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Seeing Less

Artists do not see more than other people. They see less. It is in seeing less, seeing the essence of your subject, what is not needed as much as what is, that gives artists their eye. Complexity is unavoidable in this modern age. Everywhere you go, from your own work, life and relationships, to the torrent of newness and constant updates online - it feels like you'll never be able to get ontop of everything. There is always one thing that'll slip by and shatter your peace and control... Humans aren't made to see everything though. We select and form habits around this selection. It is a process of elemination, of simplification. It is a fascinating thing, that by focusing on less we actuall

The Weed Of Technology

Technology does not simply continue on an upward trajectory - being beneficial to everyone and our human race in the long run. It seeps into the cracks of convenience and laziness. We must make a conscious effort to use this convenience as a platform to use our time more wisely. Not an oppertunity for inaction, but a platform for change. Instead of letting it sedate us, use it to propel us forward - to answer the questions were too busy to answer before.

Qualify and Quantify

Artmaking from the outside in is a magical and lyrical process. If artitsts spin their stories well they amplify that raw emotion in a viewer's heart. Creating magic. Being an artmaker you must quantify and qualify to keep things simple. You don't ask; how do I capture the essence of a child's smile? That's impossible. But you can place colours and marks in such a way that ellicits that effect... Thinking of technique is an unusual no-no in the modern art world. It somehow inhibits your core and pure artistic spirit. But this is not the case... Technique, learnt well, amplifies this. It is such a relief to know that all of those amazing effects you feel when you look at art, all the question

Being In Touch With the Mainstream

When you look to the mainstream culture, for what is normal you are almost guarenteed to be caught up in the mainstream - and the last thing the mainstream cares about is that you will become a master at anything. What they do care about is if you're in touch with everything they're doing. It means that to be successful at an odd craft like drawing or painting or storytelling or anything else you either have to pull yourself out of the mainstream OR better yet, get into an alternate stream that is not dominated by keeping up with entertainment. Find a nerdy stream, one that is in touch with the things your practice and skills demand you get better at. Create commitments to communities that v

Batching Tasks

When you publish works daily, when you send emails out constantly, when you balance between creative, admin and social work - how the hell do you have the time to do anything productive? The truth is that to do focused work takes an investment of several hours - the worst thing to do is to sink time into something, only to be taken right out of it a few hours later, right before you hit the really productive parts. Task switching is itself a massive energy sink - you're likley to mess about for too long between tasks, likley to do less work and in general not be as effective. You must BATCH my friend. It is incredibly simple but so many artists and entrepreneurs don't do it... It is very, ve

Evidence Based Art

"I am not interested in what I know, but what I do not" - Anish Kapoor Discovery of ideas through practice and creation is what I consder to be one of the main functions of art. The art piece at the end serves as a symbol of the found thought. I always felt a disconnect with my final works - by the end of the process when you have a piece you set out to make at the start, it often doesn't resonate as much. But it is the act of pursuing, of digging and researching that makes the artist have the thought; process, not product. It is like your a different person. More knowledgable from when you first started. The piece itself is just a vehicle for you to get to this point. If you were to do it a

The Importance of Daily Records In Experimental Practice

How do you make something you do not know how to create? OR even better.. How do you make something you don't even know? There are known unknowns and unknown unknowns. Working within the space of these two is what it means to be an experimental artist or creative. It is setting off in a direction with an unknown destination. It is saying; 'hey I don't know where this leads but I have a hunch it'll be good'. I think the only way to navigate this space properly is by creating within it A LOT. With each new piece revealing a little bit more of the map. In order to do this effectively you build from one piece to the next - you do that with daily records. A log. A journal. Data. Without these yo

Your Voice Is Behind You

“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art. " - ANDY WARHOL The process of work, of creation, is itself a thinking act. You meditate, consider and analyse what you will need to to and then do it. Plan and then action. BUT every creative knows that when plans meet the real world they fall apart like rags. You can think day and night about what your art is about, how it will be successful, what your voice is. But these are not concious decisions - they are too complex and cause analysis-paralysis. Luckily all of those things are embedded within the actual work. You d

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