New t-shirt design for Vicenza, Italy’s Discomfort. They needed something dark and crusty to fit with their music style and I went with a scratchy ink style for their job. I wanted to slightly change some of the elements in the design to be different than the usual bullets-n-skulls crust style, since Discomfort meld a variety of sounds into their music and I am influenced by many different things too. So, a vulture, and head mark and some loose coins at the bottom might make the piece more unique.
Archive for the Uncategorized Category
You can now follow Gostworks on Instagram. Most of the same work I post there is the same as here at the main site, albeit squarely cropped and far less verbose. The format does allow for WIP photos and random sketches much more fluidly so I will occasionally post those as well. I do appreciate the feedback and like the ease of connecting with people and other artists on there.
You can now buy select pieces of art at zazzle.com/briandagosta*, with more to come. I’m having my canvasses professionally shot high-res for optimum reproduction quality as well as having them digital so that I can offer the work on whatever products you’d want such as posters, canvas, apparel, skate decks, etc. I don’t think my art needs to be confined to a gallery and it should be more accessible and utilitarian to those interested.
The above sketch was yet another exploration of typeforms that I’ve kinda of subconsciously created. I really love Sanskrit and Arabic writing styles and often try to capture the tone that the languages evoke. I also use a lot of Old English/Old German blackletter. The forms are fabricated and not real, unlike the type in the Iran paintings posted here previously. With this piece, the locus is definitely Eastern and I wanted the background to suggest an abandoned dwelling or parchment.
I’ve been very fortunate to have a bunch of freelance design opportunities which hasn’t left me much time to draw or paint recently. I have big plans for upcoming paintings as well as series of apparel designs. I’ve really been into abstraction lately and am excited to get some of these ideas I have onto canvasses.
I am also trying to reach out and do some soft marketing of gostworks (and just my art in general) by contacting other artists that I know and like, as well as networking with new ones that have similar interests and backgrounds. There are some amazingly talented people out there and am often inspired by the amount of craftsmanship and energy artists can come up with. I plan on cheaply putting together a promotional package (of sorts) that will include print collateral, digital items and a shirt. Once I get the time. But until then, back to logos and brochures…
I have always been interested in what makes others tick and what factors have led a person to whatever situation they are in. I mentioned earlier in a post of the same title that I took a strong influence from music when composing art. Not everything revolves around music of course. In my late teens I became interested in leftist-anarchist writings and was deeply impressionable with regard to how I viewed the world. The university where I grew up had an amazing assortment of books and collected journals covering the history and current streams of thought on a variety of subjects through an anarchist prism. The artwork from old copies of The Blast was instrumental in my thinking about art (A)politically, as were some of the wonderful collages that appeared in Anarchy: A Journal of Desire, Armed. At some point I discovered Peter Kuper’s incredible stencil art. His rendition of Upton Sinclair’s The Jungle in comic form is superb, as are the rest of his works. The great thing about anti-authoritarian art is that much of it just appears in public with no attribution but with plenty of impact.
In 1994 art school seemed like a good idea. I have no skills other than drawing and graphic design, so attending school seemed logical from the standpoint of forging a career that would keep me out of the gutter. I might as well have lived in one, considering the utter self-destruction I put myself through during those years. While at school, I picked up on some really amazing art that a few teachers led me to. To this day, I still have a keen interest in the Art Nouveau style. Alphonse Mucha, Gustav Klimt and Charles Rennie Mackintosh somehow always find their way into my art. Part commercial art and part decorative, their pieces represent the uniquely modern, the common style, and a vaguely Asian and slightly pagan nod to Greek-Roman Imperium. Another work that has been a great influence on me is the Laocoön group sculpture. The tension on Laocoön’s left leg is incredible, more so that it is in stone. Francis Bacon’s repertoire is also a pillar of what I seek in some of my own works. I am gnereally not interested in the same subject matter as Bacon, but his use of geometry, expressionistic forms and loosely controlled paint is interesting to me. This helped me ‘loosen up’ a bit on my own work, noting that shape, shadow and movement are far more important than a crisp rendering of something. Contrast that to HR Giger, whose works inspired many a knocked-off technique for me and others. Giger’s mid-period works are composed so tightly, that there is really no error or interpretation left over. In some of his published works, the sketches and preliminary explorations are almost more fascinating to me. I was fortunate enough to have stumbled upon the Giger museum while in Switzerland and cherish the experience of being that close to a living artist’s works that I hold in high regard. I now make it a point to see as many great masterworks as I can when traveling. I’m also a huge fan of the Mexican Muralists, German Expressionists, Bosch, Rembrandt, Dali and more.