1552 Victoria Avenue

David Russ uses a cotton Swissper to add finishing touches to a new drawing titled, 1552 Victoria Avenue.Photo: Sharon Keller

Untitled Drawings #2

David Russ Untitled Drawing 2009. Graphite and pastel on paper. 50 x 50 cm.

Untitled Drawings #1

David Russ Untitled Drawing 2009. Graphite and pastel on paper. Size: 50 x 50 cm.

David Russ

David Russ in his Brisbane studio. Photo: Billy Hays

The Fountain View Room #4

David Russ The Fountain View Room #4 2009. Graphite and pastel on paper. Size 50 x 50 cm.

Sandra Norton

David Russ Sandra Norton 2008 Graphite on paper. Size: 62 x 46.5 cm

The Fountain View Room #3

David Russ The Fountain View Room #3 2009 Graphite and pastel on paper. Size: 50 x 50 cm.

White Pepper

David Russ White Pepper 2009. Graphite on paper. Size: 48 x 48 cm.

The Fountain View Room #2

David Russ The Fountain View Room #2 2009. Graphite and pastel on paper. Size: 50 x 50 cm.

A Clock that Always said Two-Fifty

David Russ A Clock that Always said Two-Fifty 2009. Graphite and pastel on paper. Size: 38.5 x 50.5 cm.

Vanessa Hughes

David Russ Vanessa Hughes 2009. Graphite and pastel on paper. Size: 49.5 x 39.5 cm.

The Fountain View Room #1

David Russ The Fountain View Room #1 2009. Graphite on paper. Size: 57.5 x 45.5 cm.

New Drawings by David Russ

David Russ Janice Hayward 2009 graphite on paper 40 x 44.5 cm

David Russ Susan Decarlo 2009 graphite on paper 61.7 x 46.5 cm

In recent months I have been preoccupied with the intimate act of drawing. Above are two recent drawings that I think compliment my new paintings. It's nice to take a break from painting every now and then, sit down, sharpen my pencils, put on some music ... and draw!  

Collage #1

David Russ Two Sisters and a Friend 2009

paper collage on paper 14 x 14 cm

This small collage is the first in a new series of collage works that I currently have in mind. I will publish another collage in this series here next month.

An Interview with David Russ

By William Hays

[W.H.] I understand that you exhibited art in Brisbane, back in the 1980's. What was the art scene like here back then?

[D.R.] The "art scene," if you could call it that, was much smaller in every way back then. Today there seems to be more activity and interest in the visual arts in Brisbane. I guess this is probably all relative to increases in population over the years, and a greater awareness of art and artists in our culture.

[W.H.] By the end of the 1980's you stopped exhibiting your work. Did you stop making art?

[D.R.] Well .... I stopped making personal art, and I began selling my skills as a freelance illustrator. I had paying clients, some national recognition, and a relatively large audience for my illustration work. But in the end, illustration offered me very few opportunities for personal communication. The difference is ... as an illustrator, I was striving to make art for other people, and now make art for myself.

[W.H.] Is making art for yourself any easier?

[D.R.] No. Because there is no financial incentive or external reward to motivate me to make art. I think that I create art from a very basic and simple need to communicate through a visual medium. So making art is a very personal journey for me, but I know that when I manage to create something that transcends my ego, then I'm heading in the right direction with my work.

[W.H.] Is it true that you began your career as a graphic artist in the field of advertising?

[D.R.] Yes that is true. My career as an artist really began in 1977, working as a commercial artist at the George Patterson advertising agency, here in Brisbane.

[W.H.] Would you say then, that your experience as a graphic artist has influenced the way you make art today?

[D.R.] Well, yes I think it has. My early training and experiences in graphic design have shaped my whole visual aesthetic, and possibly even the way I work. I've always "had an eye" for typography, and I still enjoy the visual experience of looking at good graphic design.

[W.H.] What media do you use to make art?

[D.R.] I mostly paint, draw, cut, paste, and I also use photography. I like to use my hands, but my working process also incorporates the use of a computer, to help me get the job done.

[W.H.] Some people have described your recent work as "dark" or "bleak". What is your reaction to these descriptions?

[D.R.] I think these descriptions are often used to quickly identify what seems obvious in my work. You know, a little part of me just "lights up" every time I hear someone describe my work as "dark".

[W.H.] Why do you say that?

[D.R.] For a long time, I've been very curious about abject environments, and in recent years I've been exploring these things in my work - but I wonder if it is more complex then that? I like to think that my work is an intuitive response to a lifetime of emotional experiences ..... memories, fantasies and desires.

[W.H.] Do your intuitions offer creative direction?

[D.R.] As an artist, I never know where my intuitive inclinations will take me, so I try to remain open to new ideas and internal impulses. I trust that my curiosity will always lead me in new directions.

[W.H.] What are you working on at the moment?

[D.R.] For the last month or so I've been working on a new series of graphite drawings. I plan to publish some of these drawings on my weblog in the near future. Stay tuned folks!