A Wonderful Collaboration

December 19th, 2017

“The more we feel happiness and love the more we strive make the world better for others.

It seems simple but sometimes simple solutions are the best.

Gutless Wonder resides between dimensions searching for answers and leaving marks along the way. Between the realm of pixels and the physical world, the graphic designer shared inspirations of an artist in aspiration and all the details about the recent collaboration with the brand.

Previous work of Gutless Wonder
3D Animation for Social Media
The Original 172 used as canvas
First stage of the Creative Process
Distinctive Art Style @gutlesswonder

Could you tell us the brief history of Beck? And when you became Gutless Wonder?

I grew up with access to the internet and was often choosing a username for online games or email accounts etc. It feels liberating to be allowed to choose a name for yourself that doesn’t tell people so much about your sex or where you come from. I chose Gutless Wonder because it’s part of what shaped my individual history not that of my ancestors. It’s a reminder to always be unafraid to dance my own steps.

Can you share with us when you first became interested in 3D sculpting and animation?

I was so interested in the computer as a tool for creation because people spend so much time engaged with them in their lives. It made sense for me to want to use one to create work. After finishing my fine art degree I wanted to learn to make computer games so that I could create entire worlds for people to explore. Somewhere along the way I deviated from that path but maybe I will make it back some day.

You mentioned that you work believing in being the change that you want to see and that this fuels your ferocious optimism in the ever-changing world. This optimism, is what you always want to bring into your works?

Yes. Over the years I have experimented with different ways to communicate ideas. Every artist has to decide what drives them and what works with the story that they want to tell. I see a lot of pain in the world and ask myself how I can help. With my skillset I think I’m best equipped to try and make people feel optimistic. I think the more we feel happiness and love the more we strive make the world better for others. It seems simple but sometimes simple solutions are the best.

You have a very rich portfolio playing up with the dimensions and an unconventional identity. What would you consider as your art style?

I’d probably sum up my style as playful. I try to be playful when I come up with ideas and construct my work so I think the end result has that feeling.

The sculptures resembles a bit the “Concept Art Toys”. Is there any Japanese influence?

Sure, i used to collect a lot of vinyl art toys and own a few traditional Japanese Kokeshi dolls which have influenced my work. It’s hard to really say what is and isn’t an influence though – I kind of just do it and then let everyone make their own mind up. I think also it’s as much about what the viewer has seen as it is me.

Our partnership with Creative Review Magazine, Facebook and Instagram connected us with your work and your beautiful portfolio instantly caught our eye. Can you share your thoughts when you were presented to the brand for the first time?

I was initially struck by the ethos behind the brand and where you position yourselves within the fashion industry. I have a lot of respect for that and I found it to be backed up by a great quality, beautiful product which I loved working with. It’s motivating to work with a brand who have such values and that definitely brought a lot of inspiration to the work I pitched and produced.

The partnership also showed us the potential of a bigger collaboration. What do you think about the project and how was for you to create art for digital and fashion at the same time?

Art and fashion are both forms of self expression so they work wonderfully together, especially in the case of a brand such as Seven Feet Apart because it is not throwaway. It was great fun to have the challenge of creating a digital animation and bringing it out into the physical space for the shoe customisation. As I often 3D print my own work it seems like a very natural way of working but it was a fresh challenge to make sure that it worked well with the shoe and didn’t just feel stuck on. The designs from the animation became something new once applied to the shoe which was exciting to see. I learnt a lot from working on this and I had a lot of fun, both of which help to push my creativity forward and hopefully provided some new ideas for the brand too.

We were very impressed by your approach towards Seven Feet Apart’s story. How would you describe your design research and creative process? What are the major steps?

I would say that my first step is to listen. When I begun working on the pitch I read the brief and further researched the story and style of Seven Feet Apart. I picked out key points that I found inspiring creatively and did research for interesting visuals and ideas around those points. I tried to put together a story to give the visuals weight and find something unique for the brand. This is where the idea for the wheel that features in the motif began. It is a wheel made of two halves representing the cart wheel and the locomotive wheel combining the history of both founders of Seven Feet Apart.

How was to apply your creative into The Original 172?

It challenged me to think differently as I considered how the elements of the animation would work on the shoe and how to connect them so that they felt like part of the design. I wanted to work in a non-destructive way so that I had room to make changes and as a result I love that the final shoe can be further customised by the wearer allowing the collaboration to continue.

Any challenges faced during this creative process?

The deadline for this project was really tight. It was less than fourteen days for concept and creation. To make the animation and 3D print parts for the shoe in this time did not leave much room for error. It meant I had to commit to things pretty quick and go with my gut otherwise it wouldn’t have been complete.

Which skill do you consider the most relevant to your work?

Imagination and the willingness to keep exploring it.

What do you believe make them so distinctive?

I imagine it has a lot to do with the techniques I use to create my work. I wasn’t taught to create work in this way. In fact I imagine I would fail the course if I submitted work the way that I make it now! Once I had been introduced to the software I discovered my style by playing with it independently and doing what seemed cool to me. So as far as I am aware I am the only person working in quite the same way which helps it to be unique.

What would you say will be the future of design? Or the next big thing?

I think a lot of artists and designers are yet to dig deeply into the toolbox that computers offer for creativity. The more I make the more I am aware of how much I still don’t know. I’m excited to see more artists and designers engaging with new forms of technology. Although I haven’t had a chance to explore it much myself I think that virtual reality has the potential to make computer use a lot more instinctive for artists and could help to break down some walls in terms of ease of use.

Sevens in Sevens

Favourite creative place?

The woods

A funny art experience?

Competing for an ‘I am an imbecile’ balloon by David Shrigley at Dismaland

Favourite designer?

Primarni

Admirable brand or icon?

The Pope

Which piece are you most proud of?

My fiancé

A dream collectible?

MewTwo shiny

Apart from your Sevens, one valued thing would you take to Mars?

My spork

We’d like to thank Gutless Wonder, Creative Review Magazine, Facebook and Instagram for this brilliant partnership.

For more information about the designer: www.gutlesswonder.me