Nice interview with David by Amanda here. He has a show coming up on 9/10 at Richard Heller (showthread).
EP: One of your earliest visual influences was Nintendo, which is where you were introduced to isometric perspective, as opposed to the linear perspective that is taught in most western drawing classes. Isometry depicts things as they are perceived by the mind, rather than the eye. For example, parallel lines are parallel, and as such, they never meet at some imagined vanishing point on the horizon. In isometric perspective, the viewer hovers in an indeterminate viewpoint while the world is laid out before them with each dimension in the same scale, regardless of its distance from the viewer. Isometric perspective has for millennia been a feature of scroll painting in China, where it is known as dengjiao-toushi, or "equal-angle see-through." Even today, it is commonly used in CAD architectural renderings. When do you think you first recognized that Nintendo's isometric view allowed you to see things differently than they are seen by the eye? Did you find yourself drawing in that perspective before you even knew what it was? How does the almost omniscient viewpoint of isometry "read" for you on an emotional level?
David: My grandparents had wonderful Chinese scroll paintings in the house, and I admired them even as young child. Then in grade school, I played lots of role-playing games on my Nintendo. Also, all the Lego instructions were drawn with isometric perspective. It made sense to me and it felt normal to make art this way, to organize information this way. For as long as I remember, I have always made my drawings in this format. I've made art with single point perspective too, but only when I started art school.
EP: You've characterized your work as an existential narrative founded in your view of the world we inhabit, and your place in it. While your earlier drawings establish a setting and explore the folklore of the dawn of time, in which mythological beings still walked amongst men, your more recent work concerns a later power struggle between humanoid creatures and a race of balloon-headed aliens. Do you envision this narrative taking place on an alternate plane of reality, as if we have been allowed to see into a secret level of existence? Or is it an allegorical perspective on our human frailties and the precariousness of our civilization? Where do you place yourself in this epic showdown between good and evil?
David: I realized after completing the first few drawings that most of the characters in my work act as self-portraits. That through the work, I was able to express all my deepest ambitions, desires, fantasies, regrets and concerns, and bring these things to light. I feel that everyone at some point in their lives has to deal with an inner struggle, and that this universe is perfectly designed to give human beings the optimal conditions under which the choice between good and evil can be made. My drawings are my inner struggles manifested through a cast of characters. I am a whorider, I am a lizardman.
Last Edit: Sept 2, 2011 15:26:32 GMT -8 by sleepboy