Jen Mann goes into detail about the hyperrealism in her work.
“For me, the realism is actually a thing that is relevant – I’m dealing with reality and how we understand each other, so all the paintings are hyperrealistic, but they do not represent reality. They’re like portraits of people, where their faces are obscured, and you can’t really see what they’re like, or who they are. There’s a painting in the Q&A series, that’s of my boyfriend through a shower-glass, where it’s all textured, and it’s called Reality. It’s talking about how it’s a realistic image of what that is, but when you look up close, it’s really painterly and has brushstrokes and doesn’t look real at all; it’s the most unreal painting of the show, in that respect. The idea behind it, is that you can only really understand a certain aspect of someone’s personality – even with the closest person I know, I can only know so much – so there’s that idea of what is real? ”
Jen also tells us about being an artist, her background, her influences, planning a body of work, different artistic mediums, Strange Beauties, the fear of failure, vulnerability, peoples’ reactions, Q&A, modern communication, her daily paintings, the meaning of success, etc.
Gabriel Dawe tells us about how light started to play a part in his work.
“After Eye II, and the first two Plexus pieces, I just started realizing how ethereal they were and how they glowed, when the light hit them. In No. 3, because of the set-up with the rafters, which were laid out every 16 inches, I was going to do this consecutive layering of structures, and it just made sense to use the full colour spectrum. I was kind of scared to do that, in the beginning, because I was afraid of it being just this kind of fluffy, rainbow thing, which would take away from the meaning of the piece. But I went with it and it just sort of started to fit in very well together. I just felt that range gave it a lot of power, to make that direct connection to fragmented light. Ever since then, I always use light as a point of departure, even though I sometimes don’t use the whole spectrum.”
Other topics he discusses are his need to create, his upbringing, his academic experience, transitioning from graphic design to art, his Plexus pieces, on Relics, on his sculptures and 2D work, the unexpected, tips and advice, etc.
Bryce Nagels, founder of the Nutritower, begins by describing himself as an innovative person.
“I think what I’m trying to do is to create something that is not only a cool idea, or something that makes sense, but something that, on the larger scale, can actually make a difference in the world. I think it’s really important, in this day and age, that when we do any product development, every company should have that in the back of their heads. We should try to leave this planet better than when we started off – so, that idea was kind of what set me off on this course. Food production, and food in general, has always been a big passion of mine. Finding ways to help people reconnect with what they eat and finding ways to help them participate in their own sustenance is one of my goals too. That’s kind of how this got started in a way.”
He also tells us about his education, Urban Seedling, the business aspect, the Nutritower, the benefits of hydroponics, on expanding, working with a team, his experience using Kickstarter, educating the youth, his biggest hurdle, etc.
Henry McCausland talks about how his drawings are an emotional response to what he thinks is cool.
“When I’m drawing, I’m trying to understand myself and why I find these things interesting. In one sense, I can think about what’s interesting about something, and then an idea can develop out of that. Then, I can share my fascination of these discoveries with other people, by putting it online. […] When you find something that’s weird, it’s a good starting point, because then you can project something on to that or you can start being imaginative and start coming up with a story. I like things, where you see something from your everyday, and then through how you frame it, or how you edit it, you get to zone in on those details. You can edit a lot of the real world out, so that what you concentrate on can become as fantastical as you want it to be. It still has a connection to your life, to the real world, but then you can start making it more interesting, by creating a story.”
He also elaborates on his beginnings, his working process, his daily routine, creating larger pieces, the importance of details, his commercial work, the theme of bicycles, comics and animation, on blogging, his past difficulties, etc.
Phillip K. Smith III tells us about how distilling something to its simplest state makes it more accessible for other people to view art.
“I think that the distillation process allows the work to be in its purest state, free from a lot of symbolism and things that people kind of bring to art themselves, but it also opens up the door and people’s eyes, so that now everybody is able to experience it. Ultimately, I always say that I want my work to be like the clouds. Never once has anybody ever looked up at the clouds, and said, “My god, that is just ugly, I don’t like the politics of this!” No, it’s just a really pure, incredibly beautiful, natural element, that everybody can look at and appreciate. Everybody can look at it, and find their own place within it, their own sense of understanding, while it’s also just absolute beauty.”
He also goes into more depth about being creative, his influences, his piece Lucid Stead, the technical aspects and logistics, the response, Reflection Field, on the Coachella experience, Bent Parallel, the mystery in his work, New Light Works, the human touch, the commission process, future projects, etc.