Creative Process: Artist 3 Jock Mooney

I approached the multi talented Jock Mooney who originates from the Borders and attended my High School, and now lives in London. He creates mainly sculptures, illustrations, animations and directing music videos. I have admired his work for years and decided to delve a bit deeper into his process.

His work is weird and wonderful and he has dipped his toes in a lot of different projects which is why I think his advice and opinion will be very valuable. 

What made you decide to study Fine Art Sculpture?

I always enjoyed making physical object. So I quite naively, perhaps, wanted to do sculpture. In all honesty, as time progressed I realised that I should have opted for a more fine art course, something design based. I don't draw a particularly heavy line between "Art" and "Design" in that sense, though obviously functionality or non functionality will come into play in terms of defining that. With sculpture, I often felt like I was being restricted by the course in some way. The question "but is is sculpture" was often raised, and I generally favour a far more multidisciplinary approach. Different projects call for different approaches. Bare in mind that I also went to Art College at a fairly young age, Straight from school.

How relevant is sculpture still in your work? Do you think it has helped you with your work since? in relation to discipline?

I still enjoy making, and I still enjoy thinking of installations. From a practical sense, as these are rather expensive to produce, I have to limit the volume of time and money that I spend on exhibitions. I tend to do a solo show around every 3 years. This is something that I really look forward to, as compared to animation directing work, illustration commissions, it is really lovely to return to something more practical, in a physical space. In a very basic sense, I think going into one discipline with knowledge and experience in another is always handy. You might approach something in a different way.

I am represented by Vane, in Newcastle, for this side of things. And they are great. The space they have is also wonderful and really adaptable.

I really love your little sculptures you make of weird and wonderful creatures. How did you develop this style? Can you describe the process?

In sculptures that I made around 2006-08, theses were often created out of my head. There were some with specific references (a take on Daphne from Mythological story of Apollo & Daphne, turning into a tree for example), or the vom-dog. My mum has a friend, who's Aunt did have a dog with this problem. I would often take oddities from everyday life and render them that way as well. 

Stuff from that era was rarely sketched as such, it was made in a more explorative way. More recent, slightly larger, sculptures have been a bit more planned out. Probably more in terms of being practical with time over anything else. I actually sketch and plan a lot more now, as my time can be quite limited. It was a slight revelation, then I remember that actually most people plan out what they do. I wasn't always a big planner. 

How often do you create work fuelled by your own desire to make? Like personal work. Do you have a process that differs from a commission piece?

I think any creative person really needs both of these elements. Work made purely from desire and work made to feed the bills. One to make money and one to feed the soul. That sounds very pompous, but I really believe it. If you don't sometimes just make something 'for yourself' it is incredibly dull. Making your own project may not make sense on paper, especially if it costs you money, but if it makes you happier you cannot put a price on that really! It's all one big pot and you just have to balance out the ingredients and the processes. Necessity and reward.

I know several artists who have 'normal' jobs which cover their rent and living expenses, and they're free to make whatever they want. If that can work for you, then make it work. Everyone is different.

Commissions are a strange beast. Generally they are quite a tense journey. It is hard to invest yourself fully into something when you know it may be rejected. Which is fair enough. Once you get a feel for a situation, it is far more enjoyable. I learned with animation jobs and pitches that a lot of things come and go and a huge amount of variables come into play. If you're hugely OCD like I am, the notion of "doing something twice" can be incredibly frustrating. I got used to it though and I now expect change, rather than fear it. If you get it right the first time that's a bonus!

Do you use this work to approach galleries or are you more likely to be commissioned based on previous work?

My work is very varied. I also do collaborative work, such as co-directing music videos, short films, adverts etc. I do that with a great guy called Alistair Brotherston. I also then do more 'commercial' work such as t-shirts. Previously working with Philip Normal, and now working with an old friend in Scotland whose business is called VONK. So in addition to more 'fine art' practices, I do quite a varied mix of stuff. Which suits me. I would hate to do just one thing. It frustrates me when I see other creatives limit themselves and say "oh but I can't do that because.." B*llocks! Do it all! Or at least try out different things from time to time. 

For example, I went to art college thinking that I might want to do animation. After a week long trial in first year I discovered that my patience wasn't cut out for something that took so long. Fast forward a few years and I'm paying my rent mostly from animation, praise the power of collaboration. I'm not exactly answering your question, but generally I think more often get approached for work based on my past works, rather than vice versa.

How much of you work is commission based? What kind of process does that entail?

For animation stuff, it is all commission based. So you are generally providing a service for someone. For drawing, art direction or sculptures, I do get people getting in touch. It is hugely varied. I'm amazed still how often people expect me to do stuff for free. Or people who pay you a pretty low sum of money and then think they own you for life. They wouldn't treat a plumber that way! That's the funny thing about being an artist, or creative, is that you have to justify your pay/value, all the time. (Both professions are skilled in different ways)

When did you start to migrate from sculpture into illustration of has it always been there alongside it?

I have always done both. Generally I find that when you do a lot of one thing you naturally migrate towards wanting to do the other. So for example, right now I am doing a lot of t-shirt designs, but in between doing that I have been working on sculptures and paintings for a solo show. I'm also doing a collaborative film. So all sorts. Lots of pots on the go. I think having a variety within your work is really important. 

Do you keep a regular sketchbook?

More now than I used to. I wouldn't say it was a sketchbook, more a notebook with some sketches in it, if that makes sense. 

I know popular culture has a big presence in your work now. How long did it take to develop your style? What makes you choose to base this work on celebrities and sometimes current affairs? 

I like immediacy, and I like communication. I like bonding with people in a way. An obvious way to do that is through popular culture. I also love cooking and love to talk to people about food. I love to find a common interest. I also don't have a problem with the word 'common' or 'popular'. I think Shania Twain in her hay day was as relevant to culture as someone more 'cool'. I loved the Spice Girls at the time and still love them. I love high brow and low brow things in equal measure. I also detest snobbery. Over the years I've certainly observed some people have this kind of "why are you doing that?" look on their face in regards to t-shirts for example. Yet the same people are championing me when I'm working on the Beatles music video! That doesn't make sense!

Speaking of which you have been involved with animation for a while, including that awesome Beatles Video. Can you tell me the process in which you are approached/or apply to be involved in this project? What was it like working with such a big name? How did that affect the process?

We were approached by a commissioner from Universal Music Group, who work in tandem with Apple Records on the Beatles things. We had previously done work for Coldplay, and this came in off the back of that. In general, a client will approach the animation company that represent us, which is called Trunk. Sometimes if you are really lucky you will get a job straight away based on your work, but more often than not you are invited to pitch an idea. Which we did. We had to go in for a meeting at Apple Records which was very exciting. They liked the idea so it got given the green light.

In terms of the name, obviously it is a little daunting at first. The thing is, when a job like this is on the go you don't actually really have much time to be star struck about it. And it is work. They were very keen on what we were doing in terms of work in progress, so that definitely helps keep your motivation going. 

Looking back over the years as a working artist is there any advice you would give to an aspiring artist?

Don't limit yourself. Don't say "I can't do that!". Do your own work and always give collaboration with someone else a go on a project. Certainly more than once, and certainly with another person. Sometimes it will work, sometimes it won't.

If you could go back and change anything in your career so far what would it be? 

Even things that I would view as negative now I'd say they influenced where I am and what I am doing. I would be more confident earlier on. I limited myself to certain things and it was purely lack of confidence, not ability. You have to blow your own trumpet, no one else will.

I can fully relate to jocks work method. The variety of media and disciplines he does. I don't like to do just one thing. And I think college prepares you for a line of work which may contain a lot of different things going on at once. So you are having to stretch you mind out to accommodate it all. 

I hate the idea of only doing one creative thing my whole life. I love collage but I also love lino print and mixed media work. I think he gives great advice about not limiting yourself. As you grow you evolve.

From the 3 artists I spoke to each rarely keep a solid sketchbook. A personal preference and also a different way to record their ideas. I like to keep notes and make lists and post it notes are my best friend but I also need to draw things out so that I can remember that idea. I will be lying in bed trying to sleep or in the shower and an idea springs into my head and I urgently need to record it or I will never see it again. 

I've enjoyed speaking to different artists, people I know but didn't know their creative process. Some more assured than others, and some on different stages of their career. Invaluable advice from people working everyday.

I feel less worried about my own process now and how I see myself as an artist. I'm making my own small steps into the world with my collage and I want to embrace it without limits. Dip into as many open calls and submissions I can. Talk to other artists in that field.