U.K.-based Oliver Cartwright is a graphic artist with a knack for unleashing traditional methods of illustration onto a digital playground. Commercially, his work is used for advertising, editorials, window installations, and showpieces, providing clients with a sense of exclusivity through originality that is often lacking in today’s tried-and-true landscape.

We first interviewed Cartwright last year in light of his collaboration with brilliant photographer, Volker Fleck. The Neave continues to feature their fused “Transartlantic” talents in the form of our magazine covers and visuals.

Currently, Cartwright is diving headlong down the rabbit hole of a massive solo project: My Machine. This latest venture features Cartwright’s impressive artwork in animated form, which will eventually result in a film. When I began seeing stills from this endeavor being added to his online photo albums, I knew it was time to pick his brain again.

Britt Warner: What does the “machine” in My Machine represent to you? (I know that’s a somewhat loaded question, so approach it however you see fit!)

Oliver Cartwright: The “Machine” part represents something metaphorical that is personal to me, so I would rather keep that to myself. All I can say is it represents “something” I am truly passionate about. Therefore the job is to make the imagery represent some sort of epic beauty and something that is beyond my control. At the same time it’s all about order out of chaos and the bigger picture!

Also I would like to mention the visual inspiration for the project came from Car Design, paintings by JMW Turner, and the music of Japanese band Boris.

Are you doing the actual animation, i.e., putting the stills into motion?

Yep, I’m doing everything from the art direction, animation and graphic design. To keep the project in its purest form, I need to keep things cohesive, which means it’s best if I do everything [myself].

Is every single still done entirely by hand, or do you end up starting with one still and building onto it to create movement? If you can, elaborate a little more on the process.

The construction process is building on the frames and improvising them ‘til I’m satisfied with the formation and motion. All the artwork is hand drawn and my job is to make each extract of each art piece appear in a good way. Like in Japanese animation, they believe in the power of a single image, so in that case, I’m adopting a similar method to have each frame look interesting and exciting! It’s that simplicity I love, as well as trying to create a powerful image out of carefully placed line work and colour.

How many stills do you currently have completed and how many do you guesstimate you’ll have by the time the project is finished?

I have no idea how long this project will take – I’m keeping it totally open like the creation process. I am thinking the film part will be released Fall 2011, but the artwork will continue up to that point. I want each art piece that builds towards the final film to naturally expand and unfold. As for stills, you’re looking at 6,000. That’s just an estimation off the top of my head, though.

Will there be music in the film? Dialogue?

I will be using various extracts from the music of Philadelphia-based band Rosetta. Lucky enough, I did some concept artwork for them, so they said I could use any of their albums for my film. This is very exciting for me, as it fits perfectly with the imagery and the way I want to deliver it. The music they produce always makes you feel small because of the grand build-ups and spacey riffs. They’re one of the best bands right now, I believe – everyone check them out! The great thing is that the music parallels the artwork where there is a nice division between the abstract and focused parts.

You mentioned an eventual gallery display. What about screening the film? Where would you like to do that? Also, do you intend to have it distributed as a film for sale?

Being an art film, I am planning to have it exhibited along with the artwork sometime later on. I will also make the video part viable from my website.

I think it needs to be represented big to show that intricacy in the finer illustrations and to get the colour out there.

As “My Machine” is my ultimate project, I thought about all the places in the world I would love to get it exhibited and Japan is the place for me! I think it’s important to show your work somewhere that inspires you and excites you rather than sticking it somewhere for convenience. I’ve also noticed people don’t care for my work in England – haha – which is the reason everything happens abroad. I mean, if it wasn’t for the internet, I would be living in a ditch right now starving! Haha. So, no plans on exhibiting my work in the UK anytime soon.

I think with everything being alien-looking and fresh aesthetically, the aim was to deliver it in a new, exciting place. I just have to go with my instinct and, basing it on what I’ve learnt working commercially, the international approach is best for me and my work.

It must be frustrating to feel as though your style of art isn’t readily-embraced by your own country. When did you initially realize that that was the case? What has been your process in terms of exploring other parts of the world in which your art IS appreciated?

I just want to create something new and fresh that has nothing tying it down, do something I can fully go forward with and make it my own. I don’t see a lot of new art styles around right now, so my plan is to really churn this project out and get it known!

I remember back in art college, they would always say to me, “So why did you do that?”… as though I was some alien they’d just captured, so I decided to leave and do my own thing. I have never looked back either, since I feel like that portion of my life was so restricted because of other people. So now I have this freedom and I want to fully embrace it!

Answering your question about exploring other parts of the world: that’s exactly how I know different styles are more appreciated elsewhere. I see more enthusiasm and a much greater pull on my work in foreign countries. Thanks to the internet super highway! Haha.

In Japan, will you be staying with friends? Traveling throughout the country? Tell me more about that.

I really don’t have any plans for my trip. All I can say is I’ve got my ticket booked. I really don’t plan anything I do, so it makes it more exciting.

Are you a fan of sushi? If so, promise you’ll try as much of it as possible in Japan and report back?

Haha! Yeah, I love it! I will try and load up on sushi as much as I can out there. I think it will be impossible to walk down any street without being tempted by a sushi truck! I know because that happened in Sydney once and it’s hard to block them out!

I will certainly try and do a report on the “Sushi Situation”. Maybe I could start a blog all about it! Haha!

Visit Oliver Cartwright’s website to view his growing body of work at www.olivercartwright.com.

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