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paigelts05 · 1 year

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FNAF - A collection of 15 phone guys

https://www.deviantart.com/paigelts05/art/FNAF-A-collection-of-15-phone-guys-867380991

Published: Jan 17, 2021

A year and a half. A year and a half to do this. Mostly spent wrestling with the UDP-esque data sending method known as Deviantart's notes (I've ran some tests. Sometimes it lies about the note sending), but YIKES this took a while. I'm lucky I did really well on these so that the older ones still stand up to my standards. Anyway, I saw something many many years ago where someone drew a bunch of different phone guys, so I decided to do a similar thing, but with completely different versions of the character. FYI, nobody owns the concept of drawing other people's versions of characters. For what I decided to do, I ilustrated 15 different AU versions of the Phone Guy, including my own. As I am a traditional artist working in a finite space called an A3 sketchbook, when dividing the page, 15 was the maximum I felt would fit and give me ample space to draw. This means that I had to draw a border, and then the lines for the boxes using a 15 cm ruler and a HB pencil, as even though I have access to all the nice 5H to 6B pencils, my dumb brain says "draw tables in HB pencil" and I just have a metric ton of HB pencils closer at hand. I measured all of the boxes by hand, so they are approximately 8cm +- 0.2cm wide and 9cm +- 0.2 cm tall including the information box, which is 2.5 +- 0.4 cm tall. The uncertainty for the boxes is probably larger though, as the ruler I was using is really faded. The phone guy I was most nervous about drawing was probably my own, to be honest with you. As I have drawn him many times before, I have also failed at drawing him many times, and he was the first one that I drew into the boxes, so that was also the drawing that set the proportions and expressions of the others. Because I don't have the option of just removing the contents of the box, I knew that if I failed, I'd have to draw all of the boxes again, which I did not want to do. Dispite this minor stress, I think I did quite well. When it comes to drawing others characters, I am actually quite confident, as the whole general one-offness of it makes it less stressful for me as I only have to draw it once. Date started: Sunday 12th May 2019. Date completed: January 2021 I'd say a good portion of the time was spent contacting people, as - understandably due to time zones and among other things- it sometimes took people several days to respond. Also, sometimes the Deviantart note system sometimes just fails to send the note, which meant that I had to ask again for a response even if someone already sent it because notes just don't ever work, and if it were my call, I'd guess that Deviantart sends notes based off UDP from all the 'I sent it why is it not on your end' I've been through, but everything got sorted in the end. The Phone Guy's and the user they belong to: All data should be up to date as of each individual images completion. 1) Phone Krasnyy Guy

PaigeLTS05 http://aminoapps.com/p/3nomm6 https://www.deviantart.com/paigelts05 2) Percy Goodsman phonepastry https://www.instagram.com/phonepastry/ 3) Steven McCarthney Thespy56 https://www.deviantart.com/thespy56 4) Scott Frederick Cawthon Firebug Security http://aminoapps.com/p/9rm347 5)Scott Callhan Tina-Sapphire https://www.deviantart.com/tina-sapphire 6) Allen Zaveri NightWitch14 https://www.deviantart.com/nightwitch14 7) Phillip Gray Randi-Dorki Old account -> https://www.deviantart.com/randomderp17364 New account -> https://www.deviantart.com/randi-dorki 8)John Dean Anderson ulquiorraLover79 https://www.deviantart.com/ulquiorralover79 9) Scott Adams This user has gone through several social medias and usernames, the most recent being qrav1ty._ https://instagram.com/qrav1ty._?igshid=ygz5yewuxrhv 10) Paul Cawthon murasaki-rose https://www.deviantart.com/murasaki-rose 11) Scott Bishop Cantrary edgy.trash.cosplayz (TikTok) http://aminoapps.com/p/imwsa6 https://vm.tiktok.com/nJS1tH/ 12) Christopher S. Cawton LatiasBlue https://www.deviantart.com/latiasblue 13) Scott Lewis Miss-Historia https://www.deviantart.com/miss-historia 14) Daniel Robinson NyanCreeperPony https://www.deviantart.com/nyancreeperpony 15)"Phone guy" Atlas-White https://www.deviantart.com/atlas-white

If any of you are on tumblr now, shoot me a message so I can tag your tumblr as well.

#2021 #fnaf #phone guy #fnaf phone guy #art #artwork #fnaf fanart #PaigeLTS05's Faves

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lacrimaomnis · 3 years

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BRF Reading, 5/8/2021 (Part 2)

The cards were drawn around yesterday (4/8) afternoon my time, around 4-5pm.

This is the second spread I drew on the same question I asked a few nights ago. The first part can be found here.

As written, this is merely a speculation and therefore must be taken with a grain of salt. This speculation is not true until proven otherwise.

My question is, how would August be probably like for the BRF as a whole?

Cards drawn: The Devil, Ten of Cups, The Empress, Eight of Wands, The Sun, The World, Ace of Wands Underlying energy: The Magician

Remarks/Comments: Again, five of the eight cards are major arcana cards. This seems to reinforce that this month we will perhaps be seeing an unexpected change, or that this is a very important question for us all who follow the BRF. This is probably one of the more difficult readings I've done recently. The entire reading was rather shaky because the cards were difficult to grasp, but the energy was, more or less, the same as the previous reading: the family was stuck, unable to move forward.

Summary: This month, the BRF will once again have to deal with the Harkles and their shenanigans, but we might also be getting news of pregnancy.

First card: The Devil. This is the card of base instinct, bondage, depression, materialism, lust, temptation, basically everything that restrains you from living up to your full potential. He is a card of inner force, as opposed to external forces, as this card usually speaks about the limitation within ourselves: fear, addictions, harmful attachments, impulses. Astrology-wise, this card represents a Capricorn person.

I am rather ambivalent as to who or what this card is about in regards to my question, so I decided to ask for clarification three times and the cards just don't seem keen on answering me. I asked about this card and got answered by this card as its own clarifier...welp. Though they do say third time's the charm, and at last, the cards seem to be keen enough to give me an answer.

Clarifier 1: The Moon. This card often appears when we're talking about the Harkles, so this card coming up as the clarifier of The Devil does seem to affirm to me that this card is about the Harkles and their shenanigans.

Clarifier 2: King of Swords. He is the most severe of all Kings. He is intelligent and truthful, he believes in order, systems, and following the rules. He has a tactical mind and a sound judgment, owing to his affiliation to the Swords, the suit of mind and thoughts. This card comes across as the BRF as the institution.

Having been clarified, I think The Devil affirms that this month we will probably see another head-to-head between the Harkles and the royal family. As I pondered over the cards, I also noticed that this card speaks about bondage. While this might be a little bit of a stretch, this card reminded me of the first spread I did on this question: the BRF was in a bit of a tight spot (bound) due to Meghan and her plans for the future. The Devil also signifies that they have the power to break free, provided they are willing to work towards that.

Second card: Ten of Cups. One of the most positive cards in the deck, this card speaks about fulfillment, a happy marriage, home life, prosperity, positivity, and joy. Because this card appears with The Devil, this card suggests that there is some kind of contention and confusion inside the BRF, particularly concerning Meghan and Harry as seen in the first card, which is clarified by The Moon.

Third card: The Empress. This is the card of fulfillment, contentment, creativity, passion, abundance, children, motherhood, and happiness. She is ruled by Venus, the ultimate feminine archetype. Honestly, at this point I am confused -- why are you here? I decided to draw two other clarifiers to this card:

Clarifier 1: The Wheel of Fortune. This is the card of fate, what goes up will go down, new beginnings, and aspects of luck. This card suggests that this month there would be a change of luck, for better or worse, I do not know.

Clarifier 2: Queen of Pentacles. *sigh* Look. The moment I saw The Empress and Ace of Wands in my cards, my thoughts immediately go to "someone is pregnant!". I kind of don't want to say things like this because I don't want to have angry anons come over to my inbox and say things like "you say ____ is pregnant!" or "where's the baby??" or "boo you get my hopes up" because first of all, I don't wave my cards in the air and boom, I make someone pregnant -- this is not how the shit works. Second, who am I, really, to say that there will be pregnancies this month or next month or next year or in ten years? But the Queen of Pentacles had to show up.

Queen of Pentacles is the ultimate motherhood archetype. She is a strong female figure, grounded, motherly, practical, secure, and wise. This card speaks about fertility, wealth, success, nurture, home, happiness, and prosperity. Belonging to the Pentacles, the suit of earth, this card represents someone that is either Taurus, Virgo, or Capricorn, and in this reading, I feel this card represents Catherine, a Capricorn, so yes...take what you want of this card.

Fourth card: Eight of Wands. This is the card of travel, movement, speed, haste, and progress, but also about delay and setbacks. Again, this is the same message I saw from my first spread: delay, inaction, being in a tight spot.

Fifth card: The Sun. This card appears as the pair to the Eight of Wands. As The Sun appears twice in my two spreads, this card seems to affirm to me once again that yes, Meghan is the reason why BRF seems to be stuck and delayed, that there is just inaction on their part.

Sixth card: The World. This card is the card of completion, an end of a cycle, and heralds a new phase of life. This card comes as the pair of The Empress, which has been clarified as such, and thus, the energy of this card is the beginning of a new phase in life.

Seventh card: Ace of Wands. This is the card of new beginnings, energy, enthusiasm, wit, movement, and fertility. This card is concerned with the world being fertile for you to plant your ideas but is also concerned with actual physical fertility. This card appears with The Empress and coming after The World, this card particularly drives home the idea that we may be getting the news of pregnancy. I cannot emphasise it enough, all of these are simply possibilities; just because my cards say we will be getting the news of pregnancy this month does not mean that we will actually be getting news of pregnancy.

Underlying energy: The Magician. This is the card of manifestation, focus, goal, learning, studying, and transformation. He is a card of beginnings, carrying with him the same energy as the Ace of Wands. He is associated with the planet Mercury and carries with himself skill, logic, and intellect, implying that this month there will be a manifestation (pregnancy) and that the BRF needs to be on their toes, using their intellect, skill, and logic to navigate through this month.

Conclusion: I honestly dread the day my cards say there would be news of pregnancy or that pregnancy is in the air. But when you have The Empress, the Ace of Wands, The World (and Ten of Cups) in one reading, it's hard to discount that possibility. Then again, this is all simply speculations, and it doesn't mean we will actually be getting news of pregnancy this month.

Overall conclusion: Combining the first spread I did for this question, this month for BRF can be summed up as such: the BRF as a whole is in a bind, in a tight spot due to the Harkles and their shenanigans -- there would probably be another head-to-head between the Harkles and the BRF even if it is not public (minor suits, the King of Pentacles and the King of Wands in my first spread). This month would probably bring about a change or transformation (Death from the first spread) into the family; if Catherine is pregnant, then that transformation would be in form of expectations of a new baby as the family prepares for the arrival of the baby.

#reading: brf #g reads #my god it seems i can't run away forever huh #i always dread the day my cards would indicate pregnancy #just because i don't want to deal with the shitshow after it

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shinjukuspiritcommittee · 3 years

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Top 20 2021

My Favorites (updated)

Hello my readers, it’s been a while since I just posted something not related to a headcanon and I am doing one right now. I just wanted to take a bit of a break to just get SOMETHING on here on my days off work. Plus I’m just trying to find my groove when it comes to writing again so hopefully this helps me just get back into the mood of making a post more often lol. I wanted to revisit this topic for a while just because we’ve had a lot more events and a lot more alts in the game were added. And I know for a fact LifeWonders reads these posts in some capacity because I have meme’d an AR into the game with my top picks from the last list I did for Christmas 2019. No I didn’t. I’m just joking around and I know LifeWonders doesn’t read this.

Anyways rather than just make up a list on the spot like last year I decided to use the Housamo Sortmaker (Link: https://club.housamo.xyz/sortmaker/ ) to try and make a list that’s more revealing to what I was thinking at the time. Since I talked about 20 characters ish last time I’m just gonna read from my 20th place to my 1st place spots and try to justify whatever I was thinking at the time. Anyways-

20: Marchosias and Susan: This one was a surprise for me if I’m being honest but I’m just gonna blame the fact on Shukou’s recent involvement with LifeWonders in the form of Live A Hero and how Ryekie and Mokdai live in my headspace rent free whenever I think about the characters in that game. Maybe we can see about getting some LAH headcanons since that’s a LifeWonders property too). So out of all the characters Shukou drew for Housamo why did I pick Marchosias? Easy, it’s been 4 years and this poor man has yet to receive a proper alt or any kind of skin for that matter and I think that it’s a crime. Sure he’s not my favorite but he’s definitely grown on me because he’s just a gentle dad kind of character and his design has grown on me over the years. I just hope he doesn’t get left behind since he has a lot of really interesting and potential things to look forward to in the future given how the main story has unfolded.

19: Shiva/Algernon: The helmet heads are together because DAI XT quickly became my favorite artist for Fire Emblem Heroes and I really just like their designs. DAI XT just knows how to draw robots, armor and muscles well. Also Chapter 11 with Shiva you can read into some interesting perspectives. I don’t want to spoil any of the untranslated content for anyone who’s waiting for the official english translation. But if you are curious Roureem has a blogspot where he posts summaries of the newly released events.

Link: https://housamosummaries.blogspot.com/

18: Cthugha: I love this goober so much. He’d constantly try to act super sentai just trying say good morning everyday. He may not be very bright but that just adds to his charm and honestly I enjoy how he always tries to play the hero in a lot of scenarios because it’s refreshing when they implement him after a bunch of heavy hitting story stuff. I’m not gonna spoil too much about it but I will say he’s more than welcome after everything Chapter 10 and 11 put the reader through.

17: Mineaki: I’ve made a post about him being one of my least favorites way back when I first started this blog and let me just say how times have changed and I’ve learned the value of not judging a book by it’s cover. I still think there’s something a bit off about Kowmei’s style for his characters, but Mineaki has definitely grown on me. He’s a caring instructor who does watch out for his students even if it’s not always in the most direct way possible. Not to get into too many spoilers he’s got a lot of intrigue around him as well and I am curious to see his role get expanded down the line.

16: Ded: Housamo is the reason I really like christmas. The Christmas stories despite following a similar structure to each other do tend to be my favorite stories. Ded himself is also just another good dad character. He’s also two guys for the price of one, so I mean… you know… you’ve got the forever ask your other dad situation. There wasn’t much thought put into this choice I just like santa as a concept because I think the outfits are cute, it’s always nice to get something for people you care about on Christmas and Ded is the perfect embodiment of both sides to Christmas.

15: Shinya: Everyone we need to manifest buff Shinya for 2021, this is not a drill. This is legitimate. We must make Taromati’s and my wish come true. To be more serious again he’s just a sweet and gentle character. He’s also drawn by my favorite Housamo artist. Their characters always just look so naturally good. I’m just surprised he hasn’t gotten much of an alt given he’s perfect material for Valentine’s day. He’s just a soft boy and I would love for him to be in more things because I just enjoy seeing him.

14: Jacob: I have to be honest Jacob is on here because every time I look at him he just gets more handsome to me. I wasn’t all that impressed with his introduction and we don’t know much about his background but I’ve just been drawn to him more and more. Maybe it’s just because he’s drawn by GomTang? I just like looking at him and I can’t help it. To speak a bit less crass he’s another gentleman kind of guy and those are always nice.

13: Shennong: Yeah I like the doc a lot. Firstly, I’m a huge sucker for big bulls and Shennong fits the bill. The white fur really adds to his appeal visually and the purple horns give off a bit of an unnatural appearance. Shen feels like someone who’s been touch starved and alone for a long time given how he acts as a character and when we actually hug him I just lost it. He always has others well being on his mind so he’s not afraid to jump in and help, or give a much needed lecture about when you need to take better care of yourself. He just comes across as very well balanced overall.

12: Heracles: I won’t lie- at first he didn’t interest me much. He looked incredibly plain when among the rest of the cast and he seemed like the typical “bait” character since the banner had Echo, Barguest, Gyumao and Snow. But after reading the translation for Valentine Time Slip I was taken aback at how much of a gentle giant he turned out to be and I just really liked his interactions with the others in that event. And honestly his special quest from that year was one of the more unique ones given the slower pace and more romantic vibe it had. After the event warmed my heart I did a complete 180 and I just knew I really liked him.

11. Yasuyori: Before I start praising him I feel I have to justify why he didn’t quite make top 10 and it will have some mild Chapter 10 spoilers. To be as vague as possible his resolution just didn’t vibe with me at the end of Chapter 10. Like it wasn’t a bad resolution and it was the right choice to make but in my opinion there really wasn’t a moment I felt was clear where he made a choice for himself. Everything just sort of happened around him and it felt like he didn’t really do much to improve his situation. To an extent I kind of see that being the idea given his origins and the story he’s based on and there is some semblance of him coming to terms with himself alongside his isolation being portrayed pretty well, but I just wasn’t satisfied with it as much as I would like to be. With that out of the way, oh my god I just want this boy to never stop smiling and I just want to give him hugs constantly please he just deserves to be happy!!! Yasuyori is a character who’s got a lot of baggage and he’s just trying to find ways to properly cope with his trauma and not repeat past mistakes and I just really like that idea. His role in Xmas 2020 (sorry I just forgot the name of that event, but its when he gets his alt) was a much better representation for his character in my eyes. I’m not gonna spoil anything like I keep saying but he isn’t one to disappoint in future appearances and I just hope this lovable lug keeps getting the support he deserves.

10: Hephaestus: A spicy way to start the latter half of the list. I just want to give this lad a hug and tell him he is worthy of love. But at the same time he is a little shit… and I love that. I can’t fully explain why I grow a paternal instinct in me seeing this grown man sob about his mother but I just do. I want to keep him safe and give him all the affection he wants. Though I am aware a lot of Hephaestus’s interest in his parental figure is… questionable. I am just gonna say I would accept his love for what it is and he just wants approval.

9. Shuten: I’ll be honest I have no proper reason for why I like Shuten so much. He’s just a cool and reliable guy. He just seems like a go with the flow kind of person most of the time and he’s a bit more direct than most of the characters which I always appreciate. Plus I have an unspoken bias for naop guys in Housamo.

8. Durga: While not number 1 on this list, I still really like Durga. She’s quirky but not to an annoying degree, she’s determined and definitely very confident in her own abilities. Her growing to be more sociable throughout her events is something I enjoy seeing because it really creates this sense of growth.

7. Kyuma: I get a lot of people don’t like Kowmei’s art but I really think we should look past it because Kyuma is one of the sweeter picks. He’s someone who just wants to prove himself for his own worth and not what David can provide, but David is part of him and it just creates the potential for a good arc. Plus this boy is unintentionally smooth and will just take your heart when possible. I honestly want to see Kyuma more in events because he’s honestly the jock that carries 3 of the 4 brain cells. He’s also the last one without an alt so I’m just hoping he gets one in 2021 because he really deserves one in my opinion. (Also fan art makes him really cute).

6. Tomte: Tomte is relatively new but honestly his event in 2019 really endeared me to him. I’m trying to be spoiler free because the best way to enjoy these stories is for yourselves but let me just say his arc in the event was really endearing to me and much more than I was expecting. His fan service is also incredibly hammy and I love it. Visually Tomte is one of my favorites, I love his multi colored hair and starlit pupils cuz it makes his otherwise more generic look have some flare. I knew I liked him out the box and when I read about him in the summaries and can’t wait to read the official translation for him. I was just very endeared.

5. Tetsuya: Tetsuya fucks. Moving on…

Jokes aside this one’s a bit simple. I have no shame in admitting I think he’s attractive and his whole resistance towards wanting a relationship is cute in a weird roundabout way. When he says no I just want it MORE. I just really like duo haired tsunderes.

4. Kengo: Kengo 3rd alt 2021. Please LifeWonders I need my favorite Summoner. He’s a bro and that’s what counts. Kengo has got your back, not afraid to rely on you, a very fun and dynamic guy. Sure he’s not that bright when it comes to making plans or any book smart, but there are times where he’s the best at being able to read the room or just understand what someone needs to hear even if it isn’t always what someone wants to hear. His bullheaded nature is actually one of his redeeming qualities because it’s nice to just not overcomplicate things and just understand what’s actually going on. Yes the early story didn’t do many favors for him but to me the events, especially the later ones, do much more work for his character. To me, at least.

3. Ashigara: Ashigara is best bear, and I will defend that stance in 2021. The main thing that draws me to Ashigara is that I can see a bit of myself in him. He gets very emotional when he gets left alone, he’s very loud when with his friends, has a tendency of speaking his mind- just someone who wears his heart on his sleeve. I also appreciate that in spite of the negative he isn’t someone who backs down when the going gets tough and in a few instances he’s able to hold his ground physically at least.

2. Wakan Tanka: Love at first sight. This ray of sunshine still persists as the number 1 husband, but number 2 character. Firstly I am a huge fan of the partial beast aesthetic. The buffalo ears and the horns are absolutely adorable. Secondly he’s a perfect body type; he’s not too muscular but not exactly flabby. Third he is just so positive and I love that. He’s someone I admire and wanna hug.

1. Taurus Mask: The more things change the more they stay the same. I’m still a big Taurus Mask fan for all the same reasons as last time. I just… relate to this boy. He is an incredibly shy boy who uses his public persona for confidence. Maybe I’m reading too much into it but it’s like we’re soul bros!

So yeah, my tastes haven’t changed in a year and a half.

#tokyo afterschool summoners #housamo #Just Thoughts #qna #sfw

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bramblemantle · 2 years

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12, 17, 24!

12 - Fandom you’ve drawn the most for?

god it’s gotta be rain world huh? i mean it’s still mostly oc stuff that i draw and i’ve only doodled the canon characters like once (i do love them very very much tho 💖 it’s just hard to generate ideas about characters i don’t know). Runner up is probably hollow knight? again, also mostly ocs, and like half of it was your ocs sggsgdhhdhhd <3

17 - Favourite oc/sona drawing?

this is probably also that group pic with rw ocs or Lun’s duel (both cool lineless scenes that i think turned out rlly well with some fave ocs) but to pick something different, i really really like Raster’s ghost design :]

I used one flat colour and used opacity to create the illusion of tones, and then did some funky layer mode stuff on top and im so pleased with the result !!!

24 - What do you like most about your art style?

Ohhh this is a hard question? I mean i like my art style i have a lot of fun with it but i’m trying to find a thing that, when i look back on art i drew, makes me go “that. that thing i do really good. proud of that one thing”

y’know what actually, it’s probably my character designs! I have been told time and time again that i make really fuckin complex designs and it’s true sgbshbdbdhd but i love them <3 ! Especially happy with the human chars i’ve been designing recently, i think i’ve done pretty good at avoiding sameface issues! People were a struggle for a long time because i was an animal artist first but i’m now at the point where i can really have fun drawing them!

most of the human characters i’ve designed this year (+ adam, the dude with porcelain skin, who i didn’t design but really enjoy the art i did; & cori who had a mostly complete design already when i was asked to draw them. and also i designed cress prior to 2021 i think but didnt like the art enough and redid it), from approximately newest to oldest:

Also my most recent lineart style im very happy with, which you can see in two or three of these pictures with the chalky lines? Same brush i use for lineless and usually for colouring. I have newer examples but can’t post them yet, they are secret santa gifts that are still secret

#bramble rambles #ask meme answers #image #my art #thanks 💕💖💕#:]

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lsmithart · 3 years

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Interview transcript with Philip Tatton (Level 6 BA (Hons) Student at Plymouth College of Art) 04.02.21

Interview transcript with Philip Tatton (Level 6 BA (Hons) Student at Plymouth College of Art) about his experience of Cathy Wilkes’ Exhibition ‘Untitled’ (2019) for the Great Britain Pavilion at the 2019 Venice Biennale.

Interview conducted Thursday 4th February 2021 at 14:38.

Key questions by the interviewer are highlighted in bold.

Interviewer: How would you describe your overall experience of the show at the Great British Pavilion?

Philip: Okay, so, what I remember is that we had to go back to the Great British Pavilion because the first time we were going to go in there there was actually quite a big queue. It was almost like a bit of a frantic time around there because I had already seen quite a lot of art and there were other places that I knew I wanted to go and because of the kind of political state of things at the time, I was almost anti-British Pavilion before I even went in there because I thought well, you know, it was just after Brexit and stuff wasn’t it so it was like, well, I had quite a bad opinion of our own country. So I went off and I think I went and saw France, and France (the French Pavilion) I was really into it, I really enjoyed it. It was very environmentally conscious and then I kind of had to do this double backing and it was definitely the second half of the day so I was also feeling quite tired by the time I got there. When I got in there, I think we were together when we saw it - I think you were there. I remember you being really into it and I was just kind of, compared to some of the other things that I had seen where there was a sense of grandiosity or a sense of an event or an occasion, when I went in there the light was quite… it was quite a white (sort of) it wasn’t bright, it was quite low key - quite a low key feel to the room. I went in and there were a few people, it was very quiet in there… it was very subdued. There was nothing in the first room that drew my eye, that made me want to engage with it. Compared to some things I’d seen that were quite ‘showy’ or had strong cultural forms, which I suppose I am drawn to. It was like, there was almost like a table (was it a table?), or was it a viewing box - what are they called those viewing boxes with the glass?

Interviewer: A display box?

Philip: Yes, like a display box…. Like a giant display box. So then the thing with something like that is that the emphasis is on the person to have to engage with the work rather than the thing being there and you just either get it or you’re not going to get it. So I think because of my state of mind I was thinking I only have a certain amount of energy left, I’ve seen a load of stuff already, my brain’s already quite full. It just didn’t really, I mean, looking at it now and knowing you and the very sensitive, delicate nature of how you, not only your work but also what would speak to you, if for example I was going to see Cathy Wilkes, or a Cathy Wilkes exhibition on her own then I could have maybe prepared for it and I would of been more aware of what I was getting myself into, but as I’d not come across her before it was… I remember us talking about how we were going to get through the Arsenale as when we went into the Giardini we sort of went in cold and so half way through I was quite full. I remember you said that you were just going to go and see everything and then come back to the things that I want. I thought that was a really good idea, but then there were so many good things at the start of it that I thought I just can’t rush through this. That did actually work as a lot of what I thought were the better artists were at the first half of the day…

Interviewer: You’re digressing a bit Phil from the original question.

Philip: Sorry, what was the original question again?

Interviewer: How would you describe your overall experience of the show at the Great British Pavilion?

Philip: Yes, so this feeds into it. My overall experience was that I wasn’t disappointed, but I didn’t feel like I wanted to engage with the work. I felt that it was almost on such a different vibration to what I was on. I was feeling quite energetic but also tired, and I think it was asking me to do quite a lot of work which, also on an emotional level as well, you know, I was not prepared to have to open up my sensitivity in that way at that time. I didn’t know who she was going to be, I didn’t know what work she would be showing. You probably went in thinking “oh great, it’s Cathy Wilkes I love her work”.

Interviewer: I’d actually never heard of her before. I didn’t know who she was either.

Phil: Oh wow, okay. So, I suppose, I do remember the ladder structure and I remember thinking that the ladder was kind of interesting as the way in which we have been taught, especially in the second year, about how an object (especially an abstract form) can be used as a language to talk and express something that is very difficult to put into words. So I did look at that for a bit and it did catch my eye a little bit, but the table… you remember, I was quite frustrated. I think I was actually like well “what is this?” You know, on a vibrational level, it just didn’t click with me and I needed it to click with me.

Interviewer: So do you think it was your response to the work and you not wanting to open that empathetic response in order to engage with the work that stopped you from being able to engage with it?

Philip: I think that there could be many reasons why I didn’t engage with it.

Interviewer: Because for me, the difference between me and you is that I think I often don’t regulate my emotions very well so things will reach into me and I don’t have much choice in it because I don’t have a very good boundary in that respect, whereas I think you do.

Philip: I don’t know whether you want to record this but I will talk to you about it… Over the past week I’ve been talking about how I have been dealing with being upset through my break up. I wouldn’t say I have turned a corner but what I have been thinking about recently is about how I access my emotions. I was trying to explain it to Andy and I was saying to him that it almost seems like I am either completely miserable and unhappy, and feeling horribly, horribly, horribly miserable or not. I don’t know if it’s men as a generalisation but, for me, the thing that I realised is that what I am afraid of is having to do something and while I am doing that thing, also feeling. So, I was supposed to be doing something with Stu, we were supposed to be going for a bike ride and he planned it, it was going to be a bit of an event. I woke up on that day and felt really sad - I didn’t really want to do anything but I thought, you know what, Stu is my best friend, certainly my best male friend and he’s the most susceptible to emotion. His emotional intelligence is the greatest of my male friends, and so he is going to be the most accepting if I say “look, I don’t really want to do that but I do want to do something and allow myself to possibly feel sad while I am doing it - or allow myself the opportunity that if I do feel sad, I want to feel it”. I think that’s the thing that you might be able to generalise with men because men are told that feeling our emotions is not okay; apart from anger. We don’t feel that it’s okay and so that’s the journey. So, I think that if I were to go and see it now, because I am almost practicing this part of allowing myself to feel sad while I’m doing something, then I might well be a lot more… The boundary, or the wall if you like, is not as strong.

Interviewer: Yeah.

Philip: But when I got there, I was buzzing, but I also knew that I only had a certain amount of energy left and so I was being quite choosy about where I put that energy. And also… this is also about the boundary between the artist and the audience. You know, what she is offering that is coming from the art had a certain resonance, there was a certain way in which you could interact with that art in order to get the fullness of an experience from it. I was just not in the right place to gain that benefit.

Interviewer: Okay. Right next question then, what stood out to you the most about the show?

Philip: Well, it’s interesting because talking to you afterwards, I think you said on several occasions that it was one of your favourite pieces or your favourite piece and because I put a value on your perspective, I felt a bit gutted and like I missed out on something. I remember talking to you about the sort of table thing, and that was in a sense, there was a sense of grandness from that. I thought that was kind of interesting, it reminded me of like… it could almost be like a map, like when I was a kid we used to get remote control cars and you would make a small map for you to drive the cars around the map. It had that sense of scale, that sense of (inaudible) Jason and the Argonauts films, you’d have a God standing up and there would be like a map of the world underneath them and there would be moving figures. There’s almost a sense of like a viewing point, and to possibly give a perspective. So that’s kind of interesting but I think, at the time, the thing I was most interested in was the ladder because it had some kind of bodily form. I don’t know what it did but it kind of spoke to me maybe of how a child might see an adult - I don’t know.

Interviewer: Yeah. I mean it’s interesting that you think of it as a ladder because it doesn’t really look like a ladder but it also does. It’s got like a remnant of a ladder form because it’s structured and has multiple storeys. But it is actually a strange form which is open to interpretation and you’ve interpreted it as a ladder.

Philip: Okay, yeah. Or like one of those (inaudible) chairs.

Interviewer: Yeah, and obviously from researching her work I’ve learned a lot about how her work is about kind of coming towards something that you don’t quite know and so you are perceiving aspects of it but you’re also not able to, and so it’s like that limbo experience which makes it interesting that you say you’ve been so frustrated by it because I think, to a certain extent, that was her intention. Um, because it’s like she is wanting to give stuff away but she also isn’t, and so it’s playing on your feelings and even though you weren’t able to resonate with it in a positive way, it still made you have a reaction to it… which is interesting. But that’s kind of what I’m talking about in the essay… Even though empathy is a shared experience and it’s understanding, there is also another layer to it, which is where you’re still able to empathise because you’re still able to understand aspects of it, but there also aspects of it that you can’t - or some people can’t. It’s quite hard to write about though because it’s obviously quite subjective, as every person experiences it differently.

Philip: Yeah, but that’s the thing you want to be writing about because that’s the stuff they want in your dissertation. So, do that.

Interviewer: Wait, what do you mean?

Philip: The stuff you were just saying to me, you know your ideas about it, your thoughts about it.

Interviewer: Yeah, well I have written about that, I just need another voice of research to park in there. So, anyway… next question then. What were your thoughts on the curation of the objects / inclusion of everyday/familiar objects? So, this could be your current thoughts from looking at the photographs you’ve seen today, or anything that comes to mind.

Philip: Well I think that’s fine because it was second year, and the second year was a really good time for us to see that exhibition because a lot of the stuff, for me, in the second year was about developing the language of art. So, we had already covered everyday objects in our GCOP lectures and so there wasn’t… I didn’t have a reaction against everyday objects, I pretty much accepted them and I suppose as far as that’s concerned, she seems to use those everyday objects really well as far as they seem to fit in with her curation of how she shows objects with other objects. There’s not a disparity between the things she may have made or the things she’s found and included.

Interviewer: Okay.

Philip: I suppose in that sense, it’s a great skill to have.

Interviewer: Yeah. So, specifically in relation to the objects themselves as you’re talking quite generally, the objects that she used…

Philip: Okay, I’m having a quick look. I like the sort of torn, bedraggled table cloth on the round table. I think that speaks a lot about how… the consumerist, 2.1 children, keeping up with the Jones’, kind of feeling you’ve got to have a nice table cloth, you know, that’s about what you present to the world… but actually this table cloth is ruined. It’s pretty and all the right things are there but the way in which it’s presented is it’s awful, it’s bedraggled, it’s too long, it’s not put together properly, it’s on the floor, it’s dirty. So that’s really well done. I actually also quite like the washing bowl. The dirty, offwhite washing bowl. I think that’s about how we will automatically relate to everyday objects, and what’s more everyday than a washing bowl? You know, and what are the connotations of a washing bowl? Well it’s dirt but it’s also cleanliness, labour, it’s attentiveness… you know, they say good people wash, you’ve got to be clean, all that stuff. I suppose the further thoughts on that are about what is clean, and why do we have to be clean? The whole boring repetitiveness of cleaning clothes, drying clothes, wearing clothes, cleaning clothes… and therefore the whole repetitiveness and mundane qualities of living.

Interviewer: Okay. That’s very helpful because you’re talking exactly about what I am discussing in my essay. Did you feel that you understood the work and therefore empathised with the artist/context as a result? If so, what do you feel helped you to feel like that? If not, why do you think that is?

Philip: No not at all.

Interviewer: As you didn’t, why do you think that is?

Philip: I just wasn’t, emotionally, in the right place when I saw the work. I can look at it now, and I can read it like a book. Well certainly I don’t think I’m reading it in the same way that you read it because I think you’re a lot more sensitive than perhaps I might be. So, no I didn’t - I just wasn’t in the right place at the time.

Interviewer: Okay so obviously from what you’re saying now, that indicates that you are able to empathise with the context from what you’ve just said about all of those things to do with the objects. So, at the time you didn’t, but as you’re reading it now, in the same way as at the moment we’re having to view exhibitions online, now that you’re viewing it as an almost online exhibition, you are now able to empathise with it as you are able to read it. What do you feel has helped you to feel like that now that you are able to read it?

Philip: The education in my Fine Art degree.

Interview: Yes - but you talked a lot about familiarity and so, if you’re reflecting on it, what is it that helps you to make up your mind about how you’re reading the work? For example, is it knowing and understanding about the artist more, or is it the familiarity within certain aspects of it.

Philip: I think it’s being more open to it emotionally.

Interviewer: Okay. So being more open to empathy?

Philip: Being more open to it emotionally. It goes along with the idea of something that came up when I was doing my dissertation. Art is unusual in that artists are almost expected to sell their artwork, we’ve got to make some kind of an effort to sell our artwork to the audience. It doesn’t work like that with the other creatives, with the other creatives the emphasis is on the audience going to the artist. You know, you might get a guy that will go to a book signing and the real thing is about the audience going to try the book. They buy the book or they borrow it off a friend. So, yeah. Musicians, you know, the music is there and you either listen to it or you don’t.

Interviewer: Yeah.

Philip: You know, you haven’t got musicians trying to talk you into their music. The emphasis in our society is because there has been so little value placed on art, people don’t really have the understanding of how art works and therefore a large majority of them are not really going to be able to engage in artworks; and that’s what happened with me. I wasn’t prepared to have the skills that were necessary at the time.

Interviewer: Okay, so in that respect then - obviously some of the objects in the work are very familiar and they are therefore easier to decipher a symbol from. Do you think that helps you to understand and empathise with the work?

Philip: Okay… if you are open to it. That is going to be my strong point here. Let’s say you are walking down the street and there’s a homeless person there, right. Nine times out of ten you’re going to decide, well I am, going to decide whether - emotionally - I’m going to give that person some money or not. I believe that all of those people deserve a quid… they all deserve a quid… but the fact is that that is the only decision I’m going to make. Then, if I wanted to, if I was feeling very emotional, I might get quite sad now because it is sad that we’ve got homeless people on the streets, it’s always sad; that’s always there. But we have a boundary, don’t we, we have these blocks and we allow ourselves or we don’t allow ourselves. It’s a similar thing with that piece of work.

Interviewer: Okay.

Philip: So, yes, you could say that. That’s a valid point. I suppose objects do make some kind of association, it’s quite possibly easier, but you’ve still got to be open to that.

Interviewer: Yeah, okay. So, I don’t know whether this question has already been answered but… What are your thoughts on the inclusion of familiar objects within Conceptual art?

Philip: Yeah, so that’s going over what we just said. I think you’ve got a good point, I don’t know if I would have come to that point on my own. I don’t think I would have said it on my own but now that we’ve talked about it then, yes, definitely. It’s weird though isn’t it because it’s like a hidden way in, you might make those connections without possibly being conscious of them. And that’s a big old subject as well, you know that goes onto ‘Ways of Seeing’ (John Berger), with the picture of the horse that’s called the door. It’s like how we associate different things with different things. You know, I’ve had dreams before where it doesn’t make sense but at the time it completely does make sense. How we define and create symbolisms between things which do not work how our actual language works, for example. You know, and that goes into the symbolisms as well and dreams and stuff.

Interviewer: I know, it’s a big topic. But I guess the basis of it, and what I am exploring, is…

Philip: There’s a very childish feature to her work. Really, really childish. Like the big heads and the little pot-bellied figures. They’re almost like simplified versions of reality which then makes me think of quite possibly psychological aspects that are quite deeply heavy. Have you looked into, for example, developmental psychology? Because a big thing in psychology for the last twenty or thirty years has been brain development; and that’s gone into teaching. So, they now know that there are certain times in our development from age 0-6 months where there are certain things that are going on and there are certain stimuli that we need at certain times in our development. There are certain times, especially with children, their brain is like a sponge. As soon as you give them some kind of stimulation, they are just going to learn really well. But you have to give those stimulations at the right time for them to improve and grow well, you know?

Interviewer: Yeah. So you’re saying that you feel that those figures kind of remind you of someone that hasn’t developed properly?

Philip: Well maybe. That’s actually what you’re saying, that’s your interpretation of what I’m saying.

Interviewer: Yeah.

Philip: But I think that would be a fair interpretation.

Interviewer: Okay, that’s interesting. But yes, my actual essay question is - how does the use of found and familiar objects within contemporary art practice create an empathic dialogue with the viewer?

Philip: How indeed. How indeed. It’s everything I just said, it’s that almost unconscious level of communication. You’ve got to think that a lot of the communication between adults and children, you know, children start talking around about 2. That’s two years of early communication that is symbolic.

Interviewer: Okay, thank you - that’s been helpful.

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