![]() ![]() ![]() For my part, most if not all my ideas were very plagiaristic. There was either too much negativity, snuffing ideas out before they had a chance to grow, or else there was hardly any, resulting in time being invested in ideas that were definitely not worthwhile. I also toyed with lots of different media, and I drew inspiration from all kinds of places – books, poems, TV, other paintings, other painters, singers, album covers, computer games… nothing was off limits and nothing was an invalid inspiration source.Īttempting to be creative in bands was very different. Having done hundreds of them, some of which I thought were quite good (they were OK, not great), I had faith that one bad work didn’t mean I was no good at this. ![]() If a painting turned out bad I just threw it away without anyone ever seeing it. Creativity came easily as there was no embarrassment involved. I was my own editor and critic, even if I was way too easy on myself all the time. ![]() Plus, it was a solo venture so I could get stuck in anytime, anywhere. I found the immediacy of it, the ability to create something from nothing in 10 or 15 minutes, immensely enjoyable and rewarding. PAINTING & STRUMMINGĪs a kid I was big into drawing and painting. At the time I was not a music professional, but I was a musician and I was discovering just how much of a hand Brian had in the recordings I loved. I was about to go travelling with work and I was gathering together material to keep me from boredom on the plane. I first came across Brian Eno’s “Oblique Strategies” back in 1999. ![]()
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