May 2021
S
M
T
W
T
F
S
02
03
04
05
06
May 2021
S
M
T
W
T
F
S
02
03
04
05
06
Describe what you do creatively.
I work in most 2D visual art mediums, usually painting, drawing and digital art.
Do you identify as an artist, illustrator, designer or something else?
Artist and curator.
Do you stick to a defined stylistic direction in your work?
The stylistic direction in my practice is usually informed by the research and reference materials collected. Usually, the works are constructed from multiple reference photos whether they be historical documentation or recently sourced.
If so, describe that direction and what led to that decision.
My early work was very illustrative. I was fairly obsessed with getting my drawing technique to an acceptable level. While at uni, I began exploring etchings and was exposed to photographic etching techniques. I began mimicking this process on a larger scale through projection and charcoal drawings. I began playing with multiple images from the projector, which gave more control over the narratives in the work. Post-uni, I have started working with Richard Bell as an artist assistant. This has given me confidence to increase the size and complexity of my works.
What colours and/or shapes excite you?
Orange and blue – at uni I realised I avoided this combination, so I challenged myself to learn how to combine these colours in a way that I enjoyed. I now seem to return to these two in most works when I am looking for an answer to a visual problem.
Limited Pallets – more so than specific colours, I enjoy creating limited pallets from specific locations that add to the intent or research of a work. For example, I used colours found in the local rocks to create a work talking about a historical event that happen on the site.
I work in most 2D visual art mediums, usually painting, drawing and digital art.
Do you identify as an artist, illustrator, designer or something else?
Artist and curator.
Do you stick to a defined stylistic direction in your work?
The stylistic direction in my practice is usually informed by the research and reference materials collected. Usually, the works are constructed from multiple reference photos whether they be historical documentation or recently sourced.
If so, describe that direction and what led to that decision.
My early work was very illustrative. I was fairly obsessed with getting my drawing technique to an acceptable level. While at uni, I began exploring etchings and was exposed to photographic etching techniques. I began mimicking this process on a larger scale through projection and charcoal drawings. I began playing with multiple images from the projector, which gave more control over the narratives in the work. Post-uni, I have started working with Richard Bell as an artist assistant. This has given me confidence to increase the size and complexity of my works.
What colours and/or shapes excite you?
Orange and blue – at uni I realised I avoided this combination, so I challenged myself to learn how to combine these colours in a way that I enjoyed. I now seem to return to these two in most works when I am looking for an answer to a visual problem.
Limited Pallets – more so than specific colours, I enjoy creating limited pallets from specific locations that add to the intent or research of a work. For example, I used colours found in the local rocks to create a work talking about a historical event that happen on the site.
What is your relationship with chaos?
The processes of reclamation and recontextualization of culture and history is one where you are navigating multitudes of chaos to create something structured.
Do you take risks or play it safe?
I think that the content I work can be interpreted in a number of ways and controlling these interpretations is important. The process that I usually work in, creating digital collages of multiple references to construct an image and present a specific perspective or narrative – is one that is based in an ordered or structured process.
Saying that, as I progress in my practice I have started to enjoy incorporating increasing abstraction within these works.
What discourages you from being creative?
The cultural content that I often work with can be mentally draining. This often leads me to periods of recovery and rest from creating.
What are you expecting from the RMXTV experience?
Some fun! I think it will be exciting to challenge my practice and see how robust it is when put into new circumstances.
The processes of reclamation and recontextualization of culture and history is one where you are navigating multitudes of chaos to create something structured.
Do you take risks or play it safe?
I think that the content I work can be interpreted in a number of ways and controlling these interpretations is important. The process that I usually work in, creating digital collages of multiple references to construct an image and present a specific perspective or narrative – is one that is based in an ordered or structured process.
Saying that, as I progress in my practice I have started to enjoy incorporating increasing abstraction within these works.
What discourages you from being creative?
The cultural content that I often work with can be mentally draining. This often leads me to periods of recovery and rest from creating.
What are you expecting from the RMXTV experience?
Some fun! I think it will be exciting to challenge my practice and see how robust it is when put into new circumstances.