A Kitsch Expression

It was around 2018 when I first started to think about the idea of our smartphones becoming extensions of our physical bodies. With the click of a button, we can now record, capture and represent our realities for audiences all around the world to see. Our individualised gazes have subsequently imprinted themselves across various social media channels. Whether it is through an Instagram post, Tweet, TikTok or YouTube video. This shift has certainly accentuated over the years and changed our engagement with materials and all things digital. It therefore comes as no surprise that artists and creatives have started to adopt each online platform to represent their unique way of seeing the world, channelling new waves of self-expression. 

One artist in particular, who I met during my studies at Camberwell College of Arts, is Vince Ibay. Ibay has skilfully combined his digital editing techniques with popular video trends. Through his artistic Kitsch aesthetic he reinterprets trending TikTok videos and fuses them with a tactful and joyous humour, resonating his own way of seeing into the dialogue. Deploying illustration, 3D scanning, and animation, Vince creates striking and memorable videos which are sure to stand out as you are scrolling through your feed! With his multidisciplinary approach to designing, in hand with his background as a fine-art drawing student, he has developed his own virtual reality which synthesises positivity, lightness and a playful commentary towards popular trends in contemporary digital culture. 

Gone are the days of dissolving into the background of thousands of other people dancing on TikTok or Instagram—Vince has proven that creating a digital, animative persona can be just as entertaining on our feeds. In our exclusive interview with Vince, he shares with us more about his practice as a digital creator and how he has developed as an artist post-graduation.

How did you first get into creating art?

I first got into making art very early on through drawing my favourite characters from anime which later transitioned into figurative art. My video practice also emerged through my teenage years as I took inspiration from short video content such as Call of Duty montages and YouTube Vlogs.

What was your experience like when studying and what course did you do?

I studied BA Fine Art: Drawing at Camberwell College of art which laid a solid foundation for the fundamentals of good image-making. My first two years were very messy and experimental. These times were essential for soul-searching the artist I wanted to be. Before moving into third year, I studied Creative Computing which rapidly expanded my video practice with knowledge of coding and CGI. I finally hit my stride in my final year and started growing in confidence through the years of hard work.

Where does your inspiration come from to create your digital animations?

My final graduation piece, Dante, Jocko & Hugo, was inspired by TikTok. I’m interested in how culture is communicated and developed in the digital realm. I tried to investigate how the digital affects physical life through the power of video as a visual language. I feel that this new generation is very fluent in using video as a form of expression, growing up with accessible tools for things such as vlogs, stories etc. I am also inspired by a lot of music video artists such as Michel Gondry and Spike Jonze, specifically in their musical storytelling and how they dictate flow through time-based media.

How would you describe your artistry?

I would describe my artistry as audio-visual and short video works. My strength comes from my foundation of drawing, by going into detail frame by frame, to create an effective image that compliments my audio-first ideas. By going into detail with editing, I can easily manipulate the viewer's emotions in order to create a conversation.

Can you tell me about the technical process that goes into creating your visuals?

For my animations, I create my characters by using my phone to 3D scan someone. I then transport the scan into Blender where I clean it up and colour it ready for animation. I use Adobe’s animation library Mixamo to rig the character for everyday movements. For more specific motion I would use Deep Motion, where I can insert a video of human movement that will be transferred onto my character. I would then edit all the animations I rendered on Premiere.

What challenges have you faced as an artist producing work in the age of COVID-19?

The physical limitations of COVID allowed me to concentrate on the strengths of my digital practice. I found crafty ways of creating visual narratives through CGI; by using DIY processes of photogrammetry for 3D scanning, and machine learning systems for motion capture. The work I made was very much specific to the digital space. What I missed was the access to studio spaces which would have pushed the much-needed experimentation of the physical presentations of my work.

Out of all of your videos, which has been your favourite to make?

My favourite would have to be Jess World, as this would be the start of the visual language that I developed for my final year project. It has the fun and exciting energy that I aim to maintain through my work. 

Which artists inspire you the most?

My favourite artists at the moment are bright and colourful artists such as Matisse and also Kitsch artists such as Magda Archer. Especially coming out of lockdown, art that is charming, healing and lightweight is very important to me. 

What tips would you give to aspiring computational creators?

Definitely to focus on one thing at a time and to take it slow and steady. It’s so easy to get lost in the mass amounts of tutorials available, which could lead to being discouraged and not doing any work at all. I’d try to actively pick the exact resources you would need, and be good at searching and problem solving with Google as you progress with your project. I would also stay away from taking the easy route of passively watching tutorials before starting anything. 

If you could collaborate with another artist, who would you like to work with?

I’d really love to work with up and coming music artists such as Josie Man. I think that pop music would really suit my kitsch style and it would also be really amazing to 3D scan artists that have an eclectic fashion sense. Funky brands like Lazy Oaf would also be a fun collaboration too. 

And lastly, what does the future of the art world look like to you?

The future of the art world, through my practice, looks very optimistic especially with the large investments made on NFTs. I know that the big tech companies have also made large investments in AR/VR, and it would be really interesting to see how that will push art too. As more unique digital practices emerge, I think it is an exciting community to definitely keep an eye on.

Check out Vince’s website to discover more of his creations, and follow him on Instagram to stay tuned. 

Interview by Indera Tamara