Hsiao ron cheng interview tips
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Illustration by Hsiao-Ron Cheng
Mind Games author Adam Nayman discusses the connective tissue between David Fincher’s films and why we can’t help comparing him to Paul Thomas Anderson
Radheyan Simonpillai
December 22, 2021
NOW Magazine
In the David Fincher film Zodiac, cartoonist Robert Graysmith obsessively pours over legal documents, testimonies, and geographic patterns. He connects the dots that won’t necessarily give him conclusive answers regarding the titular San Francisco serial killer but will nevertheless make for a pretty good book that paved the way for a masterpiece film. I like to picture Toronto film critic and author Adam Nayman doing the same for his book David Fincher: Mind Games.
Nayman scans Fincher’s work, from the music video for Madonna’s Express Yourself to last year’s endearing look back at authorship in Mank, writing chapters on each movie with forensic detail and riveting insight. Mind Games, which comes with a lovely
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When did you first get into drawing?
I’ve been drawing for as long as I can remember. Growing up, I was always leF alone at home with only a bowl of cereal and my drawing materials. I’d spend hours and hours drawing while watching cartoons. Even at school, I’d draw on all my textbooks and even on my desk.
Why did you choose to make fashion part of your inspiration?
Fashion has always been a part of my life. My mom was a model back in the day and my great grandmother, who helped raise me had a massive walk in closet filled with fabulous dresses and jewelry. So I guess you can säga I was exposed to it my whole life. Merging the two things that I love most, Art and Fashion just came naturally.
What is your particular working day as a creative?
These days I just wait for inspiration to hit me and then start creating. I spend most of my day going through fashion archives, Instagram and coffee table books about mode design until I find something I’m in
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In Conversation with Joshua Hagler
UL: We understand that your paintings are as much a site of excavation technically as they are conceptually – they present an authentic and interesting interplay between old and new. How do you gauge the balance between uncovering and adding content?
JH: inom think about the paint on the surface as something to be wiped off or, in some way, removed to reveal what is beneath the surface. There is something meaningful to me about seeing a picture decay even as it comes into focus, and somehow that’s reflective of that kind of sublimated violence I’m talking about. I am not delicate in the way that I handle the paint or the canvas, but the balance itself fryst vatten delicate, and there are rules. The process is actually very difficult to control, which was an intentional obstruction I put in front of myself so that genuine discovery could be made possible. You can’t know what you’re making. You have to put your faith in the process once you commit to the canv