomplish. Someone tells you what they need for a job and you do just that. Whenever I do personal work, the goal seems so much more indistinct and blurred, like I never really know what I’m trying to say until I’ve actually said it with my finished work. Illustration gives me a break from that pressure and lets me focus on problem solving when there is a definite solution.

Do you plan on doing any really large pieces? I’d love to see your work up as a mural somewhere.
I’m working my way into oil painting and slowly I’m beginning to see the sizes of my pieces get larger. I definitely plan on working bigger for any future shows, but it does become a little taxing to live in an environment that hinders what I can produce. My room in my Brooklyn apartment (which currently doubles as my studio) is only 10 square feet, with no windows on the walls. Needless to say the space, or lack there of, really keeps me from being able to work much bigger than I do currently. But you gotta work with what you have and build from there.
What are some websites you love and some of your favorite artists?
I gotta say that Tumblr is where I pretty much find all my internet inspiration. Being able to filter my own feed of photos from my favorite blogs has been so, so useful when I’m looking for ideas and making mini mood-boards for new drawings. I’ve got a giant folder on my desktop filled with my favorite photos/images that I dig through whenever I’m starting a project. Other than that I really dont keep too close of an eye on any art sites or blogs. Well, other than supersonic that is! *WINK* Some of my favorite artists currently are Lu Cong, Jenny Morgan, Sophie Jodoin, and Oliver De Sagazan.

The first time we talked you had two pet rats, do you still have them? Still into Pokemon?
No, they’ve actually both died since then Zach, so thanks for bringing that up. BUT, back in October I actually got a new rat who’s name is Coffin and he’s the absolute best. I’d safely say he’s the subject of the majority of my instagram photos. And sadly I haven’t had much time for videogames lately. There will always be a place in my heart for pokemon though. I’m still holding out on my dream of illustrating a card.
What’s your favorite food?
I’d definitely have to go with Udon.

Sam Wolfe Connelly: Tumblr | Website | Twitter | Facebook
Roq La Rue Gallery

Sam Wolfe Connelly Interview & Preview.

Artist Sam Wolfe Connelly has a solo show, “Nocturne,” opening this Friday, February 8th at Roq La Rue Gallery in Seattle, Washington.  Sam lives and works in New York City where he moved to recently after graduating from Savannah College of Art and Design in Georgia.  He grew up in Virginia.  I sat down with him to ask a few questions which you can check out below as well as get an exclusive sneak peak of some of the pieces in the show:

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Sticker Give Away! (And Interview With Me)

The rad dudes who make the best vinyl, silkscreen stickers around, Sticker Robot, took some time to ask me some questions about art and stickers.  AND THEY’RE GIVING STICKERS AWAY:

Through the blog, Zach aims to chronicle both digital and analog forms of contemporary art, painting, sculpture, illustration, photography and believe it or not, Stickers… So let’s get down to it and ask Mr. Supersonic Electronic some questions… Oh and make sure to leave a comment below! We will pick 3 random names and send them an envelope of awesome silkscreen stickers from our sticker archives!

So if you want some stickers check out the interview and leave a comment OR REBLOG this post for your chance to win.  Sticker Robot will choose the winners soon.

Check out the interview here and be sure and follow Sticker Robot’s Tumblr.  

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The Supersonic Interview: Tom Bagshaw
Tom Bagshaw’s paintings (They’re digital but they’re still paintings) bring forth images of the recondite space just beyond that eerie threshold in the distance.  Most times the step into this world, Tom’s world, conjures haunted visions of elegant, bewitching females in the midst of their own magic.  These witch’s strengths are not elusive and grasp the viewers attention tightly while casting their spell.  And you think, somewhere in the back of your mind, that you don’t mind being enchanted by such beautiful things.  That, perhaps, this is what you mostly wanted.
I recently had the chance to ask Tom ten short questions during a break from his extremely busy schedule (Which includes the 2nd Annual Supersonic Electronic Invitational).  Check them out and look at more of Tom’s work below:
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SE: Your work is completely digital, but has it always been this way?  Was your early work as haunting as your current work?
Tom: I’ve worked digitally for the last ten years or so, but before that I used traditional materials like acrylic, some oils, airbrushing… Pretty much anything I could get my hands on. But it’s only been the last couple of years where I’ve been doing exhibitions that I’ve been able to pursue my own work. Pretty much everything before then has been illustration based and not really what I’ve “wanted” to be doing.
SE:  What were you influenced by as a child?
Tom: Primarily by comics. My favorite was 2000AD and I would often spend ages studying the artwork of Carlos Ezquerra, Fabry and Dave Gibbons. This was back in the day before they had gone over to a larger format comic and went full color. At the same time I also had a lot of interest in art history and specifically figurative works - as a family we had a few art books lying around - my father had been a commercial artist in his twenties. That juxtaposition of weird ass stories, artwork and Baroque, Neoclassical styles really had a prolonged influence.

SE: Your Tumblrs name is “Carbon Cradle.”  What is the significance of this name?
Tom: Carbon Cradle is really a repository of artwork that I find online and not only can share with others but also come back to for myself as a place of inspiration. I blog/repost images that I feel a connection with. The name was only loosely based on the most basic mark making tools and a place to hold those images.

SE:  How do you feel social websites and apps such as Tumblr and Instagram are influencing art?
Tom: I dont know if it’s influencing art (and if it is, I have no idea how its affecting people) but platforms like Instagram and Tumblr certainly get more art out there and in front of a wider audience. The internet makes everything more accessible, obviously sometimes thats not a good thing but in the case of art and, specifically, helping artists to get their work seen it’s a great help.

SE:  What’s the most frustrating part of doing art work?
Tom: For me, personally, it’s always going to be the idea that digital art is inferior to traditional art work. Views are slowly changing and it’s being accepted little by little, but in terms of a collectors market and the gallery scene or what ever you want to call it, there’s still a lot of bias and misunderstanding about digital work.

SE:  The women you paint are strong and cunning, is there a certain reason you feature women more so than men?
Tom: Not really a conscious decision, I just prefer to paint women. But, you’re right. Even though I focus on female portraits / figurative work I’m far more interested in conveying a sense of strength, deviousness, cunning etc., rather than a frail damsel in distress!

SE:  Who are some of the artists that influence you the most?
Tom: I really don’t know what to say here as I’m inspired by so many artists, you can have a look at my inspiration Tumblr for examples!

SE:  What is a book we should read?
Tom: Two books that everyone should read are both by James Gurney: Imaginative Realism and Color and Light. Wonderful stuff, always make time to learn more or brush up on things forgotten!

SE: What are some words of wisdom for aspiring artists?
Tom: Keep working, develop your own voice and style, don’t try emulating others.

Be sure and follow Tom on Tumblr.  Check out his Twitter and Facebook, too.
See more of Tom’s artwork on Supersonic Electronic.  See more Interviews on Supersonic Electronic.

The Supersonic Interview: Tom Bagshaw

Tom Bagshaw’s paintings (They’re digital but they’re still paintings) bring forth images of the recondite space just beyond that eerie threshold in the distance.  Most times the step into this world, Tom’s world, conjures haunted visions of elegant, bewitching females in the midst of their own magic.  These witch’s strengths are not elusive and grasp the viewers attention tightly while casting their spell.  And you think, somewhere in the back of your mind, that you don’t mind being enchanted by such beautiful things.  That, perhaps, this is what you mostly wanted.

I recently had the chance to ask Tom ten short questions during a break from his extremely busy schedule (Which includes the 2nd Annual Supersonic Electronic Invitational).  Check them out and look at more of Tom’s work below:

SEE MORE

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The Supersonic Interview: ONEQ

The work of ONEQ, a completely self-taught Japanese illustrator, is an example of what effect influences from all places - gathered from growing up in such a pop culture and image laden era - can have on a complex, artistic mind.

Such an idea covers all the artist’s work I post on Supersonic Electronic, but ONEQ’s work is a rather unique example of this “electronic” age (the last twenty years assimilation of pop culture and unlimited aesthetics available from the world wide web) of art in that her work remains strongly Japanese.

Ability to simplify defines understanding a subject completely and (perhaps subconsciously) ONEQ does just that. Her art is a phenomenon of simply beautiful pop born from her obsession with Manga and American illustrators (One American illustrator ONEQ mentions is Simon Bisley, who no doubt influences the erotic nature of her drawings) with themes derived from her life growing up in a coastal Japanese city.

Over the course of a month and with thanks to a very helpful translator, ONEQ and I spoke about her life, these influences and her obsession with driving.

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