Interview with Alex Pribnow [pribnow] on Whohub

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What do you do? How do you define yourself as an artist?

I'm a folklore and fairytale artist. I will explore all kinds of styles and techniques for making art, from woodblock printing to sculpture, but I'm fascinated with fairytales, folktales, myths and mythology so much that it tends to dominate my work as a theme.

What is your message?

I don't tend to put any hidden messages or allegory in my fairytale work, because folklore usually has plenty of that already. Instead, I try to make the audience look at fairytales and myths in a different way from what is usual or 'expected'. Quite often I enjoy suggesting the darker aspect of folklore because although we tell these stories to our children and they tend to be softened for modern audiences, many of them can be disturbing and frightening... existing to warn us of the world's dangers and moral pitfalls. Showing folklore in a new or different way is always refreshing to an audience, and yet still recognisable and beloved for what it is.

Your biography in four lines.

Born in Liverpool, England, in 1979 to a family of luthiers, I began life with a love for art, and would sit drawing silly faces for hours on end at the age of one. My fascination with myths, fables and fairy-stories began the day I first learned how to operate a book.

Do you upload your work to the web? If so, where could we see it?

You can view my work online at my personal website, which can be found at:

http://www.maliceinunderland.co.uk

How is an idea born? For you, what is inspiration?

The everyday world is full of inspiration... and mythology and folklore are especially full of hybrids of reality and imagination. For me, inspiration for mythical creatures or people can always be found in the world of the very small - in the world of insects or tiny sea creatures. Ideas always have to come from the real world to an extent... but there is so much to see out there I don't think we'll ever see or imagine it all.

What role does technology play in your creative process?

I use computers, scanners and drawing tablets quite a lot during the design process, even for paintings. Although I always begin with a pencil and paper, a computer is invaluable for working with prints and for editing images for show, as well as preparing and scaling a draft for a painting.

An expression of the human intellect, faculties, creativity, skill, emotion, and desire.

When do you get your best ideas?

I tend to get my best ideas while listening to emotive kinds of music. Usually soundtracks for fantasy or science fiction films/video games are best for this, or classical and operatic themes. Any music with a lot of distracting lyrics seems to have the opposite effect for me.

How do you evaluate whether an idea is good or not?

Usually it's by a combination of whether I feel it's an interesting idea and whether I'm capable of seeing it through to completion; and whether critique of the idea from other people has been positive. I feel it necessary to make art for others more than 'for myself'. I could ask myself "was it a good idea to become a fairytale artist?" and I decided it was, because my interest in the subject is self-sustaining, other people also found in interesting and the idea I was going to explore these themes exciting... and I know there is appreciation out there for this kind of art.

A big part of whether I think myself and my ideas successful comes down to whether others who look at my art feel something enriching and enjoyable from it. I don't see my art or ideas as expressly personal or original - as a folklore artist, I borrow heavily from society's collective imagination, and by way of that I feel I have to 'give back' in the art that comes from it... through making the art a pleasure to look at, or making it emotive, educational, or helping to perpetuate an understanding and enjoyment of the folklore it came from. If the ideas I have can fulfill some of these requirements, I feel they will probably be good ideas.

Three creative ideas that you would have liked to have created?

I'd like to have come up with something like ArtBelow's enterprise for creating 'art space' on the London Underground, allowing artists to showcase their work in place of commercial adverts, and something to make the walls of the Underground more interesting to look at. I think that's a fantastic idea that benefits everyone.

When and how did you begin to see yourself as an artist?

I started to take my art seriously after literally deciding one day to challenge myself to make a living out of my skills. After selling art regularly and successfully for 2 years, I began to see myself as a practicing/professional artist.

Why do so many artists and creators have such volatile personalities?

I don't think this applies to all creators and artists, but to be an artist in the first place you have to be observant... and ambitious enough to make art. Being observant means you'll never experience the 'bliss' of ignorance, and are more likely to see or be aware all manner of things, from the beautiful to the macabre, the wonderful to the unbearably painful.

The desire to create is often at odds with other needs in life that can get in the way of that desire or vice versa. I would say many artists feel a strong desire to create because they need to communicate their emotional states and messages through their art - to 'get it out of their system' - and that by its very nature can come from a 'driven' personality. It's also rather difficult to be an artist - many tend to work very hard for a relatively modest income, and to be recognised as an artist among so many other accomplished artists is no easy task, so the term 'frustrated artist' can be directly attributed to the state of being an artist!

Do you consider yourself postmodern?

No. I tend to use older methods and means to make art, including traditional and classical methods of presentation.

How should a work of art be evaluated?

The real beauty of art, I believe, is that it can be evaluated any way you like, by anyone at all. Art is what you want it to be.

Must an artist reinvent him/herself everyday?

Not necessarily, although I do think artists cannot help but progress in technique and skill with each successive work they make.

Which artists do you admire and how do they influence your work?

Artemisia Gentileschi - a classical painter from the 1500s who, interestingly, was not only wonderfully skilled but also a woman. I greatly admire many classical painters for their skill in times when things must have been much more difficult for artists, when materials and tools were more primitive, and anatomical knowledge was not as thorough as today's, and they worked by candlelight and without the aid of things like photographs to learn from.

Gustav Dore - Like Ray Harryhausen and H.P. Lovecraft, I fell in love with Dore's drawings and paintings and the sheer force of light and shade and the strength of form in his depictions. Much of my concept and draft work takes on this Dore-like quality, simply because it is so powerful and effective in conveying action and environment. I think his painting "Andromeda" has to be one of my all-time favourites for the lighting and drama captured in it.

Alan Lee - I love Norse mythology and Tolkien's works, and Alan has not only made many wonderful pieces of art on those subjects but his style has such a wistful and far-away feel to it, I can't help but adore it. His attention to detail and use of colours is exquisite. What really inspires me about his paintings is that they seem to 'flow' effortlessly, landscapes flow into a real sense of distance, or darkness flows out of caverns or shadows and into the scene, and the heroes and creatures of his paintings are caught up in it. It is one thing to become so accomplished in watercolours as to be able to make photographic-looking paintings, but equally as impressive to use the medium's natural flow to create an enveloping mystic feel that really embodies the subject.

Yoshitaka Amano - the way in which Amano creates such beautiful flowing forms from a bare minimum of pattern, colour and line fascinates me. He also works on mythology and his interpretations and the sheer feel of freedom in his work have been a great inspiration to mine.

Dominique Louis - is an artist currently working for Pixar. I haven't encountered too many working pastel artists... but Dominique's art not only combines a masterful command of pastel technique, but magical kinds of mood and bold uses of colour I really marvel at. His concept work for the film "Ratatouille" is superb.

What do you think about public funding for the arts?

I think there should be more of it available as governments underestimate the role of and enjoyment/consumption of art by society. It's one of the first things to have its funding cut in a recession. But imagine if art just wasn't around - no movies, no theatre shows, no actors on TV, no music, no paintings or prints, if advertisements were composed only of plain words and no books were written or illustrated... what a dull world it would be. And artists somewhere have to create it all for us to enjoy, so I think they deserve more than to be considered expendable. Sport and other recreational activities are regarded in much the same way: non-essential and unimportant. And yet if our lives were utterly devoid of recreation and art and sport, would it really be called 'living'? I think these things deserve more respect and recognition for playing a larger part in our lives than we give them credit for.

I believe it is in human society, yes. Since the dawn of civilisation, people have had such a strong desire to create and enjoy art, and to recreate the world around us through it, it can't possibly be useless. It's been scientifically proven that music (a form of art) can be calming and theraputic, and even improve mental performance. I think that can be said of all art, not only for the artist, but the artist's audience. The fact we can make it and enjoy it so is a blessing to our species and one of the plus points of being human.

Does it pain you to let go of a piece you have sold?

Not at all. It pains me more not to be able to part with a piece, whether it's sold or given away. I have no children, so my art is my only creation or impression of myself that will be left when I'm gone. It goes out into the world to perpetuate what I am and feel. The purpose of my art, truly, is for it to be enjoyed by other people, not by me. I get far more satisfaction from others being able to see or use my art than having it hanging on my wall or sitting on my shelf. I often use it as a means to donate to the charities I feel are doing good work, so I feel it is doing something positive for more than myself or a buyer.

Is a work of art purchased, or is it better said, that it is the artist who is bought?

It's certainly a 'part' of the artist taken away in a painting, print or in a sculpture when a piece of art is sold. Like a handprint - a physical impression of the artist's existence, and a little piece of their mind or soul at the moment of the work's creation.

In art, there is no guide. How do you know what the next step is?

It's all in what 'feels' right, or what was in the initial vision for the piece.

How do you feel about the fact that the pieces exhibited in contemporary art museums are often of artists already deceased?

I enjoy the art in contemporary art museums. If there is a favour in permanent galleries for the work of artists deceased, it may be because they will never again produce work... their work is limited, and so a gallery is better to have it where many people can see and enjoy it. Living artists are still capable of getting attention for their work in various ways, so I think it balances out.

What role have the figures of art dealer, gallery owners, representatives, and intermediaries in general played in your career?

Virtually none as yet. I've acted as my own representative for freelance and commissioned work, and I sell on internet sites in a way that I can manage and promote the work myself. The internet has figured heavily in my ability to make a living as an artist. In future I hope to approach more galleries, so I think art dealers and gallery owners might play a bigger role for me in future, but for now I rather like the freedom of representing myself.

What types of jobs do you usually do?

I usually take on commissions for fantasy art and sculpture. These are often for commercial purposes, such as for authors wanting book covers or illustrations, people wanting concept art for games or independent films, or those wanting cover work for collectible cards or board game designs... it's a lot of fun. Or customers can approach me to do custom work for them for personal reasons. Apart from those, I'm usually producing a steady steam of paintings and prints which I sell successfully.

Which of your jobs or tasks do you most enjoy?

I most enjoy making fantasy sculptures. The process is theraputic for me, especially when a sculpture turns out really well. It's a lot less stressful than painting.

Do you personally collect any items?

I do have an interest in contemporary and traditional Japanese woodblock prints. Although I make them myself, I collect work of other artists who focus on the Japanese traditional style. The easiest way to collect classic woodblock works is on postcards. I have quite a lot of them around my apartment.

I also collect animal skulls, whether real or replica, from pre-used sources such as educational taxidermy or vintage diorama. To me, the skull is the epitome of functional art with unknowing beauty, crafted by Mother Nature, and no matter what creature it belongs to, the delicacy and specialisation in design is captivating.

Which websites do you frequently visit?

What advice would you give to those just beginning?

Believe in yourself and make it happen! Even the art geniuses of the world had to learn to walk before they could run - they weren't born painting masterpieces. With hard work, determination and a faith in yourself, a person can learn any skill. When people decisively say "I can't do it" or believe they don't have the talent, what they often don't have is not the ability or the talent, but the motivation and determination to get up and do it, or take the first steps toward learning how it's done.

For an artist starting out, my advice is to make art as often as you can, whether it's painting, sculpting, metalworking... if you want to make a proper living from your art, you need to take it seriously, and that means doing some every single day if possible, living and breathing it in your spare time. This will be a test of whether this kind of career is really for you - and if you enjoy creating constantly, it's a good sign. Make a portfolio of your best work and try to add a new piece each week. Never stop working on adding to it, and pushing back the boundaries of your ability, and over time you will not only have a wonderful portfolio to show people, but you'll grow in skill and scope. The key to being a successful artist is hard work and a little patience and guile. You won't be famous overnight. Maybe you won't even be well-known in five years. But if that five years is spent working hard and creating things to the best of your ability, trying to outdo yourself with each successive artwork, you won't fail to achieve and learn more; and you'll be infinitely closer to your goal of being an artist than if you don't. If that five years is spent procrastinating but not 'doing', you won't achieve any of these things.

Once you gain confidence in your ability, the next step is to get yourself seen. The most beautiful and accomplished art on the planet isn't going to get you anywhere unless you show it to interested people. Try selling your work: maybe in a local shop, on the internet or at an art fair. Try blogging to inform people of what you're doing and what your latest projects are. You can also try selling in a gallery or make a website to sell from. Networking is very important for artists because your success as one depends on who can be made aware of your work, and the more people that are, the better. You should soon begin to see interest in what you do and that interest can only grow as long as you keep producing and showing work. Also, try to direct your efforts to be noticed or displayed toward a venue that is suitable. Don't try pitching dark and twisted paintings to a quaint corner shop selling country landscapes and pictures of dogs, for example. Try looking for a place where the genre of your work 'belongs' best. You need to develop a nose for knowing where best to apply your work, because this can lead to great success. You may need to find ways to apply your work/style to a specific market.

Lastly... be patient and persevere. If there isn't an immediate interest in your art, perhaps you are showing it in the wrong place - try everything and anything; remember, an artist often has to be his or her own agent and salesman too. Hard work really is the key. With a good body of work behind you you can show what you can do. Showing is paramount for an artist, as no-one buys what they can't see.

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