Jeremyville is an artist, product designer, animator and human. He wrote and produced the first book in the world on designer toys called Vinyl Will Kill, published by IdN, interviewing peole like Fafi, Sarah from Colette, Baseman, Biskup, Pete Fowler, Jason Siu, Kinsey and Kozik.
Jeremyville splits his time between studios in Sydney Australia and New York City. He collects rare t-shirts, sneakers, toys and denim, and has a Converse x Jeremyville shoe released in late 2008.
He talks to The Vine about his latest book, the beauty of collaboration and some of his favourite things.
The 'Jeremyville Sessions' is your latest book. I love that it celebrates collaboration. How do you think artists and art benefit from collaboration?
The book looks at the process of collaboration as a new art movement of our age, the relationship between companies and artists, and the benefits and pitfalls of that association. I feature case studies of the 300 artists and companies I have collaborated with over the last few years.
Companies are the new patrons of the arts, the Medici's and Sforza's or our age. I've worked with companies like Converse, Diesel, Rossignol, Kidrobot, Colette in Paris, Hello Kitty, 55DSL, Asics, Microsoft, Lucasfilm, Mastercard, and a travelling group show at the Warhol Museum in Pittsburg. It's important to note the distinction between a commercial commission and a collaboration. A commission is a simpler exchange of services: The company offers a fee to an artist, well known or unknown, for a design. A collaboration has more to do with the association and alignment between company and the status or name of the artist. In a collaboration, the main motivation of the artist and company is not about just creating a new product or project, it's about the joint aim of both parties to create something truly creative in the field, something that pushes the boundaries, and offers something new to the dialog of that medium, and something that creates a media interest and strong editorial value, by the nature of its newness and excellence.
This raises the perception of both company and artist, and is a mutually beneficial project more to do with career building or brand building. Similar to a patron in the Renaissance working with a well known artist, rather than just commissioning an unknown artist for a portrait. It had as much to do with who the artist was, as it had to do with the end result of creating a portrait. It was about WHO painted the portrait, and how well it would increase the standing of the patron.
So in a collaboration, the monetary exchange is the not the main factor, as it would be in a straight commission. It's all the other offshoots from the project that define it as a collaboration. The alignment between patron and artist, the desire to make something great, the media attention associated with that, the advancement of the profile of both parties.
If you could collaborate with any artists - living or dead - who would be your top 5?
Duchamp. Jeff Koons. Warhol. Dylan. Walt Disney. The dead ones are still living in my opinion. Death is just a state of mind.
Describe your creative process. Do you have certain ideas of where you want a piece to go when you sit down to do it or do you let it develop on its own?
My work almost always starts with an idea, a concept, and a sketch of what I'm trying to do. I like the immediacy of a sketchbook and pen. Nothing comes close, in terms of transferring an idea from your head, into something that manifests itself in the real world. The aim of the project is to hold on to the first instinct, all the way through the process. This can be any project, from the smallest to the biggest, I always do a general plan or sketch in my book, over a coffee at the Icebergs pool. And I usually discuss it with my creative partner Megan, and my business partner Neil, if the project warrants that conversation. The aim is to make sure the original vision and concept is followed through to the end result.
I love the photos on your blog of you with Martin Sharp. Tell the everyone about Martin and why he's so amazing.
Firstly he's a lovely person, and also I respect his place in art history, and his large body or work. He's one of the main players in the Australian Pop art movement of the 1960's, and has created album covers and art for bands like Cream, and Eric Clapton. The last few chats with Martin have been at the Oxley home in Darling Point, it's always one of the highlights of my year to spend time with him. I tell him that too, I don't act cool around him, I act like a total fan, I can't help it.
Sydney versus New York!? What are your favourite things about each city?
The Jeremyville Studio in Sydney is on Campbell Parade and Lamrock Avenue at Bondi Beach, so I'm enjoying the lifestyle that the beach offers. There is also a Jeremyville studio in Macleay Street Potts Point, which is another great part of town, it has a great cafe and restaurant culture, and proximity to the Harbour and CBD. Potts Point is also much more civil and cosmopolitan compared to Bondi, which is woolly and wild. I think I have both qualities in me, so I spend time at both places each week. I grew up in Wonderland Avenue Tamarama, so spending time at Bondi reminds me of my childhood.
The Jeremyville New York Studio is in Nolita, which is near SoHo, and I love Mott Street, there is a great burgeoning scene there, lots of energy, and luckily the quality of coffee is improving there, my favourite coffee spots are 'Gimme Coffee', 'Gitane', 'Saturdays', and 'Smile' on Bond Street. The Lower East Side also has a great energy, I love Orchard Street, and Rivington Street. I also run a lot along the Hudson River, I find in New York I really need to consciously make time for exercise, whereas at Bondi Beach it's easy, everyone loves fitness, the beach is like one giant exercise area, and it's always calling me out to play.
What are some of your favourite things in your studio at the moment?
In my Bondi Studio it's my mask and snorkel, that I use in the ocean each day. I've found it's better to do laps in the actual ocean rather than the Icebergs pool, and the snorkel helps focus on the strokes.
What are your hopes for 2010?
The projects I'm currently working on include a new publishing project, a mini series of toys coming out through Kidrobot in June 2010, a line of accessories in Japan, an editorial project with Diesel, an animation campaign for Mastercard New York, painting some large canvases, and about 20 other ongoing projects. I'll be heading to the New York studio again in a few months. The general hopes are to continue to develop and evolve as an artist, that's an ongoing daily aim in my mind.
You can buy The Jeremyville Sessions from the Jeremyville website for US$65