INF#3 by Infirnity Magazine

CONTRIBUTORS: Nadide Akdağ, Horlod, LoverSlawa, Trevor Gates, Dennis L. McKiernan, Vince Wyler, Tamlyn Teow, Chris Russel, Vanessa Gouveia, Marinus de Keyzer, Dor Wein, Marcin Sokolowski, Sheri Urbanek, Alana Slattery, Vikki Yeates, Julijana Mijailovic, MoulinR., Aleksandra Stankovic, D. E. Bahi, Craig Letourneau, Carles Cabrer, Miguel Santos, Anabela Sequeira, Sayem Chaklader

http://www.infirnity.ca VOLUME ONE – ISSUE #3 (December/January)

CONTENTS: PG. 03 PG. 08 PG. 12

STAFF: Rick De Vries Sandra Pedler

| Publisher | Creative Assistant

INFIRNITY MAGAZINE is published 12 times per year (September/October, October/November, November/December, December/January, January/February, February/March, March/April, April/May, May/June, June/July, July/August, August/September) online and in print. All images used within this publication were used with permission and remain the property of the respective creators. Under no circumstances is this publication to be manipulated, distributed or reproduced in any way without the written consent of the publisher.

If you are a musician, artist, film-maker, photographer or writer and would like to see your work featured, send us an email at infirnitymag@live.com and we will do our part.

PG. 15 PG. 19 PG. 23 PG. 29 PG. 32

: Publisher’s Choice (Photography) : ARTSPOT : Cover Story // Trevor Gates : Dennis L. McKiernan : Vince Wyler : Tamlyn Teow : Alana Slattery : Vikki Yeates

ÂŠ S. Chaklader

ARTSPOT Gallery compiled by Rick De Vries

‘Metalhead’ © 2013 / Horlod “It's a quick illustration of previous characters from my webcomic - Black Steel – which you can find at blacksteel.webcomics.fr/ (in French for now). The main character is wearing an armor he forged with a special steel, the spirit of which is represented by the girl on his shoulder. I'm a French artist, drawing comics and pictures, and a graphic designer. I like comics, movies, novels, heavy metal and video games (quite original, isn't it ?). In my free time I practice fencing and recently started a video podcast about bad movies ("nanars").” - Horlod

ARTSPOT Gallery compiled by Rick De Vries

“Dream”

“I’m a manga artist, but an amateur only. I’ve been writing a novel but it isn’t published, it’s just in the idea phase right now,” - LoverSlawa

ARTSPOT Gallery compiled by Rick De Vries

techniques and different ways of presenting and capturing specific moments and feelings, and both my drawings and photos have been taking a more dark and perplexing surrealistic notes.

“Pieces’’ is my latest photo, and at the same time my dearest and most intimate one.

‘I have been involved in art ever since I was a little kid and I have always been looking for new ways to express myself. I loved drawing and taking photos like any other kid, but the first passion I had was singing. But three years ago, when I started my language studies, I had to quit singing, so I had the opportunity to rediscover my passion for drawing and photography. Since I am completely self-taught, I’m is still in the process of exploring new

My goal was to capture the feeling I was having at that period of time: a mixed feeling of sadness, concern, longing and await with a hint of hope, darkness and loneliness that is almost a pleasant necessity. I find it very complicated to explain all of the ideas and dimensions behind my works, so I like to leave almost everything to the viewers and especially hear about all of the different emotions it awakens in them, see how they identify with it and hear the stories they presume are behind my art, since most of it is a reflection of their own worlds, feelings and desires. Sometimes it is exactly what I was trying to represent, but at times it is the complete opposite. That is why I’m so in love with art.

COVER STORY : An interview with traditional artist Trevor Gates by RICK DE VRIES

Working as a freelancer on the side, Trevor Gates, 22, from Texas, never went to school for Art but is now trying to get into one to fine tune his skills.

and David Lynch among others as influences, Gates admits music and film are both a big part of his life and tends to see the artistic exceptions in the respective industries. “I’ve always catered to those who can exude their own dreams and persona to others,” he says.

“I've learned that unless you have professional training, or you're undeniably talented, you won't get as many clients unless you have the certification,” he says. The exposure to the professional world is a big form of self-promotion, Gates says, which is what he’s hoping for. “I realized after a while that in this day and age, being talented just isn't enough. There are plenty of talented artists out there. If you really want to be recognized among the masses, you have to go through trials and tribulations of success and failure. You just can't stay at home, hone your craft and expect some form of recognition. “ “I've always been able to draw from an early age,” Gates admits, adding he has always done art in some form or another. “Honestly though, I haven't really given it my sole attention until a few years back,” he stresses. “I think I'm starting to grasp what it means to actually create art.” Gates prefers traditional mediums and uses a lot of graphite stuff, adding ink, charcoal, oil pastels, et cetera to get what he is looking for. “There has always been something more passionate and pure about traditional methods vs. digital. You can't achieve the same raw emotions with a computer screen,” he explains. “ It should be about staining your hands with charcoal and sweating into paper. I only use digital programs for editing and presentation.” Best known for the dark compositions he does with pencil, charcoal, inking and tone markers, Gates says if he wants to try something different, that is when he reaches for pastels or another medium to accentuate what he is working on. Citing Clive Barker, Salvador Dali

T. Gates © 2013 “Art that has a unique style – whether it is poetic, dark, melancholic, ominous, romantic or whatever – that has an impact on the person viewing it, it’s work like that, pure art, that resonates in time,” he says. “The stuff that makes you sit there for hours, thinking and comprehending why you’re obsessed with it, that is the work I tend to follow.”

“A true artist gives himself to his most primal and deep-seated desires,” Gates opines. “Learning and accepting this has shaped me into what I am now.” Sometimes, Gates says, he has a clear idea of what it is he wants to draw, but not necessarily the message behind it. “I love hearing other people's interpretations about my art though,” he adds. “It reveals a lot about a person and how they see the world.”

“I believe that's what makes art significant and relevant,” Gates explains. “I do a lot of visceral and venereal surrealism - Body horror, religious symbolism, psychological emphasis, dreams, nightmares, sociologic commentary - things of that nature. I try not to be too arrogant about my work but sometimes it's just to feed a selfish desire. The act of doing it. Portrayal and representation can be a double-edged sword of fire.”

“Art is more than just learning what point perspective is or knowing who did what in some year I can't remember,” he opines. “You must practice your skills, you must watch your favorite movies and appreciate why you love it.” Learn to take everything you love and mush it together into the person you are, Gates says. “You do what you love listening to your favorite band,” he adds and explains that it is these simple thing that will make you a better artist and person. “Take all those frustrations and horrible experiences and put it to paper. Learn as much as you can and test yourself. If you want to break out of the rut, you have to accept your flaws as motivators, or instinctive sharpeners. Don't let what other people tell you is art prevent you from doing what you want to do.” He says to stand out, you need to take risks. “You need to give yourself to a suffocating passion,” he stresses. “Your passion with exude your natural imagination.”

UNDERSTANDING THE WRITER /

DENNIS L. MCKIERNAN by RICK DE VRIES

Among the great fantasy writers of today – Martin, Brooks, Jordan, Goodkind, Tolkien, Lewis, Salvatore – is nestled a man whose name should be just as well known, if not more so, for the fact that his works are just as rich. While the world is slavering at the maw for the next edition of the Song Of Fire And Ice, and clamouring for another look at Middle-Earth, another story is waiting for you to dive into; indeed, if you listen carefully when the night is at its darkest and the snows are piling upon your domain, perhaps you can even hear its beautiful Silver Call. When I was a young boy, not yet in high-school, I picked up for the first time Tolkien’s Lord of the Rings trilogy and struggled through it – I say struggled because, for want of a better explanation, I found the language he used a trifle difficult to wrap my tongue around. Eventually I even cast the books aside, but by the time I had, it was already too late for me. I’d fallen victim to the same strange spell that wraps itself around so many of us – an affliction for dragons, sorcery and all things fantasy. Years later, and many authors’ books too, I was at a second-hand store with my mother searching the shelves for my next treat to lands unknown when I stumbled upon ‘The Dark Tide’, written by Dennis L. McKiernan and flipped through its pages, feeling myself getting lost in the Boskydells, wondering what it would be like to be a Thorn Walker. Since that day, I’ve searched high and low for every one of his books, always feeling a thrill whenever I find one that I can add to my collection. I’ve never looked back. To be the publisher of a magazine and to have the chance to interview him is like meeting Santa Claus and getting a first-class all-access trip to the North Pole, complete with a meet-and-greet with all the elves in his workshop.

McKiernan, 81, was born in Missouri but now lives in Arizona and says that from an early age, he enjoyed reading all sorts of things, from westerns to fantasy, fairy tales and horror stories too. After a while, he began writing his own and in this, he says, he was abetted by his father, with whom he collaborated on some for their own amusement. “I first wrote professionally for dirt bike magazines,” McKieran explains, reflecting on his numerous How-to articles, guest editorials, and humorous dirt bike tales. “This was in the 1970s, when I was an avid dirt biker (enduros and trail riding). While riding in an enduro, an automobile ran over me, and during the very long recovery, I began writing fantasies, just to stay sane while in a cast that went from my armpits to over my toes.”

Which of your works are you most proud of? [DM] What you are asking here is for me to choose which of my children is my favorite, and to me they are different and fairly equal. However, if you ask my readers, in various polls, virtually every one of my books has been picked to be on the top of the list, depending on the given person asked. Dragondoom, The Eye of the Hunter, Voyage of the Fox Rider, and The Iron Tower seem to lead those polls. I am quite proud of the Mithgar series and the Faery series but I also like “Caverns of Socrates” and my paranormal mystery romance “At the Edge of the Forest” too.

What has been the most important factor in your development as a writer? Could you explain? [DM] At the end of every book I am a better writer than when I started that book. And so, I realize that as a better writer, I should return to the beginning of that book and raise the quality of the writing. And then carry that quality forward to the next book and raise it again. And to explain the entire process would require another book to be written explaining the method, procedures, and the differences between the “craft” (mechanics) of writing and the “art” (honing the talent) of writing, as well as the business (everything one does to get his/her writing published) of writing. Where these three things overlap, and where they do not, and what zone a person needs to be in to make all three a success.

Are there any writers that you look up to or that inspire you? If so, could you explain how they have affected the path that you're on? [DM] Patricia McKillip comes to mind (lyrical writing), Edmond Hamilton (Captain Future made a reader out of me), JRR Tolkien (’nuff said), Robert E Howard (great story teller), Fritz Leiber (Fafhrd & Gray Mouser, great buddy stories), various mystery writers (such as John Dickson Carr), and many more. All of them bring something different to the table, and by looking at what they wrote and with a bit of pondering, one can see better ways of doing things (all part of the “art” of writing).

Could you describe a good learning experience? [DM] A good learning experience is when I read

Tell me about Warrows. What is the story behind their eyes? [DM] Unlike Hobbits and other Wee Folk, Warrows

another writer’s work (and sometime my own) make me laugh out loud or say, “Oh, wow!” or “How clever,” or “Man, I didn’t see that coming (even though the writer gave me all the clues I needed to anticipate it).” All of my good experiences have been of the “Oh, wow” variety, or the “laugh out loud” ones. A bad learning experience is when I read a work so badly written that I do not finish it. Or when I read a work where everything comes too easily to the protagonist(s), or when the writer didn’t properly research before putting something in the story that is just flat wrong (like, say, having an eclipse occur in minutes rather than the true time one takes). Poor grammar, misspellings, bad punctuation, poor paragraphing, poor chapter divisions (and other errors in the mechanics of writing bug me). One or two typos or errors are completely forgivable. After all, if the story grabs you by the throat and hurls you through the tale . . . splendid! But if you are trudging through a story, why continue?

are the most deadly warriors on their world. Give them a bow or a sling, and their body count surpasses even the most deadly of Human or Elven or Dwarven warriors in a given battle. Ordinarily a peaceful folk, if the stakes are high, they rise to the occasion and whup ass. Their eyes are rather unique, jewel-like and large and part of their mystique.

I've long been a fan of your Iron Tower series (in fact it was the first series of yours I read). Could you explain the roots of it - where did you get the idea? I know what the jacket says, but what is it really about, to you. Do you feel you accomplished everything you set out to in that series? [DM] As I said above, I began writing to stay sane, and I liked JRR Tolkien, so The Silver Call was what I wrote first. But then I decided to write the prequel to The Silver Call, and thus was born The Iron Tower. I got the idea for The Iron Tower from the Silver Call. All of my Mithgar books are about free will versus control. About guiding our own destinies versus someone else controlling out fates, driven by their own inner needs rather than ours. The Iron Tower was just a part of the story, and the continuation of the Mithgar series continues to explore that theme as well as many others.

Describe the importance of the Ban that takes place in your world. [DM] The Ban kept the beings of Neddra (the underworld) away from the light of day, else they suffered the Withering Death (they rapidly turned to dust). This gave the folk of the Mithgar (the middleworld) an edge needed to overcome the invasion of their lands, which in turn kept Gyphon (a powerful god) from gaining control over all creation. Later on in the series, we find that the Ban gets rescinded because it interferes with the free will of others, even though they are the enemies of free will.

If there were a few things you could recommend to another aspiring writer to keep in mind during their own development, what would you say? [DM] I think perhaps the most important trick is to be sure to read your story out loud to others or to an empty room. The ear hears what the eye misses. You will discover errors, tongue twisters, errors of continuity, ways to improve the writing, and many other things. Research. Get it right. Do not put all the research in the story. Jettison almost all of it. Only put in enough to sound like you know what you are talking about. Never make it easy on your hero.

WHAT’S NEXT FOR HIM? I have a new Mithgar book (Stolen Crown) coming out from Penguin/Roc in February 2014. I also plan on publishing several ebooks. I also plan on playing a lot of Xbox games (right now I am playing Borderlands 2) with my friends. I will also be playing some FRP (fantasy role playing) games. Other than those things, I will be goofing off a lot.

VINCE WYLER An introspective look into the mind of the man behind ‘The Unthinkable Hybrid”

From 3D sculpting to cartooning and more traditional art, Vince Wyler is a self-taught artist who has been at it since he was five or six. Living in the Midwest, he says that cartooning is one of his favourite mediums to work with because it involves storytelling. “A picture is only worth a thousand words if it’s telling a story,” he adds. Wyler admits that sculpture is something he enjoys as well mostly because it allows him to bring his goofy characters to life in three dimensions. “I’ve built models and full body costumes for conventions and shows,” he explains. “All learning experiences are good in a way,” Wyler opines. “I suppose when I first discovered how to sculpt foam rubber by means of a soldering iron was a good one, since it occurred as the result of an accident.” All of his techniques were developed by means of trial and error, he admits. “I make mistakes learning new techniques but I think the worst learning experiences are all related to how art is viewed and judged by others,” he says. “I recall entering a costume contest at a sci-fi club convention years ago, and winning, but when the club magazine featured an article about the show, I was barely mentioned.” A competitor, he says, got a 3-page story and a cover shot and adds he learned later that this fellow was a friend of the convention’s MC. No matter how good you are artistically, Wyler deadpans, connections really help if you are seeking notoriety.

“Social messages are common in my comics, and in my writing,” he says. “Art without meaning is pretty thread bare. I have a world view, like most people, and, as an artist, I try to communicate that view to others. Some are offended, but others are open to my ideas.”

Wyler says he admires artists who are involved in visual storytelling and special effects, some of whom include Jack Kirby, Walt Kelly, Dr. Seuss, Osamu Tezuka, Ray Harryhausen, Eiji Tsubaraya, Rick Baker and Paul Blaisdell.

“Gallery art is fine, but it has such a limited audience,” he opines. So called pop-art, Wyler states, has a much wider appeal and is frequently much more emotionally satisfying. “Don’t be too focused on criticism,” he says. “These days, everybody is seeking it and it’s always in generous supply. Instead, focus on your ideas. Make them the way you want to make them and trust your own instincts. You are your own worst critic, but also your best advisor too.”

“A typical comic page can take 15 to 21 hours to do,” Wyler says. “A single pin-up, maybe 5 or 6 hours. A full body costume on the other hand can take 3 months to do, but I don't do them anymore.” © 2013 / V. Wyler

SPOTLIGHT / TAMLYN TEOW Where are you from originally as well as currently and is this something you feel has influenced your work? [TT] I was born in Singapore, moved to Perth- Western

versa. It’s all about balance!

Australia 10 years ago to complete my education and for career opportunities. Every event and situation that has happened in the past definitely shaped the person I am at present. My personal development and interpretation of the world in that certain moment is always incorporated into my art work as it’s my main outlet for expression.

Did you go to school for art or do you work in an art-related field? If so, could you explain the impact that it has had on your life? [TT] I have done art like every other student has in primary and high school but I have not actually invested much in extracurricular classes. Never did very well in art classes as the way I do things didn’t ordinarily coincide with that of the teacher in question! Often found myself either going against the methods that were taught or lying that the product I got was a result of doing it their way. However, I believe that’s what art is all about- there are no rules/right/wrong ways to perceive and do things. It’s all about experimenting and coming up with your own style using individualistic creativity. I graduated last year from University of WA with a double degree in Commerce and Economics. At present, I work in institutional banking at a commercial entity. Being in this field does contribute to my art. It helps keep my mind in check with the use of both sides of my brain. If I am frustrated or tired with finance, I turn to art and vice

How long have you been into art and which medium do you prefer over others? Why? [TT] I have been into art since I first picked up that inconspicuous little crayon! I found it fascinating how I could get ideas down onto paper, so it’s just something that got my attention/found entertaining ever since.

Personally, I go through phases- from coloured pencils to acrylics to oils, then pens/markers, watercolours and even highlighters (or other office stationary-ever since I commenced working and doodled while thinking). I used to be horrendous with watercolours because I was more absorbed in doing it the “right” way that it didn’t feel natural any longer. But through self-teaching, I managed to feel comfortable with a certain way of handling it. At the moment, it’s my favourite medium along with acrylics. They’re quick dry, easy to handle, colours are vibrant and I can use them in conjunction with pens/markers which allows me to highlight the subject with precision.

(photo/painting etc) is art in its true form and can either be candid or manipulated but holds the power to potentially change the viewers’ life.

What has been the most important factor in your development as an artist? [TT] I would say that the factors constitute constructive criticism (both personal and from reliable sources), personal diligence and perseverance. Life definitely throws situations that change one’s mentality and thought process over time. With the notion that art allows me to appreciate the beauty of emotions and capture each special moment, I am more determined than ever to continue learning and growing as an artist. Also the internet- social media definitely gives me a gauge of what appeals. It acts as motivation when viewers mention that my art work inspires them. I must stress that no two artists are the same-Whereby, one can’t solely depend on the public’s judgment of his work. Again, there has to be a balance between the two. When it comes to the crunch, you’re your harshest critic.

What makes you take an interest in another person's work and what sets them apart from the rest of the globe in your eyes? [TT] Usually how I relate to them, the way they capture emotion or the message/colours/style used as well as mood and subject portrayed. I use them as inspiration, especially photography then proceed to incorporate it with my imagination and experiment with different styles by other artists. We- humans, nature and animals- are all one, interconnected in different ways. How someone else sees the world can be completely different to my perspective but once I am aware of what others feel, it influences my way of thinking. That’s exactly why I take such an interest in art, a picture truly says a thousand words and my aim is to (hopefully) inspire. An image

Are there any artists that you look up to or that inspire you? Could you explain? [TT] The Masters such as Manet, Monet, Degas, Picasso, Da Vinci, Michelangelo, Dali, Van Gogh, Cezanne, just to name a few. These artists chased for what they believed in, went against the art norm (during that particular era) and made it a point to create a new movement by breaking the rules. They ended up changing the world with their memorable master pieceswhich have been motivational sources for artists, through generations, to experiment and create new styles built upon what they have done. They are the essential foundation of who artists are today. In terms of modern- Various! I love finding new artists that I’ve never heard of before. Frequently- I find them by surfing Facebook pages, DeviantArt and Instagram. Collectively, they are all inspiration and really diversify my outlook/view/approach/attitude, especially in objects or scenes that others perceive to be “ordinary”.

Could you describe a good learning experience? [TT] The first time I ever sketched from life- sitting in the main city- I found it incredibly difficult. Being sort of an introvert, I frequently use photos and the internet but drawing from life, there is so much movement and the scene is constantly changing. But in all challenges or situations of difficulty that we encounter, we have to strive to better ourselves. Through much practice, I thoroughly enjoy this activity and it’s great because I get to meet new people/find out their stories etc. I always give my drawings away to someone that I sketched or I think would be interesting at that time to strike up a conversation and get to know. It opens your eyes to the world and truly enables you to get in touch with humanity.

Could you describe a bad learning experience? [TT] I tried to take part in an extra curricular art class for painting. However, the students and teacher’s style was more realistic rather than impressionistic like mine. I struggled tremendously with the meticulousness and stringent approach. Argued with the teacher a couple of times as he didn’t let me put the acrylic paint on the canvas unless I had mixed it right prior to application etc. Instead of conforming, I waited till he wasn’t looking and just did so anyway. I completed the painting using my method, he came over and was shocked to see that I’ve finished in two lessons while the others were still on theirs for a couple of months (it’s sort of a club and you can keep renewing your membership). The students proceeded to crowd around and frowned as though they’ve never seen a painting done that way before! They really liked it but during my attempt in advising them that there isn’t a right way to do things, the teacher “politely” kicked me out of the class. So even if I had arrived at a favourable outcome, because I didn’t comply, it wasn’t accepted. Hence, my aim is truly to encourage individuals to create their own persona instead of being sheltered and somehow brainwashed into having this perception that there is some sort of societal norm.

What kinds of things do you deal with or try to portray in your works? Why? [TT] My subject matter varies and ranges from landscapes/scenery to cityscapes to portraits to fashion and even storybook type illustrations. I enjoy recreating works in my own style such as fan art (i.e movies) or older/renowned paintings in my own style. In all the pieces I create, there’s an aim to attempt to portray how I felt at that exact moment. Usually the colours I use are amplified or arbitrary if I am having strong feelings but mellow in a softer state of mind. I want to be able to enjoy the gift of how the mind and heart has so much impact on our way of perception and show it through art. More importantly, allow the viewer to feel a sense of relation/connectivity to the work as well as remind others that they’re never alone, to cherish each moment like it’s their last, to appreciate the gift of sight.

How long does a piece typically take for you to finish from concept to finish? [TT] It really depends on the size of the work, what kind

cliché as that sounds)! Don’t give in to complacency but work towards adopting a state of contentment. DON’T COMPARE yourself to someone else. As Oscar Wilde said, “Be yourself, everyone is already taken.”

of surface, subject matter (whether it requires detail or abstract)-especially on whether I feel like being patient or in a more excited mood etc. If I were to do something like landscape in either acrylics or watercolour, perhaps 45 minutes for A3/4, as opposed to something off my imagination with more intricate details then I could take up to 2hours for that same size!

If there were a few things you could recommend to another artist to keep in mind during their own development, what would you say? [TT] Don’t force or put unnecessary negative pressure on yourself because that will tend to show in your art work. Partake and engage in art when you are in the mood and feel like it, what you get down on that canvas has to come from the heart. Use your mind to think of the concept but the heart to create- if you feel like you hit a wall, relax, surf through others’ art, take a stroll, and listen to music- all the things that put your mind at ease. If you are frustrated with the work, leave it and go back to it later. However, the most important lesson for development is to practice and believe in yourself (as

By RICK DE VRIES

17 year old Alana Slattery, while still in high-school, clearly shows a level of artistic skill that rivals that of her peers. From markers to charcoal to water-color paints, she makes use of whatever she can, usually all in the same piece, to create works of wonder and though some naysayers might point out that her style is “too anime”, she adds a uniqueness to it that sets it apart. “Most of the time I use watercolor, prisma markers, copic markers, and gel pens,” Slattery says. “People always ask me how long it takes for me to make something but I never really measure the time. I am constantly working on new pieces and uploading them that I just never pay attention. I rather think of everything I have done so far as one continuous amount of time where every piece is linked together rather than separated because one could not come without the other to me.” It also depends on the piece and how dedicated to it she is, Slattery admits, adding that some only take a couple hours and some can take a couple days.

“I have been drawing since I could hold a pencil and so I have always considered myself an artist,” she opines. Slattery says there are many artists, most who can be found on the internet, which inspire her. “I see a lot of artists that are beyond amazing who I wish I could be like,” she explains. “But there are also the ones I see potential in and hope [they] continue down their own artistic paths. I do not just admire how much skill went into the work, the concept is important too.”

A. Slattery / 2013

Someone may not have the best anatomy or materials, Slattery opines, but it is the idea behind what they were trying to portray that interests me.

“Everything first starts out as an idea or concept before it is on paper or on the computer,” she adds. “As far as famous Artists I admire Leonardo Da Vinci because not only is his art simply amazing to me but also I feel as though I can relate to him in the fact that he had many things he did not finish and I am the same way,” Slattery says. She watched a lot of Disney animated films when she was younger, along with Anime like Digimon, Pokemon, Yu-Gi-Oh, Naruto, Rurouni Kenshin and more, Slattery says, insisting that watching these things helped her with anatomy, style and technique. “That stuff inspired me and so I feel, because of it, my strongest style is anime/manga related,” she says. “I can do other things, but it isn’t what I prefer.” These days, Slattery says, her focus is on depicting certain things in her works. “I want to make the viewer feel emotion if I can, whether it is happy or sad, though I will say I strangely enjoy having a piece of mine make a person feel a sort of sadness.”

Whether it is American cartoons verses anime or electronic music verses traditional music, there is a lot you can learn, Slattery says. “Just because you draw in only one style does not mean you can’t learn from others.” “Drawing from life is a great way to help improve your skill too, so never stop practicing,” she stresses. “Most of all do what you love, don't be pressured to draw things that others like or hide your original stuff because you do not think it is good enough. Art is expression, express yourself and do not let anyone hold you back.”

CREEPY? UNSETTLING? ENTER THE MIND OF VIKKI YEATES An interview by RICK DE VRIES

Vikki Yeates, 46, was born in Bath (Australia) but moved to Brighton to pursue a degree in Illustration. She lived there for nearly 16 years, before moving back to her hometown. “Going to college and university for five years, as I did, is good for self-confidence,” Yeates says. “I think that female artists in particular lack self-esteem and confidence in their ability, probably because the art world has been such a male-dominated field for such a long time.” If you have formal training and a piece of paper to validate you, she says, it can make it easier to describe yourself as an artist.

“I’ve always been interested in art,” Yeates admits, adding that her grandfather was an amateur painter and poet, and was very influential and encouraging.

V. Yeates / 2013

“I think I started off liking conventional, realistic painting (e.g. the pre-Raphaelites) until I went to college and was exposed to more interesting art,” she says. “I developed a passion for German Expressionism, particularly black and white woodcuts – the lines are so strong and dramatic. That’s why I like to do the occasional lino cut, because you can’t become too caught up in details or get too complicated. I don’t like it when my work becomes too realistic, because I think I’m then subconsciously trying to appeal to the general population, instead of just following my heart.”

“I developed this method of ‘painting’ when I was at university, in a far more simple form,” she says. “I like this way of working for its effectiveness and also because it can be therapeutic.” - Yeates

Yeates uses oil pastel, layered with lino ink and then scratched away with a scraper tool, to develop her works.

An important part of her development as an artist came a few years after she finished University, Yeates claims, adding she was unable to get work (or just a very small amount) so instead, she kept trying to change and adapt her unique style to become more commercial.

“I like an uneasy suggestion that something is just not quite right,” she adds. Of her works, Yeates says that “Strangers”, which is part of her gothic collection and inspired by a story written by Taichi Yamata, is one of her favourites. “I have this [painting] hanging in my bedroom and it has an unsettling atmosphere whilst being darkly beautiful,” she says. “I don’t know anyone else who likes it, but that’s fine.”

“This didn’t work and I was still unable to get work and to make matters worse, I now hated everything I produced,” she admits. “After quite a long time of this misery I became pregnant and decided to abandon my arty ambitions, which came as a huge relief. Two children later, with time to reconsider and relax, I decided to try again; but having learnt the lesson that compromising my artwork for financial gain just does not work. I determined to be as true to myself as possible.” Having said that, Yeates admits, “I can’t depend on my dark, gothic work as it is impossible to sell so once I discovered that I could paint animals in the same style, I fell into a happy balance. I’ve always loved animals, but have no inclination to paint them realistically.” Citing german expressionists such as Die Brucke, Der Blauer Reiter, Otto Dix, George Grosz, Kathe Kollwitz, as well as modern illustrators like Munch and Dave McKean, all of whom are inspired by the darker side of life, as her own influences, Yeates says she likes creepy atmospheres but stays clear of out-right horror in her works.

Another one of Yeates’ favourites, taken from her Hares collection, is titled Hara. She says the pose was chosen to fit perfectly in a square and while everyone called him the ‘sad’ hare, it sold quicker than she figured. “I thought, quite happily, that he wouldn’t,” she admits. “Someone bought him from a pop-up shop in Bath and I was a little disappointed.”

Depending on the size of the work, she says, it takes on average about a week to complete one. “Be true to yourself,” Yeates stresses. “Don’t compromise to the extent that it changes your work and your integrity.” Form groups with other artists, she says, meaning you should exhibit and hold Open Days where people can see your work. “Sell prints and cards of your work so you can make money without relying on selling the more expensive artwork and be patient,” she adds, alluding to the fact that in this difficult financial climate, sometimes this might not be as easy as you would think.

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