The Norman Transcript

N-town Q/A

June 13, 2014

Q&A: Stuart Whitis finds balance between classical and digital art



Q: What inspires you?

A: Lately, at least for this body of work, what has inspired me is the possibilities of digital aesthetics as they translate to a still, non-animated 2-dimensional surface. I’ve been big into glitch art for the last year. Glitch art is basically like digital accidents. I’ve been exploring that lately and trying to integrate that into my work.

It’s a non-human thing, obviously. It’s just lines of code, but when they mess up and make an error — which human beings do all the time — there’s a strange, beautiful aesthetic to it. That’s what I’ve been obsessing about lately and trying to integrate into my work.

The human figure has been a big part of my work as long as I’ve been drawing. I try to get away from it now and then, but I feel like I always come back to the figure because it’s a good baseline for any draftsman or painter.

When I first came into grad school my concept, if I had one, was stream of consciousness paintings. That’s where whatever I was obsessing about that day or that week, I’d try to incorporate it into the piece, just paint layer over layer and it just becomes information overload and the messages gets confused and distorted.

Those are the three things rolling around in my hollow skull, and will hopefully be integrated into one larger body of work soon. And I’m going to try to do a couple pieces based on that idea for MAINSITE.

Q: So what is the literal process like for the current work that you’re doing?

A: A lot of my work, especially from my thesis show (for my master’s from the University of Oklahoma), was based on art history. My show specifically was based off of work by William-Adolphe Bouguereau. ...

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