INTERVIEW
Darren McManus
Born
in 1976 to an Irish father and Italian mother, Darren McManus
spent the first 18 years of his life in a small southern New
Hampshire town. A scholarship B.F.A. graduate from the Hartford
Art School in Connecticut, his junior campaign was spent overseas
studying at Scotland's Glasgow School of Art. McManus later
earned his M.F.A. from the Cranbrook Academy of Art in Michigan.
A Galaga and Centipede whiz, he's also extremely skilled at
jigsaw puzzles and recently ran his first marathon. Aside
from the interests contained within his paintings, other fascinations
include cacti, baseball statistics, fresh water fishing and
fruit salad. |
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MT>
Obviously, you prefer to paint using acrylic on wood. Are there
other mediums that you have used or would like to impliment into
your artwork? Have you considered sculpture or another art process
to express your love for gaming?
DM>
To answer the first part of the question - yes, I have used other
media in the past. In fact, most of my work prior to attending
graduate school was executed in mixed media. During this time,
I did not have the luxury of having access to an enormous studio
space and this influenced both the scale of my work and my materials.
In addition, much of the work I created during that time was predicated
on my decision to begin a career as a freelance illustrator. As
a result, I worked primarily on cold pressed illustration board
combining various wet and dry mediums - gouache, ink, water color,
collage, technical pens and colored pencils. What's interesting
is that I have recently been utilizing these mediums again as
a way to quickly generate new ideas for future compositions and/or
to possibly function as a supplementary body of work that both
challenges and informs my larger paintings. As for implementing
new mediums, I would have to answer "yes" to this as
well. I am constantly investigating different materials and methods
of application within my studio, but I will include these discoveries
into a piece only when I feel confident that the work will benefit
from the decision.
MT>
Have you considered sculpture or another
art process to express your love for gaming?
DM>
Yes. In fact,
I was working in a type of relief/assemblage technique when the
idea of incorporating "gaming" concepts first entered
my mind. However, I only finished a couple of pieces in this vein
before switching to the airbrush and strictly 2-D creations. Painting
is still such an extremely new and exciting realm for me that
I think it's a safe assessment to state that I have my hands full
- creating a
3-dimensional illusion on a 2-dimensional surface is compelling
enough for me at the moment.
MT>
Many of your pieces are either 4 ft or 8ft
in diameter and are created on a full or half of a hemisphere.
Why do you prefer this size and layout format?
DM>
Although the
circle and hemisphere structure is a preference, the size of the
works did not initially begin as such. I did not fabricate the
first installment of wood structures, rather I acquired them via
a stroke of good fortune. However, I think it's a fair assumption
to state that the diameter of the large lunettes was dictated
by the 4 x 8 foot standard for most sheets of lumber - making
them the maximum size obtainable from one single sheet. Thus,
it follows that two of the 4-foot circles can be made from another
single sheet. At any rate, the decision to start working on circles
and hemispheres crystallized after I finished my first piece using
the airbrush. It was a rectangular painting titled, "Journey
to the Heat Death." In many ways, the process of creating
this piece symbolized the "death" of several components
of my working methodology up to that time, but it also facilitated
the "birth" of numerous amendments. I have long been
fascinated with the various symbolic interpretations of the circle
(especially the inherent cyclical nature of which I just touched
upon), so the decision to work on circles and hemispheres was
largely fueled by a desire to better acquaint myself with these
forms. I started working on the half circles first. As I was working
on them, I began to think specifically about the universal acceptance,
understanding and use of geometric shapes and symbols across cultures
and throughout history. I find it fascinating that the circle
seems to be the ultimate paradox. It has been assigned the designation
to represent an abundance of opposing forces and/or concepts stemming
from very basic in nature to those of an extreme complexity. So
I decided that the hemispheres would be a decent way to physically
represent this dichotomy while possibly lending some influence
to the work itself. I had two of the structures hanging adjacent
each other on my studio wall - one with its' diameter functioning
as the baseline and the other its 180 degree equivalent - arc
side facing down. The first seemed "normal" or "familiar"
to me while the latter appeared "upside down." This
evoked a certain degree of discomfort (both visually and intellectually)
and left me pondering notions of incompleteness and disharmony.
For me, this only solidified the archetypal nature of the circle
as a symbol of unity, wholeness and/or the cycles that contribute
to such a state. In showing the circle bisected as a lunette,
the idea of the complete circle becomes a concept almost impossible
not to imagine - simply by viewing part of the whole. In relation
to basic shapes and symbols, this inherent duality seems only
to exist "within" the circle - as when a square is bisected
and the two resulting rectangles are viewed in juxtaposition,
one does not innately ask, "Where is the other half?"
MT>
What era do you think that your paintings
reflect? Primarily classic gaming concepts, more modern day or
somthing in-between?
DM>
I think that they portray a hybrid of different eras of the gaming
realm, but this has been a gradual process based on conscious
decisions. Before I started exclusively using the airbrush, I
was making these strange relief / assemblage paintings in graduate
school that were harboring constructive-criticism in directions
that I had not intended. This was evidence enough that I needed
to further unify my entire creative process in order to assure
that these inaccuracies were not so commonplace when investigating
the work. My interest in the visual language of the gaming realm
actually stems from the layout schematics of board games that
I can recall from my childhood - games like Candyland, Chutes
and Ladders, and Parcheesi. I chose to use the concept of the
flat, 2-dimensional game board as a compositional device that
would help dictate how the elements within these paintings would
(co)exist. However, at this time, I wasn't directly culling specific
imagery or schematics from particular games and thus, the connection
was too ambiguous and a large portion of my intended message went
unnoticed. Then, late one night / early one morning while working
in my studio on the first large lunette piece "The Seeker's
Search Begins," I had sort of a Eureka! moment. As
I just mentioned, gaming imagery and concepts were already part
of my visual repertoire, but I had been struggling with how to
incorporate my interests that were of a more obscure nature. That
particular evening, it was my life-long fascination with Ufology.
My dilemma was with how to represent this topic (or aspects of)
in such a way that would be accessible to my potential viewership.
All of a sudden it popped into my head - Space Invaders.
Besides the obvious correlation with their very name, the idea
of using these characters as surrogates for all things extraterrestrial
seemed like the perfect "win / win" solution to my dilemma.
At face value, they are globally recognized as classic gaming
icons while their very structure simultaneously pays homage to
their own lineage (or DNA if you will) - the pixel - also an increasingly
influential element in contemporary painting. On the other hand
(and perhaps less obvious), is the argument that Space Invaders
have permeated pop culture on a global scale so thoroughly because
they do represent the unknown, the unexplored and the possibility
of "What if?" This inherent double meaning is the sort
of paradox that fuels most of the imagery or scenarios within
my paintings - some are obvious and others are shrouded in mystery.
So at that point, my mind was off and running on this perfect
tangent…
About
3 weeks later, upon what I thought was the completion of the piece,
I stood looking at it and realized that although there were remnants
or hints of humanity, there was no direct attempt at portraying
the human form (and I felt there needed to be.) That's when another
light bulb went off further connecting my work (and imagery) with
the history of video games…
In 1974, scientists working for SETI (Search for Extraterrestrial
Intelligence) in Arecibo, Puerto Rico blasted a transmission into
deep space with the hopes of it eventually being intercepted and
deciphered by extraterrestrials. The portion of this transmission
designed to represent human life mirrors that of the protagonist
in numerous classic video games including Atari's "Beserker"
and "Tron." That being said, I appropriated
this pixel representation into that painting and despite its small
scale, it managed to completely shift the dynamic of the piece.
Appearing to be on the verge of critical mass, everything within
this apocalyptic nightmare now seemed to possess a certain causality
with this human form and its precarious position within the environment.
Subsequently, this "pixel person" has found a leading
role in my cosmic narrative. There exist other, less obvious facets
of the gaming world in my work as well. For example, in using
the sequencing of exact base units (hemisphere and circle structures),
I have directly mirrored the repetitive, segmented, serial nature
of the video game narrative. The basic idea is that each painting
offers a new tangent in my cosmological puzzle. They act as detours
and / or warp zones that do not necessarily follow a linear progression,
but in fact, encourage a reinvestment of thought and experience.
I would like people to begin creating his or her own relationship
with this "pixel person" much akin to the hyperpersonal
connection one has with a character when playing a video game.
In addition, I have begun to investigate issues of gestalt in
the form multiple vantagepoints and perspective impossibilities,
both predominate characteristics of the gaming realm. Hopefully
this answer has explained what I meant by stating that my work
incorporates a hybridization of gaming concepts from numerous
eras.
MT>
Do you ever supply a background story to set an image in a certain
perspective, or do you mostly let the viewer's imagination immerse
themselves into your artwork?
DM> In the form of an actual text document - no. As a painter,
I understand that I will not be present the majority of the time
when another person views my art. The lone option (if desired)
is to supplement the work with a brief artist statement. I like
to think of this document as a way to simply get the viewer intrigued
about my work. It's not my idea to explain every nuance of my
paintings via the artist statement, but rather to entice the viewer
into a more thorough investigation of my intentions and objectives.
The references and topics that fuel my work are as diverse as
they are eclectic and this seems to present quite a fertile landscape
for the viewer's imagination to roam and begin his or her own
set of interpretations. There is definitely an underlying theme
or story (if you will) throughout the work that I have created
over the past several years, but it's not a preordained narrative,
rather more like what I mentioned in the previous answer - a mutating
cosmology.
MT>
Have you had any gallery exhibitions?
DM> Yes. However, since completing my M.F.A. I have been focusing
on a new body of work (based on all the ideas previously mentioned)
and hopefully they will find their way into a gallery or two in
the very near future.
MT>
Your videogame themed pieces have found their way into DaimlerChrysler's
corporate headquarters, as well as individuals collectors from
as south as Florida and as north as New York. Even Sammy Studios
(current owners of Sega) have appreciated your work. Is there
anyplace that you would really like to see your artwork to be
displayed - the Louvre perhaps?
DM> At this stage in the game (pun intended), my M.O. is to keep
pushing my own limitations while creating a body of work with
the hopes that it will lead to exhibitions and possible gallery
representation. In all honesty (and partly because I have a nonconformist
streak), I would really get excited about my work being included
within the confines of any holy edifice - be it a church, cathedral,
mosque, etc. That, or any other venue where it would receive widespread
viewership.
MT>
Are you able to calculate your physical
costs for a project? This includes materials for creation and
manual hours of labor to create any given piece of artwork?
DM> In a guesstimate sort of way, yes. However, I'd probably grow
glum if I were to log an accurate running tally of the money I
spend on supplies and project related munitions, so this is something
on which I try not to dwell. However, for the sake of curiosity
(and this interview) let me attempt a figure. I am currently working
on six four-foot circle pieces which manifest from the following:
wood, glue, sand paper, primer, x-acto blades (why are these so
expensive?), paint and new air filters for my respirator. In addition,
there are components of the airbrush that may or may not need
to be replaced throughout a series of paintings such as needles,
springs, and tips. I would round off my total for supplies somewhere
between $650 and $750 for these six pieces. Finally, I've had
to spend about $500 over the past several years for clamps, power
tools and various accessories. In terms of man-hours, my paintings
are on the laborious side. Being that I can not afford to have
the structures made by somebody else; I invest close to 40 hours
per structure simply on construction and prepping the surface.
An eight-foot hemisphere painting takes between 300 and 350 hours
while the smaller four-foot circles need roughly 150 to 200 hours.
However, each piece results in new short cuts and techniques that
expedite my working process. Overall, I enjoy becoming immersed
within the task of finishing a piece, as the process becomes quite
meditative and revealing.
MT>
So, what is your next project?
DM> As previously mentioned throughout the interview - right now,
I'm heavily invested in the idea of creating this elaborate, complex
cosmology with the idea that each new painting builds upon it's
predecessor and/or represents a viable tangent from what existed
before. So, to answer your question, it's an on-going project
that started several years ago and I don't foresee any finish
line ahead. Which is a very good thing in my opinion because I'm
completely interested in the concept and it provides for what
seems to be an infinite amount of possibilities. Aside from my
paintings, I have been trying to put down more of my ideas on
paper in the form of small, "less finished" offerings.
This combats becoming overly consumed with simply the larger paintings.
These works on paper are starting to serve as building blocks
or sounding boards for new techniques and concepts for the larger
paintings so in that sense, they are already paying dividends
within the studio.
MT>
What ideas for themes do you have running
around in your head that you haven't had the time to make a reality
in paint just yet?
DP> Geeze. Where do I start with this one? My process is very
time consuming and thus conducive to meditative spells that leave
me free to think of new concepts and imagery to use in future
pieces while I work. At the moment, I find myself way behind the
list of "things to do" that my mind has established
for my hands to enact. A couple years ago, I realized that many
of my ideas would slip through the cracks and never be realized
because I never wrote anything down or documented my findings.
The practice of maintaining a sketchbook never really complimented
my preparatory work and I think this is because for me, my prep
work is much closer to a "book work" type of research
than say, the process of making sketches and/or personal notations.
Therefore, it didn't really seem logical to "recreate"
or copy what I was discovering in the books and magazines that
I was searching, so I started making photocopies and/or scanning
pages to output myself. This is a constant process for me and
like my paintings, there is a sort of maniacal order to this endeavor
as well. I have scores of 3-ring binders that are packed with
all the copies, scans and texts that I have been gathering and
the collection serves as a physical representation of the ideas
in my head. Each binder is classified by the relationships that
I find intriguing about the elements/concepts found within. For
instance, the Space Invader characters are categorized
within my "Ufology" binder sandwiched between the documentation
of the SETI transmissions that I previously mentioned and the
pages of "beamships" as documented by Billy Meir in
his (in)famous lifelong communications with extraterrestrials.
Despite having very similar formal characteristics, the fact that
the imagery pertaining to these three topics runs the gamut from
fiction to non-fiction, to me, is utterly fascinating. It is fact
that SETI blasted transmissions into deep space. On the contrary,
the legitimacy of Billy Meir's extraterrestrial aircraft photos
is still a question without an answer - hardly passing for fact.
While the imagery of the Space Invaders function
as the hybrid - they are a fictitious reality. Which, in essence,
is really what I create. I think I might have answered that question
in a very roundabout manner, so let me clarify. Although each
piece is its own entity, I envision them all belonging to the
same "project" bound by my personal interests and idiosyncrasies.
I hope that I answered all of your questions and perhaps provided
a decent backdrop for what I create and how the process unfolds.
If you are reading this and would like to ask me any additional
questions, please feel free to drop me an e-mail and I will do
my best to reply in a timely fashion. On a side note - I recently
created a design for a Chicago based T-shirt company. All their
shirts are hand made (screen-printed) and my design should be
ready for purchase in the very near future. Here is their website
address: www.imperfectarticles.com
In the meantime, please beon the lookout for my website and take
care. Thanks.
MT>
Thank you, Darren, and good luck with your future endeavors combining
Art & Games, and all your other underlying themes.
The name Darren McMannis may not yet be a household name, but
your a d@mn good painter!
