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June 13, 2016

Adobe Take 10 Challenge: A Sit-Down with Joshua Davis

Adobe Take 10 Challenge: A Sit-Down with Joshua Davis

The folks over at Adobe have been putting together a pretty interesting challenge entitled:  Take 10 Challenge. In this challenge, you have to create an artwork using 10 Adobe Stock images and you can win a lot of great prizes. For the 2nd take, they are going with the word  Weightless and all the submissions will be judge by the mighty Joshua Davis. For the occasion, we had the opportunity to share a few questions with him, hope you’ll enjoy this interview.

Tell us about yourself? What do you do for living?

My Name is Joshua Davis. I’m the Media Arts Director at a studio in New York called Sub Rosa. Since 1995, I’ve been using computers as a medium to create work, lately focusing on the collaboration between hardware and software to create physical interactive experiences.

Tell us about the Adobe “Take 10” Challenge. What was your involvement and how did Adobe approach you to be a judge?

Over my career as a designer, I’ve had a long relationship with Adobe. The software they make helps me deliver the best visual experiences possible. The company reached out to me and threw me an interesting challenge: “you get 10 images from Adobe Stock and get to make whatever you want.” It sounded like a fun project. Given I’ve never worked with Adobe Stock, or with any kind of stock photography, this seemed like the perfect opportunity to do something out of my comfort zone. I agreed to collaborate on 10 Adobe Stock pieces of content and to make something that sings with my style and voice and then to challenge the community to do the same. Then, I become a judge to award winners with some great prizes.

What criteria did you look for while looking at the submissions?

For this Adobe Take 10 Challenge the keyword was “weightless.” The common reaction was to create something that embodied this word. Instead, I chose to use the word as a property in an animation algorithm. What would it look like if I suspended all this Adobe stock in a state of weightlessness and observed and rendered its composition? I wanted the challenge to inspire and push me.

I would hope my finalists embody this same thinking. I want to be inspired by the risks they take. To me, a winning piece of work should always invoke jealousy for not having thought of what they made.

Tell us your process behind reviewing all those submissions?

I want to stop in my tracks and say, “Damn I wish I would have made that.” This doesn’t always mean beauty. To me the most beautiful work might not be the winner. Being unique don’t always mean being pretty and I’m looking for unique.

Aside from this challenge, do you get creative satisfaction on commercial projects? How much time do you give yourself for personal work?

Much of my time in the Sub Rosa lab is split. Half of the time, I’m researching new code, new hardware, or new ways of remixing things to create visual aesthetics. This allows us to spend the other fifty percent of our time applying this research to commercial clients. Our goal in the lab is always to strive to innovate not replicate.

How does social media affect your work these days?

I have a website, but I imagine that no-one ever goes to it. Rather, social is 100% the megaphone by which I broadcast the things I’m working on to the world. Funnily enough, I have pretty strict rules about which content lives where and what purpose it serves.

My hierarchy is as follows:

I have 77k+ followers on Instagram. I use this space to permanently document thinking in flux, projects in motion. The content is usually somewhat final. This Instagram content gets pushed to 27k followers on Twitter and 24k followers on Facebook. If the work is really rocking me, I create larger selections from a series to post exclusively on Ello.

Generative animation is a huge component of what I do, and longer, better quality animation renders go on Vimeo.

After all this is done, and a body of work is complete, it gets packaged up as a final project on Behance.

I use Snapchat to show day-to-day through my eyes. It includes mistakes, crazy ramblings, late night dance parties; stuff that should definitely evaporate after 24 hours, especially when you scream at your followers that you’re a wizard, while fully dressed up as a wizard, etc.

Where do you see your work/style evolving in the next few years?

I’m mostly following the evolution of gaming boxes these days. The evolution of gaming video cards has allowed me to explore using the GPU to render meshes and textures and animate in ways I never thought I would be able to do. Having just demo’d Microsoft’s Halolens in Barcelona, I’m much more excited about Augmented Reality-related experiences than Virtual Reality-related experiences.

On a last note, what is a common mistake that most designers always make these days?

I’d say, having taught in an art university for 10 years, a lot of education systems are about replication, rather than innovation. We teach, “copy Van Gogh” or, “copy Picasso.” This can be fine to a point but what gets lost is finding your voice.

Following your industry on the internet can be a slippery slope. Replicating those you admire only gets you farther away from who you are.

Find you. It’s actually easier than you think, because you are pretty good at being you.

For more information about Joshua Davis: http://www.joshuadavis.com and about the Adobe Take 10 Challenge: http://create.adobe.com/2016/2/17/take_10.html

Jun 13, 2016

Source: Abduzeedo Interviews

June 9, 2016

Interview with Paul Kaptein

Interview with Paul Kaptein

I’m always fascinated by technological advances that mix more and more the real world with the virtual world. Whether through the already common resources such as augmented reality or the recent Oculus Rift. Paul Kaptein has a artwork that lives in this intersection, having worked for years in the digital world, his vision of art applies into several concepts that are still abstract in the real world.

You can reach Paul on the following links:




First of all I would like to thank you for doing this interview, it’s an honor for us to present more about you to our readers. I would like to start asking you about when your interest for carving and art started?

Thanks for having me!

I think at some point I really wanted to challenge myself as a sculptor. I’d been working across design and animation and video in my working life and that sort of drove my arts practice for a long time – and it became really comfortable and safe. I was also a bit tired of slick, manufactured works everywhere.

There was an ‘outsourced aesthetic’ proliferating and I was resisting that a bit. I figured carving was sufficiently out of fashion and worthy of pursuing.

2) Which artists do you use as reference?

Ricky Swallow was the first artist I knew of that had used carving in the contemporary art world. He still casts a long shadow in that respect. And he was also the reason not to try carving for many years! Stephen Balkenhol is another whose work is also really great from a carving point of view. Anthony Gormley, Tony Cragg and William Kentridge were the major points of reference when I started out. I didn’t imagine I’d become a figurative artist though.

3)Your style is quite influenced by glitch and surreal art. How did you develop this style and how would you describe it?

Please don’t call it surrealism. It’s more ‘wonky realism’ than surrealism. I’ve never been a fan of surrealism. Ever! Apart from Magritte and small doses of De Chirico perhaps.

Um…I became interested in the glitch aesthetic as consequence of working in video and animation and they sometimes you’d get these little disruptions and distortions and corrupted files that had a certain charm. I’d been looking at the paradoxical nature of time and the ‘now’ and onion skinning and playhead scrubbing were simple ways of disrupting the linear flow of time and I’ve tried to apply these media based conditions to sculpture embedded in the physical world as a way of extending the idea of how something sits in the world and occupies space.

4) Describe us a bit about your creative process while creating a piece

I usually start with some photographs as reference and play around in Photoshop to get the frontal distortions. I don’t have any 3D software skills so I have to work out the missing information as I go. I don’t really have much scope for changing anything once I’ve started though. It might be nice to have someone run some algorithms on a 3D model and see what came of that. If you know anyone?

Apart from some band sawing at the start to get the basic shape, it’s all hand done.

I believe in the deep, dark mystical world of traditional carving though I’d forfeit the right to call it a carving as I finish the work with sandpaper.

5) What would you consider the best moment on your career till now?

Having my work acquired by a few major public collections has been great in terms of validating my practice. Also winning a few art awards has many great side effects, not the least of which being income. Receiving email from around the world with offers of exhibiting is something I never expected and I hope it continues.

6) How do you describe your daily routine?

I usually start with ride to the beach and swim, or surf if there is a wave. Getting to the beach as often as possible is great for clearing the head and sets the tone for the day. I get into the studio by 8.30 – 9 and work until 5 or 6. Time appears to move pretty quickly when I’m working.

7) Being a multimedia artist, please tell us what’s your favorite media to work with? Why?

At the moment it’s wood. It hasn’t refused me! I’ve been wanting to return to sound as well. Maybe this year…

8) Tell us five lessons you believe are really important for every artist.



Take risks

Work harder


9) Tell us websites that you like to visit.

Local surf report. I also check Instagram a few times a day, but I generally try and stay of the net. After emails are dealt with it’s time get going.

10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business.

Work hard and lower your expectations.

Jun 09, 2016

Source: Abduzeedo Interviews

June 1, 2016

Interview with Javier de Riba

Interview with Javier de Riba

It’s really interesting to see a revival of old techniques into new medias, Javier de Ribas is an artist that brought cement tiles into street art, using them to enhance abandoned ambients adding some color and shapes. We had the opportunity to talk with this rising talent.

You can reach Javier on the following links:






1) First of all I would like to thank you for doing this interview, it’s an honor for us to present more about you to our readers. I would like to start asking you about when your interest for street art and patterns started?


I always enjoy seeing art in the public space, how it relates with the enviroment and how it proposes a dialogue with the viewer.

I studied graphic design and in 2010 with Mará López and Edu Pi started a project called Reskate Boards & Illustrators. It’s about recycling skates. We take old skateboards and reshape them, sand them and give to visual artists to recostumize them. This direct contact with illustrators, painters and visual artist makes me learn a lot and start developing my art.

The interest for the patterns comes from other point. At the end of the 19th century, hydraulic mosaic factories began to appear in the Catalan countries. Many homes in this area feature this type of tile, and I have lived with them all my life.



2) Which artists do you use as reference?

What inspires me a lot is looking how others work. I’m thankfull with internet I can see really good people and meet them. Collaborating with people makes me get a lot of inspiration. I don’t use to give names but Aryz makes me cry :D.



3) Your style is quite influenced by patterns design / retro geometric art. How did you develop this style and how would you describe it?

I love patterns! They add personality and fill the space with a unique rhythm. I’ve work with geometrical patterns because it was the first kind of designs that appeared. Are synthetic way to represent flowers. Each tile is identical, but the repetition generates new forms, born out of how each of the tiles join and intersect. Like in abandoned tiled floors, flowers usually appear between the tiles. Is for this reason that the name of my project is “FLOORS,” comes not only from the use of flooring as a canvas, but also from “flors,” the Catalan word for flower.



4) Describe us a bit about your creative process while creating a piece

For the Floors project, I don’t spend so much time painting. I work more previously planning and less on the painting, taking measures and looking for the location, then making the stencils. Sometimes I paint in various days/nights. Each day one layer (one Color) but other times i do all on the same day/night, it depends on where is the action. The biggest one that I did I spend 8 hours painting with kneepads. Sometimes I also spend time taking photos and video editing. The documentation of this action showing the space I think that is a big part of the project.

In other projects I see what the projects asks and try to work their necessities. I believe that the medium is the message. So when I find a message to share I will look for the medium that express better it’s message.



5) What would you consider the best moment on your career till now?

There are many! The first exhibition of the “Reskate Boards & Illustrators”, the week with Minuskula and Guim Tió, the day that we present in Vienna the Harreman project with photoluminescent paint.



6) How do you describe your daily routine? (Send me a pic of your office). I don’t have, sorry!

Unstable! I’m working now on my future studio. At the moment I’m working wherever I can. Every day is different and I adapt myself.



7) Being a multimedia artist, please tell us what’s your favorite media to work with? Why?

I love all of them. I think that the point is to diversify and take each medium an canvas with the motivation of the first time.



8) Tell us five lessons you believe are really important for every artist.

1. Research

2. Do what you say

3. Say what you do

4. Prove it

5. Ignoring the lessons of others and build yours working



9) Tell us five websites that you like to visit.

I work a lot with www.behance.com but I don’t have a lot of websites that I visit regularly. For me internet is a place to get lost.



10) Thanks again for your time, please leave a final message for the ones who are starting out on this kind of business.

One day I red a sentence that says: “Art change the people and the people change the world” . We should keep it real!



Jun 01, 2016

Source: Abduzeedo Interviews