Interview with Alex Dodge
Alex Dodge is an American artist living and working in Brooklyn, NY and Tokyo, Japan. Dodge creates the objects and characters in his paintings using animation and design programs and he makes vibrant oil paintings with stencils. Dodge’s current show is being held at Klaus von Nichtssagend Gallery in New York until October 17th, 2020. Shown here are some of his new paintings in the show and images from a recent visit to his studio in Bushwick, Brooklyn.
P.U.F. (Personal Universal Friend) in Twilight, 2020
His recent works also seem to be the culmination of the techniques and artistic expressions that Dodge has created over the years. Especially detailed are the clothing and gear that the characters wear. It is easy to become familiar with each of the characters because each captures a unique personality.
P.U.F. in Twilight, 2020(Detail)
You use classic materials such as oil paints and canvas. The way of processing your ideas and visualizing your thoughts are unique and complex.
How do you deal with the latest technology as an artist and a painter?
I integrate new tools and technologies into my process as needed. Sometimes it’s a matter of what’s practical. Some things save time and that makes it possible to experiment in many new ways. Other tools like software can really help to create things that I couldn’t visualize on my own. Rather than use any new technology that becomes available I first try to use existing tools to do what I want to achieve. Only when I’ve hit a limit do I introduce something new. Often reluctantly because new tools take time to learn.
Autonomous Drone (Labor Model) Designation : “Baby Doll”, 2020
Autonomous Drone (Labor Model) Designation : “Baby Doll”,2020(Detail)
Color is also the tool artists can convey their message and express themselves. Cool colors such as Pale blue and Pale violet are often used in your work. Are they associated with you and your work?
Some colors and palettes I keep coming back to. Maybe they are like favorite stories that never get old.
When choosing the color and pattern of your character's clothing and fabrics, It's almost like a designer's realm, but at that time do you use visual reference materials?
Or is it something that comes from your experience and memory or something else?
I think both. Some things come from memories, but a lot come from people I see on the street in Brooklyn or in Tokyo. I love seeing the new clothing styles and hair styles. I’ve tried to find ideas with Instagram or online. Sometimes I find good things but I really like seeing things in person. Going to clothing stores is also fun especially in Tokyo.
Dark Wizard”,2020 (Detail)
Dark Wizard”,2020 (Detail)
Dark Wizard”,2020 (Detail)
Dark Wizard, 2020
You set up your studio at the very edge of Tokyo near the mountains. You were in Tokyo during the Lockdown. How did you spend your time there? What did you feel after coming back to your other home after 5 months absent?
It was scary at first when we saw the virus starting in Wuhan, but in the end being in the mountains in Japan was the safest place to be. It was really hard to see how bad it was in New York. So many friends were there. Even though it was a hard time I was able to make a lot of sketches and come up with a lot of ideas there. Coming back to New York was surreal, but I immediately started making work in the studio and that made it easier.
Living near nature and living in the city of Brooklyn have different production situations, so how do you process the information that comes in from your eyes and ears and reflect it in your work?
Yes, I think the biggest difference is how I experience time in either place. Time is slower and more fluid in the countryside. Ideas emerge gradually and naturally. Brooklyn is a bit more chaotic with things colliding in interesting ways. I appreciate both.
Study for INTERNET no.2, 2020