wood, rope and aluminum
22"l x 17"w x 5"h
Tuesday, April 26, 2011
Georgie's Turn
http://www.youtube.com/watch?
1.) What is art therapy? The use of a creative outlet to psychoanalyze.
2.) Does your art making relate to therapy at all? If so, how? No, the motivation for making my work is not an emotional outlet.
3.) How do you feel art therapy can help someone with special needs? I think, not feel, that it would help someone with special needs because it is another means of expression, someone with special needs may not be able to express themselves verbally. Why would art therapy be the most appropriate method? Because other methods have been exhausted.
4.) Have you ever used art making (painting, drawing, photography, etc) as a way to deal with a personal issue? Please explain. No.
5.) Do you think, as an artist, we have any responsibility to help others deal with problems through art? No.
6.) Can you see any kind of relationship between this video and how I approach my artwork? Other than that you approach your work intuitively and emotionally, not really.
7.) Do you think any of my work is therapeutic? I think you may think of it that way, but only because of the article you chose and the questions you are posing.
8.) Do you think my art will change when I leave school? I think that it may, but I am not sure what that has to do with art therapy.
2.) Does your art making relate to therapy at all? If so, how? No, the motivation for making my work is not an emotional outlet.
3.) How do you feel art therapy can help someone with special needs? I think, not feel, that it would help someone with special needs because it is another means of expression, someone with special needs may not be able to express themselves verbally. Why would art therapy be the most appropriate method? Because other methods have been exhausted.
4.) Have you ever used art making (painting, drawing, photography, etc) as a way to deal with a personal issue? Please explain. No.
5.) Do you think, as an artist, we have any responsibility to help others deal with problems through art? No.
6.) Can you see any kind of relationship between this video and how I approach my artwork? Other than that you approach your work intuitively and emotionally, not really.
7.) Do you think any of my work is therapeutic? I think you may think of it that way, but only because of the article you chose and the questions you are posing.
8.) Do you think my art will change when I leave school? I think that it may, but I am not sure what that has to do with art therapy.
Robbie's article
1.) Did you find any similarities between the reading and the youtube video? Yes
2.) Do you believe that attempting to remove certain tenets embedded deep within our society is an important aspect to the advancement of the human condition? I think it is natural for us to question them, the evolution of society as a collective removes them.
3.) Are there any examples of people considered to be insane for their attempt to remove unnecessary beliefs within our society? Sure
4.) Andrei Tarkovsky expresses the fact that you cannot force others to feel certain emotions, and that you may not experience life through anything other than your own personal experiences. Do you believe that this statement is beneficial to the creation of art? I don't make work based off of emotions, so no.
5.) Do you agree, or disagree, with the opinions that Andrei Tarkovsky expresses about his view on art? Why? It is natural to make work around your own experiences, but it is not necessary for your experiences to be oppressive or hardening for you to make work, it just depends on the type of work that you are making or wanting to view.
6.) Do you find a similarity between my work and any of the information that I have presented to you? I think that you make work from a very personal and emotion state, but I also think that that comes through solely when talking to you about your work, there is not as much evidence when viewing the work.
7.) Are there any similarities between the work that you create and the presented information? My work stemmed from experiences, but does not stay on that platform.
8.) Is everything going to be okay? No. It will be better or worse, but that depends on you.
Tuesday, April 19, 2011
Dr. Hollinger's Article and Questions
reading/film for my discussion:
http://www.susansontag.com/
http://www.youtube.com/watch?
I would like to talk about both provided as I have structured my
questions that way.
Questions:
1. What, if any, are the similarities/differences of a slow, meditative medium such as drawing/painting compared to an instant appropriation tool such as photography? Would you consider a photograph an object, as you would a painting/sculpture? I think that it is the hand in the medium that determines the speed in the process, not the nature of the medium. For example, it may take a photographer hours to set up a shot, they meticulously go over every detail of the "stage", each color and texture, etc. And a painter, may be able to complete a painting in half and hour with more emphasis on immediacy and reaction. It depends on what is done with the photograph, sometimes I look at it as an image, sometimes I can see it as an object, but that is the same with a painting or sculpture as well.
2. What is the “message” of a photographic record? It is the idea of rememory and time, importance and exactness.
3. Would you consider “amateurism” when using a medium, an advantage or a disadvantage, while producing work? For example, is photo-realistic drawing the top of the heap? Does that knowledge/technique get in the way of some-sort of innocence/potential for inspiration? I think it is always better to have the knowledge, but it is also better to attain that knowledge for yourself even if you end up having others execute all or some portion of your work. I wouldn't consider you an amateur even in taking on a new medium such as silk screening, it is a new process but when it comes to the work, you are well aquatinted with understanding, producing and discussing your work.
4. In the film, The Blood of a Poet by Jean Cocteau, what images/sequences of voyeurism appear in the film? The idea of voyeurism comes up in the final section of the film. Does this have a relationship to photography as appropriation? I don't see photography as appropriation, unless it is an appropriation of an idea, but not as a moment or of an image in the real.
5. What does it mean psychologically when the theatre party applauds the death of the card shark? What does it mean, when viewing it as an artist? I am not entirely sure, but I thought of it as an idea of submission, as in to fate or dealt hands. He lost even when playing falsely, so his submission was praised by the audience. It also adds humanity to the viewer, they didn't like that not only the card player were violated but also the dead boy.
6. At what time does a highly personal, private, disgusting or elegant moment or event, becomes a spectacle? (Please refer to # 4 & #5) I think when you are doing something solely or solely motivated by the viewer or audience that it has become a spectacle.
7. (Made in 1930) Jean Cocteau uses several surrealistic motifs throughout the film, which is simultaneously intermixed with personal iconography. What about my work is self referential, and at the same time referencing the time in which we are living? Your archive of images is a set of documentation of a class within our generation, I think there is motif in your figure choices, but I think that the use of repetition in your form allows for subtle changes to be noticed and understood rather than it being singularly self referential.
8. Over the past two years, I have produced an extensive archive of images, with 35mm film only. What do you consider to be the differences between shooting in a digital format, and any sort of film format? I think that film slows you down and makes you look more, it makes each image thoughtful.
9. What are your observed advantages for me using photographic processes? The poetry in your work comes during the editing of your photographs, it allows you to grab and image and save it for later.
10. How hot is Lee Miller? She is way hot, we are talking like 3rd degree burns here!
http://www.susansontag.com/
http://www.youtube.com/watch?
I would like to talk about both provided as I have structured my
questions that way.
Questions:
1. What, if any, are the similarities/differences of a slow, meditative medium such as drawing/painting compared to an instant appropriation tool such as photography? Would you consider a photograph an object, as you would a painting/sculpture? I think that it is the hand in the medium that determines the speed in the process, not the nature of the medium. For example, it may take a photographer hours to set up a shot, they meticulously go over every detail of the "stage", each color and texture, etc. And a painter, may be able to complete a painting in half and hour with more emphasis on immediacy and reaction. It depends on what is done with the photograph, sometimes I look at it as an image, sometimes I can see it as an object, but that is the same with a painting or sculpture as well.
2. What is the “message” of a photographic record? It is the idea of rememory and time, importance and exactness.
3. Would you consider “amateurism” when using a medium, an advantage or a disadvantage, while producing work? For example, is photo-realistic drawing the top of the heap? Does that knowledge/technique get in the way of some-sort of innocence/potential for inspiration? I think it is always better to have the knowledge, but it is also better to attain that knowledge for yourself even if you end up having others execute all or some portion of your work. I wouldn't consider you an amateur even in taking on a new medium such as silk screening, it is a new process but when it comes to the work, you are well aquatinted with understanding, producing and discussing your work.
4. In the film, The Blood of a Poet by Jean Cocteau, what images/sequences of voyeurism appear in the film? The idea of voyeurism comes up in the final section of the film. Does this have a relationship to photography as appropriation? I don't see photography as appropriation, unless it is an appropriation of an idea, but not as a moment or of an image in the real.
5. What does it mean psychologically when the theatre party applauds the death of the card shark? What does it mean, when viewing it as an artist? I am not entirely sure, but I thought of it as an idea of submission, as in to fate or dealt hands. He lost even when playing falsely, so his submission was praised by the audience. It also adds humanity to the viewer, they didn't like that not only the card player were violated but also the dead boy.
6. At what time does a highly personal, private, disgusting or elegant moment or event, becomes a spectacle? (Please refer to # 4 & #5) I think when you are doing something solely or solely motivated by the viewer or audience that it has become a spectacle.
7. (Made in 1930) Jean Cocteau uses several surrealistic motifs throughout the film, which is simultaneously intermixed with personal iconography. What about my work is self referential, and at the same time referencing the time in which we are living? Your archive of images is a set of documentation of a class within our generation, I think there is motif in your figure choices, but I think that the use of repetition in your form allows for subtle changes to be noticed and understood rather than it being singularly self referential.
8. Over the past two years, I have produced an extensive archive of images, with 35mm film only. What do you consider to be the differences between shooting in a digital format, and any sort of film format? I think that film slows you down and makes you look more, it makes each image thoughtful.
9. What are your observed advantages for me using photographic processes? The poetry in your work comes during the editing of your photographs, it allows you to grab and image and save it for later.
10. How hot is Lee Miller? She is way hot, we are talking like 3rd degree burns here!
Batman/Paul's Questions
"What's Wrong With Contemporary Art?"
This is available on Google Books. read pages 28-33.
Questions
1. Is the author of this book being overly simplistic? Define overly simplistic? Every author has to define an idea through words it is what they do, words put restrictions on ideas. But yes, he is breaking down to the simplest idea.
2. Is the author being overly cynical? Yes, a bit, "THi sis how art history is used: not as open enquiry, but in order to give recent art a legitimizing historical lineage and to reinforce the notion that art is nothing more than a variety of rational discourse about social issues." and "All they (young student artists) need is the right look and the ability to attract attention to themselves. A deal with a commercial gallery can be expected follow and their careers are off to a flying start. From that magical beginning, most of them will never recover."
3. Can you be cynical and paranoid and still be correct in your assertions concerning matters that are highly subjective? Sure, but I don't think that he is correct in all of his assertions. His ideas on how the phd in studio art works/doesn't work, I can see how this would be an issue for your process but fit perfectly with mine, so it can not be a completely thoughtful structure.
4. Since "group think" is not only entrenched in the art world but the real world, should it not be encouraged in art school ? I think it shows up in art school, but that is natural and happens in these settings, it shouldn't be discouraged but always challenged.
5. Does the fine arts department at Ringling College of Art and Design represent a microcosm of the Art World? Hahah, I don't think so, maybe the first level of it's structure, but none of us get turned away from showing at the Crossley gallery and there is not a distinctive difference between those who succeed and those who are failing, even when those who are failing are doing so because of a tangible thing (such as they have not produced work or have not done required writings, etc)
6. As stated in the reading "does privileging words over visual expression encourage a narrowly didactic approach to art making?" This goes back to the questions, when is the art "made", when the idea is had, put into a sketch, when you have the physical object? when that object is accepted? But yes, I think it can.
7. Is Automatism or any other intuitive approach discouraged in contemporary art academia? I think more analytical work is encouraged but that more intuitive work is accepted as long as it is supported by thoughtful dissection of purpose, intent, motivation, etc.
8. Do you believe my work would have been better served had I not attended art college? No, I think that there are a lot of really good studio practices that you have figured out about your way of working, process, restraints, experiences, etc, that have really enhanced your work and I am not sure you would have gotten there as quickly without being in this setting. It may have taken you more than a decade outside of this setting.
9. Do you believe my work to be self indulgent? A bit, but I indulge in it as well. All of our work is a bit. We make something and then say hey, look at this thing I have made. It is part of the experience.
10. If all art is self indulgent to a certain extent, should I not embrace this approach? Do it, I support that, but I also know that you will continue to read and think about work because that is the type of person you are, so I know that won't be lost in the work.
11. Does the "it's all about me" approach to my work alienate you the viewer? Not when they can relate to you. Maybe we should alienate the viewer occasionally.
Tuesday, April 5, 2011
Rachael's reading
Attached is the entire book The Singularity is Near - When Humans Transcend Biologyby Ray Kurzweil
I am asking that you read Chapter 7: Ich bin ein Singularitarian
and/or
watch this video
http://www.vbs.tv/watch/
Would you like to be able to live as long as you wanted? If so, approximately how long do you think you would want to live? If not, what would be your preferred method of death? I would love to live forever. I think that I am overly concerned with time, it is something that I think about daily, time in the bigger since, how much time we have, what is the most important thing to do with that time. What will how I used my time say, mean, leave? If that mindset was not something I had a continual presence in, then I think that would open up a great deal of freedoms that would be invaluable.
Do you think that it will be possible for machines to have consciousness in the future? Is there a fundamental difference between humans and machines that will always remain? There is definitely a fundamental difference between humans and machines that will always remain, but that doesn't discount the possibility for machines to have a consciousness, that is not enough for them to be human. The ability to freely think and respond isn't the only criteria for being human.
What do you think about Kurzweil's predictions? Do you think he is valid, totally crazy, or somewhere in between? I think that most predictions are crazy, especially when there are wide leaps from point A to point B, which is where Kurzweil falls. But they are sure entertaining.
Do you think it is important for humans to continue on a quest for more intelligent and faster technology? I think it is important to continue to advance as long as we are stopping to ask not can we do it but should we do it.
Do you think it is important for you to understand and communicate with machines/technology/tools in order to make art? Fifteen years ago, no. But I think that as technology, tools, and machines become exceedingly apart of our everyday lives it is important to understand their benefits and limitations, to not disregard them. It is important because starting from a place that you encounter in the real will make the non-real, to an extent, approachable.
Do you see any connection between this reading and the things that I make? Yes, you are literally making machines that extend your hand, but they are also not fully realized without that human connection.
Do you think it is important to think about the future, and to make predictions about technology? Do you think that artwork relating to this subject will effect the possible outcome of the future? Self-fullfiled prophecy and all, it starts with an idea. Everything does, so in making predictions or coming up with ideas leads to advances. It is important, yes, but it is also important to continue to question it.
Is this subject at all interesting to you? Yes, in the sense that I enjoyed the article/video/discussion/answering your questions, but it is not something that i regularly think about.
I am asking that you read Chapter 7: Ich bin ein Singularitarian
and/or
watch this video
http://www.vbs.tv/watch/
Would you like to be able to live as long as you wanted? If so, approximately how long do you think you would want to live? If not, what would be your preferred method of death? I would love to live forever. I think that I am overly concerned with time, it is something that I think about daily, time in the bigger since, how much time we have, what is the most important thing to do with that time. What will how I used my time say, mean, leave? If that mindset was not something I had a continual presence in, then I think that would open up a great deal of freedoms that would be invaluable.
Do you think that it will be possible for machines to have consciousness in the future? Is there a fundamental difference between humans and machines that will always remain? There is definitely a fundamental difference between humans and machines that will always remain, but that doesn't discount the possibility for machines to have a consciousness, that is not enough for them to be human. The ability to freely think and respond isn't the only criteria for being human.
What do you think about Kurzweil's predictions? Do you think he is valid, totally crazy, or somewhere in between? I think that most predictions are crazy, especially when there are wide leaps from point A to point B, which is where Kurzweil falls. But they are sure entertaining.
Do you think it is important for humans to continue on a quest for more intelligent and faster technology? I think it is important to continue to advance as long as we are stopping to ask not can we do it but should we do it.
Do you think it is important for you to understand and communicate with machines/technology/tools in order to make art? Fifteen years ago, no. But I think that as technology, tools, and machines become exceedingly apart of our everyday lives it is important to understand their benefits and limitations, to not disregard them. It is important because starting from a place that you encounter in the real will make the non-real, to an extent, approachable.
Do you see any connection between this reading and the things that I make? Yes, you are literally making machines that extend your hand, but they are also not fully realized without that human connection.
Do you think it is important to think about the future, and to make predictions about technology? Do you think that artwork relating to this subject will effect the possible outcome of the future? Self-fullfiled prophecy and all, it starts with an idea. Everything does, so in making predictions or coming up with ideas leads to advances. It is important, yes, but it is also important to continue to question it.
Is this subject at all interesting to you? Yes, in the sense that I enjoyed the article/video/discussion/answering your questions, but it is not something that i regularly think about.
Treavor's Reading
Questions:
1.) Do you think any of Graham Handcock's idea's in the video are plausible? Which ones, why? I think that this is more related to science fiction, key emphasis on the fiction.
2.) What "state of mind" do you mainly make your art in? Mainly, I would say a very focused and meticulous state of mind, very much in the present of what I am physically making. But that also makes me think at what point is it made, when I have the idea? When I have the sketch? When I have the art object? Which is most valuable?
3.) What do you think extraterrestrial alien art would look like, and/or what do you think extraterrestrial aliens would think of your art? I think that theirs would be just like ours, but not visually. Theirs would start with what they know and see. I think that their artwork would tell us just as much about them as any culture's work does and vice versa.
4.) Do you believe its possible that quantum physics and spirituality are connected in anyway? There was this article that I read that talked about how there were these micro cells that created a very distinct pattern. The scientists who discovered them found out that artists had been creating tapestries with the same exact pattern hundreds of years before the technology was available.
______________________________
!.) Do you think Graham Handcocks ideas relate to what I am making at all? To an extent, yes, but i don't think that you think about the work you make in that same way as you are making it. If anything, it is what you are discovering after making and then making again.
@.) Do any of his idea relate to what i have talked about? Sure, but especially in your understanding of why you are making.
#) Can you relate to my drawings? Yes, I can find aspects of your drawing that I feel like I completely grasp and can touch and understand. But there are also aspects that hit me from left field, but that is why you make the next one, we get clues as the viewer as to how to approach them.
$) Do you think the process of drawing relates to the idea of DNA being a device that passes on code? I think the process of drawing relates to the repeated image in DNA. As in, to understand the drawing you look at the lines of code to decipher the language.
Sandra's article
Here it is.
http://knowyourmeme.com/memes/
Supplimental reading: http://en.wikipedia.org/wiki/
http://www.urbandictionary.
1. How would you feel and what would you do if your performance piece became an internet meme? Oh god, I would try to put out work that i felt gives a better representation of me, but I also am careful about what I put "out there".
2. People have created re-mixes of this performance, as well as images--most if not all a parody of this piece. As you view this article, do those images change how you regard the initial experience of the performance? Do they inform the work, or do they dismantle it? I think they inform more about the viewer than the initial performer. I think how some people spend , or rather throw away, their time and what they find important puts a bad taste in my mouth.
3. If you just witnessed a performance piece that you do not understand or do not enjoy, would you applaud? Does the level of guts it takes to do a performance {like doing anything of a socially unacceptable nature} play into it? If so, why should it? I would have to be really bad for me not to applaud, I think that it is polite to applaud, but I am not always polite.
4. So! Apparently you're a hipster! Are you going to try and prove them wrong or will you resign to the definition this anonymous society has given you? At this point, I am not interested in what society or peers define me as, I am more interested in how i am defining myself, this will probably have adjustments in the future, especially when/if critics write about me/my work.
5. Does this make you any more or less apprehensive about putting your work online? I don't like to put my work on facebook or even really on blogs, we are required to for this class, which bothers me because anyone can pull an image of mine off the site. It is harder to do when it is on my website because of the (c).
6. Can an artist recover his or her respect from this kind of publicity with time? Do you think it matters in the art world? The art world changes with the seasons, some people wait until late December to buy a winter coat.
7. Do I seem to be consciously careful not to gain that sort of attention from the audience that views my work? I think you avoid it to an extent but I also think that the quality of your work is what will ultimately dictate that, not where it is viewed.
8. What does my choice of this article tell you about me or my work? I think that you take your work very seriously, I think that you are in no means a film maker but a maker of art, do you have everything figured out yet? No, but if any of us did, we wouldn't need to be here.
http://knowyourmeme.com/memes/
Supplimental reading: http://en.wikipedia.org/wiki/
http://www.urbandictionary.
1. How would you feel and what would you do if your performance piece became an internet meme? Oh god, I would try to put out work that i felt gives a better representation of me, but I also am careful about what I put "out there".
2. People have created re-mixes of this performance, as well as images--most if not all a parody of this piece. As you view this article, do those images change how you regard the initial experience of the performance? Do they inform the work, or do they dismantle it? I think they inform more about the viewer than the initial performer. I think how some people spend , or rather throw away, their time and what they find important puts a bad taste in my mouth.
3. If you just witnessed a performance piece that you do not understand or do not enjoy, would you applaud? Does the level of guts it takes to do a performance {like doing anything of a socially unacceptable nature} play into it? If so, why should it? I would have to be really bad for me not to applaud, I think that it is polite to applaud, but I am not always polite.
4. So! Apparently you're a hipster! Are you going to try and prove them wrong or will you resign to the definition this anonymous society has given you? At this point, I am not interested in what society or peers define me as, I am more interested in how i am defining myself, this will probably have adjustments in the future, especially when/if critics write about me/my work.
5. Does this make you any more or less apprehensive about putting your work online? I don't like to put my work on facebook or even really on blogs, we are required to for this class, which bothers me because anyone can pull an image of mine off the site. It is harder to do when it is on my website because of the (c).
6. Can an artist recover his or her respect from this kind of publicity with time? Do you think it matters in the art world? The art world changes with the seasons, some people wait until late December to buy a winter coat.
7. Do I seem to be consciously careful not to gain that sort of attention from the audience that views my work? I think you avoid it to an extent but I also think that the quality of your work is what will ultimately dictate that, not where it is viewed.
8. What does my choice of this article tell you about me or my work? I think that you take your work very seriously, I think that you are in no means a film maker but a maker of art, do you have everything figured out yet? No, but if any of us did, we wouldn't need to be here.
Justine's article
link to article/reading:
Questions concerning the article:
Could fashion ever be art? No. They both influence each other, definitely, fashion is artistic, definitely, art can talk about fashion, definitely, but there would be no need to differentiate between the two if they were the same.
In order for fashion to even be considered art would it have to be painted or would we have to stop wearing clothes altogether or would it have to be something else entirely? Yes, No, All of the Above, None of the above, it depends on the piece, it depends on the intention, it depends on the setting and it depends on the motivation.
Is there a way that fashion could be conceptual? Of course, I think that fashion can be highly conceptual, it goes beyond functionality it goes beyond practicality and it goes beyond wearability.
Could fashion be displayed as sculpture even if it’s still wearable? It depends on the piece, it can be displayed any way the artist or designer wants to display it, but that doesn't mean it is art.
Questions concerning my work:
Because I’m making dresses out of tissue paper does that automatically make me more of a feminist artist? No
If my dresses weren’t wearable, what would that make them? Would they still be considered fashion? I don't consider them fashion now.
If I wanted my dresses to be less fashionable, is there a way that I could display them to make them so? Again, I don't think of them as fashionable.
Arun's article
Here's what I wanted to put up for discussion next week: http://www.sidebarnation.com/
It's an audio interview, about an hour and a half long. The first 8 minutes is mostly just the show intro, so you can skip to the 8:11 mark of the file and get straight into the interview. Most of my questions come from the first 45 minutes or so of the interview, but I'd highly recommend listening to the whole thing if you can.
Here are the questions I wrote based on this:
1. Trevor von Eeden said that he learned to develop his own style by studying his own doodles. What sort of things have you observed about your own practice that you've been able to more consciously apply to your own work? I did a drawing entitled "Must be 54" to Ride", that drawing and approached helped me to figure out what kind of style I am interested in working in, it also helped me to understand what it takes for me to sit still and make a dense and detailed drawing.
2. "By making the extraordinary ordinary, it elevates your spirit." Is there an artist for you that you think exemplifies the sort of ideals von Eeden attributed to Neal Adams (similar to his analogy of what Bruce Lee would mean to a martial artist)? I don't know how to answer this question, there is very little that I find able to define as extraordinary or ordinary.
3. Von Eeden's work in comics developed independent of fan reaction. Has viewer response had an influence on your work? How much? I am extremely interested in the viewers response but I don't think that it influences my work, or if it does, it is indirectly and in the next piece.
4. What's more satisfying: the work? Or the piece that work produces? The work, always the work, there is satisfaction that comes in the final piece, but it is short lived. The work however is a continual satisfaction.
5. Does my work tell you anything about me/my experiences? I think that you are an observer, I would love to see what happens with your work when you become more selective of what you put on paper and you are in a completely new environment.
6. Do you think those experiences/personal biography is even relevant to what I produce? I don't see them in your work, they may be relevant to your motivation but motivation and concept are not related.
7. "...I'll never stop seeing my mistakes." Does my constant self-criticism of my own work affect your opinion of a piece I've done? No, I think that we are all our hardest critics and when we stop being so that is when we will stop making.
It's an audio interview, about an hour and a half long. The first 8 minutes is mostly just the show intro, so you can skip to the 8:11 mark of the file and get straight into the interview. Most of my questions come from the first 45 minutes or so of the interview, but I'd highly recommend listening to the whole thing if you can.
Here are the questions I wrote based on this:
1. Trevor von Eeden said that he learned to develop his own style by studying his own doodles. What sort of things have you observed about your own practice that you've been able to more consciously apply to your own work? I did a drawing entitled "Must be 54" to Ride", that drawing and approached helped me to figure out what kind of style I am interested in working in, it also helped me to understand what it takes for me to sit still and make a dense and detailed drawing.
2. "By making the extraordinary ordinary, it elevates your spirit." Is there an artist for you that you think exemplifies the sort of ideals von Eeden attributed to Neal Adams (similar to his analogy of what Bruce Lee would mean to a martial artist)? I don't know how to answer this question, there is very little that I find able to define as extraordinary or ordinary.
3. Von Eeden's work in comics developed independent of fan reaction. Has viewer response had an influence on your work? How much? I am extremely interested in the viewers response but I don't think that it influences my work, or if it does, it is indirectly and in the next piece.
4. What's more satisfying: the work? Or the piece that work produces? The work, always the work, there is satisfaction that comes in the final piece, but it is short lived. The work however is a continual satisfaction.
5. Does my work tell you anything about me/my experiences? I think that you are an observer, I would love to see what happens with your work when you become more selective of what you put on paper and you are in a completely new environment.
6. Do you think those experiences/personal biography is even relevant to what I produce? I don't see them in your work, they may be relevant to your motivation but motivation and concept are not related.
7. "...I'll never stop seeing my mistakes." Does my constant self-criticism of my own work affect your opinion of a piece I've done? No, I think that we are all our hardest critics and when we stop being so that is when we will stop making.
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