Wywiad z Jeffreyem Wattsem

. sobota, 24 lipca 2010
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Wywiad z Jeffreyem Wattsem.
Szczególnie spodobały mi się poniżej zacytowane części. Takie proste teksty trafiają do mnie bardziej, niż wydumane pierdy o świecie. Lubie porównania do języka. Sam już nie wiem u kogo to podłapałem, ale natrafiam an to porównanie coraz częściej.
Całość kończy mały podgląd jak powstawała jedna z jego prac :)

JW: If someone comes up to you and says they can speak six different languages-- German, French, etc.-- everyone is so impressed. "Oh my God! I can't believe you speak six languages." But if you come up to somebody say you speak twelve visual languages, people go, "Huh? What does that mean? That doesn't mean anything. Aren't you just gifted with that and born with the ability to draw and paint like that?" No. You see, it takes thousands and thousands of hours to train and memorize. So it's getting people to understand that art language is an aptitude, like someone has an aptitude for math or English. It still has to be cultivated like someone was teaching you a language, and I think that's where a lot of the schools and the students go wrong. They think they can master right away. You know, I tell people when they come in for a ten-week course, "What would you learn in a French class in ten weeks other than it sounds really weird and that the conjugations are crazy?" I mean, you'd learn "bonjour" and that would be about it.
Both: (laugh)
JW: So I tell people that when they come in. You've got to think of this as the most complicated language you'll ever learn. It's going to take lots of years to become fluent or proficient, to be able to execute large images with multiple figures with composition and color issues. All these concepts could be likened to writing a best-selling novel. So I keep going back to that because it is such a huge part of my life, and it's a huge part of what I think all artists have to continue doing throughout their lives. They have to continue training in the fundamentals and basics, and try to reconnect themselves to why they did it in the first place. They need to stay honest with their course of action and to what they're trying to accomplish, because it's easy to not do that. I think I learned that through watching illustrators. In illustration you become this morphed version of whatever is hot at the time. Occasionally, an illustrator will have a style that is significantly their own, but only for a short period of time before it gets played out. Then it becomes trite. For me, I just didn't really like that. For longevity it doesn't make a lot of sense. You just have to find a genre that allows you to grow.
DB: What advice do you have for artists?
JW: Stay true to painting from the heart. A lot of painters gave me that advice-- John Asaro gave me that advice. I used to go over to see him when I was 22 years old. John's always been a great influence on me, and he's a really great guy. He would tell me to paint from the heart and everything would be fine. Paint what you love, and you'll be good. He knew I had the technical proficiency. I just needed to paint what moved me. It's such sound advice and so simple, but you never do it. You're always out chasing some rainbow, or the grass is always greener. "I've got to paint like so-and-so," or, "Look how cool that subject matter is. I should paint that also." No. Just go out and paint what you love, whatever moves you. So that's my advice. Get a good foundation and stick to the fundamentals. Fall in love with the fundamentals so that you can train for your whole life. Fall in love with painting and drawing from life just for that reason-- not to sell, but just for a sincere interest in going in and painting the model because it's fun to do and it's great practice for you. Get that foundation and paint what you love. Inject that kind of passion and you'll be fine. Find an audience, the audience could be small, but you don't need that many people to buy your work. You only need a small percentage of people that appreciate your work, and then you'll have a fine career.

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