“I’m equally excited and relieved to unveil the artwork that I’ve made for Roadburn 2017 today. Creating this painting has been a tremendous labor of love these past few months, while curating the musical aspect of the festival. Suffice it to say, the amount of time it takes for both can be overwhelming at times, but the end result is always a validation for all the time poured into projects like this.
“In 2016, I made a conscious decision not to take on any commissioned projects, album covers or large scale projects. I felt as though the fundamental idea of making images with a commercial slant was becoming a slippery slope. I got into the arts in part because I never wanted to concede this power of freedom to anyone else; I never wanted a boss of any sort. Additionally I’ve always found that a pure freedom of expression allows for greater substance and a more intimate and accurate sense of personality, which made my process more challenging and satisfying.”
“When I was asked to curate the Roadburn stages, the idea of also creating the poster imagery came up as well. I felt that, after over a year of working purely on personal work (short-term studies and preparatory drawings), it was due time to approach a larger painting, hopefully with an elevated sense of creativity, craftsmanship, and enthusiasm. At the risk of being overly ambitious, I decided to take on both Roadburn-related projects, and I have been slaving away at them since. Walter and I had talked many times in the past about making the artwork for the festival, and I couldn’t kick that can down the road another year. I dove straight in.”
“This piece became something of a watershed moment for me. I used a variety of new techniques, new media, new tools, and I painted at a scale slightly larger than I traditionally work. And I moved fast, without looking back. In fact, after all the practice drawings and paintings I created (usually 1 per day) in 2016, I finished this piece about 3 or 4 times faster than former similarly-scaled paintings. Conceptually, I wanted to pay my respects to nearly a decade of personal experiences with the festival; and I sought to express my admiration for it’s overarching philosophy. I’ll readily admit, like the majority of my work, the concept can be tricky to delineate.
“I prefer to treat the audience as the code-breakers, or to let people enjoy the image without an excess of “art-speak.” I researched and calculated all the specific symbols contained in the painting, some of which speak more to my personal relationship to Roadburn, some which might convey this festival’s focus on diversity and creativity within our specific scene. I made sure to work from life, using a model and several specific landscape settings that I created in my studio. In writing this statement, I realize I’ve already written far more than necessary when revealing new artwork; I can talk FOREVER about this stuff, but I’ll stop myself now. Feel free to find me in April, wandering around Tilburg, and we can further this discussion. Or we can just leave it be.”
“As always, thanks for your patience in reading” – John Dyer Baizley.
This entry was posted on Friday, February 24th, 2017 at 3:15 pm and is filed under 2017, Festival News . You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.