Today, Atmosphere would like to feature Joseba Elorza working as sound technician,llustrator and collage artist.
1. Please introduce yourself to us.
My name is Joseba Elorza and I was born in Vitoria-Gasteiz, a small city in the Basque Country, Spain. I studied to become a sound technician and later spent a couple of unfruitful years in art school. It was all this synesthesic hodgepodge where MiraRuido sprang from; I used to spend the morning as a sound thechnician in a radio station and the evening working on collages. Sight gradually took over hearing, and presently I’m making a living as an illustrator and artist.
ホセバ・エロルサです。スペインのバスク自治州にある小さな町 Vitoria-Gasteiz (ビトリア＝ガステイス) の出身です。音響を学んだ後、２年間アートスクールに通いました。
2. Please tell us about your latest activities.
I finished a couple of months ago a music video for Air Review (https://vimeo.com/93965105), and since then I have made an illustration for an English magazine and right now I’m in the middle of the process of another animated video for an advertising agency.
3. When / Why did you start your creative activities?
I always had certain artistic inquisitiveness, so there is no a clear moment when I can say that I started my artistic career. I’ve been always felt very comfortable drawing, but unfortunately my skills were not as good as I’d liked, so a few years ago I started playing with the Photoshop on my brother’s computer and then I went straight into digital collage. I felt that it was for me the best, the most natural way to express the ideas that I had in my head and I wasn’t able to draw.
4. What kind of things do you get inspirations from for your art making?
I find it impossible to specify what my inspirations are. Sometimes a single scene of a film triggers your imagination and you feel that you have to immediately write down that idea before you forget it, or a simple phrase book can trigger another idea, or why not, the worst TV show can unleash a creative reaction in you. It’s not so much the source of the inspiration, but the state of your mind at that moment. If you are receptive, even a potato can tell you something.
5. Why you use images of public-domain of your work?
It’s basically a legal issue, because otherwise, if there were no restrictions, I would use almost everything, because I may have a kind of unique vision of culture and this bloody copyright, but I do not quite understand the limitations that exist today in this. Anyway, for now I’m comfortable working with this public domain footage.
6.Please tell us about your process of making art work.How and when do you develop your ideas?
In most cases I start from an specific idea, whether for personal or commissioned work, but then I let the material that I have and find guide me through new paths. In this regard, finding the right footage is a big part of the project, and perhaps one of the most enjoyable. After that I start cutting all the elements I need and put them in the most aesthetic way possible, trying to represent that primitive idea.
7.You also work as sound technician.How do you think about the influence of music in your work?
I always thought that when I worked in both radio and sound compositions I did something very similar to what I do now with the pictures, picking here and there to form a new thing. In this context, the work, structurally, was very similar.
8. Please tell us the 3 most important points in the process of making your artwork or about your artwork themselves.
I’ll tell you 3 things I always try to do during the process of any of my work.
1 – Although the process starts with an idea in my head, I let the images I find affect me and divert me from the initial path, because I think I end up creating something more fresh and cooler this way.
2 – It’s important to me that someone I trust in checks the work I’m doing during the process, even if he/she doesn’t have much information on the original idea (or even better this way), because they can suggest some issues that I wasn’t even considering.
3- Before sending the final file to a client, or to consider a work finished, I leave the studio, I go walk the dog far away for a while, because when I come back to the studio, I almost always can find mistakes that I couldn’t see before because I was too close to the work itself.
For the future I’d be happy to continue working on my illustrations and try to make more and more animation work. Beyond that I have no big plans for the future.
10.Please show us your studio!