This week's spotlight is shining on Bryce Wymer in Brooklyn, New York. I'm really enjoying the graphic black-and-whiteness of his work. And totally loving his out-of-the-box choice of "canvases"-- clay, zines, wood blocks, vellum, LP covers. . . Plus, his sketch books are totally cool.
|Phalanx (Set E)|
If I wasn't an artist maybe I'd be sad. . . But honestly I have been feeling lately that it would be rewarding to actually work on something that has an IMMEDIATE reflection upon people's lives. I like the idea of being a carpenter again (as I was in my teens). There was something about leaving a job at the end of the day and knowing that I had a part in creating a family's shelter. The gratification of knowing that I had bettered a quality of life was always priceless.
Today, I'm listening to Cheveu, Barrington Levy, The Beets, Obits, Shabazz Palaces, and way too many documentaries.
I'm really good at over-complicating things and then stripping them down to the point that they are so minimalistic that they encompass all kinds of new possibilities.
I'd like to be better at living more and working less. I tend to be happiest when Im creating and it seems to be taxing a few relationships.
When I was a kid I was a total hardcore devastation to society. Remnants still remain!
Right now, I'm really into (in NO particular order) Mid 80's Hardcore (always), raw vegetables, (sadly) window unit AC units, family, paper towels, bubble wrap, India ink, and wood block prints.
|(a page from) How to Draw Animals|
I hate it when. . . I don't think I really hate anything. But I considerably dislike human entitlement.
My workspace is extremely neat and way too tidy. For some reason I can not work in an environment that is in complete disarray. I spend about half an hour every morning cleaning my studio and straightening things before I begin. Its actually pretty sick.
|Erecting an Icon|
I hope that my art brings all aspects of the human condition into people's lives. I spend a lot of my time trying to strip my work of my own deep confines. I find narratives in my work that mean something to me, and after that I trim the fat, get rid of the solos, and work them into a story that can be read on all fronts.
You can see more of Bryce on his website, or his blog, or via Twitter.
Who stokes your creative fire?