How important is concept in art?
I think maybe it is relative to your audience and the individual creator. Personally for me it isn’t always that important. Most of my work is automatic, thoughts aren’t there while in the process so to speak. They are but it’s different. Important thoughts, ideas, patterns and performances come when I sleep, drive, do yardwork, or am just intentionally sitting still and existing. I like and want to make conceptual stuff, but I don’t overthink it. When I come up with something conceptual it’s a spontaneous thought, the same as my non conceptual work. However, I want to comment on the state of the planet and humanity much more than I do. This is important to me, but the ideas don’t come as often as I would like, and I don’t force them.
What do you think about variants and repetitions?
Variants are essential and necessary, If I understand this part of the question correctly. With variation a piece can go from good to bad, bad to good, good to great, etc… Stories can be told with simple variants from one frame to the next. Even the simplest of variation. A 45 degree rotation. I use repetition in my work often, in some cases it helps form a narrative. I have a repetitive technique that I use often, I’ll maybe touch on that in the next question. Variants are essential and necessary, If I understand this part of the question correctly. With variation a piece can go from good to bad, bad to good, good to better, etc… Stories can be told with simple variants from one frame to the next. Even the simplest of variation. A 45 degree rotation. I use repetition in my work often, in some cases it helps form a narrative. I have a repetitive technique that I use often, I’ll maybe touch on that in the next question. Variants are essential and necessary, If I understand this part of the question correctly. With variation a piece can go from good to bad, bad to good, good to better, etc… Stories can be told with simple variants from one frame to the next. Even the simplest of variation. A 45 degree rotation. I use repetition in my work often, in some cases it helps form a narrative. I have a repetitive technique that I use often, I’ll maybe touch on that in the next question. Variants are essential and necessary, If I understand this part of the question correctly. With variation a piece can go from good to bad, bad to good, good to better, etc… Stories can be told with simple variants from one frame to the next. Even the simplest of variation. A 45 degree rotation. I use repetition in my work often, in some cases it helps form a narrative. I have a repetitive technique that I use often, I’ll maybe touch on that in the next question.
How do you choose which technique to use? Can you tell us something about your favorite technique?
I might begin to sound repetitive here. I don’t really choose. I keep a lot of supplies and materials around me during the day while I work. I have a lot of things going on all the time. In many instances it’s the material and supplies that choose which technique.
One of my favorite techniques is a basic one. Rotate whatever I’m working on and repeat the mark in an adjacent area. Simple and effective. It is a symmetrical technique. In some cases, recently referred to as bio-symmetrical. I like the sound of that.
There are lots of interesting spoons in your posts. How do spoons become artworks?
The spoons just sort of happened. Like everything else, I can’t explain it. A spontaneous event that blossomed into a lengthy ongoing series. The spoons are nonsense and I love this. Any object can become art/poetry.
You are the founder of ExperiMENTAL Comics group on facebook. How did you come up with the idea? Do you like being a founder, an organizer and a moderator?
I was looking for a place to post these kinds of images, there was nothing there, so I made my own. I don’t necessarily like being a moderator. I don’t like the trouble that comes along with it. I don’t like enforcing rules and guidelines. [Administrating anything on the internet can be quite a psychological trip] For this reason the group didn’t turn out as intended. Originally it was called abstract comics. I had high hopes. I added many artists whose work I admire to the group. It just didn’t take off. I think if someone more well known had created this group it would have turned out different. I had to change the title, which I like, to experimental comics in order to mold the group into what it developed into. I do like curating, finding work that I like and sharing it to the page.
You studied at The Art Institute of Atlanta. What did you learn there?
I learned where not to go to school for design. After one year at the AIA I switched to a non-accredited portfolio school called The Creative Circus. I went to the Circus for I think 3 or 4 semesters, where I learned a great deal about myself, design, book making, typography and typographic design. All of my time in college, as well as several years before and after, were troubled and are a cloudy part of my life.
Absolutely. I would prefer to refer to them as peers, friends, connections etc… Everything that comes into our range of senses is capable of influence. Once realized and it becomes a natural effortless ability. You have one more tool in your toolbox.
What would you like to achieve in art, poetry, in your creations?
I just want to feel good. I don’t want to worry. I don’t want to be anxious. Maybe selfish but I don’t just want these things for myself, I want everyone else to feel this way too.
I would like to develop something I call neopoemics - the area where visual poetry and experimental comics overlap. What do you think about the idea?
I think this is a brilliant idea and I want to see more.
In which directions should experimenting with comics go?
Any and every direction anyone will take it in As long as it doesn’t lead to harm.
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