







| Welcome to art{space} magazine online / *pleasure ~ | Pleasure Never Personal / | |||
| Studio Interview with August Klotz / *continued from front page... | ~ "Am I Just Talking Rubbish?" |
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Klotz Studio, 'Too Much' / *business & pleasure |
| art{space} interviews August Klotz: | ||||
| *continued from front page... | ||||
| {*}: | Yes, literally. Now, tell us about your digital space. |
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| /K: | I have editing and mixing systems, each using specialized
digital and analog components. The editing system uses two Windows computers -- desktop & laptop -- which
are wire-networked together and peripherally. I also work a [ Macintosh ] G5
served wirelessly via internet, which enables remote project management and client-side netwerking. |
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| {*}: | Your setup is interesting. Detail your gear for us. | |||
| /K: |
Well, let's see... The Apple is a Power Mac G5 [ OS X ]
sporting 2.5-GHz dual-G5 processors. While both of the Windows [ XP ]
machines are 2.0-GHz Pentium 'M' Vaios with plenty of disk space. |
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| {*}: | And peripheral devices? | |||
| /K: |
For photography, I boost millions of everyday shots with the omnipresent
Sony DSC-F828 [ 8 MP ].
Then I use this Nikon F-5 [ 35mm ] SLR
unit for the serious business. And that Canon EOS-1DS Mark
II [ 16.6 MP ] is for high-resolution digital work.
For videography, I dawn the digital Canon XL-2 [ 20X ].
As for audio and other devices, most of my gear involves processing software,
although I couldn't live a minute without my trusty Yamaha
Multi-Effects Digital Processor [ SPX90 ]. -- Ha. |
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| {*}: | Okay. Favorite software? | |||
| /K: |
It depends on the job -- for video editing, I use Adobe Premier Six on the Windows system, which is
usually busy cranking away on some endless video-processing job. For the effects editing and advanced
processing, I go with Final Cut Pro on the Mac. The G5 is ideal for that kind of work, with
the dual processors providing strong memory. When mixing audio,
I use Acid [ clears throat ], Cakewalk, SoundForge.
As for everything else, I boast the typical frontline assembly: Adobe Photoshop, InDesign,
and Illustrator, plus Macromedia Dreamweaver, Flash, and Freehand. |
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| {*}: | Sounds swell -- but that's not the whole story now, is it? | |||
| /K: | Yes, yes... -- Perhaps you are referring to the ...dark side of the studio? | |||
| {*}: | Strike us down... | |||
| /K: |
Well, back in the day, there really was no distinction between digital and non-digital studio space.
It was mostly analog, piecemeal, and random. Eventually, as the work became more demanding, the need
to streamline production became clear. So I am continually reorganizing and consolidating equipment
to optimize efficiency. What you see now is like the fifth reincarnation of my reorganized space,
which manifests as a more productive technological dichotomy: analog versus digital, as it were. |
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| {*}: | What's the secret behind your analog art{space}? | |||
| /K: |
I love it -- it is so meticulously chaotic and comfortable. This large table is actually an old door on legs.
It provides plenty of space for the art setup -- I have literally everything I need within reach, which is
important when I am painting and flowing and getting into the groove. |
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| {*}: | And the eviction towers? | |||
| /K: | You can't dive in without music -- do you ever listen to Pink Floyd? | |||
| {*}: | Who? ...Ha ha -- Thanks for sharing your art{space} with us today... | |||
| /K: | My pleasure. Thanks. | |||
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( Enjoy these photos taken by the kind folks at DLa, which showcase various regions of the turf
surrounding Klotz' external studio, Too Much, located in downtown Seattle, Washington ) |
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| /return to *top ^^ | ||
| /return to *front page >> | ||
| ******* | ||
| Talking Rubbish ( Trash Fantasy ): | ||
Don't mind me, I'm just digging through your garbage,
looking for art or otherwise inspiring objects. And you won't mind if I just set this old, broken toilet
on its side -- like that -- to attenuate its more revealing contours. Now, just a few quick pix for the
mix -- there, that should do the trick. Although the toilet is too heavy to carry out of here, these
other chunks fit all neat into the chunk bag. Let's see... we've got the bottom half of an ancient weather
vane ( the arrow ), a crispy bird wing ( broken off at the head ), several small, desiccated animal vertebrae,
and the front half of an old Montgomery Ward air conditioner. -- Hmm... |
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Ahh. Much better, now back in the studio with some coffee fresh brewing. Got them bones stacked
just so to make a little skeletal graveyard, chilling purposefully atop the plastic air-conditioner chunk.
A few quick lines to establish the general proportions of the composition. And then there's that broken
bird wing, leaning against the upright weather arrow -- and, suddenly, a theme develops. Is this the
subconscious portrayal of some long-awaited fantasy that manifests before my eyes, or rather the
deliberate representation of some unrealized, tragic consequence? Who knows, but flowing with the music,
it sure makes for some fascinating subject matter. |
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| ( continued below ) >> | ||
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Rubbish? |
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Still yesterday, as I disappear into the groove -- into the creative moment -- and watch in bliss
as tomorrow becomes today, forcing the dismissal of creative expression for the sake of less captivating
endeavours. But I just walk away, with the experience of having had the opportunity to live and delve in the moment
with these inspirational objects, learning from their decay and sharing in their unique existence, as such, here and
now -- perpetual memories of many yesterdays. Nothing more. And so, to quote a professional: "...art,
life, twinkies, zombies, and death!" -- "Hey, am I just talking rubbish back here?" Amen. |
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| -- JMS | ||
| -- March 11, 2005 | ||
| /return to *top ^^ | ||
| ******* | ||
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