Why did you decide to join the Side Effects team and submit one of your works for the debut series?
People who are behind the project are my long-time friends whose work I respect a great deal, so there was not too much to think about.
How did you choose which of your works will be printed and produced in the limited pressing of 100?
The graphic was self-commissioned for this collection.
Besides working in the print domain, which is obviously interesting for you, what are your other favorite forms of visual expression?
What I find interesting beside print is low-poly animation and VJ-ing, although I do not have an extensive experience in those fields. I definitely plan to get into it more in the future.
What kind of inspiration lies behind “Land of the Lines”?
It is more a question of the process than a specific source of inspiration, and I like that fact. Usually I know what kind of result I would like to have, which kind of quality I try to achieve, so that is the space where a lot of “controlled spontaneity” unfolds.
Which work or output by another artist would you consider your “eternal inspiration”, if you have had this kind of experience?
I do not have a direct, formal influence, but there is a great number of artists who I respect. What I find inspiring is their motivation and endurance. If I would need to point out someone from the visual sphere, then I would mention Patrick Caulfield and Universal Everything/Matt Pyke. The work of Ryoichi Kurokawa I also find very interesting.
How would you describe your aesthetics in a couple of “-isms”?
2D linear-oriented illustration, inspired by design, internet culture and contemporary trends in the field of creativity.
What is your relationship to and experience with silkscreening, as a technological process for presenting visual ideas?
Silkscreen print is already kind of technologically outdated, but what is very attractive is the ease of the work process and the price of printing. The entire thing can also be easily applied to smaller formats, with minimal investments, as well as some possibilities that are not available in digital form, and may be very expensive with offset printing. Fluo colors, silver, gold, transparent surfaces… Eventually, it is a hand-printed graphic, so there are lots of qualities that are interesting for me there.
Do you have a favorite “fine art paper” that you had a chance to work with?
There are not so many, but while I was involved in hand-printed graphics Hahnemühle 300gr was one of the best papers for me.
Will the success change you?
Not too much, I hope.