Nisza Zine is back featuring CGI Artist George Jasper Stone from Derbyshire, UK. Check the interview below! 🔥
Has art always been a part of your life? How did you get into graphic design?
George Jasper Stone: From an early age, I was exposed to the arts through fashion as my mother owns a clothes shop. I became interested in designers like Alexander McQueen and Vivienne Westwood. I then went to university to study fine art at Falmouth in Cornwall and until recently, I was unsure of what I wanted to do. I previously wanted to work in the film industry as a production designer. In the last few years, I began experimenting with CGI artwork because it enabled me to build virtual environments quite freely.
How did 2020 look like for you?
GJS: Similarly to many people, it wasn’t the best start in 2020. Jobs I previously had lined up throughout the year became impossible and mostly everything was postponed or cancelled because of the pandemic. Luckily, things turned around quite quickly after March as artists and designers began to revaluate many physical shoots to be produced in 3D. A large majority of 2020 was spent worrying.
What is your main motive or message you are trying to convey in your work?
GJS: I’m not entirely sure if I have a defined motive for making my work. I often set out with different intentions for what I want to make. There is a wide scope of what’s possible within 3D, it’s natural to approach producing work in new ways, allowing for discoveries within varying working practices. I sometimes make work because I find the process cathartic. I’ll make an abstract 3D sculpture without setting a definitive intention for it to be specifically anything and I enjoy seeing where this process leads.
I also consider making work accessible for an audience to engage with. The appealing nature of mapping out a virtual landscape is that it’s accessible for and view it on an emotional level, it doesn’t exist with a precursor and the experience of viewing it is important.
Whats the process of your work and creativity?
GJS: My current creative process is playful and based on intuition with different virtual tools. While making work I’ll begin with an empty project and then start experimenting. It allows me to be as expressive as I would like rather than focusing on a specific end goal.
Alongside this, I have also begun to plan concepts for building work over longer periods. In this process, I’ll physically draw out sketches and diagrams and map out a breakdown of those virtual assets I will have to build for the scene. It becomes like a pipeline of many different connected elements that come together. My aim is to create more depth and clarity to abstract ideas.
How would you describe the local scene in London? Do you enjoy living there?
GJS: I do enjoy living in London, it’s got a scene of many amazing CGI artists. Moving here, I have been able to work with likeminded artists who I most likely wouldn’t have met being elsewhere. It also definitely does have drawbacks, as the cost of living seems way more expensive than most places, also the collective working lifestyle is not balanced. It’s often I’m working all the time to keep up with getting more work! That kind of culture sometimes does make me lose sight of the reason I make work in the first place, for me being in nature.
Who you collaborate with and what are the biggest issues you deal with?
GJS: Most probably the biggest issue I deal with is a large portion of time is spent figuring out how to make things work rather than anything creative. I spend hours on forums and tutorials trying to figure out why everything keeps crashing. I don’t have any formal training in 3D.
What is your ideal platform to exhibit work in? Why?
GJS: My ideal platform would be making work for live visuals, performance spaces and installations. Especially within tour visuals, it often is seen as being experiential which best suits my practice. Even though having many people in a performance space is quite far away from reality right now, the collective experience of having hundreds of people in a space creates an incredible atmosphere. Also regarding the technology you’re given a much larger ‘canvas’ to work with.
What are you working on at the moment?
GJS: I have been working with really great artists and musicians throughout 2020. So all being good, there will be lots of collaborations, commissions and personal work releasing this year.