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Melbourne artist HAMISHI expresses oxymoronic statements through painting, illustration, installation, video, and social media art. We had a quick chat about his practice, and his upcoming collaboration with musician and sound artist Henry Finn Madin (The Harpoons) at Sugar Mountain 2013 >
DG – Do you have a specific process to your work: rituals, or routines? The content of your work has a feeling of an intuitive moment, or perhaps a subconscious image – do you work with an idea already prepared or are the forms created directly onto paper as they come to you?
Hamishi – I definitely don’t have a set in stone routine however I’d say the notion of process is vital to my work. Before starting a work I pull all my will together to figure out a process that will lead me to my final product. A lot of my works operated as a diary of the time spent on the work; in those works it’s a push pull, add subtract to chronicle a hyperhonest soliloquy intimate thoughts and the progression/resolution of those thoughts. I’m moving towards some paintings that i’ve already mapped out the exact compositions and colours on the computer, it’s just a matter of being able to perfectly reproduce it by hand. The compositions are super cold and digital, i’m finding it super interesting to reproduce detached images with a very delicate intimate application.
It’s a cool contrast.
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DG – You have worked across a number of different mediums and via varying methods: installation, illustration, painting, video. What kind of work do you most enjoy doing?
Hamishi – The history and physical process of painting is ultra romantic, I can’t imagine myself giving up on it. Having said that my subject matter usurps the medium, I just pick the medium that works best with the visceral image and context I want to propose. Painting is hard and a lot of the time I hate it because it (the medium) buckles under it’s loaded history, takes strenuous time and focus, and is less relevant than ever but thats the challenge that keeps me interested. Enjoyment doesn’t always equal enjoyment, I’m into delayed gratification.
DG – Could you tell us about your upcoming collaboration with musician and sound artist Henry Finn Madin at Sugar Mountain 2013?
Hamishi – “If you throw something into a river: it immediately disappears, but it’s in there and it changes the volume of the river, depending on how many objects are thrown in”. An image has weight, it is not a representation of reality but it’s own reality entirely. More images exist right now than ever before. Living with social media the viewer, as a river, will absorb an almost infinite mass of realities every day and that viewer is left perpetually flooding.