Interview @ DPI

Interview @ DPI

DPI magazine, based in Taiwan and also distributed in China and Hong Kong, featured my 4 pages interview in the last month of January!

1. What is the philosophy in your art?

Nowadays we are constantly bombarded by images and information.
But it seems like lot of these images have lost their soul.
I believe in having a message – a soul – as the main reason for creating artwork. When I am working I am putting all my effort and concentration into respecting whatever I find.

2. Would you please talk about your creative process to our reader. What is your favorite medium and why?

I like to start drawing without having an idea already in mind.
Once I am immersed in a theme, ideas come to me like flashes in unexpected moments.
I keep them in my head or sketch them on a paper, until I find the time to give them all my attention.
When I do, I start sketching and creating the final artwork simultaneously whether I am working on paper or directly onto a wall. My hand and the pencil are the first ones to take what is in my head to the material world.
My favourite medium is working with space, and especially on a large-scale.

3. What’s the most challenging difficulty in the creation of your work? How do you deal with that usually?

The most difficult thing is to keep trusting yourself at all times. Most times when I take on a new project I need to go through a moment of uncertainty before deciding to completely trust what I am doing. Fortunately this doesn’t last long and normally happens at the very start.
In large-scale work this uncertainty is intense and can be quite painful. Luckily the satisfaction and enjoyment also increase with the scale.

4. Which one is your favorite illustration? Or which one made you spent the most of time and effort? What message you would like to convey through this work?

‘Hairy Cabinet’ is one of my favourite drawings, but it has been one of the most difficult ones to produce. As much as I love the look of the realistic pencil treatment I also found it a painfully slow process, probably too slow for the speed of my thoughts.
‘Hairy Cabinet’ belongs to the transition moment between two periods in my work ‘Mechanical Machines’ and ‘Organic Machines’. The first portrays a world where impossible machines symbolising society, have captured and trapped small creatures within them. In the second series the creatures have taken over the machines in a victory of the individual over the system. In ‘Hairy Cabinet’ impossible objects and parts of the body announce victory of the individual.

5. Could you talk about one of the images painted on the wall? What was your inspiration? Does any interesting thing happened at the time? Could you talk about it?

‘Eating Stories’ happened in a very unexpected way. I was invited to take part in an exhibition at the Shunt Gallery in the massive vaults under London Bridge Station. I ended up transforming a previous installation completely, and it grew from 5m x 4m to 12m x 6m, about three times it’s original size.
The big yellow creature feeds himself from stories and memories of humans.
Interestingly, each part of this new work belonged to very different periods. The inside of the creature was the older work from the ‘Mechanical Machines’ series, while the additional part marks the beginning of a new series, ‘Organic Machines’.

6. When I see your adorable illustrations, sometimes I imagine your desk and workspace. Would you mind describing it?

I share a large studio with lovely high ceilings with 7 other creatives. The building itself is full of other artists, and has a gallery, a roof terrace and even a bunker that was used in the Second World War!
I have a table for drawing, which is always messy and full of papers, and another table for the computer which very tidy. My walls are filled floor-to-ceiling with both empty and full frames.

7. How does your typical day unfold?

I don’t have very much of a routine set up. My studio is a 10 min bike ride from home, and I am there most of the time. I often have a late start and stay working in the evening. I tend not to make many plans outside of work, and just try to go with the flow.

8. What are your future goals in the art world?

I am doing my first solo show this year, which will be a great opportunity to show my work to a bigger audience. I hope it is the first of many.
I would like to have the chance to go beyond murals and begin to transform entire spaces.
In the end my aim is to invite people look at the world in a different way.