Nothing to Lose

  1. Warhol claims that he feels a disconnect from his work. And in the interview he says he feels as if the words are coming from behind him, not from inside of him. I think he cares about his work, he’s just saying that he doesn’t feel that he works hard enough for the acclaim he receives. He makes it known that his assistants do much more, I guess, laborious work than him. I don’t think he ever turns it off because he doesn’t really seemed to ever be turned on.
  2. I suppose Warhol’s concept of really just producing any kind of work he wants, whether it holds meaning or not, may relate to the Conceptual Photo Project- in a way the whole project was based on one subjective feeling evoked via short stories. There was no construct to follow. Like Warhol.

Do you become self-conscious of your ideas?

Oh, wow. Absolutely. I don’t think it will ever stop. In my head I’m asking “who doesn’t?” But, apparently, Warhol.

Thoughts on the nothing-to-lose attitude?

I think it’s pretty great- for some people. It just depends on if you’re the kind of person who feels more validated in everything having meaning and background, or the opposite- nothing really matters so what do you have to lose.

Creative Muscles

How do you suppose you could better prepare yourself as a maker of aesthetic objects/ ideas?

Being hyperaware of your surroundings is something infinitely important when it comes to becoming a maker of aesthetics. To know what you like or even just what catches your eye and makes you look and question an aspect of the design of the object/film/photo/outfit/song/etc. Staying open and broadening your horizons with new films, blogs, and reading also helps in sparking new ideas and aesthetics.

What are things you currently do to practice your creative muscle?

I feel like I do a lot, actually. I always have.

I have 2 tumblr blogs. One private / one public. They both mainly consist of photos I reblog and some that I take and post myself. I have had one of them since 2010. I’ve really always obsessed over the ideas of aesthetic and the look of something. (Usually having an existential crisis along the way from abandoning meaning and emphasizing how it looks.) (I’m joking.) (Kind of.)

I also have 2 instagrams. Same concept- one private and the other public.

The private is where I feel much more comfortable posting more unconventional aesthetics and truthful shots. No fronts. I think having a range of social medias is healthy. Especially being a private person. I mean, I just let my dad follow my real / mainstream account.


R E A D I N G 0 0 2


How do you make decisions? Are they based upon anything substantial?

Making decisions is a crucial step in getting anything done. There is always pressure and skepticism if it is the “right” decision, but a mentality I think is helpful in relieving this stress is this: “It is never too late to make a better decision.” SO, I try to convince myself with substantial evidence that makes sense to me (from an artists standpoint, I expect this would differ from a designer).

How do you know when something is “good” or working?

It is different each time. Sometimes from the first concept sketch it’s like “oh wow this is gonna be pretty dope,” and other times its like “ok, i’m gonna keep working for another hour and if I don’t feel different than something has gotta give.” Other times, you hope for the audience to enjoy it more than you.

How do you rework projects to make them work?

I think about clothing for this question but it applies to artistic work as well. To remove the last thing you added. Of course this isn’t always the case but it’s these kind of maxims that go through my head once I realize I have encountered a problem that needs rethinking. Turn it around. Get up and think about something else. Revisit. Alter the way you look at it. Bottom line.

Ornamented Existence

“The purpose of good design is to ornament existence, not to substitute for it.” – George Nelson

This quote helped to manifest what the relationship between the artist and the designer is, as well as where the difference lies. While I tried to wrap my head around the rigid explanations of the contrasting roles of artist and designer, this insight from George Nelson began to serve more of a purpose than the first time I read it. So, if we invest in this quote regarding designers, I think it is fair to follow the same guideline for artists; that art is the substitution for reality. Sure, art can be tangible and is real in that sense, but you can not say it is raw reality.

It is hard for me to decide on most things in life, but I suppose I would say I am a designer. But, instead of choosing one, I think it is more helpful for me to weight out why I think both sides apply to me.

Artist: At this point in my life, the vulnerability that comes with sharing art makes me want to recoil and say that I don’t care what people think of it and it’s all about how it makes me feel while producing it and while I stand back and wonder if it’s complete. I think the self-interest aspect of artistry is important and allows you to feel that much more satisfaction if a viewer comes along and connects with whatever you have produced.

Designer: There are days when I don’t want to think about myself, my interests, and especially my issues. I want to listen to someone else’s day, in which I think this can apply to wanting to hear someone else’s needs and wants and doing my best to solve their problems in design.