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FAD Magazine covers contemporary art – News, Exhibitions and Interviews reported on from London

Philip Dennis Answers FADs Questions

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1.If you weren’t an artist, what else would you be?
I’ve always been as passionate about music as I have art, so probably a musician. I’m also fascinated by nature, so maybe an entomologist; although, I’m not sure if I’d be able to remember all the Latin names!

2. Can you tell us more about your work and what are the main ideas you would like to express?
My work is mostly mixed media drawings composed of separate hand-drawn marks that have been digitally pieced together. Things I usually think a lot about are figure, colour, pattern, and decoration.

3. How do you start the process of making work?
As an illustrator working to a client’s brief, the beginning stages are pretty formulaic and uninteresting! It’s usually a lot of sketching out ideas and discussing them with the client. It’s really important to make sure you’re on the same page before you start any heavy lifting.

4. Do you consider the viewer, when making your work?
Yes, absolutely, that’s part of your job if you’re an illustrator. However, saying that, if you’ve got the job, you were probably chosen because your style is appropriate so you’re half way there!

5. Name 3 artists that have inspired your work?
I’m not sure if there are really any individual artists that have had an influence on my work, but maybe different styles of art. I was inspired to start drawing through my love of comics growing up. At the moment, I’m trying to find inspiration by going back to the things I liked back then, like ‘80s cartoons and action figures. Other than that, I find most of my inspirations outside of art. I watch a lot of nature documentaries!

6. Name 3 of your least favourite artists.
There’s definitely some artists’ work that I really don’t like but I would never put that out there. I can always respect someone for doing what they do, even if it’s not to my taste. I would never be dishonest and say I liked something when I didn’t, but I don’t think it’s always necessary to unconstructively say, “I don’t like that”.

7. What defines something as a work of art?
Someone saying it is. That’s not to say that it would necessarily be good, but art’s art. Sometimes, simply being able to see the world in a different way makes you an artist. If someone says that what they made is art, no-one has the authority to say otherwise.

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8. In times of austerity, do you think art has a moral obligation to respond topically?Art blankets such a vast area, it would really depend on the particular situation. In the right circumstances, art obviously has the power to to reach a lot of people and make positive changes, and if I found myself in a position to do that, I would. However, there are a million reason to make any one piece of art and I don’t think anyone can tell the artist that they have an obligation to do it for one reason or another, the choice would have to be theirs.

9. Anytime, any place – which artist’s body would you most like to inhabit?
Any artist 500 years in the future.

10. What is your favourite ‘ism’?
Prism.

11. What was the most intelligent thing that someone said or wrote about your work?To be honest, I don’t think I’ve been around long enough to have my work analysed too deeply. Let’s just hope they’ll be kind if they ever do!

12. And the dumbest?
I’ve been taken aback by some things people have said regarding prices and payments. I’d laugh if I wasn’t so offended. It’s amazing what some people will try to get away with.

13. Which artists would you most like to rip off, sorry, I mean appropriate as a critique of originality and authorship?
Ha ha! I’d never rip anyone off— plagiarism drives me insane!

14. Do you care what your art costs? State your reasons!
Of course, it’s how I make a living! Apart from that, you want to be appreciated for the amount of time and energy you put into it, anyone would. I think that anyone, no matter what their job is, wants to have their efforts recognised. Being a professional artist is very personal work, a lot of yourself goes into it, so it’s frustrating if it’s undervalued.

15. If Moma and the Tate and the Pompidou wanted to acquire one of your works each, which would you want them to have?
I’d want them to commission a new piece.

16. What’s next for you?
I’m really exciting to now be part of Fabulous Noble so I’m looking forward to my work with them.

Find Out More At : FabulousNoble.com

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