pricebullington:

PRICE BULLINGTON
GOLDEN BOY PRESS Interview #88
We talked to Price Bullington, discussing his passion for gold, and his philosophies on creativity.  Hope you enjoy this read!
Could you introduce yourself?
Price Bullington, creator.
Why art, what started it all?
It’s hard to pinpoint, seeing as I always had an inclination to create since I was a child, back then I would create giant mazes made of trash in the garden, build go-karts, turn my school books into cartoons, that sort of thing. Then I lost it for a while, the “real world” killed my spirit, and other things started to dominate my existence. About 4-5 years ago it got back to me, at that point everything I made was shit though, but thanks to hard work and dedication however, I turned that shit into gold.
Who’s one artist you’ve always admired?
Francis Bacon.
Your current work has a consistent metallic theme, what’s drawn you to choose that as the majority of your subject matter?
I’m very attracted to the subtext of gold, it’s always had this elevated status as a solar metal, an object of worship in religions. Later science found out most gold is actually deposited by meteors, it also doesn’t corrode which makes it the most “evolved” of the metals. That paradoxical nature, the dance between religion and evolution, makes gold very attractive to me from a poetic standpoint.
We live in a very strange world where most of the population are superstitious, which I find both magical and tragical. What I’m trying to tickle people with, is the idea that the separation caused by gold throughout history, the lotto mentality of the gold rush, all the unfortunate side effects of this spaced out metal, are outdated and counter-productive. I think we need to look at gold the same way we need to look at mythology, as a metaphor for the highest common-denominator. We need to focus on the gold. That’s how I believe we evolve individually and as a species.
If you had to choose an artistic movement that’s the closest influence on your work, what would it be and why?
Expressionism, I believe all art at it’s core is expressionistic, all the way back to the first cave paintings 40.000 years ago, that’s what humans have done when they created something without utilitarian value, expressed themselves. There’s so much that can’t be communicated through language, and that’s where art steps in, it’s another language, and different movements are like different dialects.
When do you typically have sparks of inspiration?
I like T.S Elliot’s description of the poet’s mind when it comes to articulating how art is created. 
"The poet’s mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles which can unite to form a new compound are present together."
To me, life is a great adventure, and I’m an explorer trying to figure out how it all fits together. The more I experience, the more knowledge I gather, the broader my range of expression becomes.
Do you tend to multi-task when you work on your art, or complete focus? What’s your process?
My work process is a gardening of my subconscious. As my experiences and emotions bubble around, I translate them into visualizations and bring them to the surface through flow state. It’s a meditation where I don’t think conscious thoughts and operate on pure instinct. Same way evolution is not the product of conscious thought, but rather adaptation to environment.
I never know what I’m going to make, it just happens. Sometimes I’m making sculptures, which to use a music analogy, is like the lyrics in music. Other times I make backgrounds which are like the beats. When the urge strikes, I experiment with different compositions, bring the elements together. As a scientist in the lab, but without a plan, except to express myself honestly. When something feels right, it’s done.
Then it sits there, marinating.. After a while I’ll come back to it, see how it’s doing. Like natural selection, time allows me to see what’s working and adapt accordingly.
Are there any quotes you live by?
I think the concept of Amor Fati as Nietzsche formulated it, is a very powerful way of being in the world. When you can perceive risk through that spectrum, instead of the trivial fear based spectrum most people perceive risk through, you’re golden.
"What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: “This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence—even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!
Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: “You are a god and never have I heard anything more divine.” If this thought gained possession of you, it would change you as you are or perhaps crush you. The question in each and every thing, “Do you desire this once more and innumerable times more?” would lie upon your actions as the greatest weight. Or how well disposed would you have to become to yourself and to life to crave nothing more fervently than this ultimate eternal confirmation and seal?”
- Friedrich Nietzsche
What makes you happy?
Altruism.
Any closing comments?
Enjoy life and focus on the gold.
__________
Interview by POI

pricebullington:

PRICE BULLINGTON

GOLDEN BOY PRESS Interview #88

We talked to Price Bullington, discussing his passion for gold, and his philosophies on creativity.  Hope you enjoy this read!

Could you introduce yourself?

Price Bullington, creator.

Why art, what started it all?

It’s hard to pinpoint, seeing as I always had an inclination to create since I was a child, back then I would create giant mazes made of trash in the garden, build go-karts, turn my school books into cartoons, that sort of thing. Then I lost it for a while, the “real world” killed my spirit, and other things started to dominate my existence. About 4-5 years ago it got back to me, at that point everything I made was shit though, but thanks to hard work and dedication however, I turned that shit into gold.

Who’s one artist you’ve always admired?

Francis Bacon.

Your current work has a consistent metallic theme, what’s drawn you to choose that as the majority of your subject matter?

I’m very attracted to the subtext of gold, it’s always had this elevated status as a solar metal, an object of worship in religions. Later science found out most gold is actually deposited by meteors, it also doesn’t corrode which makes it the most “evolved” of the metals. That paradoxical nature, the dance between religion and evolution, makes gold very attractive to me from a poetic standpoint.

We live in a very strange world where most of the population are superstitious, which I find both magical and tragical. What I’m trying to tickle people with, is the idea that the separation caused by gold throughout history, the lotto mentality of the gold rush, all the unfortunate side effects of this spaced out metal, are outdated and counter-productive. I think we need to look at gold the same way we need to look at mythology, as a metaphor for the highest common-denominator. We need to focus on the gold. That’s how I believe we evolve individually and as a species.

If you had to choose an artistic movement that’s the closest influence on your work, what would it be and why?

Expressionism, I believe all art at it’s core is expressionistic, all the way back to the first cave paintings 40.000 years ago, that’s what humans have done when they created something without utilitarian value, expressed themselves. There’s so much that can’t be communicated through language, and that’s where art steps in, it’s another language, and different movements are like different dialects.

When do you typically have sparks of inspiration?

I like T.S Elliot’s description of the poet’s mind when it comes to articulating how art is created. 

"The poet’s mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles which can unite to form a new compound are present together."

To me, life is a great adventure, and I’m an explorer trying to figure out how it all fits together. The more I experience, the more knowledge I gather, the broader my range of expression becomes.

Do you tend to multi-task when you work on your art, or complete focus? What’s your process?

My work process is a gardening of my subconscious. As my experiences and emotions bubble around, I translate them into visualizations and bring them to the surface through flow state. It’s a meditation where I don’t think conscious thoughts and operate on pure instinct. Same way evolution is not the product of conscious thought, but rather adaptation to environment.

I never know what I’m going to make, it just happens. Sometimes I’m making sculptures, which to use a music analogy, is like the lyrics in music. Other times I make backgrounds which are like the beats. When the urge strikes, I experiment with different compositions, bring the elements together. As a scientist in the lab, but without a plan, except to express myself honestly. When something feels right, it’s done.

Then it sits there, marinating.. After a while I’ll come back to it, see how it’s doing. Like natural selection, time allows me to see what’s working and adapt accordingly.

Are there any quotes you live by?

I think the concept of Amor Fati as Nietzsche formulated it, is a very powerful way of being in the world. When you can perceive risk through that spectrum, instead of the trivial fear based spectrum most people perceive risk through, you’re golden.

"What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: “This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence—even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!

Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: “You are a god and never have I heard anything more divine.” If this thought gained possession of you, it would change you as you are or perhaps crush you. The question in each and every thing, “Do you desire this once more and innumerable times more?” would lie upon your actions as the greatest weight. Or how well disposed would you have to become to yourself and to life to crave nothing more fervently than this ultimate eternal confirmation and seal?”

- Friedrich Nietzsche

What makes you happy?

Altruism.

Any closing comments?

Enjoy life and focus on the gold.

__________

Interview by POI

(出典: goldenboypress)

llbwwb:


(via Igor Gvozdovskyy : Gentoo Penguins - Pygoscelis papua - Pixdaus)

llbwwb:

(via Igor Gvozdovskyy : Gentoo Penguins - Pygoscelis papua - Pixdaus)

(perfumeholicから)

verylargebuildings:

Josh Smith
Untitled, 2013
ceramic sculptures, set of 34, dimensions variable

verylargebuildings:

Josh Smith

Untitled, 2013

ceramic sculptures, set of 34, dimensions variable

(long-tailsから)

megazal:

Orbital-2 Mission (201407120003HQ) (via NASA HQ PHOTO)

megazal:

Orbital-2 Mission (201407120003HQ) (via NASA HQ PHOTO)

(crossbreedから)

rachelsuggs:

Another piece I did for an assignment last semester which also goes with the pattern I just posted. I’ve been trying to feel more comfortable with photoshop without incorporating traditional media into it. I’m not giving up on painting, but I do want to find a quicker way to meet deadlines and be a little more flexible.

rachelsuggs:

Another piece I did for an assignment last semester which also goes with the pattern I just posted. I’ve been trying to feel more comfortable with photoshop without incorporating traditional media into it. I’m not giving up on painting, but I do want to find a quicker way to meet deadlines and be a little more flexible.

(holespolesから)

septagonstudios:

Gelrev Ongbico

septagonstudios:

Gelrev Ongbico

(holespolesから)

(元記事: adamgeminis (wasbella102から))

(元記事: qof (kummerbundから))

(元記事: unacclimated (verkaserduchから))

spaceexp:

Saturn’s Rings

spaceexp:

Saturn’s Rings

(verkaserduchから)

(元記事: miamivicefashion (verkaserduchから))

colourthysoul:

Dimitry Zhilinsky - Ladybird

colourthysoul:

Dimitry Zhilinsky - Ladybird

(lilacsinthedooryardから)

imagediver:

Click on the image to see the detail in a zoomable context.

Detail from The Last Judgement, Fra Angelico, about 1450

imagediver:

Click on the image to see the detail in a zoomable context.

Detail from The Last Judgement, Fra Angelico, about 1450

(lilacsinthedooryardから)

20aliens:

CHEN SHEN 沈宸

20aliens:

CHEN SHEN 沈宸

(verkaserduchから)

(元記事: uchihara-2014 (verkaserduchから))