Dylan Brooks, a.k.a. Launchpad Design, has established himself in Denver as not only a mainstay of the local live art scene, but also a talented glass and metalworker. Easygoing and unassuming, he nonetheless
Where do you do your work? (Geographic location as well as what kind of events, for what bands, etc.)
I primarily work from Colorado, but I have toured the country coast to coast several times painting with bands such as Pnuma and MO2. As for the type of event, I paint at electronica shows because that type of music generates strong enough emotions in me that inspiration is easy to translate into art. I have painted with acts such as Shpongle, Conspirator, The Glitch Mob, Prefuse 73, Bonobo, Bluetech & too many more to name. I feel truly blessed to be part of such a rich sub culture that truly appreciates the creative process.
What got you started painting at concerts? (And what KEEPS you painting at concerts?)
I was initially inspired by artists such as Kris D and J Garcia who were able to break new ground both aesthetically and by introducing the live painting experience to so many. The experience of creating with my favorite musical acts quickly became an addiction and an opportunity impossible to pass up.
What are your media and methods? (Please do go into detail about your process.)
Quick drying acrylic has proven to be the only way for me to translate my ideas in a way that is interesting to watch and quick enough to adapt to unexpected changes in the music and mood. I generally create a background before the show because that is usually a messy process and I have found club owners are not too appreciative of that. Once the show starts though, I try not to think ahead of what I am creating at the moment because I found that if I force my vision, it does not relate to the whole feeling of the show. I need to be an open channel for the music and for the energy of the audience to flow through.
What are you trying to "capture" in your paintings? (For some people, it's the band; for others, it's more abstract. Some people don't even KNOW what they're painting, or care if it has anything to do with the concert; other people are very specific about their intentions and representations.)
I am working to translate auditory vibrations, emotions, and human energy into aesthetic visions on canvas. Letting go of my thoughts and allowing the moment to almost create itself has taken me places that may have been impossible to reach alone in a studio.
In what ways have you grown as an artist since you started painting live?
By painting in a space where creation in necessary I have had to let go of my judgment about what I am doing because critical thought often becomes a luxury that time won't allow. This has created an environment where I have had to become totally confident about what I am doing and my ability to channel visions.
What have been some of the most amazing moments for you, in the live painting environment?
There have been so many unbelievable moments, but recently the most fun I have been having has been working on collaborative pieces with other live painters such as Krystleyez, Tourmaline Todd & Mackenzie Page. Having multiple visions intersecting and combining on canvas has created totally unforeseen and amazing results.
What have been some unforeseen complications or challenges in live painting – both artistically and in terms of the business? How did/do you deal with them?
Artistically the biggest challenge has been overcoming the anxiety about feeling the need to finish a painting in an allotted time. I just don't stress over it any more. If I finish by the end of the show, thats how it was supposed to be, and if it takes me a few shows plus studio time then I've found that that is just fine too. As far as the business end goes that biggest challenge has been convincing club owners that they should allow painting to go on in their place. I have found several places that won't allow it at all, but most places seem to be coming around to the idea that is is becoming part of a concert experience that will draw a crowd as long as painters continue to be respectful of their business.
Do you consider live painting to be a single coherent movement or emergent art form? If not, do you think it'll EVER be?
I think that live paining is more of an emergent technique as opposed to a single art form due to the wide range of interpretations of music from different artists. However, I do think of live painting as a coherent movement to shift the paradigm of what it is to be an artist as well as an art appreciator. Taking the art out of the studio and making the process available to anyone who wants to watch makes art much more accessible and emotional to people who don't generally have the opportunity to experience this aspect of creation. Live performance along with the idea of a collaborative painting make the artistic process a much more communal affair and I feel is helping to reel in the ego generally associated with artists and how they view their creations.
Where can people find your work?
My work can be found at myspace.com/LaunchpadDesign. January 2010, Rogue-Galleries.com launched as a place to find prints of not only my work, but of many other visionary artists and live painters.
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Michael Garfield is one of the Denver area's most prolific live painters, as well as an essayist and performing songwriter. For more information, including galleries and free music, visit his personal blog.
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