Friday 29 October 2010
Thursday 28 October 2010
Tuesday 26 October 2010
Saturday 16 October 2010
Friday 8 October 2010
Tuesday 5 October 2010
Monday 4 October 2010
PASSING THROUGH
Brian Donnelly, more commonly known as KAWS, has become one of our culture’s most storied artists and designers. From his graffiti roots and re-appropriation of art in public spaces, the New-York based creative took a slow and calculated route towards his work. With increasingly large projects under his belt in a more mainstream realm, he has still maintained a notable degree of humbleness through it all. While most of his public image may be that of a serious individual, beneath it all lies a truly interesting and fun personality who has come to make his mark through painting, fashion and toys.
In his recent exhibition in Hong Kong titled “Passing Through”, he unveiled a massive 5 meter version of his popular Companion character, as well as showing a collection of all-new artwork.
How long ago did you start planning and working on the “Passing Through” show?
I think we really started working on it about 4 or 5 months ago. We were talking before extensively but the real work of taking drawings and going into production was around then.
Was there a reason you picked the Companion sculpture in the particular sitting pose and having his face in his hands?
The Companion is one of my main characters that I like to do in many different ways. I thought with this being the first time I had an opportunity to do something on such a large scale it seemed right to use him. I don’t really think of him as a ‘proud’ character, so the face in the hands was a fitting pose. In our initial discussions I was told that the height was restricted to 5 meters, which I later found out was due to building restrictions. So having the sitting pose, it gives you the impression that the Companion is much larger.
Were the works of art displayed within the exhibition space created especially for the “Passing Through” exhibition?
The Companion sculpture was the main focus for the show. The exhibition space was more for the toys as I figured the demographic would probably be a younger crowd. But for the cloud drawings, I don’t usually do them. But with the concept of “Passing Through” and things happening momentarily, I thought it was an appropriate theme.
Seeing as this Companion is your largest work to date, was there a particular reason why you chose Hong Kong or why you felt it was a suitable location for this sort of project?
I think Hong Kong chose me. [laughs] It was the concept of SK (of AllRightsReserved) to put this project together. It just happened to be here in Hong Kong and I think it’s a perfect fit. My first trip to Hong Kong was in the late 90s and it was around the same time as the development of the Companion character.
The whole concept of “Passing Through” is to present art in an easily accessible format for the public. A way to share it with everybody you could say. What sort of satisfaction do you get knowing your art will be seen by a greater audience rather than say your work only hanging in somebody’s home?
There’s way more satisfaction knowing I’ll reach people in a way similar to my beginnings as an artist. 99% of the people seeing the sculpture will probably do so randomly rather than deliberately coming to check it out. I think that’s the best way of communicating and hopefully I can reach out to others to explore my other work.
If you go further, do you find a different feeling when creating both authorized/commissioned works such as this project versus random art you did in the past such as switching up posters in bus shelters?
Fundamentally it’s the same. But working with SK, they didn’t put up any real restrictions on my work. They allowed me to make the work I wanted to make. But looking back at the advertisements, it was roughly in a similar manner of trying to show my work, I just wasn’t given an invitation such as this.
Are there things you miss doing now that you simply can’t engage in based on your profile and popularity?
Absolutely, for me to do posters or put up advertisements they would be stolen and put up on eBay in a minute. The reason I did that in the past was for communication and reaching people. But now that it’s gone, other opportunities have filled its place.
When you approach your art many of them begin as two-dimensional works before making its way into three-dimensional piece. Is that the ultimate goal for your work?
No, I don’t think that’s true. It just depends on what you see. A lot of things that get reported on blogs are toys and have a commercial aspect to them. People looking at those platforms are sometimes looking to buy. I make a lot more paintings than I do toys so that tends to be the final medium.
Do you find that certain concepts are better suited for flat, 2-dimensional pieces?
Yea probably about 90% of my paintings I would say are suited for that, for example the wall I did at The Aldrich. Some things I see and I think about form but others I think about just that flat space.
Are there any other creative platforms you’d like to explore?
No, I’m content with what I’m doing. I feel like I’m just scratching the surface of painting and sculpture. One of my main interests with art when I was younger was that it wasn’t something that you could ever finish and master. You could be an 80 year old dude feeling like you haven’t done a fucking thing.
How do you balance out everything that falls under the KAWS name without earning the title of “sell-out”?
I know I can’t go out and please everybody. I go out and pick projects that fulfill me and fulfill my goals as an artist. If I don’t follow those rules, then I feel lost. I can’t go out thinking “oh that project may make some people unhappy.” I’ve seen people get in to and out of the work, I’m the only person that lives with the work.
What’s the goal of your work then?
Communication.
Looking at your work, how much of the concept or theme is superficial and seen immediately? How much of it is seen within deeper layers?
I would say a lot of the work I do is a reflection of where I’m at in a certain point in time, or how I’m feeling. I can look back and see where I was at in a certain point in time. For me it’s highly personal and I don’t expect to translate visually. But I hope that my work has a visceral feeling that evokes emotion.
Who are some artists over the years that have come to inspire you?
Tons, I look at so many different painters from classical to contemporary. Artists such as Peter Saul and H.C. Westermann. I definitely think Jeff Koons is fucking raising the bar more than any artist right now based on his production and the quality of the work he puts out.
If we look at OriginalFake as a brand, how much of it is your personal input versus being an extension of what you represent?
I definitely think that OriginalFake is another extension and outlet for me. As for designing the clothes, cuts and shape, (Tomohiro) Konno of NEXUSVII takes care of most of that. We talk about what kind of stuff we want to put out. It’s definitely a collaborative effort.
interview and pics from hypebeast
In his recent exhibition in Hong Kong titled “Passing Through”, he unveiled a massive 5 meter version of his popular Companion character, as well as showing a collection of all-new artwork.
How long ago did you start planning and working on the “Passing Through” show?
I think we really started working on it about 4 or 5 months ago. We were talking before extensively but the real work of taking drawings and going into production was around then.
Was there a reason you picked the Companion sculpture in the particular sitting pose and having his face in his hands?
The Companion is one of my main characters that I like to do in many different ways. I thought with this being the first time I had an opportunity to do something on such a large scale it seemed right to use him. I don’t really think of him as a ‘proud’ character, so the face in the hands was a fitting pose. In our initial discussions I was told that the height was restricted to 5 meters, which I later found out was due to building restrictions. So having the sitting pose, it gives you the impression that the Companion is much larger.
Were the works of art displayed within the exhibition space created especially for the “Passing Through” exhibition?
The Companion sculpture was the main focus for the show. The exhibition space was more for the toys as I figured the demographic would probably be a younger crowd. But for the cloud drawings, I don’t usually do them. But with the concept of “Passing Through” and things happening momentarily, I thought it was an appropriate theme.
Seeing as this Companion is your largest work to date, was there a particular reason why you chose Hong Kong or why you felt it was a suitable location for this sort of project?
I think Hong Kong chose me. [laughs] It was the concept of SK (of AllRightsReserved) to put this project together. It just happened to be here in Hong Kong and I think it’s a perfect fit. My first trip to Hong Kong was in the late 90s and it was around the same time as the development of the Companion character.
The whole concept of “Passing Through” is to present art in an easily accessible format for the public. A way to share it with everybody you could say. What sort of satisfaction do you get knowing your art will be seen by a greater audience rather than say your work only hanging in somebody’s home?
There’s way more satisfaction knowing I’ll reach people in a way similar to my beginnings as an artist. 99% of the people seeing the sculpture will probably do so randomly rather than deliberately coming to check it out. I think that’s the best way of communicating and hopefully I can reach out to others to explore my other work.
If you go further, do you find a different feeling when creating both authorized/commissioned works such as this project versus random art you did in the past such as switching up posters in bus shelters?
Fundamentally it’s the same. But working with SK, they didn’t put up any real restrictions on my work. They allowed me to make the work I wanted to make. But looking back at the advertisements, it was roughly in a similar manner of trying to show my work, I just wasn’t given an invitation such as this.
Are there things you miss doing now that you simply can’t engage in based on your profile and popularity?
Absolutely, for me to do posters or put up advertisements they would be stolen and put up on eBay in a minute. The reason I did that in the past was for communication and reaching people. But now that it’s gone, other opportunities have filled its place.
When you approach your art many of them begin as two-dimensional works before making its way into three-dimensional piece. Is that the ultimate goal for your work?
No, I don’t think that’s true. It just depends on what you see. A lot of things that get reported on blogs are toys and have a commercial aspect to them. People looking at those platforms are sometimes looking to buy. I make a lot more paintings than I do toys so that tends to be the final medium.
Do you find that certain concepts are better suited for flat, 2-dimensional pieces?
Yea probably about 90% of my paintings I would say are suited for that, for example the wall I did at The Aldrich. Some things I see and I think about form but others I think about just that flat space.
Are there any other creative platforms you’d like to explore?
No, I’m content with what I’m doing. I feel like I’m just scratching the surface of painting and sculpture. One of my main interests with art when I was younger was that it wasn’t something that you could ever finish and master. You could be an 80 year old dude feeling like you haven’t done a fucking thing.
How do you balance out everything that falls under the KAWS name without earning the title of “sell-out”?
I know I can’t go out and please everybody. I go out and pick projects that fulfill me and fulfill my goals as an artist. If I don’t follow those rules, then I feel lost. I can’t go out thinking “oh that project may make some people unhappy.” I’ve seen people get in to and out of the work, I’m the only person that lives with the work.
What’s the goal of your work then?
Communication.
Looking at your work, how much of the concept or theme is superficial and seen immediately? How much of it is seen within deeper layers?
I would say a lot of the work I do is a reflection of where I’m at in a certain point in time, or how I’m feeling. I can look back and see where I was at in a certain point in time. For me it’s highly personal and I don’t expect to translate visually. But I hope that my work has a visceral feeling that evokes emotion.
Who are some artists over the years that have come to inspire you?
Tons, I look at so many different painters from classical to contemporary. Artists such as Peter Saul and H.C. Westermann. I definitely think Jeff Koons is fucking raising the bar more than any artist right now based on his production and the quality of the work he puts out.
If we look at OriginalFake as a brand, how much of it is your personal input versus being an extension of what you represent?
I definitely think that OriginalFake is another extension and outlet for me. As for designing the clothes, cuts and shape, (Tomohiro) Konno of NEXUSVII takes care of most of that. We talk about what kind of stuff we want to put out. It’s definitely a collaborative effort.
interview and pics from hypebeast
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