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artworks by a

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menteurmenteur:

050114 (are you worth your weight in gold) by menteurmenteur

menteurmenteur:

050114 (are you worth your weight in gold) by menteurmenteur

050114 (are you worth your weight in gold) by menteurmenteur

050114 (are you worth your weight in gold) by menteurmenteur

050114

you surely look the part
white teeth teen-ed autonomy
can i be something to you -
a fork in your road;
a sign to go home to?
would you make it worth my while?
those lead-aspestos foundations
holding you down
"the parlous state of the life of you"
.
are you worth your weight in gold?
would you fill out the space with charcoal?
would you cut the mineral out of you
instead
use it to pay back your debts?
.
you’ll always find another place to go
you’ll always find another wound to grow
grow another womb inside yourself
to go
home to
so that you can rub the feeling out of your skin
the baby-faced hate around your eyes
down my cheeks
where 
that water’s only vice
is that of gravity
the perverseness of the wetness
the innocence you vacillate in
and anxiety as it leaves you on cold gym equipment.
.
find me in my shallows of it
puddled at your feet
all raining down
looking up
soaking back up into your thews
suddenly in a pool of it,
deep and warm and bright in the dark.
one street over
artificial and blue 
next to a natural ebony lake of night
fumbling on the top of a wire fence into it
through cracked lenses 
that left your heart pumping
waiting for an alarm to sound
pausing and panting and running for a *dip*
to just say that you did 
and get the fuck right out of there
(slow it down; hold your ground)

failing rose-coloured electrical currents of your brain / all dopamine and pain / what am I to do with you?

failing rose-coloured electrical currents of your brain / all dopamine and pain / what am I to do with you?

listening to martha brown @banoffeemusic’s newest ep because she’s #gotit (heheh) #addicted
(she has tumblr and sweet tunes here: marthabanoffee.tumblr.com if you are curious!)

listening to martha brown @banoffeemusic’s newest ep because she’s #gotit (heheh) #addicted

(she has tumblr and sweet tunes here: marthabanoffee.tumblr.com if you are curious!)

are you worth your weight in gold? / would you cut the weight out into charcoal?

are you worth your weight in gold? / would you cut the weight out into charcoal?

crystallize

crystallize

FKA existential passport photography #gpoy

FKA existential passport photography #gpoy

GOLDEN BOY PRESS interviewed me a couple of weeks ago, and I’ve left a little snippet here, but the rest of the interview is viewable underneath the cut on this post. happy reading!
goldenboypress:

MENTEUR MENTEUR
GOLDEN BOY PRESS Interview #93
"I started drawing before I can form the memories for it.I began to define myself by it from a very young age, becoming engaged with and fascinated by the notion of storytelling and the visceral sort of imagery that imagining brought. I learnt to extend that through paint.”
Could you introduce yourself?
Hello, my name is a - but I go by the name menteurmenteur on all of my platforms. I’m a young, fine artist based in Melbourne, Australia. 
Why art, what started it all?
I’ve been drawing since before I can remember. As a child I was an avid reader and began to use art to make all of the fantasies and stories I visualized tangible. My sister and I used to play a lot of games making up stories and it led to illustrating those and then moving into drawing.
 About 7 years ago I started teaching myself how to use oil paints, and fell in love with the medium.
Who’s one artist you’ve always admired?
The artist who really started the genesis of my passion for art was probably Audrey Kawasaki. She used to have a livejournal and frequently blogged and showed light on other artists doing really conceptual work within the lowbrow art scene. I can attribute almost every single artist I’ve found since her, to her. 
Your current work uses a lot of muted colors, how do you think that affects the mood of the viewer?
I think it’s open to interpretation. Muted colours are a very effeminate sort of aesthetic choice, but for me it works well with the muted feeling of remembering visceral emotions and acts from memories, which is what my work dwells upon. It also references the sort of “sweetness” of remembering or nostalgia, especially when some of my subject matter is a little darker.
If you had to choose an artistic movement that is the closest influence on your work, what would it be and why?
Probably surrealist artists, or the general lowbrow art movement, as my work carries very transient, drug-esque surreal aspects to the visuals. 
Does your poetry inspire your art, and vice versa?
My poetry directly correlates with the current body of work that I am creating, which is called “the life expectancy”. The numbers on the work reference the names of poems that they correlate to, which are the dates that the poem was written on. 
When do you typically have sparks of inspiration?
I’m lucky in the way that I work that I can not have inspiration and work in a methodic way, because I always have a stimulus in the written word (I have close to four years worth of work which I can go back and reference). As for the inspiration for the poems - they’re typically written very late at night after contemplation about a recent event or person. Some of them are more retrospective than dealing with recent events, but most of them aren’t.
Do you tend to multi-task when you work on your art, or complete focus?  What’s your process?
I actually watch a lot of film when I work… often a lot of the reference photos that I use are from films or things like that - I’m often struck by the lighting or the way someone carries off a phrase in a film. I generally find I need some background noise to work, but I think that just comes from living in a busy home and not being so comfortable with silence.
My work can be incredibly repetitive because it’s so detailed, so I vary between multi-tasking and complete focus so I don’t go completely mad, but can still create high-quality work. I’ll often be working on at least 4-8 paintings at one given time, just so I can work between the different energies of each piece. If I were to focus on one, because I deal with such a personal subject matter, I would probably fixate on the event more than is healthy. 
Are there any quotes you live by?
“Those who do creative work get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good…. it has potential, but it’s not. But your taste, is still killer. And your taste is why your work disappoints you. This is normal and the most important thing you can do is do a lot of work… It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions… You’ve just gotta fight your way through.” - Ira Glass
What makes you happy?
Painting, friends, making memories (and I guess in that way stimulus for works), and learning new things (which is why I’m beginning to blend my work within the skate scene) - being completely uncomfortable in your pursuits brings the most intense highs. I’m still very young, so I’m completely amused by the cheap thrills of my youth.
__________
Interview by POI

GOLDEN BOY PRESS interviewed me a couple of weeks ago, and I’ve left a little snippet here, but the rest of the interview is viewable underneath the cut on this post.
happy reading!

goldenboypress:

MENTEUR MENTEUR

GOLDEN BOY PRESS Interview #93

"I started drawing before I can form the memories for it.
I began to define myself by it from a very young age, becoming engaged with and fascinated by the notion of storytelling and the visceral sort of imagery that imagining brought. I learnt to extend that through paint.”

Could you introduce yourself?

Hello, my name is a - but I go by the name menteurmenteur on all of my platforms. I’m a young, fine artist based in Melbourne, Australia. 

Why art, what started it all?

I’ve been drawing since before I can remember. As a child I was an avid reader and began to use art to make all of the fantasies and stories I visualized tangible. My sister and I used to play a lot of games making up stories and it led to illustrating those and then moving into drawing.

 About 7 years ago I started teaching myself how to use oil paints, and fell in love with the medium.

Who’s one artist you’ve always admired?

The artist who really started the genesis of my passion for art was probably Audrey Kawasaki. She used to have a livejournal and frequently blogged and showed light on other artists doing really conceptual work within the lowbrow art scene. I can attribute almost every single artist I’ve found since her, to her. 

Your current work uses a lot of muted colors, how do you think that affects the mood of the viewer?

I think it’s open to interpretation. Muted colours are a very effeminate sort of aesthetic choice, but for me it works well with the muted feeling of remembering visceral emotions and acts from memories, which is what my work dwells upon. It also references the sort of “sweetness” of remembering or nostalgia, especially when some of my subject matter is a little darker.

If you had to choose an artistic movement that is the closest influence on your work, what would it be and why?

Probably surrealist artists, or the general lowbrow art movement, as my work carries very transient, drug-esque surreal aspects to the visuals. 

Does your poetry inspire your art, and vice versa?

My poetry directly correlates with the current body of work that I am creating, which is called “the life expectancy”. The numbers on the work reference the names of poems that they correlate to, which are the dates that the poem was written on. 

When do you typically have sparks of inspiration?

I’m lucky in the way that I work that I can not have inspiration and work in a methodic way, because I always have a stimulus in the written word (I have close to four years worth of work which I can go back and reference). As for the inspiration for the poems - they’re typically written very late at night after contemplation about a recent event or person. Some of them are more retrospective than dealing with recent events, but most of them aren’t.

Do you tend to multi-task when you work on your art, or complete focus?  What’s your process?

I actually watch a lot of film when I work… often a lot of the reference photos that I use are from films or things like that - I’m often struck by the lighting or the way someone carries off a phrase in a film. I generally find I need some background noise to work, but I think that just comes from living in a busy home and not being so comfortable with silence.

My work can be incredibly repetitive because it’s so detailed, so I vary between multi-tasking and complete focus so I don’t go completely mad, but can still create high-quality work. I’ll often be working on at least 4-8 paintings at one given time, just so I can work between the different energies of each piece. If I were to focus on one, because I deal with such a personal subject matter, I would probably fixate on the event more than is healthy. 

Are there any quotes you live by?

“Those who do creative work get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good…. it has potential, but it’s not. But your taste, is still killer. And your taste is why your work disappoints you. This is normal and the most important thing you can do is do a lot of work… It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions… You’ve just gotta fight your way through.” - Ira Glass

What makes you happy?

Painting, friends, making memories (and I guess in that way stimulus for works), and learning new things (which is why I’m beginning to blend my work within the skate scene) - being completely uncomfortable in your pursuits brings the most intense highs. I’m still very young, so I’m completely amused by the cheap thrills of my youth.

__________

Interview by POI

@fkatwigs #process