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With the possibility of so many different types media to combine, I wonder how you decide where your energies should go? It’s also a thing about economy. Collage is a good medium for people who don’t have a lot of money to put [into] it. A tube of really nice oil paint might be $30. A stack of magazines would be like $3. If I had been extremely wealthy and could have all of the materials when I was younger, I doubt collage would have been my focus. But I’m glad it happened the way that it did because now that I’ve been doing it, it is fulfilling. That’s the magic of it too. It just sort of happened and evolved into this really cool thing for you, a very personal conglomeration of interests. Even in college, I studied a lot of other stuff. You had to take oil painting classes, and photos. I enjoyed it all but it didn’t feel like a shoe that fit. Do you ever feel a sense of sensory overload, and perhaps find that collage is the best means of organizing what’s in your head? In our time there is just so much information and so much media that you feel like it’s attacking you. It’s interesting to take control over it and do what you want with the images being forced on you. I definitely think everything I do is self-therapy. It’s something you feel like you need to do for your own individual health, and it is also really rewarding when you can share it or have other people enjoy it too. How important is the theme of a series to you? Do you think of a theme first, or does a theme come to you later? I think it’s usually the work first. I start doing the work and assign meaning to it as I’m working. I think about what it is and what its message might be. A lot of times I don’t think about the title of the series or the piece until they’ve been finished for awhile. I’ll put something aside for a couple of months, and then I’ll be like, “Oh, this is what I should call it.” When I’ve thought about it before, it seems like when you’re dreaming you don’t know what it means, but later when you’re thinking about it you make connections and realize there might have been a message there. It’s more like that. I think occasionally I have thought about an idea first, but that’s much more rare. Some of the most recent things you did, such as the digital manipulation of solid shapes, is so cool. Very pastel and neon. What inspired this particular series? If you go further back on my blog, a year or two ago, I found a couple of programs online like Lunatic, PiZap, Blingee of course. I could take some of the images that I had made in collage, and it was like Photoshop for idiots. You’re able to change how it looks, adjust the colors. I got really into that. I would make a thousand versions of one collage. My hard drive was full of all these different variations. So I started playing around more with pastels at that time, because it wouldn’t be something I would reach for in the studio. But when you’re doing low commitment, low cost, you’re not wasting a board, you’re not wasting any of your supplies. You can just adjust it on your computer. Anyway, a long time ago I made a bunch of animations of some crystals and they were all pastel like the colors you were talking about. I’ve been sort of fascinated with that pallette ever since. I’ve made 44

RVA MAGAZINE 14 FALL 2013

RVA #14 FALL 2013  

The Richmond Mural Project hit the streets of our fair city and changed the game. Tyler and Jon of The Head & The Heart stopped by to disc...

RVA #14 FALL 2013  

The Richmond Mural Project hit the streets of our fair city and changed the game. Tyler and Jon of The Head & The Heart stopped by to disc...