On August 28th in the artistically and culturally vibrant city of Philadelphia, artist Joka presents “Friends Stoning Friends”.
“Friends Stoning Friends” is Joka’s first gig as a curator and with it he’s brought together artists he’s shown with in the past, and artists that he’d always hoped to.
The event takes place at Jinxed, a tattoo-lowbrow-graffiti shop and gallery, at 620 South 4th Street and the list of artists contributing work is pretty impressive. Joka, who’s paintings will be on display that night, are constructed with tiny points made by tips of toothpicks. He began painting seriously after spending time at Jonathan Levine’s first gallery, Tin Man Alley.
GlubDub: Tell me a little bit about your style. When I first communicated with you, you wrote me that you paint exclusively with toothpicks. Did I read that right?
JoKa: Yep you read right. I paint all my stuff nowadays strictly with toothpicks. It stemmed from me not knowing how to do silk screening and wanting to attempt to reproduce that effect. So the first painting I did was a solid color background with black dots over it, and by using the toothpick they were all pretty consistent. That led me to wonder if I could do a whole painting that way.
GD: How did you know this might work? Have you seen other artists taking a similar path?
Joka: I’ve looked online and seen a couple artists that use toothpicks to manipulate paint, but nobody really doing exactly what I’m doing to the same extent.
GD: You’ve obviously found this technique to your liking. Beyond the actually creating a unique piece of work, what’s been some other positives aspects of painting with toothpicks?
Joka: The toothpick itself is a very precise instrument, so by using it, it causes for very close attention to detail. I like working very fine and precise. It also causes me to blend all paint off canvas. The more I talk with other artists I know, the varying ways in which we work always come up. Clean up/set up for me is so simple. When I do use a brush nowadays, mostly on frame stuff, I hate cleaning up. I guess you could say I’m a very lazy, but patient artist.
GD: Where does the feel of your paintings come from?
Joka: Each piece of mine has a story or a meaning based on what I’m trying to project. I think people are defined as much by their negative attributes as their positive, and I try to exploit both in my work. Hence my logo of a fly, something I really don’t like. I started including a lot of meat in my work to counter the usually very vocal, anti-meat beliefs of some, and because its so damn tasty! I like mixing eras, using Victorian prints and pictures from the 60/70s, to give a slight sense of nostalgia and to show how dramatically ethics and ideas of living have changed. I try to keep a heavy dose of dark humor in all my work, but also keep it thought provoking as well. I love art but get very resentful of art taken too seriously. I see the titles to a lot of my pieces as the punch line to the joke. I really appreciate work that is clever and very well done.
GD: How do your paintings come to life? What process do you go through to realize an idea onto canvas?
Joka: I’ll start a piece a couple of different ways. I’ll find pictures I want to use, come up with an idea or sometimes just a title and search for, or take pictures that work. Then sometimes I just want to make a cool looking painting, and the meaning comes later on down the line. When I first started, I think my work was a little simpler; mostly to cut down on the time the piece took, but as of late I’ve tried to start layering my work more, and make it even more intricate.
GD: How have other artists inspired you?
Joka: I’m constantly inspired by contemporary artists working today. Every time I go to a show or see new work from an artist I like (Eric White is one of my biggest influences) I can’t wait to work on something.
For more information on Joka, check out http://www.myspace.com/joka444
Adam Ramirez's Optimism Photography
Written by Max Stout
Adam Ramirez works beneath his Optimism Photography umbrella, specializing in fine art and photography, and his portfolio is filled with very diverse imagery.
Glubdub: How did you come up with the Exoskeletal series?
Adam Ramirez: Exoskeletal was a step in a new direction. Originally inspired by many different forms of mixed media, Exoskeletal took almost 2 years to complete. Once I started examining all the X-rays I collected from friends and family, I realized this was a fantastic way to take some of these painful experiences and mend them into a new form of expression. Other research included medical encyclopedias, fine art nudes, a few graphic novels and even some of my favorite Zombie flicks.
GD: How was Pin Up Players series put together?
AR: I've always been a big fan of genres; in art, film, music etc. Pin up Players began as an homage to the origins of glamour and fashion photography. In general, Pin Up Art tends to be very theme heavy, loaded with props and costumes. My favorite pin up artist were illustrators whose work could stand alone without being weighed down with specific motif. Illustrations that explored beauty and sexuality of the individual, without dictating a specific role or attaching some cliché anecdote. My pin up images rely heavily on the natural beauty of the chosen models, but are also rendered into illustrations (using both traditional and digital techniques) as a tribute to all the amazing Pin Up illustrators over the years.
GD: Do you always use these kinds of themes to inspire and then display your photography?
AR: Lately, themes in my work vary quite a bit. I think it's important as a artist to show a range in my work. Exoskeletal was an original concept of a darker and more graphic nature. It was also completely constructed in a digital manner. For Pin Up Players, I felt it would be nice to work on a tribute project which was a bit on the lighter side, with brighter color schemes and more playful subject matter. This project is also created using a few more traditional techniques, converting photographs into lines by hand.
Max and The Siamese Twins
Written by Administrator
Coming Soon... A new book from Glubdub.com: "Max and the Siamese Twins"
Once upon a time there was a little boy named Max who was a little different from all the other kids. Like the other children, he loved to play, and he loved to laugh, but unlike anyone else he knew, Max had a face growing out of the back of his head. The face belonged to Max's twin, who hadn't fully developed, and who clung to Max's own body for survival. The rest of Max's twin lived inside of Max, but as each day passed, and as Max grew bigger and stronger, his twin grew smaller and began to disappear.
One morning Max woke up and Carl did not. Over the coming days Carl became smaller and smaller. A few weeks later Carl completely disappeared. Max's heart was broken. He had lost his brother and his best and only friend, and more than that, he'd lost a piece of himself forever.
If you ask Liquid what she wants to be when she grows up she'll tell you, "I wanna be a superhero, so I have a lot of fun "liquidizing" my friends into robotic superhero status via caricatures"
Glubdub: Why is the process you use to breed humans and robots called Liquid?
Liquid: I love robots and I love science fiction. I think that shows in my quirky art. When I came to Myspace, I wanted a way to showcase some of my talented friends and introduce them to my readers in a unique sorta way, so 'liquidizing' them into superhero status type robots was the beginning of a whole new virtual gallery. I have never had any previous professional artistic training at all so I admire anyone that has an art degree or has had the privilege to study with talented art masters out there. My foundation stands on the fact that there is a little artist down deep inside each of us that is just screaming to get out and I think the challenge is to create something that is an extension of yourself. In other words, when you are done, to be able to sit back and look at it with fresh new eyeballs and see the moment you just captured. I think photographers do this really well. They can stop time by shooting that image in a single frame. Each photo becomes a frozen precious moment. Painters do this too with each stroke of their brush; they truly put their souls upon their canvas.You can also see this in children's art: freshness and innocence.
I guess my first artistic endeavor that I can remember would have been playing with paper dolls as a child. I wanted more variety for my little cardboard doll's wardrobe, so I would draw, color, and cut out new ones and now since I have grown up - along with the digital computer world - technology has surely blessed me and anyone else out there with new tools and software to express themselves. The lovely part about digital work over painting in real time is that you never spill any pixals on your clothes while you create! Ha Ha clean up is easy to accomplish! I love all the wonderful programs out there today. I actually started learning photoshop as a theraputic escape after an accident and it's been a lovely adventure for me ever since.
GD: When I used After affects which is the equivalent of photoshop for video, I fell in love with a couple of filters because they really matched what I had in my head for the film. Is there a special filter or effect that you use thats kind of defined your style?
Liquid: Absolutely. I use eyecandy more than any other because it has such a lovely chrome effect. I enjoy taking a digital photo and manipulating it into something fun. The imagination is endless on what can be done today. One of the powerful things about photoshop that I first noticed for photosgraphers, was that, to get a specific effect, one had to use so many filters on their cameras to achieve it and now you can take one image into photoshop and layer it with hundreds of filters if you choose or as much as your RAM can take on your computer. If you are a photographer, even with today's nifty digital cameras with built in filters, you should definately learn photoshop and all it's grand possibilities because it will extend your talent into new rhelms. It's a great time which we live in where we can mesh technology. The music industry is doing this with image in their videos and it's opened so many doors for their music reaching viewers by stimulating the optic nerves along with their fan's ears. When I have had the opportunity to create a cd for an artist, I will put my headphones on and get lost in 'only their sound' while I work in photoshop on their project. It's a way to connect their music to the soundscape of the visual art. That's my "liquidizing technique" in a nutshell. I just sit back and follow the light.
GD: Tell me more about the book. What kind of a world is it that has half-robots, half-children?
Liquid: I get a lot of questions about "The Liquid Metropolis" on my site. My goal is to take my little cyborg characters and mesh them with the cities into a story for the book. As for the art that is now in the Metropolis series, the style and perception that I have put into them, If I am truly honest here, goes back to my childhood, because when I was a little girl, like every other child out there, I was curious about heaven and what it looked like. I can remember every wish was about getting inside those pearly gates. I am not joking here at all, every birthday candle I blew out and every penny I tossed into a fountain was sealed with that "Let me nto that beautiful heaven" wish.
Very early my heart was set on eternity and my mind on heaven and what it really looked like. So whenever I would later hear a sermon on the description of heaven or read a scripture that let us get a glimpse of what ;it might be like' I would try to imagine the beauty that it would encompass. Now I do realise that it's really impossible to describe it, because we don't even have words for it and what we do consider beautiful here is just a dull reflection of what it's going to be like there, but my cityscapes that I make are truly inspired by what my mind's eye hopes that it 'might be like' in that other world to come. I love the gates and the thought of glass and precious stones and that the streets would be paved with gold and transparent like. Just the thought of knowing that in heaven, that what we might have thought was valuable here (gold for example) will be under our feet and we will walk upon it there is truly amazing to me.
The whole mystery of that idea excites me and puts things into perspective for me on so many levels and so I hope that shows through in the metropolis cities that I create. To the best of my imagination, they are the new places that are to come. I also love that utopia hope that there will be no sickness or sorrow there. In one of my city's descriptions, which has a hospital, the city boasts that even it's nursery has no baby tears. It's a pain free environment. Who wouldn't want to live there? So, although it won't be heaven, the Metropolis will be "another world" and an utopia that my character in the book will be searching for. She will be on a mission in search of her genetic code as her donar will already live there. The story will have colorful characters such as a steam punk mad scientist that is passionate about cloning and building parts for a group of cyborg and humanoid children and this with a current running parallel of an undercover agent trying to solve a high tech crime. I would tell ya more but then that would spoil everything eh?
Toybox Theater
Written by Max Stout
The following is an excerpt of a soon to be feature article about Toybox Theatre , which has existed since 1999 building and performing solo and group shows relating to puppetry arts.
Toybox Theater's work can be seen briefly in the documentary on puppetry, Puppet Festival.
As a small child, I was raised mostly by my mother and grandmother. During this time period of the mid to late seventies and into the early eighties, they both had a knack for hobbies including painting miniatures, doll clothes and costume design (for me on Halloween), and specifically building dollhouses. Subsequently, do to these proclivities; I spent many memorable moments as a very small mind in doll stores, craft stores, and showplaces of tiny things. My paternal grandmother was also a doll maker and an avid collector of clown memorabilia. A collection, sadly, I believe I will inherit soon.
I vividly remember a certain shop we would frequent. The front of the store was a doll/doll house store with aisles of everyday things in miniature. Little chairs and parasols, sinks and doll parts, outfits, base kits and displays. But it was the back of the store which always intrigued me most. It was a rounded hallway draped in blue velvet and it had built in oval showcases. In each was a single doll staring blankly into the room. Being a little boy the age of maybe 3 or 4 years old, I hated the room. I thought it was ‘for girls only’. It also scared me; whenever I went back there I was alone, when I had wondered off from my keeper. But I had too see it, every time we went there. To the point where the minute we walked into the store, I wanted to go, I had to go.
Another habitual haunt my mother would bring me too, was a place called Dispensa’s Castle of Toys in Oakbrook, IL. It was a giant castle filled with every toy you could imagine. Behind the castle was a kiddie amusement park complete with games and an old fashioned ice cream parlor. To enter the castle you had to cross a draw bridges suspended over a mote and the front of the castle was guarded by giant toy soldiers. It had many rooms filled with different toys both old and new and in the center one giant room. In the middle of this room was a mountain with several toy trains and little landscapes. Kites and model planes hung from the ceiling. It was a real children’s paradise and yes, it did exist.
A crucial moment was when I was four years old. I had seen a commercial on television for the broadcast of the Ray Harryhausen classic JASON AND THE ARGONAUGHTS. It was being shown some off day at four or five in the morning. I had convinced my mother that I had to see it. The night before the movie she made me go to bed extra early so that I could wake up to see it. I think I went to bed around eight pm. But I did not sleep. I stayed up all night laying on the top bunk of my dunk bed and stared at the ceiling. Picturing all the exciting things in the film and making up my own. To this day, I consider this my greatest movie experience. Growing up, I loved the Harryhausen films: the Sinbad films and then later Clash of The Titans. Mostly, for the puppet scenes.
In 1983, I went on a family vacation to a place called THE HOUSE ON THE ROCK in southwestern WI. I do believe this experience had a profound psychological effect on me. If you do not know of the place, it is one of the most unique on earth. It is a strange and fascinating edifice. Built by architect Alex Jordan, each room was designed and constructed then lavishly decorated on top of the next all sitting upon a giant rock. It houses enormous collections of antiquities and curiosities. Including hundreds of dolls, puppets and automatons. It is my favorite place on earth and I have been back several times as an adult. It is about three hours away from where I currently live.
I always thought as I kid, I was good at “playing with toys”. I played differently than the other kids in my neighborhood. I always tried to make them move convincingly. My brother and I would often play in the basement of my father’s house where he had his work room. When we were quite young, he showed us there how to Frankenstein our broken toys together to “fix them”. We liked this and soon were taking all our toys apart to make new ones. We got toys for parts. We would play games where we would scurry off to our separate corners and try to out do one another with our creations
When I was in sixth grade, I gave my first public puppet show. I got to be the Cyclops in an adaptation of The Odyssey. My teacher was very fond of puppetry and worked it into her curriculum. This was a big moment for me.
Of course, I also grew up with a t.v. culture that included much puppetry in its programming. Sesame Street, Mister Rogers, The Muppet Show, Sid and Marty Kroft, Thunderbirds, and later Pee Wee’s Playhouse, when puppeteers were still guests on the late shows.
Adam Wallacavage's Hanging from the Ceiling
Written by Administrator
GlubDub: How did you come to make such cool looking pieces?
Adam Wallacavage: I wanted to learn how to make things I couldn't afford, such as, ornamental plasterwork and elaborate interiors. I witnessed a terrible amount of destruction in my city of Philadelphia, specifically, to the churches of the Archdiocese, and instead of crying about it, I learned to how to make the things that were disappearing and this led to the realization that I can basically make anything I ever wanted as long as I was able to put in the time and research. The Octopus chandeliers came about after coming up with the idea of creating an underwater, 20,000 leagues under the sea style dining room.
GD: What from your past either as an artist or just a person walking the planet lead you to decide to create such works of beauty?
AW: The Catholic church has a big part of it. I grew up in the suburbs and I went to boring, boxy, minimal, modern churches. When I got older, I started going to older churches in the city and loved it. That is really the thing that kept me in the church. I love to space out and just stare at beautiful old ceiling and stained glass and dark old statues. I compare heavy Baroque interiors to nature and forests and underwater coral reefs. I love the ocean but hate flat sand beaches. I need to be near cliffs and rocks. I love skies full of different shaped clouds and I love architecture that hovers over my head. I love chaos over boring calmness. To answer the beauty question, my parents always judged art according to whether or not it was beautiful or uplifting. I respect them immensely and have always strived to produce things that were beautiful and uplifting.
GD: Was there some point of clarity that you knew this is what you had to do?
AW: There really is. As a photographer, I was in situations where I didn't like being because I needed to pay the bills. I always prayed for a path to produce things that were worthwhile and beautiful and a balance against the negative things in life. Not to sound like a prude, I like the other side, I mean, I shot the cover of GWAR's last album and I listen to some heavy music when I make my art, bands like Orange Goblin, Kyuss, and Mondo Generator. I have always lived a life on really weird levels but in the end, I want to leave something positive and uplifting.
GD: What were you working on that evolved into these chandeliers?
AW: I have a really hard time producing "art" I need to make something that is functional. One of the reasons I rarely show my photography work in galleries is because I can't seem to justify making something that just hangs on a wall, not that I don't appreciate things that hang on walls, I just have a hard time doing it myself.
Black Bird Stitches - Apple Cobbler and Bird Song
Written by Max Stout
This from Sara Bir of the North Bay Bohemian: "Black Bird Stitches primeval torch songs could burn down a barn. These are not torch songs of knuckle-biting, physical yearning, but of something deeper and darker and more mysterious, their ghost narrators yellowing with age and fettered by quietly powerful nostalgia."
Glubdub: Tell me a little bit about where your music comes from. What inspires it?
Black Bird Stitches: My music comes from a crooked old house in the woods, a cockeyed mind and a sincere heart. My inspirations are authentic, kind people with a healthy dose of ridiculous. I love people who aren't too cool to be kind and push themselves over the edges of their potential. Mysteries that can't be answered. Plus absolutely everything in nature. Nature amazes me and keeps things in perspective. I believe nature and music are intimately linked. To explore the intricacies of nature and music can help you to have a deeper understanding of relationship as well as compassion for yourself and other people. It also helps with apple cobbler. If you can't enjoy a good cobbler, then life just isn't worth living. And ice cream. But it all has to be made from scratch. As much as possible. I mean pick the apples, make the ice cream, all of it. Know where your food comes from. Then wash dishes. Other than these things my music is inspired by an odd and vivid imagination.
GD: Your sound is very rich with aspects of different styles of music, what do you listen to?
BBS: I listen to a wide range of music from Erykah Badu to Grinderman to Taraf de Haidouks to La Perla de Cadiz to Ghazal to the Avengers to Duke Ellington to Chopin, just off the top of m'head. GD: Can you give me an example how nature and music are linked?
BBS: When thinking about music as an idea that organizes sound to inspire feeling, it is a lot like the life cycle of a plant. It begins with ground that has been fed to be fertile, a seed, nourishing the seed to encourage growth, caring for it so that it will blossom and then enjoying and sharing the fruit (or vegetable) which contains the seed.
Here's my total geek out on the weird and wonderful: Modern French composer Messiaen (famous for compositions based on birdsong) and Béla Bartók who composed this atonal piece using principles of the Golden Mean.
GD: Where have you been and what have you seen that sounds like an orchestra?
BBS: For a time I lived by the ocean and one evening a huge flock of red winged blackbirds started singing during dusk. GD: Tell me some natural wonder that has inspired music in you.
BBS: This is not a cop out but, seriously everything just everything, ourselves included. It can all be music.
GD: How does that odd and vivid imagination infiltrate the rest of your life?
BBS: That's none of you business.
For Black Bird Music and other great and interesting music check out Glubdub Radio
Vanished Acres - Love Letters to a Scarecrow
Written by Max Stout
Jerod Grot's once-prosperous farm is now a twisted shadow of its former self. With his land overrun by crows and a scarecrow with a mind of its own, Jerod is forced to seek solace in the fading happy memories of his past. Each day is as the next. But today, Jerod finds a lost love letter from his deceased wife. The letter is not to him, but rather to his scarecrow.
With his world turned upside down, Jerod is met with many more memories - dark and unpleasant ones which he chose to ignore. As he confronts the scarecrow about the letter, these buried secrets begin to surface, shattering the uneasy peace that once existed on this haunted land, and forcing him to face his past as it truly was.
Glubdub: I love the story, where did it come from?
Adam Bolt: The story for Vanished Acres came from a dream.
GD: is this dream symbolic of something in your own life, your own past, or was it just some random dream?
AB: I believe most dreams are symbolic. The decaying old farm in the dream was surely inspired by our family farm in Texas that was developed over months prior, and that created a lot of nostalgia in me. That I imagine set the regretful tone of the dream - for a whole personal history erased. The other details are more mundane. The Japanese Pop theme seeped in from some music research I was doing for a school short. The scarecrow, talking crows and the love affair, no idea. But it certainly was interesting.
GD: Have you ever thought about what it might mean?
AB: Because the film itself is open to interpretation, it's always been amusing to hear others' takes on it, as if they're pointing out the symbolism of my dream, and, in a way, interpreting me.
GD: How were you able to realize the dream in the form of a film?
AB: Realizing the film took a lot of painstaking design work, and a big chunk of money from the aforementioned purchased farm. I was very much a perfectionist on the look (and sound) of the film, to maintain its dreamlike qualities.
GD: How much did you embellish the original dream to add to the story?
AB: The content itself was definitely embellished. Images and feelings that casually played together were interpreted as a narrative, which I found a very fun exercise - I didn't exclude a single thing from the dream.
Momix
Written by Max Stout
I used to live in Red Bank, or Dead Bank by the time I moved there. Red Bank was where the local artists and musicians flocked to after surviving high school. But Red Bank had fallen on hard times when the malls swooped down and snatched up all the shoppers, and the fine diners. Thats when the artists and musicians began to move into Red Bank taking advantage of the low rent lofts and studios, and just like that, Red Bank began to come alive.
From Momix
Of course that was all the big money needed to litter Shangri La with over stuffed cigar smoking suits, and plastic tits in full length fur. Quickly Red Bank became Rude Bank, as eclectic boutiques and high class restaurants sprouted up, catering to the well-to-do. This made the town as much fun to partake in when you have the money, as it is to goof on, when you don't.
Now when I come back to Red Bank there seems to be a nice balance of the five star restaurants and chic boutiques, grit and grime of the graffiti scrawled boarded up buildings, and an interesting arts and culture scene. So it was no surprise when I found out that Momix was at the Count Basie Theater.
From Momix
Known internationally for presenting work of exceptional inventiveness and physical beauty, Momix is a company of dancer-illusionists under the direction of Moses Pendeleton. For 20 years, Momix has been celebrated for its ability to conjure up a world of surrealistic images using props, light, shadow, humor and the human body.
We took Lukas to see the show and he hung in well for a strong willed, sleepy five year old. Averting a major meltdown, we wound up in the balcony with Lukas half naked and sprawled out on the floor. Finally feeling comfortable enough to really take in the show,even for just a few minutes, I could see Lukas understood just how special what he'd witnessed was.
From Momix
Three shrouded dancers stood in shadows of darkness, as the ominous drones of a nightmare in search of the sleeping, vibrated the entire theater. The dancers morphed between jellyfish floating in air and creatures with tails like large umbrellas. Lukas' hand found mine, and he looked back at me with a frightened but excited look in his eyes. I knew at that moment he was hooked.
Leeble Skeet - Staring Through The Color
Written by Max Stout
Sometimes when you take a walk through Myspace, you trip over dead branches and step into holes dug out of the ground by some wild critter, but every once in a while you stumble upon something that catches your eye that makes falling flat on your face worthwhile. That something this time is Leeble Skeet.
Glubdub: I like your designs....what do you do with them?
Leeble Skeet: fanks man. I'm just using Illustrator for now. I'm about to get into combining Photoshop in the process so I can take it to the next level. For right now it's just pen tool, live paint, gradients, and the occasional layer of photo realism.
GD: Thats cool man. Are you able to envision a design and then recreate it, or are you creating on the fly? Have you gotten any work with your designs?
LS: It's about 50/50. A lot of the time I plan the overall idea, but there's always a lot of random shit that happens along the way. I only got back into it about 3 weeks ago, so I haven't had much time to promote. The only payment I've received so far is a grip of VIP passes for a sts9 design. Guess that doesn't count huh? I'm still finding my niche market. I have a feeling it might do well eventually, because alot of people seem to relate to it.
GD: What inspires the designs that come from your head?
LS: I'm about to give some pretty useless answers, but I've been a space cadet my whole life. I spend a lot of time staring at thangs and stuff. When my gears are turning, i see weird shapes/designs inside a lot of those thangs/stuff. I like designing from the ground up, but i also like to change it up sometimes. For instance, recently i wanted to create a toxic cloud pouring from the skull of a character. I brought in a photograph i took of some smoke, then stared into it until the design took form. At that point i just go in on a new layer and create my own outlines. Well that's all i got on that subject. it's all about finding new ways to project your creative flow, and keeping your head right so you can do that consistently.
GD: What were you doing before you got into the digital design to scratch that creative itch?
LS: I've always bounced between audio and visual expression. I wanted to be a cartoonist as a kid, but after a couple years of art classes I was told I couldn't because of being color-blind. I stopped doing art for the next 15 years and became obsessed with techy EDM. I just sat in a studio learning how to produce dnb/dubstep, played some shows, and turned down every chance I got to be successful at it, because of my stubborn idealism. Digital art worked its way back into the picture when I went to school. I did a couple short animations as I learned my way around Illustrator, Flash, and After Effects. I actually fell off again these past couple years, but as of a few weeks back have been driven by something.
GD: That was anything but useless. I love hearing how different one creative process is different from the next, how each creative person comes from a completley different background from the next, and how many different places a creative flow can come from. When you say you're colorblind, do you mean you can't see color at all or do you have trouble distinguishing between colors?? It fascinates me that you can create such cool work and be colorblind.
LS: Yeah, Deuteronomy is what it's called I think. I can see alot of colors, but alot of the time I'm way off. Recently we finished a piece and Rhett says "I really like that gold you threw in there." My reply was "wow there's gold in there???" People are constantly telling me things about my use of color that I didn't know. I think Illustrator's inclusion of color guides is what made it possible for me to get back into art.
Thanks so much for the words of support. I've been creating my whole life, and have always been vastly misunderstood. These past couple weeks have been the first time people have actually been able to relate to the stuff that comes out of my head. it feels very fulfilling and makes me wonder if my life will take on a new direction.
