David Van Gough Interview on Hiplanta

 " I think it's a very normal and natural human response to look at a beautiful scene, stand by a lake or whatever, and feel a prevailing sense of mournful melancholy that the moment is transient and that the shadow of mortality is nestling under a damp log somewhere." 

That's an extract from another interview I recently did with journalist Wil Lewellyn on Hiplanta in which I talk Serial killer culture, sex in Horror films, the O.T.O, Art spiritualism and future plans.

READ THE FULL INTERVIEW HERE

Interview at Cartwheel Art

 '...it was like fuck you Van Gogh, we share the same name, but I’m not going to end up broke, batshit with syphilis, toothless and eating oil paint.'

That's an excerpt from a rather spiffing interview with Cartwheel Art about my show-thank you Dahlia Jane and Cartwheel for batting in my corner:

http://www.cartwheelart.com/2014/09/03/interview-david-van-gough-purgatorium-bash-sf-sept-6th/

Upon a Midnight Dreary goes fourth.

Dahlia Jane's blog-upon a midnight dreary- is four years young today. Long term acolytes, might be well aware of our association-particularly as a result of her sterling publicity for the previous show-Man/son and the Haunting of the American Madonna, but newbies and happenstance's might have missed the running gamut of all things artistically alternative on her wonderfully diabolic domain. If you haven't done so already, stalk and subscribe, it'll be like Halloween all year around. 

Upon a Midnight Dreary Blog

Of course, a certain artist of minor import has had the honor of being featured on her malificent blog innumerable times, since we met and gret at the Hive gallery in 2010 (pictured above)

So cheers and Happy Birthday baby Jane, and I'll leave you with a collection of the grand articles she has crafted on my behalf:


Upon a Midnight Dreary Podcast #8: David Van Gough-by Dahlia Jane

Man/son And the Haunting of the American Madonna-by Dahlia Jane

D3ad/Ends book review:2011-by Dahlia Jane

New Artwork from David Gough:2011-by Dahlia Jane
 
Artist Profile: David Gough:2010--by Dahlia Jane

Notes from an Easel-Disintergration

Worked on laying the foundation for this one today.It took me a while to loosen up again after the two week break from oils.
My hand is doing better, but I'm still having to be mindful of keeping the wound clean whilst it heals, which means I can't brace the brush in the manner that I'm used to. My hand cramps and its frustrating.

Add the whole open guest house thing, and I'm realizing that working from a studio at home is getting old. Once October's shows are done, I need to start setting in motion looking for a work space which is secluded from any future distractions.

With that said, the first full day back at work isn't going too badly-I'm keen for the piece to dry so I can get on with the detailing, but all told I'm fairly happy with the results.

The video interview from the RAW event came in today.
Lani looks lovely at the 24 second mark, and it's got a nice kind of pop video style, and you can see how I'm trying to stay positive, when I say the words ' I'm positive about RAW' -even though I'm clearly wondering what I'm doing there.

It's more of a vehicle for RAW anyway, which is almost certainly the point, so I maintain everything I said about the event, apart from the head shot's,which were top.

Barrowboy-generalisms

November is two days old, and I'm keen to wash the bitter taste of October from my mouth with the peppermint rinse of mentioning that today, I meet to spec the premises for the live painting event with FM 94.9 on November 12th.

I also wanted to let you know that my interview with Fantasy E-zine is now available to read for subscribers at the following address:

http://www.fantasyezine.com/

A snippet of which follows:
FE: How would you describe or categorize your art?
DG: I really don’t like to-its too static. By nature, artists are flighty and evolving constantly, and to formalize any kind of label is to box you in. This week, I happen to be a hyper real Victorian, surrealist with a sideline in biomechanic-steampunk, next week I may be playing jazz flute.

Finally, I am in the process of illustrating a book with author Peter J Carroll, who used my Gods and Monsters piece on the cover of his previous book-The Apophenion. Peters new book is a very exciting project, and I shall post occasional teasers. It's a continued exploration of practical and theoretical magic and higher dimensional curved spacetime.

Which brings us back to matters of karmic influences in a way-arc, circle closed.

Uh-oh, don't look now...

David Gough Interview with Lip magazine

They call Memorial day a Bank Holiday back home-I imagine because all of the Banks are closed. Our Memorial day weekend was spent on the banks of Sequoia National Park-beautiful, epic, middle earth, vistas of the type that would have had Turner chomping at the easel to paint. I didn't quite go that route,but I did, take a gazillion photo's, and shall be sharing some of the better ones in my next post.



What I can show you, is a rather lovely article featuring the interview I did with the wonderfully esoteric Lip magazine , a snippet of which is reproduced below;

Adam- no wonder your addicted. So where does your inspiration come from. your art seems to have a darkness to it. please elaborate on the source

David- I was raised an Irish Catholic, and from the moment you were born-through church services, through school assembly, through prayer-you were reminded that a personal plot awaits you in the depths of eternal hellfire, lest you repent. Your own, miserable death is bandied continually, before you even have a chance to truly live, or have any understanding over what life is and has to offer. Meanwhile, family members and friends were keeling over left and right, succumbing to cancer or some ghastly end, whilst we had the whole sectarian thing going on with the IRA bombings. Growing up at the time, it all seemed perfectly normal, but I imagine that it culminated in a foundation of darkness that probably informs much of my work. Plus there’s nothing darker than the effigies of a limp, bloodied,dying christ, hanging like veal from the cross every Sunday- images like that leave an imprint on a child...

READ FULL ARTICLE HERE

Thanks to Adam Kupatris, who did a sterling job.