#I’ve been drawn to a more painterly style recently and that’s nice an all but I can only do it like 1 out of 3 times that I try it :c

[chasingthewesternsun]

Samakro & Thalias!

[elliegratrick-blog]

5 Guest Speakers

Al Murphy 

Al Murphy gave a light hearted and honest look at where his creative journey has taken him, showing both the high and lows. He was funny and eased my stresses about life after graduation. He reassured that we don’t need to have it all figured out in three years. It’s a constant learning process of growing and improving, building on your skills. If you do make a piece of work, in six months you’ll probably hate it! The strong message throughout his talk is to be maintain your own individuality, be yourself rather than catering to what you THINK people will like. Most of the time it will end up looking like shit! This is what he explained happened during his ‘art school wobble’, which I think all of us creatives go through at some point. The advice he gave that its ok to not know where you’re headed I think gave the room some relief. It took him 5 years to finally have the eureka moment and have confidence in his own style and perspective. Something I found useful what he said is that what YOU like drawing can be translated into a professional setting like an editorial or advertising.  This I felt was reassurance as sometimes I worry my work is too ‘weird’ looking for mainstream consumers and won’t get me hired in future. It eases these worries and affirmation I should keep drawing these bizarre looking characters and that they can work for both the personal or professional. Some of his personal work he created which was huge billboard advertisements led to him being hired to create a mural in a bar. Still doing what he loves but getting out of his space and taking a risk with these billboards expanded his creative and professional horizons.

A lot of the companies he worked with like Specsavers and Perrier I would never have thought about being involved in the creative sphere. Again, this is an affirmation that there are many jobs in the creative industry, despite what your (insert family member that hates art) might say!

Simon Spilsbury

Without saying much, Simon Spilsbury just started manically drawing to the Foo Fighters. It was quite a shock as you don’t often see many illustrators with the confidence to draw live in front of an audience. He seemed quite negative with the rhetoric of ‘young people= Instagram obsessed’. I didn’t agree with this view point, I enjoy being inspired by other creatives work from across the country and world and engaging with them, creating a positive space. I feel possibly this comes from a generational gap and traditional upbringing. From an upbringing in fine art, realistic copying transitioning into illustration later in life. This resonated with how my creative path has gone: believing ‘good art’ was how well you could replicate a photograph with oil paint transitioning to a more freeing and expressive illustrative style. He stressed how important it is to always draw. I have personally noticed this difference in my own style when I draw most days compared to when I hardly drew at all. Simon started in his first job for advertising that then led on to illustrating.What he learnt from advertising was a lesson in collaboration, a future skill necessary for all creative for working with brands, customers and art directors.

A nice way of saying it was that he was ‘honest’ about life in the creative industry. There wasn't many positives which for some may have been worrying. I also found that explaining how to draw wasn’t that relevant as many of us have our own personal voice which his instructions didn’t relate to. I needed more process/professional advice. 

I found the way he explained ideas creation interesting, I could never put it into words myself. Take one idea and feed them into something else, collisions of separate ideas. E.g a normal chair but then combine it with a frog= a froggy chair. You shouldn’t have any preconceived ideas before you start. Thinking freely means a wobby line can become a skeleton for a character which you can build the figure on top. I feel this is a useful tip as a lot of illustrators including myself overthink “is it right?”. You define it for yourself. His talk ended with a ‘rap’. I say rap lightly… maybe just keep it for Christmas when you’ve had one too many!

Lyndon Hayes

Lyndon has been our tutor this module, travelling up from London every Thursday to come chat to us and see our work. Lyndon does a lot of editorial illustrations and reportage style illustrations. He did a talk for us, explaining his work and the advice that comes from being in the industry 20 years.  He has a passion for painting (which he still does in his spare time) which is where his work started. Creating pieces on found surfaces, wood, textures anything you can find in the skips with his painted figures. Many of his paintings including ones done at a boxing club, had this exposed sections without paint, highlighting the found material’s surface texture. I found these pieces really exciting as I seem to always be drawn to texture and painting was always my first love. You can see his inspirations of Hockey in these pieces. These paintings began to catch the attention of various newspapers who wanted this painterly style in their editorials. This is what most of his portfolio consists of. His illustrations are now digitally done but still have the painterly quality. They have a bolder line and often more paired down background with a restricted colour palette.

He told us the importance of keeping drawing for yourself, in his spare time he does observational drawings around London, a more reportage style. By building up his sketchbook and regularly posting these on Instagram and his own website lead to professional work. Keeping things fresh may lead to opportunities you’d never expect.

He said there are high and lows, sometimes there is lots of commissions sometimes there are lulls. These lulls are times to maintain your own personal projects. One of the regular commissions he gets is to illustrate Observer Food Monthly where a celebrity is interviewed on their favourite place to eat. These regular jobs provide steady incomes.

It’s reassuring that there can be (some) stability in a career and some creatives’ rent money is just made up of commission work. (If you can get it!)

Kirk Brown

Kirk Brown was a recently graduated alumni of the University. Finishing his degree in graphic design only a couple of years ago. Whilst at uni, he said he entered into all the competitions he could, putting in hard work to do well both in his uni projects but other personal projects as well. He spoke of the usefulness of Linkedin in finding commissioned work whilst still studying. I’d never really thought it was for creatives, more for people in ‘business’ but it couldn’t hurt to put myself on there. If nothing comes from it, I’ve not lost out anything.  Since graduating he has gone from graphic design to being a Creative Lead at SQN: a PR, sponsorship and marketing agency in areas such as sport, technology and automotives. This didn’t happen overnight. He mentioned how he worked for a couple of years at a smaller company before moving to this larger one. He says that smaller companies there is more creative control compared to larger ones there are stricter boundaries but more budget avaliable. I wasn’t sure if this talk was going to be relevant to me however this information was useful. For example if I was hired as an inhouse illustrator depending on the company size would depend on the creative control I could utilise. Businesses that I may not ever imagine I would work for may commission work like how areas such as racing/ sports etc needs creative teams to help them!

When presenting ideas he recommends putting up a substantial amount to give clients a variety to choose from as well as a wildcard that pushes client guidelines. They may even pick it! Be precious about work as if you bodge an idea and its not so good, a client may pick it and you’ll be stuck working with it. This is something to take forward. Don’t just half arse an idea to make up the numbers. Take care and to think about what you’re coming up with.

Neil Sheakey

Neil Sheakey is a design director at Uniform  in Liverpool. It is a multidisciplinary creative agency where all work is done in house. It’s made up of a global family of diverse backgrounds. There was a lot of waffling and jargon and what I got from it is that is a PR agency that uses creative solutions, branding, design and advertising to make businesses stand out in a world that is all morphing into one. The talk lasted a long time with my back going into some other worldly pain so it was a bit difficult to concentrate in this talk. 

He spoke a lot about his life before graduating and the journey that took him to Uniform.  The creative process they use there is empathy-perspective-direction-creative-action. This means taking the time to consider clients and businesses and their perspectives. To start creative ideas the team mood board initial ideas as well as those related to the concept. The benefit of working in a team of people each with different disciplines is that they all have unique perspectives of how to tackle a project. Combining these all together creates successful pieces of work such as Mitre football designs (for what football competition? League? Game? I have no idea?). 

What he recommends for our time at university is to make the most of our time. Getting our work out there on places like Behance or even Instagram is going to benefit you. By exploring, experimenting with techniques and process at uni we can find our voice, collaborate with others and there is no pressure like you would have in an agency once you graduate. What I found the most useful piece of advice is that you need to look after yourself, be yourself and enjoy it! At the end of the day you are the most important person in your life, you won’t make your best work if you are not caring for yourself.

[comicteaparty]

May 13th-May 19th, 2020 Reader Favorites Archive

The archive for the Reader Favorites chat that occurred from May 13th, 2020 to May 19th, 2020.  The chat focused on the following  question:

Which comic has your all-time favorite artwork, and why do you like it?

carcarchu

Oh yes i can say this with certainty but the webcomic with my all-time favourite artwork by far is 榴花不及春 https://www.manmanapp.com/comic-1404769.html. it's not just that the art is beautiful but the way the artists create mood and tone is just jaw-dropping. I actually got chills a few times while reading it from the art alone and that's not something that i can recall happening when reading a lot of webcomics, or actually any fiction in general. there's such a elegance to the line weight and movement of the art that brings life to the characters. the artists' use of lighting adds such depth to the scenes, sometimes creating a warm and inviting atmosphere and other times a haunting and foreboding chill. the time i've spent with this comic is not something i'll soon forget(edited)

Cronaj (Whispers of the Past)

This is such a difficult question for me. Gahhh, so many pretty comics out there.... I guess, in regards to artwork alone, my favorite is the 2015 version of Countdown to Countdown by Vel. (https://tapas.io/series/Countdown) Just... such beautiful work. I'm a sucker for detailed painterly styles I will admit, but also the color and lighting is phenomenal. The way Vel sets up the mood with color and movement is amazing. The textures and brush strokes are simply gorgeous! Unfortunately, Vel rebooted the comic to a new style last year, and while it is still really gorgeous, I must admit, I don't like it nearly as much as the original. (What can I say? I have a bias for painterly styles.) Still highly recommend it! (https://tapas.io/series/CTC) I do want to point out some honorable mentions for me: * Ghostblade by WLOP (https://tapas.io/series/GhostBlade) - another painterly comic * The Sixth Dalai Lama by Ze Zhao (https://tapas.io/series/thesixthdalailama) - discontinued as far as I'm aware, but painted traditionally with watercolor! * Wind Rose by Sfera (https://www.webtoons.com/en/challenge/wind-rose/list?title_no=54306) - Painterly again (later on as the artist improved) but also great expressions I will say, I also love deliciously detailed lineart, but I don't see it a lot (especially in webcomics), and I cannot think of one right now :/(edited)

carcarchu

ahh ghost blade is a great choice @Cronaj (Whispers of the Past) and while i agree that countdown to countdown's new art isn't as sumptuous as it used to be for a comic it works better and the simpler art style allows vel to release at a more consistent rate without injuring herself so i really respect the change(edited)

Cronaj (Whispers of the Past)

Yeah, definitely understand why they changed styles, because oml can a painterly style be taxing

DanitheCarutor

I can't pick just one! But to start off I love the art of Lost Honey (https://www.losthoney.com/), everything about it is so soft, the linework, the colors the character designs, the panelling, it all has such a nice feel to it. The creator's use of color is sooo easy on the eyes, it fits so well with the comic. The linework has such a nice flow and movement, there is never a feeling of stiffness, it almost reminds me of water. Also I'm a complete sucker for traditionally drawn comics. Even though it's discontinued as far as I know, Thicker Than Blood also has really nice aesthetics! (https://tapas.io/series/Thicker-Than-Blood-), it has such a unique style almost like classical art mixed with glass. The designs are detailed yet highly stylized. The quality varied from time to time, given the amount of work that goes into them, but overall I really liked the look of this comic. Carciphona is another one I like aesthetically. (https://tapas.io/series/carciphona) The art of this one has improved immensely since it started, and while I'm not a fan of the look of the earlier pages, I'm loving how their work has evolved. The style is very Japanese inspired, there is a lot going on sometimes, but has its own unique look and is very well crafted. Also I love the action scenes, how they're handled makes the scenes look intense, sometimes grandiose.(edited)

shadowhood (SunnyxRain)

Oh my god I love carciphona’s art! I always get shilin’s art whenever she sells at Anime North I’ve been meaning to read carciphona for a while so thanks for reminding me!

FeatherNotes(Krispy)

Hands down it is Black Out Cityhttp://blackoutcity.ca/lvl10.php Jay does these amazing illustrative panels when they introduce a new chapter and it has me hooked on each update! The way that the title is incorporated within the panel is beautifully done, and their attention to detail and effective use of contrast is breath taking. Definitely a huge inspiration of mine! I also want to shout out to O'Sarilho by @Capitania do Azar . The palettes she uses are unique and dynamic, and the layouts read like the comic is animated (there's even animated parts in it!) the way she draws action and portrays horrific parts is phenomenal!https://sarilho.net/en/

(also i love this prompt but i could def go on forever with it hehe)

Deo101 [Millennium]

I wholeheartedly second O'sarilho ^^ it's a comic I regularly reccomend and I probably won't ever get over how lovely it looks! (I'll have to look for more comics who's art I love later)(edited)

LadyLazuli (Phantomarine)

I'll throw in Heart of Gold https://heartofgoldcomic.com/. The ethereal palette, the clean and crisp architecture, the panels that work perfectly with the church imagery, and the energy of the lines and brush strokes. SO GOOD.

Tuyetnhi (Only In Your Dreams!)

I agreEE

shadowhood (SunnyxRain)

Okay for me it's two webcomics One of them is Tracy JB's Lackadaisy https://www.webtoons.com/en/challenge/lackadaisy/list?title_no=39790&page=1 https://www.lackadaisycats.com/ Everything she does is wonderful; colour, expression, character, plot.....her art inspired me to embark on expression work. I remember being younger and being so inspired by her webcomic. Hands down can't find a flaw. The other one is Muted by anidoodles https://www.webtoons.com/en/supernatural/muted/list?title_no=1566 I was introduced to her from her Heather animatics on youtube. I love how her inking and cell shading is simple but VERY effective; the use of bold bright colours and watercolours was amazing. My art style is heavily inspired by hers and overall, I love how she captures people's attention with it.(edited)

Miranda

Oh I love Muted!

shadowhood (SunnyxRain)

looks at your profile pic heheh

Miranda

I mean, I'd have to say I love "Nothing Special" by Katie Cook. Her art style and color scheme is just easy on the eyes and I love her intricate filled backgrounds. https://www.webtoons.com/en/fantasy/nothing-special/list?title_no=1188&page=1 Phantomarine is another favorite. I absolutely love the painted look and it's been inspiring my newer pages. Every page is just a work of art and I love the color choices and just everything about it. http://www.phantomarine.com/

shadowhood (SunnyxRain)

PHANTOMARIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIINE

sssfrs (JOE IS DEAD)

I’m also going to say Phantomarine

Theres also one I found recently called Bybloemen that has a really cool art style

FeatherNotes(Krispy)

ohhh Bybloemen is gorgeous and is so up your alley Sssfrs!

sssfrs (JOE IS DEAD)

Its so good

LadyLazuli (Phantomarine)

Woah, it's like woodcuts!! I like it!

Joichi [Hybrid Dolls]

Ooh this is a hard choice since I see beautiful webcomic art alot. Recently my favorite art and coloring style I've been inspired by are: - The Glass Scientists https://www.theglassscientists.com/ Some of the pages are well executed, I like the character designs, fantasy with alchemists, werewolves and more. Ghost Teller https://www.webtoons.com/en/horror/ghost-teller/list?title_no=1307 I enjoy QTT use of gradient coloring and spooky atmosphere, it looks like alot of time were used to make each strip. I like how the characters are linked to each story, it's not as spooky as more dramatic. They are all short stories Gourmet Hound: https://www.webtoons.com/en/drama/gourmet-hound/list?title_no=1245 When I think of slice of life with a soft pleasant color palette, this story comes in mind. I like to refer to her work as well as other SoL comics for inspiration on coloring.(edited)

Joichi [Hybrid Dolls]

@carcarchu ooh I love the different comics you recommend. It's always unique and pretty. I hope there's a tranlation strip for '榴花不及春'(edited)

shadowhood (SunnyxRain)

GOURMET HOUND

IM SO HAPPY ITS HERE

chalcara [Nyx+Nyssa]

Funnily, the webcomic with my all-time favourite art is Order of the Stick. Love how much expression and narrative work this simple style does.

RebelVampire

Definitely Rising Sand https://risingsand.glass/. The art is immensely detailed in ways that are relevant to the world and story, has beautiful color choices, beautiful compositions, amazing light effects, great backgrounds, and so on. And just overall the skill level is so high I'd need another 20 years experience with art to even be able to begin to point out a single flaw.

LadyLazuli (Phantomarine)

^Ooh yes! I don’t know how Rising Sand keeps that quality so high. From their posts, it seems like a bit of a nightmare sometimes But the end product is like its own animated film!

Joichi [Hybrid Dolls]

Omg I'm often in awe with those artists making high quality art that looks like it belongs in graphic novels or film. I can imagine those big details will take alot of time to put together. (edited)

I once happen to meet the creators for Rising Sand. Very passionate writer and artist team who have quite some experiences and strong teamwork. (Life goals!)

Eightfish (Puppeteer)

so many comics to check out :0

Deo101 [Millennium]

wow rising sand is really gorgeous

shadowhood (SunnyxRain)

Whoa rising sand is really good

actually reminds me of Tigress Queen by Allidraws https://www.tigressqueen.com/comic/page-0001(edited)

especially the parts where she draws glass and architecture it's very vibrant and full of life

Joichi [Hybrid Dolls]

Gosh I realized I have a trend of loving slice of life stories, so I might end up recommending that genre afew times!

keii’ii (Heart of Keol)

(don't forget webcomic_recs for recommending good comics in general outside of the weekly topic!)

Unfortunately Korean-only at this time, but I am in awe of the art in this comic. It's not very polished, but you can tell the artist really knows what he's doing in terms of anatomy, perspective and composition. https://comic.naver.com/webtoon/list.nhn?titleId=701535&weekday=wed

Joichi [Hybrid Dolls]

oops I remembered that, I'll go repost there instead. Thanks Keii. Wow that comic(edited)

Joichi [Hybrid Dolls]

I really want to read more Korean and Chinese webcomics, they have a different vibe and story atmosphere. I enjoy looking into them as inspiration on how to stage my webtoon scenes.(edited)

keii’ii (Heart of Keol)

Hmmmm, I wouldn't recommend the one above for how to make vertical scroll comics. That one was originally made for print and then adapted afterward, and it shows.

Still absolutely amazing action art, though!

Holmeaa - working on WAYFINDERS

@LadyLazuli (Phantomarine) Heart of Gold is SO beautiful! I agree with you 100 procent!

I will add The Ocean Soul. Holey damn this comic is SO gorgeous!!!! https://tapas.io/series/The-Ocean-Soul

Javi

Gonna add this before this prompt changes. I think Oren's Forge has the best artwork I've ever seen done in a webcomic. Every panel has a setting that's so bold and pristine in color, layout, and background that it begs to be animated. Every color used paints a different mood to show character development and the style of the characters is so stylized and interesting to look at. Even the story is interesting enough that it gets you hooked and wondering what will happen next. Also talking animals, what more can I say? :) There's more discussion in FurAffinity than there is on Tapas so I'm putting two links https://m.tapas.io/series/OrensForge https://www.furaffinity.net/full/18260576/

[teescriticalperspectives-blog]

Interview with Artist Graeme Durant as part of Critical Perspectives at Teesside University

The following conversation with Graeme Durant took place as part of his participation in the Critical Perspectives at Teesside University Fine Art. Durant’s work work was the subject of a major survey exhibition at Baltic, Newcastle, UK and at Bloc Projects, Sheffield. For the entire interview, please go here.

Critical Perspectives: Graeme, one of the things these artist talks and workshops allow is for there to be a bit more of a cross-generational conversation between artists working at different levels along with students—to give students access to these other voices and approaches. A number of students contacted me after your talk and said that it was particularly helpful as you had been a student more recently, but were now getting higher profile shows like the one at Baltic. For them, it made you more relatable and perhaps helped them see a bit of a path they might apply to their own approach. How is this for you? How does it work from your perspective as I remember you mentioning that you were usually a bit hesitant in these sorts of talks?

Graeme Durant: I always really struggled with talking about my work, to tutors and other artist. Still kind of do. People tend to ask me what I make and my reply is mainly just “stuff”. I am slowly coming to realise what I do and why, and have a passion for the concepts I’m playing with, so can openly talk about them more.

Things like these talks help a lot! They add a good amount of pressure and seriousness to make a person open up more.

I have taken part in these residential retreats the past two years that have also helped me talk about what I do/have done. They took place in Cumbria a

nd Cornwall, and on them you live with 15-20 other artists/writers/dancers/thinkers and you discuss your practice or area of interest to one another. Its been really helpful to me so I am going back again in February!

CP: You mention that you are a bit resistant to theory, which I think scepticism is really healthy, but then a lot of your work self-consciously references work by other artists such as Baldessari or Brancusi, but also pop culture with references to people like Tilda Swinton. What’s interesting to you about this sort of in-between place/approach?

GD: Not really sure how to answer, I’m still on the hunt for the answer myself. I guess I make for myself, as an average entertainment or as banal distraction. Whether it is commenting on popular clichés or historical subjects the work becomes a DIY drama—a place where crude/slapstick/impotent art and precocious/sensitive/emotive art all exist as predominant characters. The work is habitually self-critical; I am the zombie drawn to the colourful, moving thing. Dragging my feet until some flesh and bones appear giving me a hint to understand my actions.

CP: One of the students asked me to include a question about your interest in making copies or knock-offs rather than pressing the real thing? For instance the skewed Kurt Cobain guitar or keyboard made from an object lying around studio or your arch?

GD: This is something that has only appeared to me recently, or should I say I’ve come to understand that I’m doing it. I would say I build fast visual associations between objects and conjunctions.

The idea of realising a thing you want or want to see by making it is crucial to developing and mirroring existing emotions and concepts outside the realms of language. I want it, I could buy it, I’m not, I’ll make it. Guess this has connections with kinaesthetic learning. Doing/making the thing makes you long to understand it.

I think this is one of the concepts I’m toying with a lot at the minute. I think there is something interesting about how, found objects and ready-mades have done a sort of full circle in the art world and are heavily used throughout college and beyond. Not that it is a copout but more of a natural progression, like how in school you copy a bowl of fruit, then you do a self portrait, then you have to choose an artist and make your work in their style. This follows a lot of artist around after graduating and it does make some interesting viewing. I saw a really nice piece of work in London and it was a book a guy made of all of his paintings of Leona Lewis (the pop star who rose to fame in X Factor). He had (or what I understand) no real necessity to contextualise his stuff, he just was a fan/artist which has appeal too.

CP: There is also a really nice casualness to the objects you make as well as your painting. Do you see any parallels to this approach to the work above?

GD: I’m not sure casual is the right word; it comes across as something ‘cool’. I would say it had a sense of constant improvisation. A conversation with heavy or phallic forms prevail for instance, and presenting them through a twisting of conventional and unconventional materials and painterly surfaces that are simultaneously flat and textured may be read as casual but they are all deeply considered. I always allow for mistakes, errors and follow different directions within my practice therefore encouraging experimentation.

CP: There is a show that has gone around called Supermarket of the Dead that is about the traditional Chinese practice of burning paper money or objects as a sort of offering to the ancestors in the afterlife. It started with really simple objects, but now it seems obsessed with creating paper status objects like ipads, Prada shoes, designer clothes, cars, paper lingerie. I think these sort of cultural translations and copies are really interesting, but I’d like to hear your thought in relation to what you do? http://www.skd.museum/en/special-exhibitions/archive/supermarket-of-the-dead/index.html

GD: I’m quite interested in when this tradition took hold and became modernised by making ipads and other commercial goods. I’ve heard of burning paper money before. There must have been some progression in traditions. I guess this it what I’m aiming for with my new endeavour with the bonsai and scholar rocks. To change/challenge/adapt traditions and conceptions of what they are for.

This article is really good: https://www.theguardian.com/world/2016/nov/24/paa-joe-ghana-fantasy-coffin-artist-casket-funeral its about Ghanaian coffins. So they basically jazz up the coffin to put the fun into fun-erals, excuse the pun. I saw these in real life at the British Museum a few years ago and was totally blown away!

People have a tendency to embellish things and make light of certain situations. I guess this has parallels with the question below, I make deadpan associations with the titles I pick, to allude to certain information that I wish to divulge.

CP: Along with the resemblances that some of your object take (copies or replicas) you also seem to build a lot through resemblances of words or even tenuous similarities in words that add another level or visual pun to the work. How does this come about and what do you attempt with it?

GD: The titles come about from pulling in info from all areas, conversations, books, internet journals, memes, you name it! I just write the things that jump out to me down and go back through my notes and delve into them more. Some get so lost that I cant even remember writing them down. For example… my top three favourites…(taken direct from my notes)

you mean you want me to rush the rush job I’m rushing to rush deadliness of leisure and the uplifting effects of industry you left the door open so the cat ate the doughnut. Some are pretty obscure and I have no clue why I wrote them down…

pool noodle le phoque I’ve seen better bands on a cigar So yeah that’s a bit random but I guess that’s how it goes sometimes.

CP: What is exciting to you at the moment (art or otherwise)?

GD: Land rovers/unimogs/oxyacetylene/local history/flat eric/the sea

CP: What kind of advice would you offer to students or artists just leaving art school?

GD: Think I’ll keep this one uber simple…just keep making!!.. it sounds silly to say but my years at uni were the highest achieving years, think there were seventeen1sts handed out. And I can only think of one person who got a first that is still actively making work. Quite sad really as some people were great and had potential but lost interest and faded away because the lack of support goes and you get a bit deflated. I didn’t get a first by the way. I got a 2:1 and was pretty chuffed!

CP: Whose work/ideas are you interested in lately? Why exactly? Any collaborations?

GD: No collaborations, but hoping that 2017 will bring some!

CP: What is appealing to artists about a place like Teesside or say Newcastle? Why might it be more likely that these sorts of ideas and approaches might emerge from an environment like this as opposed to someplace like London or New York?

GD: This is hard to answer… having lived in Newcastle for 30 years come January I always question the pull of London and other big cities have to artists… I can list things that are great about the areas in the north but wont as they are so obvious. But there must be reasons for moving south. Money I guess… sad to say. People get more funding and opportunities.

CP: If that’s the case then where do we go from here then, or where might it be important to go?

GD: Stay put? Follow the sheep? Move all of the interesting people you know to a small town and put it on the map?

The Critical Perspectives series presents artists and thinkers from across disciplines, offering artist talks, mentoring, lectures, workshops, and tutorials at Teesside University. Simon Critchley observed, ‘The problem with contemporary art is that we all think we know what it means and we don’t,’ and that has been our jumping off point. With an international focus and interdisciplinary approach, Teesside University Fine Art’s Critical Perspectives challenges us to rethink our location within an ever-evolving community of artists in the twenty-first century.