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Wise Men Say

30/6/2015

2 Comments

 
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I met a lovely girl on the first day of art school in Sydney, a long time ago. She had big eyes and easy, natural smile and shiny long dark hair. She wore it in two plats and was wearing a suede vest and skirt. She looked a lot like an American Indian squaw. I was captivated. 

Turned out she wasn't an Iroquai nor a an Apache chief's daughter after all. She was from the Island of Mauritius. A genetic blend of Chinese, French, Spanish and the other kind of Indian. My mission was to get to know her as intimately as possible. Having spent my teens in Tokyo nightclubs, the usual romantic cycle for me was meet, have drinks, sleep together, then say goodbye. I was not versed in regular world courtship. My seduction took longer than anticipated. It was further complicated by the fact that she had never been with anyone before. No rush. Things took their natural course. We were in the same classes everyday. She was very easy going and fun loving, popular with everyone. 

Eventually we slept together and quite frankly, the chemistry was not great. Some of it could have been due to her inexperience. Some of it could have been due to the fact - that I as later to discover - that she had been molested by family members in her youth. To what degree exactly, I never clearly ascertained, but obviously, any level of such a loathsome and heartless behaviour would cause trauma and leave scars. 

When she turned up in photography class after a few months of our being together with a packed suitcase, I was surprised. Was she going somewhere? 

"My Dad hit me..." She showed me a bruise on her thigh. It was fairly nasty. "...again." she said. I was speechless. My first encounter with inter family violence. "Can I come and stay with you?"

This was not in the plan. Not at all. In fact, because of our lack of natural sparks in bed, I was considering notching the relationship back to a friendship. But how could I say no. Tears glistened in her eyes. Those same big, innocent eyes I had initially fallen for. 

"OK, for a few weeks. But then you've got to find a place of your own."

Cut to six years later. We have been on again, off again, over and over. She has used those tears (unlimited supply) mixed with emotional pleas, threats, coercion seduction and blackmail to keep us together. Many times she put her life on the line and I had to decide, save her or let her possibly die. Of course, I never had a choice. She was a truly beautiful person, just damaged. 

Eventually, there was a new pressure. Marriage. 

Never, I thought. She can't make me. It's not what I want.

What's that phrase? Resistance is futile. I came to understand it first hand. Things were beyond my control. I had more power of will, discipline, clarity of thought. But she had the power of emotion and a woman's way.

We were living in a house in Bondi Junction at the time. I was working as a freelance illustrator. She was working in a girl's fashion wear shop in Centrepoint in the city. Life was not bad. We made the best of things. We cooked, watched videos, hung out with my brother - who was sharing house with us - and her family as well. We bought a puppy. 

But, deep down, I knew, I did not want to get married. 

Still, the pressure was there. Her parents and sisters joined in. Her elder sister and her husband (who is still a wonderful friend today) would come over and hang out and show how good married life was. How natural. I was told her father, a slightly scary man, was becoming impatient. 

One night the two of us were watching an old movie: The Birdman of Alcatraz. There was a scene. The old fella, a lifer, is telling Burt Lancaster something important. He whispers it to him in a gruff, hardened voice....

"Sometimes, son, the only way out - is in."

Bing. It hit me. I recall walking outside on my own. Sitting on the fence. Pacing. OMG. It was obvious. I knew what I had to do.

The following week I bought a ring and proposed. The wedding was wonderful, a coming together of two families and fantastic, loving friends. At the church, when she came around the corner in her father's arms and headed down the aisle, the look of happiness and joy, fulfilment, in her eyes - so true and so pure - made me spontaneously burst out in tears, standing there at the alter. If I could make someone this happy, even just for a short time, it was worth it.

We didn't have a honeymoon away, because we had plans to leave for Tokyo, to go and live there soon after. But we had a honeymoon night at the fancy Kings Cross hotel were the reception occurred. The party was wonderful, great speeches, dancing, a true celebration. People spoke of it for years to come. We all had a great time. 

But once we were alone, in that big suite, surrounded by presents and champagne, a deluxe fruit platter, the truth, to me at least, was undeniable. We were strongly connected, officially man and wife - but not two lovers. I'd had a few love connections before and I knew this wasn't one. There was love, but it wasn't based in passion, there was an absence of chemistry.

Still, I decided, I would give it a go. We moved to Japan. Found a tiny apartment in Shimo-Kitazawa. And when I say tiny, I mean tiny. It was one room. There was a modular shower and toilet, a cupboard, a tiny fridge and a benchtop single gas cooker. We slept on a futon and folded it up each morning to allow us space to put a tiny folding table and two folding chairs.

I didn't mind the idea of being married. Being a husband. Saying; this is my wife. It felt kind of fun. We both taught English at language schools in Shibuya and Shinjuku. I rode my Kawasaki around in my downtime - taking interviews with art directors at agencies and magazines, showing my portfolio of work. Eventually - just before going completely insane from having to tutor - I was getting enough work to do it full time.

After we had been there a little over a year, things were going relatively smoothly. It was a kind of adventure. Things were slowly coming together. She loved being in Tokyo. For me it was familiar. Comfortable. I had grown up there. 

A tradition started. Every Saturday night we would hang out at the fountain outside the train station entrance, with a gathering of local musos. There were plenty of guitars, cigarette smoking, and drinking spirits out of bottles purchased at the adjacent 7-11. We connected with the local misfits, rebels, free spirits. It was fun. People came and went over the months. A few key players became friends.

One guy in particular, a younger chap, charismatic but with a humility, a truck driver by day, loved to sing Elvis tunes. And he was good. Really good. He had swagger. We both liked him. He was a mix of traditional, honourable Japanese (from the countryside) and young Western rebel.

We would hang out at that fountain till sunrise with the carefree crooning group, often.

Eventually, I tired of it. I wanted to go home and read, or draw, watch a video on our tiny 18cm second hand TV. My wife did not want to join me. She wanted to stay on. To party. 

Sure, I said. See you later. I stayed up and greeted her return. We slept in Sunday together. The next few weeks it was the same.  Until, one Saturday, she did not come home. I woke in the early afternoon. Eventually, she turned up.

"A few of us went back to his apartment. I fell asleep there. Sorry."

You know when you know.

I tried to talk her out of staying all night every Saturday. I could not. The following week she was home at dawn. The week after she announced that she was going to stay at his house. I protested. She didn't care.

Yep. It was over.

I felt a mixture of relief, confusion, anger and resentment. Just like that, eh? 

We carried on as usual. A few months later we returned to Australia for holidays. I was lying on the beach, alone, down south, near Culburra. We were on summer holidays with her family. I had an epiphany. I held the warm, white sand in my hands. The sun was bright and strong. 

I am not going back to Tokyo. Forget all the stuff, I don't care. Forget the whole thing. I'm staying in Oz. This is where I belong. I am free.

I announced it to her and she was shocked. I was steadfast. I need to go back and get our stuff, she insisted. Sure, I said. She ended up sending it back and moving in with Japanese Elvis. After a few months she came back. I had divorce papers ready. She did not want to sign them. She tried to convince me. But it was over. She moved on to plan B.

She went back. They got married. I really was free. 

It had been eight years. From twenty to twenty eight. It was a huge learning curve. 

A whole new phase of my life began after that. New friends, new pursuits, new lifestyle, new outlook. My connection to the squaw was released. The new freedom was exquisite. I had paid my dues, come full circle. No regrets, no resentment, I strode forward onto greater new adventures.


2 Comments

life's a gambleĀ 

13/9/2014

0 Comments

 
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It's all about who you know. And who you know depends upon who you meet. And who you meet depends upon where you go and what you do. Where you go and what you do is up to you. 

What I am saying is that if you want to achieve something, then you follow the path towards that goal. Along the way you will meet people. Some of them will see what you are doing, like it, like you - and choose to assist you in getting to where you want.

After leaving art school I learnt this lesson a few times. Once in Australia and once in Japan. In Australia it lead to having my animation being broadcast daily as the new opening credits for a very popular TV show. In Tokyo it meant that I was able to return to my high school and get paid to shoot and direct a music video of my devising that included a scene of a beautiful girl in a mini skirt dancing on the desk of the high school principal in an act of defiance and celebration.

First: Sydney. I had recently graduated from art school and decided to try and make some money as a freelance illustrator. I put together a portfolio with some of my work and started doing the rounds; visiting art directors of magazines, ad agencies and publishers. Generally, it was usually one job for every six or seven meetings. I got a few breaks - did a few illustrations for Playboy magazine, some comics for a new fashion magazine and one or two other small jobs.

I had always liked the aesthetics of a free magazine called Billy Blue. The content was light but they had great covers. Very arty. Many of them were done by a then relatively unknown artist called Ken Done. His work was awesome even back then - loose and fresh. I did a few mock up cover ideas of my own and went in to see the art director, Ross Renwick. He was a great guy and positive. He didn't run any of my covers but hooked me up with his second in charge - a guy about my age, mid twenties - Jamie Barnes. 

Jamie really took his time looking through my work and I could tell that he really loved it. He had great taste and could pick the strongest and most interesting works with ease. He particularly likes experimental work I was doing with Polaroid SX-70s. We clicked. He never ended up getting me any work at Billy Blue, despite the fact that every month I would submit a new cover idea proposal. He did, however, welcome me into his circle of creative friends which included two amazingly talented, visionary, free spirited art directors, Graeme Davey and Mike Heffernan.

Through Graeme I ended up getting a regular gig for Waves surf magazine doing a monthly full page, full colour comic as well as some fun work for General Pants that we collaborated on. Mike got me my dream assigment of the time - an album cover (Life's a Gamble by the Oz rock legends The Radiators), front and back, plus lyrics insert - without any restrictions. The brief: "Go for it!" I did wild and crazy collage, front and back, sourcing cut-outs in the hundreds and compiling them, old-school cut and past style with scissors and glue (Photoshop had not been invented). I also got paid a super premium amount for the work. Mike loved it the record execs loved it and the band - who were each incorporated in the back cover art - loved it, too.

On the strength of that work and Jamie's backing and initiative I was invited to animate a promo for Channel Ten in a collaboration with an animator, whiz kid, Ray Van Stenwyk. We went to town. That led to being commissioned to do a new opening credit animation (shot on super 16mm film, one frame a time, using a custom frame designed and built by Ray). It was for the very popular afternoon kid's show Simon Townsend's Wonder World. It ran for many years.


Tokyo: I'd been working as a freelance illustrator in Tokyo for a year of so. This involved riding my Kawasaki 650zx all over Tokyo with my portfolio on my back, cold-calling art directors from magazines, design houses and ad agencies. I met so many different people. Only maybe one in ten ADs actually got my style, but they really got it and used me straight away. 


One of these was a great man called Ken Arai. He was the AD of a Magazine House popular culture mag called Popeye. The biggest selling mag of the day. He gave me a regular gig that lasted years. Four illustrations in every issue. It was a huge break and I had a lot of fun playing with it - and in expensive Tokyo; loved the regular paycheck, too. Money for game centres, yakitori and sake!


On the strength of that work and my Oz animation reel, I was suddenly, and surprisingly offered to direct a music video for a Japanese pop star, Taro Shinohara. Again I was given full creative control. The song was called 'Crying Youth'. My concept was we'd go back to my old high school to shoot a fantasy sequence with a rebellious Taro and a sexy girl (I cast my wife, Bianca) dancing wildly on the principal's desk. It was a very satisfying and vindicating experience. I threw in some animation and inventive titles and it was a big hit. It all came from someone saying, 'Well, you are not for us... but why don't you go and see this guy." Funny thing is I almost didn't go to the meeting because I was sick of rejection - but something nudged me along.


So, just like it says in the Rad's title track - you play the game, roll the dice and hope to get lucky. Sometimes you do.


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input/output

27/12/2013

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I was lying on my mattress the other night watching a open-hand-size huntsman repeatedly navigate the upper levels of the four walls of my room. He's been around for a week or so now and we've decided on a mutually beneficial 'no provoke', silent, arachnoid/gentlemen's agreement. Still when he saunted up to the roof and crossed over into a space hovering directly above my head, I decided it would be wise to move temporarily to a different spot.

Lying there, I suddenly remembered that I used to read and collect National Lampoon humour magazines in the mid seventies. I used to really enjoy reading them. I don't know what happened to my collection - lost in transit, I suppose. I've lived in and moved out of thirty or forty abodes since then. I now live in a rented room with my computer, an open suitcase and a mattress. Streamlined, you could call it.

Since my teens, I have always been a high input person. Books, comics, magazines, movies, TV series, the net... I like to absorb - concepts, words, visuals, stories. I always try to find stuff that is quality. Stimulating. As a teen it was paperbacks found in the second hand store in Hiroo, Tokyo, by writers like John Fowles, Alister Mclean and James Clavell. Comic titles like 'Challengers of the Unkown', 'Sgt Rock' and 'Swamp Thing'. Then there were mags - National Lampoon, Reader's Digest, Time, Esquire, Details. Mixed in with all this was Japanese game shows, comedies and kickboxing shows.

Around 18, I discovered with great delight the art film, late night double feature cinemas and saw groundbreakers - and lifechangers - like El Topo, Eraserhead, Performance, Clockwork Orange and Nashville.

I also have always loved, sitting and watching people. From Shibuya station in the early days, to nights on the streets in Kings Cross in my twenties (observer, not hooker) to walking through neighbourhoods in the US, South America and South East Asia in my travels. To this day, I spend hours at a time in libraries, wherever I am, several times a week: absorbing. I also love their serenity and solemness.

Point is, it's little wonder my visual art output is voluminous. (3,000 plus artworks in the last 22 months).  A lot goes in. A lot comes out. It needs to. I really enjoy making pictures. From nothing to something. A simple magic. Soul soothing.


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image matching magic

26/11/2013

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Been having some fun with Google. Just discovered that you can right click an image and one of the menu box options is 'Search Google for this Image'. Do it and up pops about 30 similar looking images. Really enjoying seeing what similar colour schemes, shapes Google's mind finds.

I've noticed that many of my images correlate with comic covers, breakfast cereal and lolly packaging, as well as CD, book and magazine covers. This is not a surprise really as these are the things that I used to spend time visually absorbing when I was developing - especially comics and books.

My brothers and I had a collection of comics in the thousands and yet when we went to the second hand comic shop in Roppongi, I was able to sort through the incoming availables and know if we had it or not, by going through my visual filing system. It was such a beautiful and fulfilling experience to collect (and read!) comics. A true visual education. Serene, soothing, engaging. Each one held a new series of images and words that would transport you. Given the choice I would much rather read a pile of comics than watch anything that TV had to offer. So much more variety, craftsmanship, invention in a comic. Magic little things.
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zines = blogs of the 90s

24/8/2013

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Found these old chestnuts in a box this morning. Six of my zines from the 90's. Used to love making them. Contents included poems, comics, short stories, funny lists and monologues. I used to print about 200 copies of each and hand them out for free. Altogether did about 45 different issues. The first and longest running title was 'Free Spirit'. In 2001, I compiled the best of the written work into a published book, 'All I Ever Wanted Is What I Know I Can Never Have.' It was a limited run of 500. All gone now.

Zines were a pre internet blog, I guess. Now I just got this. Press post, upload a pic. Full colour, published immediately. I have seen the future and I like it!
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you got a brand new key

13/7/2013

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These are six new ones I did yesteday. Two of them I did at cafe Tapeo, then two at Deus cafe where I sat and looked at my artwork (like watching your kids play while you have a coffee - but I was actually also busy making some new kids! lol). One I did in my car parked on the side of the street while eating a take away kebab. And the final one I completed at the poker table, waiting for the game to start at Redfern RSL.

On a different subject altogether, I just remembered this morning that on select weekends, my brothers and I used to sneak in to the carpark at the Azabu Tax Office in Tokyo when we were kids and roller skate to our hearts content. Mine had red wheels and I loved them. Never got into roller blading or ice skating but really had some fun on the old skates.

There was an excellent, full sized rink at Fuji Q Highland, near Mount Fuji that we went to a few times as well. Had plans to roller skate down Fuji one day but shelved them because Space Invaders was invented (mid 70's).


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sarariman

26/6/2013

19 Comments

 
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Was thinking the other day about the last time I had a proper 'job'. It  was in Tokyo in 1987 and I had been working as an English teacher at Shinjuku Nova and it was slowly but surely driving me bonkers. I was newly marriend and just starting out on my career as a freelance illustrator but not getting enough work - so I had to do it. But after 6 or 8 months the tedium and rote of it I could no longer bear. So I checked the Classifieds in the Japan Times and found an ad doing something more along my skill lines and applied for it.

It was at the international division of a big Japanese advertising agency. I was called in for the interview. The bureau was a whole floor of an office building in Tamachi. One one side were the creatives and on the other side were the production staff. The interview consisted on myself and ten Japanese business men - all smoking their lungs out. I showed them my portfolio and a video on animation I had done (with buddy, Ray Van Stenwyk) for the opening titles of Simon Townsend's Wonder World. They seemed to like the stuff and my sense of humour as well as the fact that I could speak fluent Japanese.

A week later - after I had pretty much given up on it - they rand me at work and said that I had got the job. What would I be doing exactly, I asked. Mostly translating and helping with production, they said. I was talking to the no. 3 boss. Hmmm... I was hoping for something creative, I said. That is what I am good at. Well, he replied, the job is for a co-ordinator. I thought about it for a moment and said, Nah, it's OK, I pass.

Silence. He stuttered a bit and said just a minute.

Number two boss. Ah, Mr Lewie san. You have the job. Is there a problem? It's just doesn't seem right for me I said, now that I have been told the details of what you expect. 

Ahhh... but you don't understand. It's been decided. You have been chosen. You must accept. We had a meeting and it was unanimous. 

I admit I was a little flattered. It's always nice to be wanted. 

Thank-you, Sakai san, but I don't think it's right for me. 

What do you want? More money? 

No, that's not it. I just don't want to leave one job I don't like for another.

But  you will like this. We will make it work. How much more money will it take for you to accept. 

This was a first! I was being lured. What should I do? If I'm going to go to a different job that I don't like at least if it pays better than the old one - I should give it a try, I thought.

But I wanted some assurances. There will be creative assigments, right? Yes! he said. And I can work on the creative side of the office? Of course! And you are willing to pay me and extra 25%. Yes! Please just come in. I cannot tell boss number one that you have declined. It is not an option. 

I felt sorry for the guy. Plus two five percento. plus...  OK! I will see you on Monday morning...

(to be continued)
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solitary pursuit

23/5/2013

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EDWARD HOPPER was an illustrator and painter from NY in the mid 1900s who was somewhat reclusive. He loved making images - sketches, watercolours and oils on canvas - and used them as his means of communication and expression.

His ability to capture true human feeling and the intimate, simple reflections of daily life are moving and profound.
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all starts with a scribble

21/5/2013

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Freshly published interview from the scribble town blog. 
(Click image to visit the site and view full artictle.)
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    ART GETS ME HIGH

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    Author & Artist

    Lewie JPD 
    Blog Mission Statement: 

    "I am taking this opportunity to openly and freely express my simple truth in a relaxed, stream of consciousness manner, without self judgment or editing while transcribing and celebrating the process and practice of being an artist.

    My goal is that I will have some fun recording sentiments and thoughts as they come to me, coupled with my recent imagery. As well; to learn something of value and share something that may inspire/offer insight to other artists, creatives and sentient beings."


    Disclaimer: He's high!
    Er, obviously.

    Pass the paint brush!
    *no drugs required

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