Most of his works feature the theme of destruction. Getting revenge from an apple which acts according to the rule “an eye for an eye, a tooth for a tooth, a bite for a bite”, peeling a banana and taking a peel of himself, drinking a part of his body which resembles a plastic container or shaving with a lawnmower are only some of his ideas. Where does Martin de Pasquale, an Argentinian artist who is getting a fair amount of online recognition, look for his inspirations and what are his ways of working?
He can’t really explain why the pieces he creates evolve mainly around the motives of deconstruction, emptiness and fear.
“I don’t know, it’s just natural for me,” he states. “I like to question the way of life in which we usually operate. It’s just about picturing the aspects of everyday life, and sometimes it just highlights my sense of humour.”
How does he create his surrealistic wonderland then? First of all, Martin believes in the power lying in creative thinking.
“Creativity is the most important thing. Aesthetics comes second,” he declares. “When you have a good idea, there are always thousands of options to utilise it well. That will endure it.”
Nevertheless, the beginning is not always an easy part, as the designer expounds.
“You need to generate a strong concept and work with it. Later, you need to plan your approach,” he explains his creative process step by step. “I write down all my ideas, and then I draw the prospect, trying to figure out the best way: the best angles, views, colours, styles. Once I compile the information, I take pictures and search for smaller parts of my future project. Then they all go to post-production.”
There are moments when the muse doesn’t act like a fairy godmother, and the outcome isn’t looking well at all. As Martin claims, sometimes he is stuck without understanding what he does. Then, it’s better to scrape all the useless thoughts off and start again to look for a better result.
“It happened to me many times. I wasn’t satisfied with the project, so I redid the whole piece by clearing it until it looked as I had imagined,” he states. “When you have resources, you can figure out the best way to complete a piece, though.”
If there’s something that is still problematic for him, it would be so-called computer-generated imagery. That’s when he asks experts for help because the whole process of creating it gets complicated. Diving into an intricate concept also takes him more time, especially because his definition of a flawless piece includes several factors.
“The common sense, good taste, good choice of light and colours are very important to make all professional,” he explains. “It’s not something that comes to you day by day. It takes years and years of hard work and practice.”
He continues, talking about the importance of developing talents and improving the effectiveness of all the tools which a young artist uses.
“Work, work, and work,” he advises, “and ask professionals for advice. They are the only ones that can enhance your work. See as many artists, exhibitions, books, courses, as you can – it’s necessary to extend your tools.
And that’s exactly what he does. Even if he always stayed within art and design areas, he’s not afraid to explore different ideas out there. His inspirations derive strongly from conceptual artists and designers. He likes the works of Shigeo Fukuda and Pawel Kuczynski. He mentions also Erik Johansson’s photo manipulations among his influences.
“I admire motion graphics studios,” he adds, “such as Buck, RGB6, Sagmeister or Studio Zeitguised.”
His other hobbies sometimes influence his works, too. He loves music – Martin plays the guitar and drums – and football. And when he points out his pieces that have been the most important for him so far, these hobbies come out.
“The “Karma” series, and “The Hand of God” – a tribute to Diego Maradona,” he picks some of his photo manipulations.
Always experimenting, he developed a strong artistic base, indulging in conventional arts. He was perfecting his paintings and drawings and showcasing them at various exhibitions when he was a kid. That’s when his surrealistic tendencies showed up, too. When he bought a camera for the first time, he discovered a new – digital – way of working. Later, he went on to studying advertising, which opened his eyes to concept art and graphic design. Working for many design studios and advertising agencies turned out to be a positive experience. Coming up with ideas for different clients as a freelancer has helped him, too.
“I practised throughout my life. Always did the same thing, that’s why,” he points out his way to development. “Over time, I learned how to use a wide range of techniques: from painting, sculpture, drawing to photography, lighting, 3D, 2D, animation and design.”
Nevertheless, it’s the digital art that he became famous for. Martin claims he is happy with the fact that the recognition came to him over fibre optics.
“The Internet is a good way to show the works to the world. It’s massive, you can reach lots of people, and it makes it easier to be recognised among Internet users,” the artist explains. He adds, “It doesn’t change the artist. I think that it has nothing to do with the style or the media, or the way of working. Personally, I like traditional art. But I found it easy to work in digital media, and the distribution of completed pieces is more effective online.”
What’s his plan for the future? Owning a design studio is his huge dream. As an artist, he constantly aims to develop his own ways of jumping into the creative process.
“I always want to do what I want to do, without anybody else telling me how to do it!” he claims.