I love collaborations. I know we both recently participated in the Art & Words Show in Texas curated by Bonnie Shufflebeam, a show that starts with a CFP for art and words. After the art is selected, the curator assigns one short story, essay, or poem to an artist and one piece of art to the writer. The artists and writers then have a few months to create something inspired by the assigned work. I enjoyed hearing all the writers and seeing all the art. It was nice to see the art and writing together. You’ve participated in other Art & Words Shows, too. What has this collaborative experience been like for you?
This is the second year that I have been part of the Art and Words Show. The only reason I decided to participate last year was because of the challenging nature that forced me out of my comfort zone. I enjoyed it so much that when I was invited again, I jumped on the opportunity. As an artist, I would say that I am not subject matter driven but certainly gravitate towards compositions and objects that hold visual appeal to me and fit with my aesthetic. The Art and Words show collaboration allowed, or forced, me to work in a different way. I used my sketchbook to write ideas down. I know this is not uncommon, but it is for me. Each idea seemed better than the previous, but many seemed like a good avenue to explore. When I typically start a new painting, I am 100% positive on every aspect of the future piece and my ability to realize it. Not so much on this Art and Words painting. Before I started sketching the composition on the canvas, I felt the urge to sneak up on the easel. A completely irrational approach but I wasn’t sure if the Art Gods would allow me ruin a perfectly good blank canvas with so much doubt in what I had decided to create. That point was the hardest part for me, right before I made the first mark on the canvas. Coming up with the ideas and narrowing down was challenging too, but committing to the first mark was tough. After I sketched it out and started painting though, all was fine.
A thoroughly enjoyable painting to work on and I was pleased with the outcome too. After finishing the painting, I started thinking about how it would be received by you. I knew I liked it, but I also knew that you had probably envisioned very different images when you wrote Kissing Death. I chose to create an interpretation of your piece, and not a literal “illustration”. To me, that is exciting. I am not a writer, but I have to believe that a blank canvas and a blank page hold the same possibilities. There is no right or wrong, but degrees of success. A very subjective notion, but it keeps the creative fire stoked.
Todd, I adore the painting you made. It’s so fresh and interesting. Talking to you at the Art & Words show and listening to you explain your inspiration and process was fascinating. I like the way you play with light, shadows, and the texture of glass. I thought the whole process was exciting too, especially the thrill of getting to the show, doing the reading, seeing the entire exhibition, and talking with fellow artists and writers, some from the Texas, and others from across the country. You’re currently working in Texas. What’s that like? How does it influence your art?
This will be a very boring response. Texas is a great state to live in and I really like it here. However, I would say that it does not influence my art at all.
Who were the artists you admired when you first started making art?
I was one of those kids who never lost the desire to make marks. I enjoyed art and took art classes every year at school from 6th grade until I graduated high school. During this time, there really was not one artist or group of artists who influenced me. It was all exciting and new, and I loved it all. When I started college studio and art history classes, things changed. I quickly discovered what I was exposed to in high school art only scratched the surface. I had always been able to render adequately, but it wasn’t until I discovered Photorealism that I felt a connection. I would say that Richard Estes and Ralph Goings were the two main artists who had the first big impact on me.
How do you start a new series—with a theme, an image, a question or with a material, a technique, a color? Or something else?
Good question. I consider composition to be the driving force in my art. The subject matter is not nearly as important to me as how it is presented. Sometimes, this type of visual exploration leads to a series. I do have a fascination with static and dynamic relationships in my pieces too. A vast majority of my paintings include some variation of that.
Were you ever scared to experiment in art?
No, not really. Experimentation is what led to my current style of painting. I would say that I probably experiment less these days than in the past. My limited time in the studio is dedicated to producing, so not much time to experiment.
What is inspiring you these days?
It may be somewhat narrow minded to say this, but I am sort of creating art in a bubble. I don’t hang out with other artists, regularly attend openings at galleries, or even follow artists. I do enjoy some Pop Surrealism, but that influence rarely inspires my actual work. Although on occasion, when the subject matter is “correct”, you might see a nod to Mark Ryden.
How are you trying to get better as an artist?
Every time I place a new canvas on my easel, I feel like I have an opportunity to grow. It is a literal clean slate each time, and I do not take that lightly. I strive to improve my ability to compose, see color, model, and create a painting better than the one before.
Number of art pieces you own: other than my work, about 5
Number of collaborative art pieces you own: none
Number of art pieces you admire: Too many to count.
Ways you promote and serve other artists: Links to other artists websites/blogs listed on my blog.
Ways you help initiate new collaborations: The only collaborations I have been involved with are the Art and Words show in Fort Worth (2013 and 2014). These were both very positive and challenging experiences. As far as collaborating with another visual artist, I am indifferent.
Where you spend your art earnings: Some to perpetuate the art making, some blown on indulgences, most in a saving account.
Your collaborating artist wish: No real desire, but Jackson Pollock if I had to choose.
Residence: Krum, TX
Job: High School Art Teacher and Artist
Education: B.A. Art Ed
Bio Note: I paint in a style that is similar to, but certainly not true photorealism. I am much more interested in creating work that is a synthesis of my own vision and sensibilities without the strict confinements of photorealism. I want to show a familiar object in an unfamiliar way, as something that has importance. I want the viewer to be engaged. That is my goal with every painting I create. More information available: http://fordsart.blogspot.com/ and https://www.facebook.com/pages/Todd-Ford/241748422539196?sk=wall
