I've never been good at drawing. It definitely wasn't a natural talent, like math or science was. The irony is that I wasn't ever really good at stuff like playing guitar or cooking, either. I've always stated that being an artist is constantly stepping outside of your comfort zone and experimenting with new things. That also happens to be my life motto, too. 20 years into my visual arts career, I've decided that I want to start drawing more... and I want to take on assignments.
Perhaps one can say that I've been experimenting for years, in other ways (see SCRATCHED + BURNED POLAROIDS, below). I like to create from observation and abstration, rather than from a blank slate. As a Wacom Pro-Artist, the past 9 years have involved mingling with a lot of talented 3D, VFX and concept artists. I've been lucky to pick up various tricks along the way, and most importantly, learn how to push my limits. While I'm a much better at other things, I do look forward to creating in ways that I never have.
Thanks for taking the time to read this!
My girlfriend had the robot image (right) as a desktop on her computer. While the origins are nebulous (it was just something she found on the internet), I suspect it originates from a Korean movie DVD cover.
I gave myself the mandate of drawing a self-portrait and replacing her desktop, with a ghost of myself. While I actually have a bigger nose, the rest of it reflects my essence and I'm quite proud of the end result. I decided not to go in and try to fix the nose: I'm putting it up here as testament that my good work is only good because I'm willing to make mistakes along the way.
Slide to see original image.
I discovered the Polaroid work of Lucas Samaras in 1996 and shot the bulk of my own Polaroid work in 2000-2001. I specifically credit my friend Patrick Saad for inspiring me to give it a try circa 1999 at the Circo de Bakuza.
The Polaroid emulsion I was shooting around Y2K with my 600 wasn't as easy to manipulate as what Samaras shot in the 70s or what Patrick had stocked up, so I resorted to scratching and burning most of my shots. There was magic in the random chaos of creating and interpreting the work as the chemicals mixed under the surface.
I include these here as reference to my origins and evolution. None of this work was modified digitally.