This season’s artist series brings us the work of Lifetime collaborator, Ben Tour. Working with Lifetime’s designers, Ben Tour interpreted Electric Orphans into eight varying garments for both men and women. From short-sleeved Henley shirts with contrast stitching for guys to light cap-sleeved bateau tunics for ladies, Tour’s collection fits perfectly with Lifetime’s overall Spring/Summer 2010 collection.
Artist Statement:
Electric Orphans is a series of large format drawings done with inks and spray paint on heavy stock paper. I worked on this series in the last few weeks of 2008. The imagery is primarily studies of women rendered in a cold palette of blues, which is a colour I’m attracted to and use to shadow a feeling of alienation in the viewer. Each of these portraits is of a single character and suggests a sense of solitude and aloneness. The red washes in the lips I use to symbolize a hope within and an idea of renewal and strength. Using traditional mediums, my art attempts to bend the icons and symbols back from the illustration and graffiti realms into the realm of fine art.
Recently you’ve made a move from Vancouver out to the Sunshine Coast [BC]. What was the motivation behind the move? How has it been out in the sticks? I’m guessing it’s a hell of a lot less Blade Runner these days for you?
I am enjoying it. I have spent a lot of time out here and have friends and family so it’s not a huge change. After my son was born it seemed like a good plan to be in a slower, quieter setting. The city suddenly felt very overwhelming with a newborn. I guess I really saw the worst in society and wanted to shield my son from it. I know that is impossible but escaping to a small community felt natural, so here we are.
What are you working on right now? You have a show coming up in New York called “Crash & Burn”, explain the idea behind the show.
I chose to use those words to reflect how I feel about my personal situation in life. Being an artist with responsibilities I have had a strained two years financially and emotionally. My art has been my relief and salvation. I’ve used these words to psyche myself up when I am creating. Crash & Burn is painted all over my studio walls and it acts as an inspiration when I walk through the door. Once again my art attempts to bend the icons and symbols back from the Illustration and graffiti realm into the realm of fine art. It’s an all new cast of self destructing dark females. Enjoy.
How are you feeling about showing your work these days? I know talking to you in past conversations you thought about packing it up? What about this side of the art world do you like or don’t like? It seems like such a huge commitment for potentially
little payoff?
I am excited about showing, despite the fact that it is hard. Not getting paid for months at a time in order to create work is crazy plus there is pressure to achieve and sell work. Self doubt can be a killer. Nobody said this was an easy road which is why most people I know who can draw seek industry jobs. I have thought a lot about going that route but don’t want to lose everything I have achieved. I have made all this art without government grants or anyone in Canada besides Lifetime and Color magazine supporting me. It’s a miracle we are all still here. The glass is half full.
What about showing your work publicly makes you want to keep doing it?
Looking back over the last five years I would say that I keep going because I am still looking to do a series of paintings I think are my best work, striving for some sort of satisfaction which you can only get from experimenting. I haven’t gotten
there yet.
Where has your artwork taken you over the years?
Since the early days in Toronto I have travelled with my art to Los Angeles, San Francisco, Philadelphia, Vermont, Calgary and New York.
From what I can see you’ve really made some changes in the colours you’ve been using along with some of the subject matter. Can you talk about the inspirations that are now making their way into your new works?
I have wanted my work to become more minimal and less about elaborate scenes and details. With the drawings on paper the ink washes are permanent - once you make a mark you can’t go back. I compare it to Zen art where the movement is fast but the initial thought behind it is very calculated. The paintings are a lot more forgiving, as I can scrape or paint over the parts I want to remove or push back. I am still very into sensuous imagery and quality of line and paint marks.
You recently completed a collaboration collection with us for the Spring 2010 collection. How was the process for you? Can you explain a little bit behind the line?
Electric Orphans is a series of large format drawings done with ink and spray paint on heavy stock paper. I was impressed by the outcome of the printing on the garments for the line. It’s going to be dope when it finally comes out.
What about Lifetime makes you want to work with us?
Free clothes! Lifetime has really helped to establish me in Vancouver and Western Canada. It’s been a great experience since 2004 when I had just arrived in town and was attempting to establish my shit. My kit was busted back then.
Do you like changing mediums from painting to clothing? What aspects do or don’t you enjoy about it?
I have never had any issue with making art for clothes. It has always seemed natural. For the most part the biggest fans of my work are younger and don’t buy expensive paintings. It’s important to be able to get your art to people who want it at every level and price point.
What was growing up like for you? Was there a lot of creativity in the house?
My parents were into collecting art. They like traditional English marine watercolours. My dad enjoyed photography in the 60s and 70s taking many photos. In recent years my mother has become an avid quilter. Being an only child my parents encouraged me to draw when they saw I was into it. When I got into comic books they supported the habit. I think they realized I displayed no interest in anything else. A lot of kids draw, the difference with me is I never stopped.
Where do you draw your inspiration from? What inspires you to want to create and make art?
I am always relentlessly drawing, it is what I love to do. I have a desire to take things I find and see and make them into a picture. I draw my inspiration from the representation of human form. I also love 60s and 70s Playboys.
What are you listening to right now? Does music make its way into your work? I only ask because a lot of the people I talk to draw huge inspirations from listening to music, including myself.
Right now I am listening to “Broken Language,” by Smoothe the Hustler. I’m an early 90s throw-back Rap fan, the golden age. The dub-tape age. Old
