A: What has your journey to your current artistry been?
E: For most of my life I viewed art as a hobby, something relaxing and fun to fill spare
time with. But it was around five years ago when I started high school that I
decided to get serious. I suppose I was dissatisfied with my current skill, and future
events like college and careers felt more tangible. So I started practicing anatomy,
poses and character design, using sketchbooks instead of scrap paper and
discovering new interests and passions. My love of storytelling especially became
something that evolved with my technical skill, and today I’ve filled twenty-two
books cover to cover, my thoughts bending more towards realizing my story ideas
rather than just creating concept art for them.
A: What drew you to pursue digital illustration over studio work?
E: Since I was so comfortable with a pencil and paper, it was difficult for me to start
using other mediums like painting, printmaking, etc. They required so much
preparation and mistakes were hard to fix.
But the first tablet I received felt like an exciting extension of what I was used to, it
let me transfer my paper sketches to drawing apps, add color stress-free, and had
an undo button.
But now I’ve finally gotten used to other mediums like acrylic paint and watercolor
and it’s a completely different state of mind for me.
I feel I’ve developed tremendous speed with digital art, and it’s easier for me to
realize my ideas in complete forms using those programs.
But physical art is so much more personal; having to sit with a mistake makes
success so gratifying, and I love the feeling of being new and inexperienced at
something again.
A: From looking at your work there is clear reference to video games and other media. Are these
influences that date back to childhood for you? If so, what pieces of childhood media do you
think shaped you the most as an artist?
E: I think I’ve drawn Godzilla fanart since I could hold a pencil, and obviously my
interests grow over time. I’ve always loved media with interesting character design
and art styles, so I think fanart is a way for me to appreciate and digest what I like
about a character.
Some childhood inspirations are The Legend of Zelda, Jeff Smith’s BONE series,
Godzilla, and Sonic the Hedgehog.
A: What does your studio practice look like day-to-day?
E: Very loose and relaxed! If I’ve got an idea I want to develop into a finished piece,
I’ll listen to music or watch t.v. at my desk (or on my bed) until it’s done or another
obligation presents itself. Even if I can’t bring my tablet or sketchbook with me, I
make sure never to be without access to paper and a writing implement. Doodling
is second nature to me.
A: In your work “Defeat Eddie”, there are many layers to this drawing, from character icons to
realistic action shots. What goes into your process when it comes to mapping out an image?
E: That piece in particular was inspired by an online movement of people making fake
screenshots of video games that don’t exist. So every aspect is in service of
creating the illusion of a game that I have no way of making with my skill set.
Overall, my main priority is to draw something fun or interesting so I don’t get
bored, and I try to think about basic composition, how to draw the viewer’s eye to
the many small details I put in.
A: Is this your first time participating in the Keene ArtWalk? If not, how many years have you
participated?
E: This is my third time participating, though the first time was courtesy of my high
school art teacher Shannon Perry, who entered our senior paintings for us. If you
remember three big parakeets on Local Burger a few years back, that was yours
truly.
A: What are you most excited to display at this year’s Keene ArtWalk?
E: That would have to be my digital piece “In the Garden”. I’m very proud of the
rendering and it feels like a triumph that I’ve worked towards for many years. I also
want to intrigue people with this small look at a story I’m working on.
A: Something that stands out to me about your work is your attention to detail when it comes to
natural lights and shadows. What do you look towards to make those decisions on where you
place light and shadow?
E: I believe that art is driven by passion; being in love with a person or a thing or idea
that you go above and beyond to represent it on the canvas and get others to
understand. In my case, I go crazy for the way light reacts to different conditions
and objects, and I love expressing that in new contexts. Often I’ll stop dead in my
tracks to make note of the color of an object in shadow, how the light bounces and
reacts. It gets me excited just thinking about it.
A: How do you practice self compassion as an artist in moments of burn out, block, or frustration?
E: Burnout is especially tough when you treat art as an escape, but it’s something I
can deal with pretty consistently. I tell myself that I only feel awful now, and a few
days of being lazy, playing video games and not being productive is okay.
That works with personal projects, where I can still doodle and still not be
“working”, but it’s different under an external obligation like a commission or
assignment. Then I have no choice but to cut any personal distractions and get the
job done.
A: Do you have anything to add?
E: Art is about emotion, the way the creator feels while making it, or the way you feel
experiencing it. It is a human endeavor that we must keep human. Try to do
something new, especially if it’s frightening, and don’t let a machine generate it for
you. Live life, eat yummy foods, cry at television, laugh with friends.
-Chao!
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