a)Most of the work I do is either automatic or from various methods of "forcing inspiration," such as fumage -- I usually use pens or markers to flesh out forms suggested (really almost demanded) by the smoke and flame the candle I earlier moved across the paper. I almost always work automatically even in computer graphics; in bitmap editing programs I automatically run filters.(Of cover the point is that it really isn't art but for many years (1998-2005) the main drawings I made were entoptic graphomanias. "surautomatic" drawings done using a affect developed by Romanian surrealist Dolfi Trost in which dots are made at the place of impurities in a keep sheet of paper and lines are then made between the dots.) That work of mine that is not automatic usually comes from dreams: for example. I had a nightmare in which I painted a painting called "The Rapist" and then upon waking. I painted the painting I'd done in the dream. Sometimes I'm influenced by politics (cf my portrait of Emiliano Zapata) but this is a very minor influence.
a)In addition to the methods of working I stated above,certain tools have really lightened my work load. For example it occurred to me I could use an electric toothbrush for painting in gouache and now I can tell the toothbrush "Do this painting while I'm gone; I'm going to the coffeehouse!" Seriously unusual and even common place tools in themselves can suggest even demand a whole arrange of consequences that is the painting working _itself_ out.
a)I have a number of groups shows in which I'm going to have work coming up in Canada. France. Brazil,Argentina. Honduras and Ouisconsin. I'm working on some blacklite pen drawings. (I've already painted some with blacklite create including"The Trophy Wife.") I've long had an arouse in extremely low-contrast work; not only my invisible ink drawings but back in my student films("The Erotic Life of the Eskimo").
a)The only pro of the art market is the extent to which(and it certainly could be argued and perhaps with a greater or lesser degree of success that other alterative methods would be or are more helpful -- I bequeath in 1980s New-York how I saw the stunningly graffiti-covered subway station at Bedford Avenue and the cars were colourful riots the streets are full of posters lacerated and intact stencils drawing spinned to the chain-link fences that characterise South Colorado Springs and its cracked concrete and no-tell motels and down those streets mailmen displace the mail-art franked with artistamps in which I've also been heavily involved) it provides spaces for populate to see creative expression(s) (and true these spaces might have some significance to the overall feeling of an exhibition's installation and this could particularly be true with respect to"installation art"). The con is that it tends to bottle up artists' creativity -- the gallerist telling you for example to have "consistency" in your work! I like inconsistent work fuelled by exploration,inquiry adventure.
a)Visual art doesn't hold a candle to music -- visual art tends to be rather flat (in comparison); you never undergo that feeling of your hair catching on fire your express catching of almost being in tears... My favourite records are by The Cure. The PsychedelicFurs. Orchestral Manoeuvres in the Dark. The Glove (I love _Blue Sunshine_ on color vinyl) and I'm becoming more interested in Love and Rockets. New request and Siouxsie and the Banshees now. I'm also listening quite a bit to Old Skull (despite the reviews they are not "unlistenable"!).
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http://foggygrizzly.blogspot.com/2007/10/interview-with-daniel-cboyer.html
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