The sense of motion in painting and sculpture has long been considered as one of the primary elements of the composition.
With things like 'Dragon Ball,' in the case of fight scenes, I'd take the panel layout across two pages when the book is opened and alter it by angling them, and making them bigger or smaller, to give movement to the panels themselves.
We always describe a piece as 'really lively' where it seems the work dances off the paper or the silk. Art has to hit you on an emotional level rather than just the analytical.
I'm really interested with the way light plays on images and one of the artists that really reawakened my interest in comic books was Frank Miller and his treatment of Daredevil, and then Wolverine and, of course, Batman.
I should like to achieve free, spontaneous painting delineating a powerful, strong structured image. One must be possible with the other. A difficult problem in itself, but one which I shall achieve.
In general, my paintings are multifocal. You can't call it unfocused space, but not being fixed to a single focus is very much of our time.
I would like the colors, their shapes and positions to be arrived at in response to and dictated by the condition of the total space at the time they are considered.
In many ways my paintings are about energy — both in how they are created and the image itself.
What I think of when I think of nu-metal: structured, heavy music that has a point. It's angry just like all the other music, but the bigger parts are bigger and the powerful parts are more powerful and the slow parts slower.
My whole theory about art is the disparity that exists between form, masses and movement.
Men and words are ready made, and you, O Painter, if you do not know how to make your figures move, are like an orator who knows not how to use his words.
Editorial photography has to be energetic and visually competitive.
