MLEX, excerpt:


A lot of other people in my family were like: yeah, you draw, now do something serious with your time. And I still, obviously drew. Even if I did crappy conceptual art projects, I still would have drawn, meanwhile. It's nice when other people believe in you, but that's just a general thing. I don't think it matters.


Sometimes images just show up. I had this image for a long time, I think it showed up the first time when I was falling asleep. It was a tree, and it had these bottles on the horizon, in the branches of the tree.

I thought it was very beautiful, and I spent a really long time drawing that
I did several alterations, and I thought about it for awhile. So sometimes they come like that, and sometimes they come from thoughts. Like when I read an essay, and I tried to do an assignment, explaining. . . So I think that gave me a lot of ideas to draw.


I think they sort of show up and then I sort of develop their aesthetics, and eventually I figure out their specificity. Or I overlap thoughts. I don't know why I drew mountains, but then I looked at the mountains, and I noticed that it was very important that they had feet. And I think that is a lot to do with lightlness and weight. Because mountains are very heavy, but they have feet so they can run away, and I really like that about mountains.

So that thought came later, obviously I had been thinking of lightness and weight much longer than that. I can't think if I ever consciously develop. Sometimes I have something and then just I have to put it on paper.


It's not like they record, it just happens, so you remember, where were you when blah happened, if you were drawing, then you remember you were drawing. It's not, I think, in the drawing, well it is in the drawing, but it's in you, in regard to the drawing. A tiny pocket is created, and it is that day, and you see it, and make that connection.


You don't even need paper to draw, I don't think so. Or pens. It you tie me up and put me in a dark room, I will still see things, I will still draw things in my head, I will still create images.


A lot of things are drawing, even if they aren't drawing.

I don't thing that drawing itself . . . it is not as important as the processes which makes it happen. Drawing just happens to be the thing that I'm most comfortable with. I guess it could be replaced with anything, but it doesn't work like that because I've already spent too much time doing it. It would be like: you would have to re-invent language. It is a language I have been working with for a very long time.


I think the lines are really pretty, ya I basically think that she draws really well. She uses visual means to tell the story. But I think I like her more because it's pretty, I think. Or the last comic I looked at, I liked that because the drawings were very simple, and they were very efficient and I actually had a very long debate about hatching versus shading, and how they're very different. I thought this person is so clever: the way that the visual information was shown.

I also liked the content, because it was a content of something being layered. A mountain was being created, it shows you all the steps. It's shown in a very nice way. And I don't know what nice means. It is satisfying because all aspects of the drawings communicate, and the drawing is not an illustration of something, it is the something. 
Lee Towndrow
Kevan Funk
Jamie Usas
Malcolm W. Choy
Rich D’Alessandro
Giuseppe Bellomo
Tyler Walker
Oliver Jeffers
Aleksandra Popovska
Danelle Abbott
Lee Piazza
Anna Jarvis
Skanda Lin
Benji Wong
Graham Robinson
Adam Bentley
Alex Cogswell
Esther Kim
Max HughInterview_25_Lee_Towndrow.htmlInterview_25_Kevan_Funk.htmlInterview_25_Jamie_Usas.htmlInterview_25_Malcolm_W._Choy.htmlInterview_25_Jamie_Usas.htmlshapeimage_2_link_0shapeimage_2_link_1shapeimage_2_link_2shapeimage_2_link_3shapeimage_2_link_4