#469 The White Leaf 14 Décembre 2009

Art

I've always been impressed by the work of illustrators. Few months ago when I checked out the work of Tristan Henry-Wilson, I saw really impressive works and lot of talents ahead. Beside his skills, he has a story to tell and definitively an amazing creative side.

As a crazy adventure, I wanted to share his work with you and at the same time an interview. It hopefully provides you insights about his work and personality. That's my first in english and I'm excited to share it with you!

Why did you decide to create illustrations?

Like a lot of kids I was inspired by comic books. They still hold a special place in my heart, (I’m wearing my favourite shirt right now, it has Death from Gaiman’s Sandman on it) but that’s not the direction I went down.

I didn’t know you could tell the entire story of a comic in just ONE painting until a close friend of mine turned me onto Marvel’s Fleer Ultra 95 cards. That’s when I realized illustration is just the name for what I’ve always loved and wanted to do in my life.

Where do you find inspiration?

I illustrate with oil paint. Anywhere I can find those two things together I find inspiration. Beyond that I’m inspired by friends, music, moving pictures and great writing.

So far, what is your favorite painting? Can you tell us more about?

So far my favourite painting is my latest, "Alas, I knew him!". It’s an illustration of Sam Worthington from the movie Terminator Salvation. It’s conceptual but not over the top. The initial idea was to use Christian Bale but it was suggested to me, by someone to use Sam instead-- Conceptually, it made more sense since he stole the movie. I don't often paint male figures, and capturing the likeness of a lesser known actor was a challenge I felt I could meet.

All in all I feel the piece was a success. It allows the portrait artist in me to collaborate with the geek in.

What is your main difficulty when you're painting?

My biggest difficulty with painting is the turnaround time. I need to get much faster at my entire process if I want to be successful commercially.

How long is the painting process from the scratches to the final?

I put about 100 hours of painting time into each illustration. That’s from the moment I pick up the paintbrush to when I finally set it down and declare the painting complete. I often spend weeks coming up with solid ideas, drawings, and shooting reference before each painting.

I have a group of mentors and friends that over see most of the conceptual stage of my work. Creating my process work and waiting for approval is where the bottle neck can occur. I’m currently building my portfolio and don’t rely on my painting to pay my bills so all in all I see this learning as worthwhile. I still need to pick up the pace though.

Have you got the chance to take part in a collaborative painting? If you got the chance, would you take it?

If you mean working on an illustration with another painter it would depend on who that artist is. A lot of preliminary work goes into my paintings so I can’t paint live off the cuff. I've seen "art jams" at art shows where several artists collaborate on a single surface. I have mixed feelings about the result. The concept doesn't appeal to me.

What would you bring with you to a deserted island?

A fool proof escape plan and the means of executing it.

A last word?

Ex nihilo nihil fit. (Out of nothing comes nothing).

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