Jelly Presents: James Dawe

Firstly we’ll start what we’ve been asking all our artists… What’s your experience of the last few months been like?

Topsy turvy. But having a Lockdown routine has helped.

Although people seem a bit fed up of going for constitutional lockdown walks, it’s been good exploring the local area again, discovering new shops, parks and parts of nearby Epping Forest.

I’ve hit the ground running this year with a diverse mix of projects which has been a good distraction from the global gloom. Most of the work is for social-media output which seems to be the way of the creative world at the moment. Content is king!

The working-from-home scenario has resulted in a seismic shift on how businesses operate and although I miss having a studio, being at home has felt just as productive at times, despite having a 6-year-old home-schooling in the background! Late nights working seem to be the norm, but it’s great to be around my son loads more than we normally would have been.

For those that may not know you or your work, can you tell us a bit about your style and how you like to work?
My work is still grounded in Contemporary photo-collage but has evolved from here into digital-Mixed-Media – Image Making. This involves combing images and graphics from a variety of sources, as well as generating my own assets through 3D software, Photography and digital manipulation. Experimental animation and a form of motion output has featured regularly in my recent work too.

In terms of your working process, can you tell us a bit more about this?
The visual look I produce uses a mixed media approach to satisfy my own artistic tastes, which are eclectic and can go through phases like trends. It just seems that the way I compose and build my images is identifiable as coming from my hand.

I often use a layering technique such as contemporary collage to enhance the variety of mediums used to present the work, then build on this with computer generated assets and graphic fragments that I create.

I would say that the researching and sourcing side of the process can help get my head into the world that I am creating for. Looking through photographs, design posters, motion graphics and Artist’s work on a similar theme.

How do you create these beautifully surreal worlds and what are your inspirations and influences when creating them?
Without being too conscious of it, I’m sure I draw inspiration from my surroundings too. The cultural diversity and vibrancy of London must play a big part.

I like to sketch out very rough ideas when Brainstorming a subject that needs a leading visual metaphor. I sometimes begin trying to execute the best idea but then the artwork often turns into quite an organic process. The more information that begins to go down on the page, the more chance happenings (happy accidents) occur and then you build the surrealism from there. Playing with scale and how elements interact through oddness and illusion. Dali was the king of this.

I also like to experiment with digital manipulation and 3D software whenever possible during a project, and this can always add to the abstract nature of my illustrations.

When working on a commercial brief, how do you ensure that you fulfilled the client brief, whilst also staying true to your style?
I read the client brief a few times now and try to refer back to it whilst producing the work. It can be good to just throw yourself into the creation, but I have been guilty of working with the blinkers on in the past and going too far down my own rabbit hole!

I try to execute the client’s direction but whilst doing so finding ways to use techniques and juxtapositions of imagery that appeal to my current aesthetic tastes too. This can involve testing the waters with some more experimental WIPs and then being reigned in a bit! The amount of artistic license all depends how strict the brief is really – because we are visual communicators after all!

If I am given a specific sketch/scamp by an Ad agency then my job is to recreate this visually in an appealing way. Making it look pretty and not deviating.

How have you managed to keep your ‘creative flow’ going during this pandemic?
I feel the lockdown has inspired creativity, and Artists have felt encouraged to react to the situation by producing self-initiated work and entering campaigns for worthy causes. Trying to put a brighter, escapist spin on what has been a testing 12 months. I would fall into this bracket.

Luckily for me, there has been a number of projects that have kept the flow going, but there have also been dips where self-doubt and the sense of a lack of direction can kick it. So it’s been a case of sticking to my guns and pursuing the types of visual art that I’m intrigued by and passionate about developing.
Entering competitions such as the Lady Gaga X Adobe Briefs, or creating work around landmark dates, such as the US Vote Campaign have kept things fluid!

During the start of the pandemic, I was scribbling down lots of ideas in relation to how our living circumstances had changed including how to portray the multi-functioning home, with workouts, zoom calls, constant cooking and garden projects going on. Then I have begun to output some of these ideas with the help of an animator friend during our downtime.

What are your ambitions for growing your creative practice?
To keep challenging my processes and learning on the job. Aim to collaborate whenever possible and set up a small collective studio renowned for producing the type of Art & Design that we want to make. Emulating a similar work path to the one trodden bv MM Paris would be ideal!

We’re also obsessed with your latest work for Skullcandy. Could you tell us a bit about this project?
I was given the task to interpret the #FeelFeisty ‘Moodboost’ brief set out by Skullcandy for Fiesty February (this month’s design). The colour palette is based on pink pastel hues including coral and a deep black for contrast.

The sweet palette was designed to contrast with rebellious imagery, reflecting a visceral, outspoken and anti-establishment mood enhanced by the typographic slogan “Let No One Keep You Down”. This was a key structure for my composition, running through the middle of the artwork and interacting with the assets. A front cover I produced for The Guardian Weekly at the start of the pandemic inspired this.

Looking at Skullcandy’s brand audience and the subcultures it connects with, I researched and created imagery and iconography relating to Skateboarding, Emo-pop, Grunge-Punk, graffiti-art and balanced this with softer floral details and fluid effects. Pink packing a punch is a good way to describe it.

Their brand mission is “to unleash the visceral power of music for all.”

The idea is that the message is containing a fusion of elements that are about to boil over into a frenetic outburst… which comes across in the brilliant motion work featured on Skullcandy’s website. With a lot of my more intricate work, I like that the viewer can explore the artwork and discover something new the deeper they dive in.

What’s been your favourite project to date? Why?
The large lightbox installation for Adidas’ flagship London Store. Hands down it ticked all the boxes in regards to how I like to work and who I want to work for.

Combining archive material with photography and 3D Models that I pulled apart, to celebrate the world of Adidas Originals. All structured around the famous Trefoil Logo.

Any dream clients/dream jobs for 2021?
I’d love to work with Nike and The New York Times again. Apple and Google would look good on the client list too. Also agencies like Builders Club and Future Delux really appeal as I love their use of technology and visual effects.

Seeing my work projected somewhere huge would be a big dream too.