In Profile: Gus Eagleton

| November 29, 2012

MM: Tell us a little about your artistic background.
GE: I have always enjoyed drawing, but what helped me to continue to do it were the friends and family around me who gave me positive responses towards stuff I had created. Although I had an interest in creating, it wasn’t until after school that I started to take an interest in painting and the conceptual side of art.

MM: What mediums do you work within?
GE: Big fan of oils and spray paint! On one-hand, oils are malleable and nice to use over a long period of time. Spray paint is the complete opposite. It’s immediate and challenging, there’s hundreds of ways you can use it with plenty of effects as well as its potential for large-scale work. They both produce a final product filled with rich colour.

MM: Do you have a creative process or are you more candid in your approach?
GE: I try not to limit my art by having a set way of working; I try to always keep an open mind. But that being said, I have been taught to be archival; I do tend to make work with the intention of making it last. I don’t want my pieces to explode after being purchased.

MM: Who and/or what inspires you? Is there a particular art movement you associate with?
GE: Keeping an open mind is definitely crucial in art making. There isn’t one movement in particular that intrigues me; I try to reflect on all aspects of art – why things are made the way they are, and the outcome of that. I definitely study artists who are on a similar path as I am, as well as artists that I like. A couple that I am currently looking at are Stephen Bush, Franz Kline, Eric Fischl, and Edward Hopper, just to name a few.

MM: How would you describe your style?
GE: At the moment, I am very interested in destruction and creation, particularly within the urban landscape, as well as partly associating it with graffiti culture. So it’s a bit of a mash up of styles; abstracted reality in a sense.

MM: What do you hope to achieve within the creative community?
GE: Well, I am hoping to be in a position one day where I can make art for a living with the hope of intriguing and inspiring along the way. It would definitely be nice if my work were strong enough to some how make a difference in people’s perspectives.

MM: What is this body of work titled?
GE: The Reality Beyond the Other.

MM: What are you trying to express through this series? Is there a story?
GE: In a nutshell, I have always been interested in people, so in this series I wanted to explore the human condition in regards to the urban landscape. Using the authoritative and rebellious nature of the urban landscape as a measuring tool to better understand people, I particularly focus on the urban sprawl and degradation up against the ever-churning mass expansion of industry.

MM: Was there anything or anyone that significantly influenced this body of work?
GE: My friend, Keith Carey, who is a photographer, did a series of the urban landscape’s a while back. They were the most beautiful photographs focussing on composition as well as capturing subtleties about the location, which reflected on the people who lived there. And my obsession with the urban landscape has gradually increased since then.

MM: What was involved in transforming your initial idea into a tangible product?
GE: Trial and error played a big part, as well as lots of feed back from peers, friends, and people I respect in the art world. 

MM: What do you hope people take away from this collection?
GE: Something that will inspire them to look deeper than surface value. We all have a certain amount of time in this life and we are the ones who allocate how we use it. If my works can somehow kick people into gear to reassess their lives [and] enable them to rethink what they are doing, then that is more than enough for me. That’s a long shot at best, but it’s better to shoot high than not at all.

MM: Where can our readers check out more of your work?
GE: You guys can check out my website and blog, or if you’d like to chat, feel free to send me an email.

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