I am experimenting with style. Thus far my output has been the natural result of my putting paint to paper. I like strong colours, strong lines and textures that don’t quite conform to perspective. I like reflections on shiny objects, and take infinite delight in recreating a view realistically. The expressiveness of realistic painting is much like that of photography—the suggestion of composition. I can frame a view that you could certainly see for yourself, but might not have seen in the way I have. I can draw your eyes to a new centre, where in the world you would see an unfocused panorama. Remember when everyone was stitching their photos together to take panoramic shots of their holidays? It’s because they wanted to capture the view as they saw it, with peripheral vision. I want to show you little worlds that are self-contained, with a person or an object to ponder, at the centre of its own little universe. There is meaning in this that there isn’t in 180-degree vision.
Painting allows for greater manipulation than (unshopped) photography in that the colours can be tweaked—muted, brightened, monochromed and so forth. New moods can be overlaid perfectly realistic images simply by use of colour. By which I mean, through composition and conscious colour manipulation, photo-real paintings can really tell a story without relying on pictorial symbolism or stitching together conceptual motifs. These latter are certainly not my strong point (enter: high school art projects and gut-wrenching memories of candle wax and denim), but I have found other ways to communicate visually, which is, after all, what illustration is about.
Nonetheless, there is something unsatisfying about simply putting brush to paper and accepting the inevitable result. I am at war: the desire to paint accurately is so strong, though more imaginative work is around the corner if I can rein this desire in.
Being self-taught, I have no directed assignments to jolt me into trying new things. What I do have is lots of time to practice what I want to practice. To this end, I have devised a method of analysis and imitation to develop artistically. This does not mean blind mimicry of my idols, but, rather, careful consideration of the elements of their work and the way they differ from mine. I have always collected—vowel sounds, letterforms, haircuts, dress sense—I have compiled a style out of taking small bites of others’ pies and piecing them into my own. My accent is a pleasing amalgam of broad Australian a’s, soft South African e’s, and educated pronounced (rather than clipped) t’s and d’s at the ends of words. My handwriting was carefully appropriated from curled, connected letters penned by others, made fuller and shorter, and looped for optimal speed of writing. While I have the dress-sense of a four-year-old collided with Amy Winehouse, I can quote my sources. The key is to be selective and to be thoughtful. So will I approach my illustration style.