MaricorMaricar cover graphic design, illustration and animation. Quite a wide variety of skill sets. Do you both have such versatility or do you each specialise in certain areas?
We’re both versatile and have experience in design, illustration and animation. Depending on the project one of us will take the lead in one aspect according to what what sort of approach we need to take. Since we have similar styles we tag team projects if one of us needs a break.

What work have you been up to lately?
We’ve just finished an animated video clip for the band Murder by Death, the song is called ‘White Noise’. The band approached us after seeing one of our animations on YouTube. Sarah Balliet (the band’s cellist) had written up a video treatment about a lone character stranded at sea surrounded by mysterious creatures and asked if we’d be interested in creating an animation around it.

We are also working on some self initiated projects, another animation this time using miniature sets that we’ll be shooting stop motion in. Our animations before have usually involved a lot of computer work, for this project we want to shoot the animation totally in camera. We’re co-directing with Michael Blanche and have rigged up a special camera set-up using a digital SLR shooting through the viewfinder of an old medium format camera to get some nice effects without having to rely on computer plug ins. We’re shooting at the moment and have learnt that maybe using a digital projector as our main light source was probably not the easiest way to do things. We’re learning a lot and enjoying it, and will definitely be creating more stop motion animations in the future.

On the illustration side of things we’ve both become obsessed with patterns (and trying to see who can draw the tiniest lines). Our new work is based on intricate patterning inspired by traditional embroidery and textiles.

How would you describe your own work?
Our work is textured, patterned and sometimes a bit whimsical.

How did you first get into designing?
In high school we both loved art class and were introduced to Photoshop and digital art. When it came to deciding what university course to apply for design seemed like the perfect fit for what we liked to do so we ended up both studying Visual Communications at the University of Technology in Sydney. After graduating we worked a few jobs in different companies before both starting work at Mathematics in 2007.

How do you find your clients, do they come to you?
We were lucky to work in a great studio that had interesting and varied clients. We left Mathematics at the end of last year but still do some freelance work for them. We’ve also found that posting our work up on online portfolio sites has helped promote us and we’ve had opportunities lead to other contacts and so forth.

Do you have a favourite artist, or artists?
Our list is long but a few that stand out are Peter Callesen and his paper art, Levi Van Veluw’s landscape portraits, Walter Martin and Paloma Muñoz and their fantastical snow globes, Marc Craste’s animations for Studio AKA, the Blackheart Gang, Pes films and Henri de Toulouse-Lautrec, and Japanese woodblock printers Hiroshige and Utamaro.

What are you reading/watching/listening to/browsing at the moment?
We’ve nearly finished watching the entire series of Battlestar Galactica, we have a habit of watching shows after they’ve finished. We like browsing through sites like yours that give an insight into other people’s creative processes and My Love For You is a Stampede of Horses, an art blog curated by Meighan O’Toole, as well as sites like Synaptic Stimuli and But Does it Float. At the moment we’re listening to old music like the Beatles, Bo Diddley and Paul Simon, a mellow soundtrack for a project that is a bit hectic at the moment.

What can we expect to see from you in the future?
We’ll be animating and illustrating, making patterns and creating creatures. We’re trying to pursue a balance between illustration and animation.

Where do you find inspiration?
We like to get away from the computer whenever we can and see some exhibitions or browse through books and catch some music shows. Traditional crafts and textiles have become our latest obsession and source of inspiration.

What advice would you have to younger designers entering the industry?
Keep experimenting and exposing yourself to inspirations outside of design. Also to be persistent and not get discouraged if you don’t get the response you want the first time round.

Links:
www.maricormaricar.com
www.maricormaricar.blogspot.com

Global Village Africa, Eskimo Joe ‘Inshalla’ artwork, Architecture in Helsinki “Like it or Not” music video and The Presets poster created whilst at Mathematics.

What have you been up to lately?
Over the past months, I have been exploring the process of wet plate collodion photography.

Late last year, I decided to take a more organic approach to my personal work.   I wanted to step away from the over-thinking, over-retouched photographic world we live in.  It started with my “Life Aquatic” series. This is a series of various water creatures photographed in their own environment, just beautifully lit, no tricks, no retouching. It is what it is.  To this point, I was chatting with a good friend in the US that I worked with 20 years ago.  He had started doing wet plate a few years ago.  He had been bugging me to have a go. Upon exploring the process, I knew it would fit perfectly into my new direction; you can’t get more basic or organic.

What are some of the challenges of the technique?
Nerves.  Remember the feeling years ago when shooting with film and not knowing whether you had the shot or not until the film was processed?  We have gotten so used to clicking, looking at the screen and bingo, you know you’ve got the shot.  With wet plate, there are so many variables and steps.  Learning just the basics is a challenge, from flowing the collodion solution on the glass plate, handling the plate in the silver bath, getting the plate into the film holder and not to mention all the chemical mixing.  I have found through all the learning that nothing can be rushed.

How did you first get into photography?
I was given a camera as a graduation present in year twelve and bought my first darkroom for $50.  Away I went!

What are you reading/watching/listening to/browsing at the moment?
I am reading the history and conservation of glass supported photography – a bit of light reading. I’m listening to a local band called Uncle Jed and browsing eBay and the net for late 1800’s camera bits.

What can we expect to see from you in the future?
I’m in the process of setting up to do tin-type photographs.  I have sourced the tin and now learning how to Japan the tin before I can pour some plates.  I’m also on the look-out for more creatures to build on my underwater series.

(NOTE: I didn’t know what “japanning” was,…Chuck’s explanation: Japanning is what they call it when you coat the tin with a black asphaltum mixture.  This mixture is applied an then baked on to the tin.  They also use to coat the back of clear glass plates to make them positives before the invention of black glass.)

What advice would you have to younger photographers entering the industry?
Shoot, shoot, shoot for the passion and love of it.  The money is secondary!

Links:
chuckbradley.com.au

Hey Patrick, Can you start by telling us a little about your background, Have you always known you wanted to be an illustrator?
First of all thanks for having this opportunity it’s really great! Well I’ve always been into drawing, I think it’s in my blood haha! I started when I was 5 years old, I’d draw really cartoon like characters. As I grew older I improved, mainly from motivation from friends who’d admire my work. Then in my teenage years I got into video games, that’s where all my inspiration came from.. I’d draw everything I loved about games or movies! I’ve never actually studied illustration but I did study Graphic Design, I’d use the computers after hours to do practice ‘digital art’ then improved from there.

How would you describe your own work?
I’m not really sure how to describe it, some people say it looks complex and sharp but there’s actually not too much too it! I think the secret behind my art is my Graphics Tablet, I couldn’t do anything without it!

What have you been working on lately?
Lately I’ve been working on a small comic, it’s one page but really deep! I created it for web viewing, all you need to do is scroll down. The comic is based on Grand Theft Auto IV’s online multiplayer, I’ve made a huge action scene showing actual gamers. I kind of had a little competition for people who play online, for who would play a part in the comic. I’m actually about to post it up soon. (UPDATE: link to comic)

We see your passion in Illustration is based in the Video Game and Action films genres. Has your work led to commissioned work in these genres?
yep that’s what I’m all about, actually doing this type of art has given me a few GREAT opportunities, I’ve been featured in about 5 gamer magazines, been featured on Rockstar Games’ Twitter page, even managed to have some hi-res versions of my art pinned up in Rockstar Games’ offices!

Is there any particular piece you’ve done that stands out as a favorite?
Yeah I have got a few pieces that mean alot to me, I love my GTA IV TRIBUTE, I really enjoyed making that, and same with the GTA LEGENDS pieces.

What are the tools you use and the work process behind what you do? are you 100% digital or is there paper involved?
Oh hell yeah, there’s definitely some old school stuff involved haha, I start by drawing the whole image on paper first, then I scan it into Photoshop CS3 and start digitizing it.. Here’s a rough process:
- I start by scanning in the sketch
- Then making a new layer for outlines
- I use my graphics tablet to carefully make outlines
- Then comes the flat colours, I make them by selecting areas and filling them with a solid colour
- Then I darken a section of colour by -40% and grab it, then go back a step and start darkening the selection with a soft brush
- Then I do a similar thing with the lighting, my trick is to make soft shadows then go over again with sharp shadows (same with lighting)
- Then comes all the final details and effects

What would be your your dream assignment?
My dream assignment would be to work with Rockstar Games on a title of GTA!

You’re currently working out of Tasmania, How does community sites such as deviant Art assist artists in supporting and promoting their work?
Great question! DeviantART has actually made my art what it is today, when I first discovered DA and made an account I was so excited to post art up, then when I started making fans it really pushed me to do more, My art improved 20x more from being a DA member, it gave me a great reason to make more art! I thank all the people and fans that supported me, they helped me lash out haha!

Any tips for Artists wanting to get exposure online?
Definitely get onto DeviantART, and draw alot.. Great business opportunities come from DA, You’ll improve on every picture you draw!

What can we expect to see from you in the future? Where would you like to be with your illustration 5 and 10 years from now?
For now I’m going to continue making fan-art for all the latest games or movies, but I’m also thinking of making some more original art, something really out there! In 5-10 years from now I hope to be working in concept art for games or even cover art! My dream is to make a living of what I love the most!

Which designers, artists or creative people are you inspired by?
I’m greatly inspired by Humberto Ramos, I really love his style, BIG inspiration, but I’ve always been inspired the most by my best mates! They’re artists just like me and we always used to laze about and draw crap haha, ah good times!

Links:
DeviantArt – Patrick Brown

Hi Rhys, Could you tell us about your illustrating background?
I was one of those kids who was always drawing. On book covers, my school bag, things like that. Then around 14 I got really into comics and started emulating the styles and linework in those and over the years it evolved into my own style. It’s constantly changing. One day I’ll be happy with it.

You’ve become well known for the rock posters that you do. How did you get started doing that type of work and what keeps you interested?
It was a chance meeting with John Harris from Beyond The Pale Posters at a Queens of the Stone Age show that got me started. We kept in touch and I started designing tour dairy covers for QOSTA who along with John have always been a great support. As for staying interested it isn’t too hard. My peers in the gig poster community (which is mainly based in the states) are constantly putting out amazing work which keeps you on your toes and wanting to push yourself to do better. Some days the work is so good you want to up and quit but designing for bands and the freedom good bands give you is too good to give up.

What are some current/upcoming projects you are working on or excited about?
I just finished a set of 4 posters for the Alamo Draft-house, an awesome cinema in Austin for a showing they had of the original Teenage Mutant Ninja Turtles movie. Four Japanese type scrolls, one for each turtle in scenes from the film. The idea being it would be something Master Splinter would have in his dojo documenting the events of the film and the stories of his students. As for upcoming work I’m pretty exciting about doing a new piece for PangeaSeed, a group in Japan that raises awareness about the horrors of shark fining through cool art. Also planning on releasing a few more art prints this year and maybe do a collaboration series with my fellow rock artist Ken Taylor.

You recently did a poster for the Them Crooked Vultures, how did this project come about?
Through the hard work of John at Beyond The Pale Posters and Joshua Homme (QOTSA). I have done a few posters for Queens of the Stone Age over the years and two for Foo Fighters plus others for friends of the band though it was really John who put it all together to get the result we did in the end. A very rewarding and fun poster to work on.

Could you describe your typical work flow for an illustration?
Research and planning of the idea and concept may take 2 days to a week but once I have everything the drawing normally takes about 2-3 days than another 2-3 in the computer adding the colours, textures, finalising the design etc. If I’m getting the poster screen printed than it takes another 2 days to prepare it for print.

Are most of your posters commissioned?
Originally through Beyond The Pale. Most of my posters are commissioned through Beyond the Pale or through people contacting me directly. I chase a lot of jobs as well. If a band is coming to the country that I think I could do something cool for than I might contact John who will then look into it, contact the band, tour manager etc or the venue.

Are there any particular works you’ve done that stand out as your favorites?
I’ve always enjoyed working with The Bronx. I contacted them a few years ago about doing posters and they have always been supportive. My last two posters for them I’ve been proud of as well as my 3 panel poster for Them Crooked Vultures. Getting to do a poster for Rage Against the Machine was a dream come true as I thought I had missed the boat with them (they re-formed for a world tour).

If you could pick any band and or movie to create a poster for, what would it be?
Ah that’s a tough question, I’ve already consider myself very lucky in doing posters for some of my favourite bands. Maybe Turbonegro or Rammstein if they ever come back to Australia. As for movies I don’t know, Kill Bill, Inglourious Basterds, Oldboy or Kick Ass. Fight Club or The Warriors would be great as they already have inspired some of my rock posters.

Which designers, artists or creative people are you inspired by?
I’m constantly being inspired by other artists and using their art and talent to motivate myself. Florian Bertmer, Angry Blue, Godmachine, Tyler Stout, Ken Taylor, Malleus, Aaron Horkey and Alex Pardee would all be at the top of my list.

What advice would you give to an aspiring illustrator?
Just stick with it, and whenever you do a job do the best work you can. Hopefully word will spread and lead to more work and then you are on your way. Don’t let other people stop you from doing what makes you happy.

Links:
Facebook
Email

You run Design is Kinky, publish EMPTY Magazine as well as organise the Semi-Permanent design events. Do you find time for anything else?
People often ask me this, but the fact is that I have a fair bit of free time. This is mainly due to the events and magazine only happening a handful of times a year. So I get busy for a few weeks every now and then and then have time to do other things. It’s not a bad way to work. I’d hate to be busy every day.

We see that Semi Permanent Sydney’s line up of speakers has been announced, with Melbourne’s Tin & Ed, Craig Schuftan, T Magazine as well as international speakers like Jasper Goodall, Jill Greenberg & Jessica Hische. What do you hope the attendees of this year’s event will take away with them?
All we ever really hope is that people enjoy themselves and leave feeling inspired. That is what the event is all about, inspiration, so as long as people are inspired then we’ve done our job. If they get more from it than that, such as a bit of education or direction in their careers, then that’s great.

How have you seen Semi-Permanent develop over the years?
I think the event has developed a lot behind-the-scenes in the organisation. It’s become a lot smoother to run as we have learnt from our mistakes. This is reflected at the event by things, usually, running very smoothly but i’m not sure people would really notice it. Which means we are doing things right. The event that the audience sees hasn’t changed all that much really. The format works well, so we have never really felt the urge to make many changes.

In regards to your Magazine, EMPTY (which quite possibly has the shortest masthead of any magazine I have ever read), have you noticed a difference between work you find personally stimulating and the issues that sell better or are they generally one and the same?
They are one and the same. Everything that goes into Empty is personally chosen by me, and my only real way to choose is by putting in things I like. Almost every image is placed in the mag because I like it. It’s really the only way I know how to do it. After all, i don’t know what other people like so I have to choose from my own taste. It’s thankfully worked pretty well so far though and people seem to like the art in the magazine.

One thing I find difficult with Australian Edge is deciding what work should stay out. In the end it comes down to my personal tastes, which I worry may have a discriminate bias to what we publish. Do you ever publish work that you personally do not like? If so what criteria do you follow before you publish a creative’s work?
I pretty much answered this in the question above. One thing i will say though is that you should really never put something into any personal project you run that you don’t like. If you do then you will begin to dislike your own project and it will lose the integrity that you want it to have. I think it’s that integrity that people like in projects like Australian Edge and the things we do. The media has very little integrity or soul these days so we always try to make sure we don’t lose our own morals amongst all the crap that’s going on out there.

What do you find the most challenging out of all your ventures?
I think the week or two leading up to any Semi-Permanent event is the most challenging time. It’s when the stress levels rocket up and it all starts to get a little scary as there are so many things that could go wrong and you always have a niggling doubt that you forgot something. Thankfully we’ve been ok and have had no major disasters (touch wood) but it can still be very stressful. My business partner on Semi-Permanent, Murray Bell and I always seem calm on the outside, but inside we are usually freaking out.

In your time promoting designers and artists, have there been any standouts that you have kept an eye on over the years?
The main person is San Francisco based artist, Tiffany Bozic. I was always a massive fan and so we invited her to speak in 2007. I was actually a bit nervous when i first met her, which never usually happens, but she was so nice and cool that we became instant friends. I’ve hung out with her and her husband a few times in San Francisco and LA and am the proud owner of a few of her artworks.

What are you reading/watching/listening to/browsing at the moment?
I’m reading an account of World War I by an Aussie digger called ‘Over the Top‘. Amazing stories that really bring into perspective how good we have it these days. I’m watching TV show 30 Rock. It’s awesome. Listening to Sage Francis, a hip hop guy somewhere in the US. Hip Hop is not really my style but there’s something about his stuff that I just love. Browsing theworldsbestever.com

Where do you find inspiration (outside of design is kinky)?
I find i’m less inspired by art these days and more by history and nature. I’m more inspired by stories of amazing historic events and also nature documentaries and that type of thing than I am by art and design these days. I’m not sure that it influences what I do though.

Any advice for younger designers entering the industry?
Having taken a different path to the usual work-for-someone type job I guess i’d just say that if you have a passion for art and design then make it a large part of your life rather than just a 9-5 thing. If you do that then you’ll find you enjoy yourself more and that building your own business or project will come quicker.

Links:
semipermanent.com
designiskinky.net
emptymag.com

What have you been up to lately?
I’ve been busy painting on bits of old cut up wood, putting them all together like a type of puzzle and framing them. I guess by painting on old found wood it’s very similiar to graffiti as its ephemeral and will fade over time. Aswell as the odd stickers here and there I’ve also finished a little colouring book zine.

What do you think were some of the more stronger influences that helped shape your own particular style?
I’m influenced by African tribal work, trippy patterns and intricate detailing. I have an appreciation for these works as you know that a lot of time went into creating them. I also enjoy working with wood textures as I think its more interesting than a white background.

You are involved in Mixtape Gallery’s “Give Way” exhibition. What can we expect to see from you and the others at the exhibition?
I have two new works in this show, one a framed wooden puzzle piece with a couple characters and a set of boat oar heads.

Your latest magazine “The Lonesome crowded west” will be available on the night. What can we expect?
This zine is just a collection of little drawings from the past month and it’s only a couple of pages. I’ve called it a colouring book but im not sure anyone will actually be colouring all the little triangles and weed leaves.

Do you have a favourite artist, or artists?
No, I don’t think I do but there are a few Perth people who are painting some real nice walls at the moment.

What are you reading/watching/listening to/browsing at the moment?
M.Ward, Method Man, Modest Mouse.

What can we expect to see from you in the future?
More walls and trying to work on this big wooden installation which is taking way too long. Oh and travelling.

Where do you find inspiration?
Can I say drugs?

Links:
sam-knest.blogspot.com

What are you working on at the moment?
As usual the studio has a multitude of different projects – a glance at the projects file tells me that we’re doing some re-branding for a faculty of Monash University, a brochure for a musical ensemble, a book cover, some web work for a dentist, some research documents for RMIT University etc.. We normally work on between 10-15 commercial projects at a time. That sounds a lot but they are always in various stages of approval etc. The core projects this year however are studio-led. We are researching and writing a book at the moment (still under wraps) as well as doing a typographic art project for a City council. It’s a particularly exciting year of projects.

What are you reading/watching/listening to/browsing at the moment?
Reading – The History of Love by Nicola Krauss.
Listening – Music for Airports by Brian Eno. I’ve been re-buying a lot of ambient music from 25 years ago.
Browsing – ilovetypography.com and Brand New

Where did your passion for typography stem from?
A love of language – and how to play with it. Going right back the kind of comedies I liked as a kid – The Two Ronnies etc. It’s a finely tuned instrument that can be multilayered, viewed from all directions ect. Typography just happens to be its visual manifestation and so it’s this that I’ve pursued. It is a very joyous thing to do. It’s a little known secret that I still whistle on my way to work every morning.

Reading your site we know that you understandably don’t like to be asked what your favourite fonts are, we were however curious to know if you think there are any underrated fonts out there that haven’t had the exposure they might deserve?
Yes, with the incredible number of fonts being produced now there are bound to be some that are forgotten along the way. Sometimes they deserve this of course. But what most interests me are the fonts that spend their time in the wilderness, in the shade, once celebrated and now forgotten. To see Herb Lubalin’s lettering or faces like Bookman, Clearface or Souvenir re-emerge is really interesting. It takes a generation to come along and see them with fresh eyes. The lagtime is normally about 20 years or so – so we’ll see students engage with the early emigré faces soon. Strange but true.

Layout from Qwerty 1

We noticed your ‘Death to Helvetica’ Tshirt in your store. Is that really how you guys feel about Helvetica?
That’s an old, long and complex story. Best covered in the very well researched article by James Button.

Is there a place in this world for Comic Sans?
Yes. What it was meant for; a computer game for kids. Never to be let out again.

Do you think there are typical characteristics to Australian graphic design that stand out as being unique?
This is an issue I’ve been thinking (and writing) about for a long time now. But ultimately it’s a bit like sleep – if you try too hard it will always be elusive and frustrating. Just enjoy the ride and then maybe look back after 20, 30 or even 50 years. Besides, just what it is to be gained by pinpointing it or describing it?

What advice would you have to younger designers entering the industry?
Like the last question, just relax and enjoy the ride. Don’t swallow the stupid stereotype that you have to be a ‘star’ by the time you’re 21. That keeps the field of graphic design infantile as well as burning out some very talented people.

Links you recommend:
preserve.co.nz
typenesting.tumblr.com
nicksherman.com/design/Intercut

Link:
letterbox.net.au

What have you been up to lately?
Right at this moment, I’m in ‘exile’, in Jakarta, Indonesia, to be with my family, and so I can concentrate on doing my short film (based on the digital painting ‘Dusk’).

At the same time, I’m remote-directing a logo animation project with my partner Mungo Horey. (We go under the name ‘SELF’). Mungo’s in Melbourne, I’m in Jakarta, and the entire production team is in London! It’s not ideal, but after many revisions, that’s what the final schedule dictates, and we’ve booked this trip away from London for a year now.

So we did as much pre-prod stuff as we could before leaving: rough animatic, design plus key discussions with the team and clients. But production wasn’t scheduled to begin until last week, and we left London in mid-December. Crazy!

ABC3 concepts (with Mungo Horey)

You are currently based in London, but reading your bio on your site we read you are off to north and south america as well. Is this part of a grand master plan to conquer all the worlds of design, or just for the hell of it?
Hahaha, no, such thing!! The main reason is my curiosity at how things work in different parts of the world. Fellow authors on Motionographer have been sharing such varied production stories. That’s made me want to ‘see it for myself’ so to speak. The American production model is very different to those in Australia or the UK.

I’m also a travel addict, and our industry is one of the few in which your skills is transferable across geographical boundaries. I’ve wanted to travel around the world since I left uni, and now, 7 years later, I get to do it. And what’s better than earning your cash while on the move by doing what you love to do? (Plus I have no hospitality skills whatsoever–I’ve spilled too many drinks as it is, and am always mixing up my orders).

But it seems now I won’t really get to work much in the Americas. I would still like to, but Visa is one hindrance, another is I am getting a fair bit of remote work from American studios as it is.  Styleframes (which is mostly what they hire me for) are very fast-turnaround gigs. 5 days tops, mostly 3 days. Whereas to travel and work in a city/region, ideally you’d need at least a month-long gig per location. Gives you time to soak up the city, not too long, not too short.

How have you found London so far?
Another reason why I won’t get to work much in the Americas–work’s been good in London. I arrived at a really bad time, actually: in September 2008. By late November, recession’s kicked in, and shops close for Christmas/New Years anyway. The quiet period lasted well into the start of 2009, but thankfully, around springtime things seemed to pick up. Then sometime around mid 2009, we hooked up with a new representation company called Light Parade. We met the lady who runs it, Charlotte Loynes. We decided to give it a shot, and eventually started to work on this one long project that I’m not allowed to reveal yet, and finding the experience very rewarding. We’re very new to this, and the learning curve has been quite steep, but we love every bit of it.

On the travel side of it, I hated London at first, what with the oppressive gray skies, compared to the openness of Australian landscape. I got really homesick for Melbourne once, but eventually I started to see the beauty of London–the layered history visible in the buildings and the city layout. Plus how cheap it is to get to the rest of Europe and North Africa from there! Food is still a downer in London, and I love eating out–but the upside is you get to save your hard-earned pounds by eating at home most of the time.

Client: Mastercard

"Dusk" detail, Personal project

Client: Trident

You have a quite broad and impressive range of clients and work under your belt so far, from MTV, Mastercard, 5Gum and Kmart. How did you find these opportunities?
Mostly through cold-calling/emailing. I try to aim for studios that have similar approach in work/aesthetic as what I like doing. That seems to work quite well.  One job would lead to another, and one contact would lead to many. That doesn’t mean I don’t experience a fair number of rejections, but being a freelancer means it’s all a matter of time before the right ball rolls into your court since you’re always on the lookout for opportunities.

www.mographwiki.net really helped me find who and where these studios are. Also, being part of Motionographer means I get to meet all these wonderful, amazing, talented bunch of authors, and we share information and knowledge to help one another. But friends can only help you so far; it’s up to you to make sure your folio stays fresh & up-to-date and to keep in touch with the industry contacts you’ve already met, and making new ones.

What would your dream project look like?
One where I can push the boundary of translating tactile, textural and ornate illustrations into motion!
To be specific, I’m really into two things at the moment: cute, colourful, so-sweet-it-makes-your-teeth-hurt characters/enviroment/situations, the kind that fills you with hope and positivity when you look at them, and the flipside : organic and natural forms which fills you with awe and dread at the same time.

Cute stuff comes to me very naturally, maybe because I’m an Asian girl (haha), but having been born and raised in Indonesia, you can’t help but have this urge to express (visually) the overwhelming, sometimes destructive power of nature. Here, we get thunderstorms that shake the ground. Lush, creepy, complex vegetation, crazy diversity of fauna and flora. In addition to that, having been in Australia since 1999, getting exposed to the landscape-driven narratives in things such as ‘Picnic at Hanging Rock’ and Russell Drysdale’s paintings, actually reinforces this belief in the sinister aspect of the natural world. I love the creepiness of the eucalyptus forest and Australian bush. Somehow, although visually they’re the opposite of the tropical green of Indonesia, they possess the same unassuming power to ‘take over’ the man-made world, so to speak.

Renault pitch

Do you have a favourite artist, or artists?
Ever since I saw the retrospective of Max Ernst in Louisiana museum of Modern Art in Copenhagen, I practically worship him. He’s got such vision and technical prowess, each decade in his life is filled with different medium, aesthetic, and idea. I think he’s the big daddy of Surrealism, not Dali.

I also love the work of Shaun Tan, he captures the essence of Australia and being an Australian in a way that I seem to really relate to. I took ‘The Arrival’ with me to my Australian citizenship ceremony a few years back.

Another amazing artist I love is the now-deceased Juan Muñoz. His installations fascinate me for hours and give me goosebumps. Its hard to put into words. I also love Tiffany Bozic, for her nature-inspired paintings. She’s got such skill and imagination, her work is rather breathtaking.

What are you reading/watching/listening to/browsing at the moment?
I’ve just finished Richard Parry’s ‘In The Time of Madness: Indonesia on the Edge of Chaos‘. It gave me a better understanding of the difficult circumstances that was partly the cause of my taking up the Australian citizenship. So now I’m switching to something light: Charles Dickens’ collection of Ghost Stories.

What can we expect to see from you in the future?
As a ‘debut’ creative statement of my co-directing efforts with Mungo, there’ll be the short film I’m doing based on ‘Dusk’.

We hope to become better at this directing business, since we’re both so new at it, and to be worthy of standing in the rank of Animation Directors alongside our amazing friends such as FX & Mat, Celine & Yann, The Mixtape Club, James Wignall (at Studio aka), Simon Robson and many many more…
Ideally someday when I have the means and the strategy, I would like to channel my creative efforts towards something that have more lasting/beneficial outcome than just aesthetic pleasure or selling things to people via advertising. Maybe through helping documentary groups, maybe through setting up a school where kids can learn the craft free of charge if they’re poor, I don’t know. I just know I don’t want to die not having done anything useful for other people who could really use a helping hand.
Where do you find inspiration?
My travels, old illustrated children’s books, vintage op-shops, and the usual places: design magazines & books, sites like yours, Motionographer, Lost at E Minor, Nice Fucking Graphics, Drawn, and so on…

Links:
liliandarmono.com

Hey Sam, could you tell us a little about your background, when did you start painting?
I did quite a lot of drawing throughout my childhood but I never really thought of art as a career. I studied economics at uni and wasted most of my time drawing caricatures of the professors. I had no real idea about the existence of contemporary art until I went on a trip to Europe when I was about 19 or 20. There I saw a lot of work by Joseph Beuys, Günter Forg, Gerhard Richter and so on. Until then I thought that art finished with the abstract expressionists and had now been relegated to the Sunday markets. After that trip contemporary art seemed to be relevant and I became determined to develop a practice.  My partner and I moved from Adelaide to Melbourne and I began studying art part time. I moved to full time study in my honours year and from 2006 I was pretty much making a living from painting.

What paintings / projects are you working on at the moment?
On the 26th of November a show I have curated will be opening at Sullivan and Strumpf in Sydney. The title is Extropians and, having just installed the show, I can say that I am very excited about it – some details can be seen at http://ssfa.com.au/exhibitions/. I have a couple of works going into a show coming up at Stephen McLaughlan gallery in Melbourne in December: Skylab curated by Felicity Spear. The show asks the question: when we look at the sky, what do we see? Space exploration has been a theme I have been using in my work for a while now and I am quite excited about this show. I am also developing some work for a show in London next year – there are some new approaches that I am keen to develop in that body of work. Lately I’ve been experimenting with some printing – messing with images of some of my old paintings. No plans to show any of that work at this stage but it has been a lot of fun.

Your work features a theme of animals & wildlife, where does this fascination come from?
Initially my interest in using animals came from 17th century Dutch still life painting. Especially the work of Willem van Aelst and Melchior d’Hondecoeter. The former made hunting still life with dead game displayed as trophies and the latter specialized in birds, creating elaborate narrative tableaux in which the birds are strongly anthropomorphized. These two painters said a lot to me about the human relationship with animals. On one hand animals are objects of the environment and they are a resource which we can enjoy using. On the other hand, animals are in the class of living things together with humans. They are like us in some ways and we are like them in some ways (at least this was something like the 17th century conception of these idea -research now continues to make the boundary of what we term human fuzzy indeed).

These two views of animals are indicative of a shift in the way humans understand the world which occurred around the 17th century. This was a shift from understanding the world by analogy and metaphor to understanding the world through experimentation and observation. Of course if you listen to scientists discuss their work it becomes apparent that while experimentation a vital part of their work, understanding by metaphor and analogy is just as important. When I paint animals I try to bring those two aspects together. On one hand I use it as a way to learn something about the animal – making a painting requires detailed observation and I learn something new each time – even if it just the way an ear folds, or how a leg attaches to a body. On the other hand, the animal symbolizes something – either by association as with a hunted game animal or by using a posture or situation that encourages the viewer to project some human emotion onto the animal – wistful looking chimps, for example.

You’ve recently completed an exhibition, ‘The next Billion years’. What was your thinking coming into this series?
There were a couple of sources. One was a lecture series I listened to on ‘big history’. The concept was basically human history beginning with the big bang. The scale of the history has an interesting effect on the narrative. The origin of life takes on a certain level of significance with comparison to, say, the northern European renaissance.  Another interesting effect of history at that scale is its fractal nature. That is, events seem to follow certain patterns at different scales: galaxies form, collide and collapse, as do species, as do civilizations, as do individuals. The second source was Michael Hanlon’s book Eternity: Our next Billion years. In that book Hanlon makes some speculations about the likely fate of the human species over that time, based on a (perhaps optimistic) assessment of how long humans are likely to last. We are going to be hard to eradicate, he argues. In my show I wanted to emphasise the role of technology and propose that technology extends the feasibility of all life, as well as humans.

You discuss the concept ‘the corrupting influence of wealth’ how do you feel about the role of wealth and corporate money in today’s Australian art scene?
Naturally I feel that if people have money to spend there is nothing better to spend it on than art. I think that on the whole the Australian art scene is pretty healthy. We did not experience the sort of bubble in the contemporary art market that was experienced in Europe or the US. Even allowing for that, the amount of money in visual arts is tiny compared to other sectors such as agriculture, pharmaceutical, primary resources and finance.  Certainly some very wealthy individuals and entities buy art but on the whole I don’t think that the visual arts world is generating anything like a corrupting level of wealth.  Finally, since I have focused on this area for some time I have found myself becoming steadily less certain. I still think there are many problems with corporate wealth and corporate culture, but I am extremely uncertain about suggesting any sort of alternative.

For the past 3 years you’ve been a finalist in the Archibald Prize at the Art Gallery of NSW, could you talk about your controversial entry for 2008?
That painting caused a lot of people pain and offense and that is something that I regret. When I made that painting I was really thinking about the history of western civilization and I was struck by just how close we are, culturally speaking, to the period that produced Nazism. The worst atrocities committed by any civilization occurred within living memory. I was making paintings which dealt with history and I couldn’t ignore that fact. Placing myself into the Hitler’s uniform was a way of forcing myself to confront that period and think about it in a personal way. The painting did cause discussion, some of which was very good, but I have very mixed feelings about the work. I knew there would be discussion and that some people would have a problem with the work. I thought, and still do think, that the painting is serious but not especially complicated so I was confident that most of the art-viewing public would understand the work. I did not expect the front page of newspapers..

What have been the highlights in your art related career to-date?
Receiving the Fletcher Jones prize at Geelong gallery was pretty incredible. In that show my work was hung alongside many of my favourite artists and artists who have informed my own practice. So to be acknowledged in that field was really wonderful.  The Optimism show at Queensland GOMA was also very exciting. That show occurred just as I was beginning to develop some particular themes in my work which seemed to tie in. It was one of those serendipitous moments.

Which artists have influenced you, what has been an inspiration?
In terms of contemporary artists, Beuys, Gunther Forg, Gerhard Richter, Neo Rauch, Mark Tansey, Nigel Cooke, Jake and Dinos Chapman, Glen Brown. At the moment I am very fascinated by the New Leipzig school, David Schnell, Tilo Baumgartel, Tim Eitel et al. I also look at 17th century art very often, especially still life paintings by van Aelst, d’Hondecoeter and Jan Weenix , but also architecture paintings by Saenredams and de Witte and landscapes buy Ruisdale and Pynacker. In Australia I was very influenced, and greatly assisted by a group of young Melbourne painters including Tony Lloyd, Juan Ford, Craig Easton, Chris Bond and Darren Wardle. But of equal importance were my teachers at RMIT, especially Sally Mannal and David Thomas who taught me for years and years as I very slowly made my way through the undergrad course part time.

What advice would you give to an aspiring artists?
I think that study is vital, as much of it as possible. And reading very widely – not just art theory and history (though these are crucial), but across a wide range of topics. Everything is related. I read a quote from Jasper Johns the other day which rang true. He was talking about spending time sitting in the studio trying to think through problems and said that he always found that the best way to find a solution was by actually doing the work.

What have you been up to lately?
Lately, I’ve been working on ‘Spectacular Spider-man UK’. That’s my regular gig and at the moment, I’m working my other gigs around that as much as possible. So far, my other freelance jobs have been very accommodating which I’m very appreciative.

It’s very rare for a freelance artist to know he’s got a gig day in and day out. So to be a regular artist for ‘Spectacular Spider-man UK’ has been a dream come true and also, it’s nice to know I have a guaranteed cheque coming in regularly. I’ve been working on ‘Spectacular Spider-man UK’ regularly for close to five years and am currently around 5 issues shy of my 50th. Obviously I would love to reach my 50th issue and then some.

I’m also currently working with Harper Collins(HC) illustrating children’s ‘Amazing Spider-man’ books. According to my HC editors, they googled for Spider-man artists and found my work. At first they offered me one book, but after I handed in my art roughs for the first book, they expanded it to two, then to four books and again expanded their offer again just recently. The books are evaluated on a sale by sale basis being that the next book will only be commissioned based on the success of the previous one. At the moment, it seems to be constantly expanding so I guess the team must be doing something right. I was originally going to do the complete artwork for the initial first few books but with my other work commitments, I decided to share the glory with an old comic colleague, Jeremy Roberts, to take the pressure off me a bit. To date, six out of the nine books planned have now been completed. I’ve been doing the lineart whilst Jeremy has been colouring and I’m so glad the decision was made to pass on the colouring duties to him as he is doing an amazing, no pun intended, job. He is the master of hues! :)

Other than that, I’ve worked on bits and pieces for DC comics and their commercial services branch. Thus far, I’ve worked on sequential work and covers for several issues of ‘Batman Strikes’ and a special ‘Smallville’ comic created in conjunction with an episode of the show. My most recent work for DC include working on a couple of covers and some backup sequential stories for a twelve issue mini-series of ‘Tangent Superman’s reign’.

How would you describe your own work?
My work is an amalgamation of different styles and of all my favourite artists. It’s got a mix of American art with huge influences from manga and anime. I grew up reading american comics and fell in love with anime that lead me to research manga. I love the character interpretations and use of shadow to build atmosphere in American comics but I admire the dynamism and dramatic angles of the manga comics.

I’m also obviously influenced by many great american and manga artists. Masamune Shirow, Kia Asamiya, Mike Wieringo, Adam Hughes, Todd Mcfarlane, Chris Bachalo, just to give you a very short list. Nouveau artist Alphonso Mucha is also much loved in the comic community and I got introduced to his clean line art by a fellow creator a few years back. His work had such a contemporary approach for an artist of that period and I was completely hooked. I tend to borrow the best parts of each artists and combine it, a frankenstein of style of sorts, in hope to come up with a style that one day I can call my own. I’m still evolving. Constantly evolving and learning.

Have you always been a comic book fan?
I’ve always been a HUUGE comic book fan. I collected comics at an early age and I still continue to do so now. Except, I buy more trades and graphic novels now more than individual issues as it’s easier to read and collect. The whole story arc is in one book and I don’t have to go searching for individual issues scattered somewhere in the house. For me, I tend to look at good art in a comic before I would commit to buying any particular title. I guess it’s the artist in me that focuses on the art first compared to other readers who tend to follow story first and then art.

when did you first realize that you wanted to be a commercial artist and illustrator?
Since I was very young. At Kindergarten age, I was already drawing my favourite comic characters and knew I wanted to do this for the rest of my life. I even told my mum, and I’m constantly reminded of it, that I told her ‘Drawing is my life. I can’t live without drawing’ or something along those lines.  As I grew up though I didn’t think I could or the know how to get into the industry. So I did it as a hobby and eventually, I started believing that I would never work as an illustrator let alone a comic book artist. I always aspired to it, but when I was told in University back in Perth that there was no market for it, and got ushered into doing Design instead where there was more longevity and financial stability, my dream of becoming a comic book artist was literally shelved that day. That, plus I thought an artist had to reside locally to be able to work in that industry and at that point, with my limited knowledge, believed to be only in Japan and America. Of course since being in the industry, I’ve discovered a huge love for comics in the European contingent too.

However, back in 2000, after working about 4 years in the design industry, the particular company I was working for at that point, as an added incentive, sent me to a comic convention trip in Charlotte. There I met and mingled with many professional greats. Some, I’ve admired and been influenced by for a long time since I started collecting comics. When I showed my work around, they all told me one thing,’to submit my work’ cause apparently they saw potential. Of course that one question kept hounding me. ‘I didn’t live locally’. That’s when I was told literally no artist does and that’s where the big bad ‘world wide web’ came into play. The rest was history. As soon as I got back, I started submitting stuff, online, snail mail, whatever I could think of to get my foot in the door. Slowly but surely, I’ve been moving in the right direction.

What have been the highlights in your art related career to-date?
Just working on comics itself is a huge highlight in my career. I’ve build up so many little highlights along my path, I can’t really pinpoint a specific one. My first ever exhibition was a big highlight for me. Working on 80′s pop titles from He-man and the Masters of the Universe to TMNT to drawing mainstream comics like Spider-man, Batman and Superman. You know, being born in Malaysia and hailing from Perth, Australia, I never thought in my wildest dreams that I would be working full time in a comic industry.

What software do you use?
I use to utilise a whole bunch of applications as designer. But as a comic artist, I’ve narrowed it down to mainly Photoshop, Painter and Illustrator. Although these applications do make it easier in this day and age, when it comes to drawing, I still prefer traditional pencil or pen to paper. If I get the opportunity and the time, I use computer software mainly to colour utilising a combination of Photoshop and Painter.

Do you have a favourite artist, or artists?
Yea, plenty. I can’t single out just one. They’re all equally great. From manga to mainstream American comics to traditional. As mentioned earlier, although I only discovered recently, my main classical creator that inspire me is Art Nouveau artist Alphonse Mucha. Other contemporary fantastic artists like Jim Lee, Mike Wieringo, Chris Bachalo, Arthur Adams, Adam Hughes, Humberto Ramos, Olivier Coipel, Steve Mcniven, Frank Cho, Manga artists; Masamune Shirow, Kia Asamiya, and so many many more, all influence me in some way or another. It might be a particular artist’s way of drawing backgrounds, or the way he draws faces or hands or the anatomy or guns or robots. I try to incorporate the best bits of each artist into my art. I find new inspiring artists everyday. It’s never ending. There’s just so many talented creators out there. So I’m constantly evolving. If you look at my art from, say, a year ago, it would be different to what it is now.

Do you prefer working on your own creations rather than established, long-running characters?
To be honest, I haven’t really had the chance to work on a lot or creator own work. I would like to but I feel to give my creator own a chance, I need to have a fan base first. So in a way, one of the reasons I’m still drawing established, long-running characters, as much as I love it, mind you,  is to build up a fan base first and foremost. After that, if one day I decide to work on one of my own creations, the fans will support the title and go out and buy it. That and plus, there’s just simply not enough time in the day. As it is, I work almost 18 hours a day, 7 days a week. Working freelance, managing your own hours and work from home has it’s perks but the work hardly ever stops. If only there was 72 hours in a day. Somehow though even if we did have that many hours in day, I have a feeling I’d still run out of time. :)

What advice would you give to an aspiring illustrator?
Keep drawing and plugging your work. Keep persevering. It’s taken me 8 years, slowly but surely, to climb up the ladder and to finally be working full time in comics and i haven’t even gotten there fully yet.

My first ever paid gig I got, was by showing my work through art forums and via my website. Regularly posting up artwork on different art forums and getting feedback. It’s the best free self promoting tool on the internet. Art forum, Digital Webbing head honcho, Ed Dukeshire, noticed my work and started hooking me up with writers and although pay was minimal, got my foot in the door. Digital Webbing is one of the unique art forums out there whereby they publish their own anthology comics and get creators from their forum to contribute. i managed to contribute a pinup, couple of covers and short stories in the title and from there, eventually the company Whitewolf took noticed and offered me their line of gaming illustrations for ‘Exalted’.

Another important factor is to get to comic conventions and network. You never know who you’re going to meet. In 2000, during my Charlotte convention trip, I met artist, Sanford Greene. We kept in contact after the show and we became friends. Three years later, he turned down a gig he was offered due to his other work commitments so he recommended me instead and that was how I got my ‘Masters of the Universe’ gig. I can’t stress enough how important it is to sometimes have a face to face with a potential editor or just to meet up and socialise with your fellow colleagues. Going to conventions have taught me a lot about how the comic industry works. Watching other artists in their element, you tend to pick up some tips here and there. The tools to use, the paper to buy, etc. My first New York Comic Con trip got me in touch with DC Editors whom, although not immediately, years later got me my first DC gig.

However, although creative talent, skill and networking is needed in this field, sometimes the opportunities that comes knocking at your door just happens to be pure luck and timing.

My little ‘stroke of luck’ story I like telling aspiring artists is how I landed my Spider-man UK gig. I had just moved from Oz to London when I discovered the British comic convention in Bristol. I managed to get a table to do sketches and signings as I’d manage to get some small press titles ‘Masters of the Universe’ and ‘TMNT’ under my belt. I had my folio turned to this detailed drawing of Spider-man as my ‘money shot’ pinup to pull people in. My Spider-man editor, who at that time I didn’t know who he was, was approaching my table. Just before that however, a fan had just seen my folio and left it at a TMNT pinup page. The editor walked passed, saw the TMNT page, didn’t think much of it and was about to move on when I myself looked up and realised my folio wasn’t at my ‘money shot’ pinup. So literally as I was turning the page back to the Spider-man pinup, my editor performed an exorcist like head turn, saw the pinup, gave me his card and few months after that, I was drawing Spider-man. The rest was history. If I hadn’t turned my folio page at that time and moment, I’d probably still be a designer to this day and working on comics only on my free time. So, sadly, sometimes no matter how talented you think you are or how many times your friends and peers have said, “you should be in the industry”, on occasions, it all comes down to simple luck and timing.

And finally we have to ask who is your favourite superhero?
It has to be Spider-man. As a kid, I’ve always fantasied about climbing up walls and saving damsels in distress. So I’m really very lucky to be drawing Spider-man and getting paid to do so. I just hope it lasts a while. :)

Links:
www.deemonproductions.com
follow Andie on twitter

The National final is set to go off at the Burswood Theatre on Friday the 4th of December in Perth. Previous finals have proved to be a great night out, and might even be a chance to catch a glimpse of some of Australia’s rising stars.

As a bonus, Storm the Stage are offering 2 for 1 tickets for the first 25 bookings. Just mention Australian Edge when making your telephone booking on 9498 5880 (10am-8pm). Tickets are $30 for adults, $20 concession, $80 for family. 10 or more tickets at $25 each.

We caught up with Storm’s Producer Sonja Plummer to find out how the preparations are going.

How have the preparations for Storm the Stage been going this year?
Preparations for Storm have been flying along for 2009. This year, the theme for our event is titled “TIMELESS” and will leave the audience member with TIMELESS moments, which they will take away with them for years to come. From it’s magical opening to the individual national finalists and to the unique closing, Storm 2009 will be an evening of movement, change, voice, emotion, colour and sound, second to none. From now till December 4th 2009, I don’t expect to lift my head out of PREPARATION mode.

Talia Rowley – Drama Category Winner 2008

Tom Ballard

Callan Kneale - Musical Theatre Category Winner 2008

How is the crop of talent doing?
Ahhhhhhhhhhh… the crop of talent!!! I am constantly amazed at how incredible our young people are and the diversity of this year’s finalists is proof of that fact. We have gone full circle and are now seeing the emergence of a different group of theatre performers than we have had over the last 5 years of Storm. They are not any less amazing however, but are definitely entrenched in both the old and new aspects of the theatre world. This year’s finalists are not willing to simply step into unknown waters and tread that water, but want to dive head first into the raging Storm waters and come out the end significantly wiser, stronger and more amazing as both performers and young people. We may just find the new Cate Blanchett’s or Hugh Jackman’s in our crop of finalists this year.

What can people expect to see from the performances?
Hmmmmmmmmmm… how to give you a sneak preview without spoiling the moment? You will go from a beginning of time to a musical trip Through time and in between you will find birds, young girls, mature women, young men, old men, young love, lost love, unrequited love, illicit love and even bird love. Did I mention you will find VARIETY in this year’s Storm? :)

Anya Row – Special Audience Appeal Winner 2008

Cassandra Kotchie

What have the previous winners of Storm the Stage gone on to do?
Past winners of Storm have gone on to study overseas, travel the Westend and Broadway sidewalks, work overseas, invest in their theatre futures and audition successfully for major shows, nationally and internationally. Storm’s rich heritage of winners and National Finalists is growing in both number and successes.

You have worked in theatre for many years, producing and directing shows across Australia and the US. How is Storm the Stage different from your other experiences and what have been the challenges you have faced?
There are so many aspects of the Storm event which are unique to this event alone. There is much to consider and to work through from pre registration, auditions, heats, semi finals, finals and the lead up to the National Production. It is by far the most involved event I work on each year and has it’s own set of intricacies and delicacies which all need attention. In my 30 years in this industry, here and internationally, Storm is the most unique event I have come across and had the good fortune to work on. With that uniqueness comes a variety of unique situations, which alter year to year, keeping myself and the amazing Storm committee on our toes. It would be impossible for me to qualify a single challenge, as that challenge may or may not appear again, but I can guarantee that 10 new ones will take it’s place.

Candace Wise

Mikaela Campbell

Riley Nottingham

Film & Theatre star Hugh Jackman is a supporter of Storm the Stage. How did Hugh come to be involved?
Don Briggs and Geoff Gibbs conceived the idea of Storm 7 yrs ago and through the efforts of both men and Geoff’s lifetime contacts, Hugh Jackman was approached to come on board. Hugh’s passion for the theatre is internationally known and to have him as a strong supporter of our event is amazing.

Top image: Julian

Link:
www.stormthestage.com.au

Remember: As a bonus, Storm the Stage are offering 2 for 1 tickets for the first 25 bookings. Just mention Australian Edge when making your telephone booking on 9498 5880 (10am-8pm).

Photographs courtesy of Nathan Turner

Hi Sam, could you tell us a little about your background? How did you get started?
I’ve always loved sculptural realism in art. Its evolved over the years but a beautifully sculpted figure always inspires me. I got started in sculpture professionally while working on TV ads making puppets and props, from there I worked in film for a number of years. It was a great start because I learned how to mold and cast sculptures and use latex and silicones.

What are you currently working on?
I’m currently working towards several shows for next year with a bunch of new works. It’s a very busy time. At this stage I’m spending most of my time sculpting in clay as most of the works are still being modeled.

Could you talk through the creative process for one of your recently completed projects? (The Hanging Man)
The hanging man was conceived over a long period, I sculpted an early version some years before I produced the final one, but was never quite happy with it.  I couldn’t leave it alone so I ended up going back to it and producing the one that was finally exhibited. Usually I sculpt a small maquette or miniature version before doing it full scale but in this case it wound up being produced twice..four times including maquettes. The process to produce most of these works is very similar. They begin as clay sculptures built up over an armature then there molded and cast in silicone. Once the cast is cleaned up I then poke the hairs into it and add a little final colour.

What do you hope the viewer will take away from your sculptures?
I’d like to think that the viewer would feel something after viewing the work, perhaps they could even have some sort of physical experience or maybe see something that they can relate to in their own lives.

Which of your projects has been the most rewarding?
I’d have to say its always the one I’m working on at the moment.

Your techniques seem similar to movie prop making? Do you have any interest in the film industry and special effects?
I have worked in film and have always loved the process of making something to support a story. It’s a fun job. I do occasionally work with friends in film but its generally to help out.

Which artists have influenced you, what has been an inspiration?
It seems to change constantly but I usually return to renaissance artists for inspiration, I have a beautiful Bosch print I’ve been dragging from studio to studio that’s starting to look a little faded now. That whole period inspires me, there was a mystery in the work that i love. Things were primarily done for religious purposes so it gives the work a very reverential feel.

Do you have any advice for people looking to get into sculpting and the creative industry?
Drawing is always a great place to start if you’re interested in sculpture, I think if your drawing skills are good then sculpting comes quite naturally. As far as the creative industry goes I think there is always room for someone who has there own outlook on the world. It’s not always easy to get your work out there but if you’re committed and if you persist, then you’re bound to succeed.

where can people see your work?
My next major solo show is in May of next year with Karen Woodbury Gallery in Melbourne.

Links:
www.samjinks.com
Karen Woodbury Gallery