Art / Exclusive / Featured / Music

Artists Series 002: Jack Hardwicke x Big Up Rolling Papers – Mix & Interview

Artists Series 002: Jack Hardwicke x Big Up Rolling Papers – Mix & Interview

For the second installment of artist series, we invited Jack Hardwicke of Métron Creative Studios to design something smoking hot. He came back with A Lucid Rework III piece for the most psychedelic joints you’ve rolled.

100% pure unbleached hemp pulp rolling papers are king-size for the full flavor. Roll it up or roll it down, versatility is the key.


Jack has also put together a chill mix to accompany your trips and journeys.

Tracklisting 

Jon Hopkins – Alarm
Teebs – While You Dooooo (Extended)
Knxwledge – Shuremng
Flying Lotus – Getting There (feat. Niki Randa)
Four Tet – Hands
Kali Uchis – Table for Two
Kasami Washington – Askim
Squarepusher – Iambic 9 Poetry
Yosi Horikawa – Bubbles
iZem – Belen (Feat Yolanda)
El Búho – Cumbia Con Arpa (El Búho Remix)
DJ NIGGA FOX – Hwwambo
Nidia Minaj – Puto Iuri
Mariah – Hana Ga Saitara
Chancha Via Circuito – Jardines ft. Lido Pimienta


I love the idea of something that lasts forever, that is timeless and indestructible.

interview by Elena Herrera

Although we found your work to be illusory, eerie, vacant yet spiritual, how would you describe your own aesthetic?

It’s hard to analyze your own work, especially when it comes to the overall aesthetic, which is perhaps more obvious from an outsider’s perspective. I try to think of my work as quite varied, and because of the number of different processes involved, the style of the work I do is quite changeable. That’s my interpretation at least. I guess from another angle it might be a little easier to see a constant. I really like the way you described it though, I love to hear other people’s take on my output, more than I enjoy trying to describe it myself.

Fundamentally it tends to blur the lines between digital and analogue, between the real and the surreal. I think there’s an ambiguity to my work, and that’s definitely the aesthetic I aim for. Something with a kind of celestial, science fictional overtone. Bleak and beautiful. But that only speaks to a section of my work. Sometimes I just make something because I think it looks pretty and that’s all that matters at the time.

Some of your pieces, such as Headspace, XIV (2014) have an emulsion type quality to them. What kind of process do you go through with your photography? What other mediums do you practice with?

It’s always been my aim to try and find a style that fits between mediums, whether􏰝􏰒􏰤􏰅􏰀􏰄􏰗􏰢􏰄􏰉􏰅􏰀􏰚􏰇􏰇􏰌􏰀􏰑􏰉􏰀􏰄􏰓􏰑􏰀􏰒􏰍􏰀􏰒􏰈􏰉􏰀􏰄􏰌􏰊􏰀􏰋􏰌􏰊􏰀􏰄􏰀􏰒􏰉􏰗􏰇􏰀􏰒􏰃􏰄􏰒􏰀􏰋􏰒􏰅􏰀􏰚􏰇􏰒􏰢􏰇􏰇􏰌􏰀􏰑􏰇􏰊􏰓􏰎􏰑􏰅􏰣􏰀􏰢􏰃􏰇􏰒􏰃􏰇􏰈􏰀 a mix of these is actually involved in the process or not. I don’t like the idea of my 􏰢􏰍􏰈􏰘􏰀􏰚􏰇􏰓􏰌􏰐􏰀􏰊􏰇􏰋􏰌􏰇􏰊􏰀􏰓􏰌􏰒􏰍􏰀􏰄􏰀􏰅􏰓􏰌􏰐􏰗􏰇􏰀􏰔􏰄􏰒􏰇􏰐􏰍􏰈􏰉􏰣􏰀 and that’s one of the reasons I don’t like to 􏰊􏰓􏰅􏰔􏰎􏰅􏰅􏰀􏰒􏰃􏰇􏰀􏰋􏰌􏰇􏰈􏰀􏰊􏰇􏰒􏰄􏰓􏰗􏰅􏰀􏰍􏰏􏰀􏰄􏰌􏰉􏰀􏰞􏰈􏰍􏰔􏰇􏰅􏰅􏰇􏰅􏰀 involved – I’d rather leave it all to the audience’s imagination.

I’m often climbing on things in the house to get a better position to shoot from. That’s about as risky as it gets.

I do use a camera for a lot of my work, but I would not call myself a photographer, or my work photography. I also don’t particularly enjoy the “digital artist” tag because a lot of the processes are real world, physical and analogue mechanisms.

The Headspace series was a project based around the concept of creating a visual representation of my inner self during a challenging personal situation. I wanted to draw on the therapeutic nature of the actual physical processes and how using artwork might come to heal some of my own personal suffering. That project really was art as therapy.

Has a mistake ever impacted the development of a piece?

Ha, this is a great question for me because I make mistakes all the damn time! When it comes to my creative processes I’m a pretty adaptable and fluid worker, but probably not a very organized one. My plans are never usually set in stone, and I’m always looking for something unusual or unexpected to occur – mistakes are great for this. In fact I was talking with a friend about this very topic the other day, and I think I’m not alone in my thoughts on this.

I have no experience of formal artistic education, and I’m certainly not in a position to stand here and devalue it, but what I can attest to is that sometimes 􏰋􏰐􏰎􏰈􏰓􏰌􏰐􏰀figuring things out for yourself allows􏰒􏰃􏰓􏰌􏰐􏰅􏰀􏰍􏰎􏰒􏰀􏰏􏰍􏰈􏰀􏰉􏰍􏰎􏰈􏰅􏰇􏰗􏰏􏰀 for a more unique outcome and making mistakes is a massive part of that. I know I probably don’t use processes in a particularly conventional way, sometimes to my detriment I’m sure. However, I think that’s what has allowed me to stand out a little in a crowded world of artists and designers. They probably aren’t all doing it the way I am.

What has been your riskiest creative endeavour?

I think creatively speaking there is no such thing as “risky” – that should never come into it. I certainly don’t think my work is all that risky… I’m often climbing on things in the house to get a better position to shoot from. That’s about as risky as it gets. I suppose every time you put a piece of work out into the world you are taking something of a risk. You are opening up yourself to scrutiny that a large portion of people will never do. It’s a risk worth taking though.

What’s “on your plate”? Also what was your last meal?

I’m working on loads of stuff right now. This is the first time in my short career that I haven’t had a full time job and as a result I find it incredibly fulfilling being able to dedicate myself to projects and commissions, and moreover my own development as a creative person.

Sometimes 􏰋􏰐􏰎􏰈􏰓􏰌􏰐􏰀􏰒􏰃􏰓􏰌􏰐􏰅􏰀􏰍􏰎􏰒􏰀 for yourself allows for a more unique outcome and making mistakes is a massive part of that.

The rest of 2014 should be very exciting. I want 􏰒􏰍􏰀􏰇􏰅􏰒􏰄􏰚􏰗􏰓􏰅􏰃􏰀􏰑􏰉􏰅􏰇􏰗􏰏􏰀􏰄􏰅􏰀􏰄􏰀􏰞􏰈􏰍􏰗􏰓􏰋􏰔􏰀􏰊􏰇􏰅􏰓􏰐􏰌􏰇􏰈􏰀􏰓􏰌􏰀􏰒􏰃􏰇􏰀 music industry, and I want to take 􏰙􏰗􏰇􏰇􏰞􏰦􏰛􏰄􏰗􏰘 to the next level (a project that I cofounded with the awesome Matthew Evans, aka SnowSkull). We have so much planned, and it’s now time to turn those ideas into actions. We are about to launch 􏰙􏰗􏰇􏰇􏰞􏰦􏰛􏰄􏰗􏰘􏰦􏰰􏰓􏰅􏰒􏰇􏰌􏰣 which is a project devoted to electronic music and visual art – eventually we want to put out records and support the music scene that has inspired so much of our work. My main focus is always just to work on as many projects as possible and make a living doing what I love.

􏰖􏰅􏰀As for my last meal, oh man! My last meal was amazing! I’ve just been visiting my Mum and her husband, they are both great cooks. Last night he made a caramelized onion and goat cheese stuffed bread, served with home- grown asparagus, salad and veggie skewers, and for dessert my mum made this amazing chocolate and almond tart. I’m incredibly lucky, as it’s like eating out every night.

Whose work do you follow currently? Do their styles parallel yours?

There’s only a handful of artists who I actively follow. Leif Podhajsky and Samuel Johnson are both brilliant designers working largely in the music industry, and every time they put out a piece of work it pushes me to want to do better work, to try to keep up. I have Podhajsky’s “Follow” print hung on my bedroom wall, it’s absolutely beautiful.

I’ve still got a long, long way to go if I want to keep doing this, and that means a lot more work, but there is absolutely nothing that I would rather dedicate myself to.

Atelier Olschinsky and Jacob Van Loom are artists who are making some of my favorite work right now. Olschinsky is the gold standard for me, I want to spend the rest of my life working towards that standard. I probably won’t ever get there, but it’s important to expect yourself to try. The quality and sheer 􏰭􏰎􏰄􏰌􏰒􏰓􏰒􏰉􏰀quantity of their output is unbelievable. A lot of Jacob Van Loon’s work has a similar appeal in its geometric/architectural grounding. Both work at an incredibly minute level and yet are able to create pieces that are beautifully rich and cohesive in full.

I think there are elements in all of their work that can probably be found in mine, though I’m not sure there are any direct parallels – whilst I appreciate what all of them do I hope my work has its own space and identity.
􏰴􏰍􏰢􏰀 􏰢􏰍􏰎􏰗􏰊􏰀 􏰉􏰍􏰎􏰀 􏰇􏰡􏰞􏰗􏰄􏰓􏰌􏰀 􏰒􏰃􏰇􏰀 􏰅􏰉􏰌􏰒􏰃􏰇􏰅􏰓􏰅􏰀 􏰍􏰏􏰀 􏰵􏰓􏰌􏰋􏰌􏰓􏰒􏰇􏰱􏰇􏰉􏰇􏰔􏰍􏰌􏰶􏰥
Is there anything about your creative process that is a daily phenomenon?

I think when you get to a stage where being creative is your job, it’s so engrained in the way your brain operates, it’s almost impossible to switch it off for long periods. In that sense the process is always ongoing. Somebody once told me to “create something cool every day”, and whilst that’s not always a practical notion, the idea is one that I try to follow. Even if it’s writing down an idea or researching some work – I don’t think many days go by without a part of the creative process.

I often find my biggest inspirational source in music, so listening to music is a massive part of the creative process for me. I don’t think a day has gone by where I haven’t listened to some music in a long, long time. Right now 􏰝􏰤􏰑􏰀􏰗􏰓􏰅􏰒􏰇􏰌􏰓􏰌􏰐􏰀􏰒􏰍􏰀􏰖􏰡􏰇􏰗􏰀􏰩􏰍􏰑􏰄􏰌􏰻􏰅􏰀􏰀Family Vacation, which is a really great record. It’s feeding me ideas all the time.

There seems to be a duality between the physical and intangible world in your work. Does your work exist in a certain realm, dimension or pole of existence? 􏰟􏰍􏰇􏰅􏰀 􏰉􏰍􏰎􏰈􏰀 􏰢􏰍􏰈􏰘􏰀 􏰇􏰡􏰓􏰅􏰒􏰀
􏰓􏰌􏰀 􏰄􏰀 􏰔􏰇􏰈􏰒􏰄􏰓􏰌􏰀 􏰈􏰇􏰄􏰗􏰑􏰣􏰀 􏰊􏰓􏰑􏰇􏰌􏰅􏰓􏰍􏰌􏰀􏰍􏰈􏰀􏰞􏰍􏰗􏰇􏰀􏰍􏰏􏰀􏰇􏰡􏰓􏰅􏰒􏰇􏰌􏰔􏰇􏰥
Elements of my work exist for brief moments, other elements are more permanent, but functionally my work exists digitally. This is something that doesn’t sit all that well with me, as I like the idea of creating something in the physical realm. I used to put most of my work online, but made a decision over a year ago to keep my favorite work back. I want to start creating work that has to be seen in the real world, which in the age of the internet is 􏰓􏰌􏰔􏰈􏰇􏰄􏰅􏰓􏰌􏰐􏰗􏰉􏰀􏰊􏰓􏰏􏰋􏰔􏰎􏰗􏰒􏰕􏰀increasingly beautiful.

Related