INTERVIEW
Introducing James Dawe
It’s a huge pleasure to welcome London-based digital artist, James Dawe, to the Grand Matter roster!
James creates sprawling virtual landscapes and dynamic collages that bend perception and breakdown reality. Rich with texture and constructed in layers, his energetic compositions explore both 2D and 3D spaces, embracing glitches and new ways of seeing.
As an art director and illustrator James has been working in the digital collage realm for over 15 years, collaborating with a huge range of clients spanning advertising and branding to editorial, music, fashion and more. We love the way James is continuously pushing and developing his practice to reflect our ever evolving world, drawing from an eclectic range of reference material to create fresh and energetic pieces.
To introduce James properly, we spoke to him about his design influences, dream projects and rollercoaster journey abound the creative industry, from designing Fabric London's iconic nightclub posters in the noughties to his recent explorations into motion and 3D.
"
I’m particularly excited about layering materials and textures in 3D, which parallels the textural work I’ve done previously with photography.
– James Dawe
How would you describe your work in one sentence?
Transcendent digital art featuring texturally rich juxtaposition.
What are you most inspired by as an artist?
I am consistently fascinated by the face. Photographic portraits and 3D model heads are a regular occurrence in my work, with Francis Bacon’s distorted portrait studies standing as particularly powerful influences.
I’m drawn to contemporary Pop Art sculptures, especially those involving vibrant colours, glossiness and a satirical twist on everyday objects, such as the works of Jeff Koons. Exhibitions exploring the intersection of technology and art to predict the future are also very motivating, with Nam June Paik’s retrospective at Tate Modern being one that sticks with me—a constant stimulation of sound and vision. Paik’s experimental approach and collaborative practice across borders and disciplines really appeals to me.
Poster design has been a recurring point of reference, ranging from Dada-era works to the Polish poster art of the 70s and 80s (notably by Roman Cieślewicz) and Fabric London’s pioneering nightclub flyers of the noughties, —a series of which I was fortunate to design.
The current movement of highly complex, textured CGI visuals is awe inspiring and excites me. Particularly the work of Builders Club, Future Deluxe, and DADA projects. While this aesthetic can be overwhelming, I sense a shift towards minimalism may emerge soon.
Surreal album cover art is another rich source of inspiration for creating eye-catching designs with clear focal points. Books on hypnosis and the works of Barney Bubbles are never far from reach.
Credit
How would you describe your creative process?
My process begins with extensive image research and experimentation. Delving deeper into source material diversifies my imagery and ideas. I maintain folders of work-in-progress files and unused extracts, which I draw from as needed. Whether the client supplies source material or I generate it myself, the freedom of the brief often shapes the workflow.
For structured pieces, I may sketch or collage elements together, but more often a composition takes an organic path beginning with a strong focal point. Once a rough composition is approved, crafted with low-res images or renders, the final stage involves finessing details in full resolution for a polished result.
"
While I was part of a contemporary collage movement in the 2010s, I wanted to resist being pigeonholed and sought new digital methods to evolve my work.
– James Dawe
Credit
How would you sum up your journey as an artist to where you are now?
It’s been a rollercoaster, with more highs than lows. After graduating, I hit the ground running with an internship at a creative studio that greatly influenced my practice. Simultaneously, I built a strong commercial portfolio with an illustration agency, which led to early opportunities in advertising.
Since then I’ve always strived to follow my passions and tastes, often taking an abstract approach to my visual language. While I was part of a contemporary collage movement in the 2010s, I wanted to resist being pigeonholed and sought new digital methods to evolve my work. This drive to innovate continues to guide my practice today.
What have you been exploring recently?
I’ve been integrating more 3D and animated assets into my work, experimenting with particles and pyro effects. My recent projects often respond to conceptual ideas inspired by current events, crafting a personal response usually through a short piece of motion.
I’m particularly excited about layering materials and textures in 3D, which parallels the textural work I’ve done previously with photography.
And finally, do you have any dream commissions?
I'd love to see my moving image work presented large scale, on a billboard in Tokyo or New York's Times Square, or an opportunity to design an immersive art installation within a space like the Sphere in Vegas.
A collaboration with Stella McCartney is on my bucket list, and I'd love to work with Nike again. With music being a big part of my life, Sonos and Warp Records would be a lot of fun,––and a dream collab would be with Björk or Tame Impala!
About James Dawe
James' dynamic compositions are created using collage and digital manipulation, rich with texture, exploring 2D and 3D spaces. Clients include Adidas, Porsche, The New York Times, Natural History Museum and British Fashion Council.
London
Somerset House
West Wing M19, Strand
London, WC2R 1LA
+44(0)2033 322 582
hello@grandmatter.com
New York
The Yard , South Williamsburg
195 Broadway, 4th Floor
Brooklyn, NY 11211
hello@grandmatter.com
Cookie & Privacy Policy Terms of Use © Grand Matter 2023