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ses and the stories behind his works are very interesting i love how bacon portrays intense loneliness despair and inner turmoil i think that is much more interesting than a painting of ordinary flowers or for example a man on a horse when people tell me they think my work is too dramatic i take that as a compliment you can never have too much drama i ve learned that and a lot more from the great painters self portrait acrylic on canvas 90 x 70 cm paul weiner when blending abstraction and the human form to what extent is the human condition or emotion as important as formal concerns such as painterly beauty or composition tom melsen i think the emotion in a painting is very important that is also why i love doing portraits you can capture a lot of emotion in a face i never attended art school i have no specific way of working i really just paint what i feel composition and painterly beauty is of course very important but i would say emotion in art is what makes a painting unique i think it s the same with music some people may be very good singers but when there is lack of emotion it does not have any effect on me memories acrylic on canvas 100 x 70 cm paul weiner do you see your poems and musical works as being similar to your paintings or does your thought process change drastically between artistic mediums tom melsen a painting can be an inspiration for a musical piece for example when i go to a museum and look at a piece of art it sometimes happens that a melody pops up in my head just a certain melody that fits the image i have often been inspired to write something after visiting a museum but there is no real connection between my paintings and musical recordings or writings i keep them separate although everything i do seems to have a melancholic feel to it i don t know why that is actually man in brown suit acrylic on canvas 60 x 40 cm paul weiner tell us a little about the emotions behind your painting the walk which seems to be an abstracted landscape tom melsen i wanted to make a painting of someone who is walking through this landscape a landscape with a clear blue sky and tall grass in front of the painting you see a man i d like to think that this man is on a journey everyone questions where their life is going sometimes this painting is about dealing with yourself and following your own path this painting was also inspired by some of the landscapes van gogh used to paint woman at party acrylic on canvas 60 x 50 cm birthday acrylic on canvas 60 x 60 cm paul weiner you mentioned that your art is often seen as dramatic do you see your paintings as being stories that continue from one work to the next or is each painting representing a new idea or emotion tom melsen each painting is representing a new idea i like to travel and when i do i always carry a small notebook around with me i m often scribbling down new ideas for a painting i m always exploring different things i do not want to repeat myself over the years i ve written so many things down that there is still so much i have yet to paint woman at hospital acrylic on canvas 60 x 50 cm paul weiner who is the subject for your painting of a woman in the hospital and what led you to paint this woman tom melsen this painting is completely fictional last year i wrote a poem about someone in a hospital it goes something like this you say your mother is ill she doesn t get any better all your life you ve never learned how to go without her no roses by the window no one s on the phone and all that you wonder is how to move along and all the things you ve never done you never do them now you say your mother is ill the hospital is empty now the original poem was a bit longer but i made this painting because i wanted to put some of these writings in a book i cancelled the book but the painting survived tree at night acrylic on canvas 60 x 50 cm paul weiner your painting of a tree at night attempts something formally complicated as you attempt to represent something that in reality is barely visible how did you handle this challenge to create a scene that embodies this tree tom melsen i could say that i studied this or did a lot of sketches beforehand but that would be a lie as with most of my paintings this happened by mistake i m not a master painter i actually don t really know what i m doing my way of working is that when i make three paintings one of them survives i have to throw away the other two because i don t think they are any good it s a frustrating way of working but when a painting works out it s a great almost magical feeling with this particular painting tree at night i knew that i wanted to create a night scene with red tones i had this picture in my mind and all these colors in my head and it surprisingly turned out pretty much the way i wanted please view tom melsen s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 4 comments august 2 2015 david dilillo s documentary investigation of nick drake s hometown david dilillo s multimedia artwork has been included in exhibitions at the museum of modern art moma calumet photographic anthology film archives museum of the city of new york state of the art gallery in ithaca bottleneck gallery in brooklyn art takes times square liverpool lift off film festival on sictv and in a wide variety of other galleries festivals and publications he also works as an art instructor and as the co founder co director of aquehonga cinema a staten island community film series during his interview on critique collective dilillo illustrates his recent trek to tanworth in arden where he documented the town that cult music icon nick drake lived in further images of dilillo s artwork can be found on his website three hours from london tanworth in arden warwickshire three hours from london tanworth in arden warwickshire paul weiner when did you originally find your interest in working as a multimedia artist david dilillo the exact point in time is hard to pin down i ve been shooting photographs since middle school and drawing long before that i m immensely lucky and proud to come from a family of photographers and painters on both sides they taught me that visual art is not only an important act of expression but also a form of preservation i grew friendlier with a slew of diverse artists during my time in school and beyond who fiendishly got me involved in film production sculpture humor illustration and other mediums i love creative collaboration but i also have an often overwhelming amount of interests and passions so i try to have my hands in many projects at once three hours from london wilmcote station warwickshire paul weiner who is nick drake and how has his music impacted you david dilillo when a close friend first showed me nick s music years ago i devoured it obsessively only to find myself continually rediscovering new layers up to this day nick drake was born in 1948 in burma and grew up in tanworth in arden a small hamlet in warwickshire england his music never gained the recognition or visibility he desired and he was eventually stricken with depression nick mysteriously died from an antidepressant overdose at the age of 26 you can read a lot about the details either known or rumored about his tragically short life about how he didn t quite fit into rigid british norms of the time what speaks to me most is this nick had an almost mystical ability to communicate timeless meditations on love and nature and i m one of many who deeply relates to his thoughts and struggles but i believe he was just trying to share his mind and heart with others in the best way he knew how his music never gained the audience and response that it deserved and he was eventually overcome with depression his lyrics shifted between cryptic psalms and beautifully descriptive accounts and his guitar style blended english folk american blues and even eastern tonality later on nick s fragile music and words of romance and universal connection have consistently given me new eyes to see myself and the world three hours from london tanworth in arden warwickshire paul weiner do you consider your three hours from london series to be a documentary narrative or more conceptual sort of project david dilillo the phrase three hours from london comes from one of nick s darker songs about escape interestingly enough it took me about three hours by train to get to tanworth in arden from the english capital when i stayed in the village i solely listened to nick s music and shot without a strict objective in mind which was a bit non academic and liberating i was writing too but the series is a very personal visual journal of sorts it can act as a narrative if certain lyrics of nick s are paired with particular images and it can act as a documentary piece about the town and surrounding areas i shot in black and white to evoke the time in which nick lived though to use another of nick s lyrics a time of no reply by visiting nick s final resting place i had the chance to bridge the chasm of decades and feel like i was meeting him three hours from london tanworth in arden warwickshire paul weiner i like the idea of trying meet a dead artist and experience the town he lived in when you were in tanworth in arden did you meet and discuss nick drake with any of the locals or was this more of an immersive experience of everyday life in the village david dilillo i spent a large amount of time hiking the area in solitude unplugged from most technology and my common distractions i attempted simply to observe and document what was around me the shades of leaves in the afternoon the sounds of children playing in the distance the brushes of wind from the hills my immersion seemed sacred familiar and rustic all at once it reminded me of nick s songs of isolation this wasn t a negative feeling but more a type of connection with the graves and green pastures and people around me in a strange and welcoming way this demystified the idea of idolizing a musician whom i ll never truly know and instead helped me to deepen my understanding of him as a young man who lived a vibrantly creative but far too short life i was also completely warmed by meeting and talking to those who lived and worked in town they were brilliantly and immeasurably kind hearted open minded people many patrons at the inn heard my accent and might have assumed that i had come to visit nick drake the singer buried among their many other loved ones and friends one day in the cemetery i met a man sitting on a bench close to me where his wife and he used to sit together he was there in remembrance of the woman he d spent most of his life with and i felt as if i were remembering a man i d never met we spoke for a long while and it was a bond i ll always cherish three hours from london tanworth in arden warwickshire paul weiner are there any particular songs that you used as inspiration david dilillo beyond three hours the song from the morning was especially resonant with me it s the final track on nick s third and last album released during his lifetime pink moon and its lyrics are engraved as the stark epitaph on his tombstone now we rise and we are everywhere nick s music is poignantly spiritual but there are recurring naturalistic element and motifs without adherence to one single denomination of faith i interpret this line as a beautiful and hopeful vision of the constantly cycling energy in this world reborn again and again from a different angle the song one of these things first paints a very stark and grounded image of regret it s a perpetually fascinating song as the litany of paths not taken and responsibilities unmet grows nick s somber words float over brightly swung major chords and piano rolls i view the piece as an admission and apology to those whom nick might have neglected while still being an enlightened and wise acceptance of the choices he actually made i sincerely relate and try to reach this awareness three hours from london warwickshire paul weiner were you at all surprised by what you saw in tanworth in arden david dilillo i felt like i had been there before in an old dream the english midlands are not unlike the hillsides of eastern pennsylvania but the newness of the scents and sounds gave a unique and raw experience the passing of time or my perception of it surprised me the days seemed long but ethereal and illuminated i was rendered stunned by the emotional impact that one individual artist s work and life could have on me and i was taken aback by a town not frozen in history on the countryside but rather breathing with lives and stories that come and go three hours from london warwickshire three hours from london warwickshire paul weiner was this series shot digitally or with a film process david dilillo i shot with my father s canon ae 1 and used black and white film i nearly forgot to request that the rolls be checked separately at the airport an important reminder for all other picture makers and photo takers who still travel with film i was also collecting digital video footage but it was important for me to use an older process to shoot this project because of the investment of time and care required there s the inherent risk of not knowing the look of images taken until much later but i put trust in my knowledge with the process and in whatever outcome i d end up with three hours from london tanworth in arden warwickshire paul weiner has your project with nick drake affected your way of thinking when creating new works did you learn anything about your own practice either technically or conceptually throughout this process david dilillo going into the project i knew it would be important for me to present the area around tanworth in arden from an observer s point of view since then i ve tried to take the many creative influences i have and make work that can be seen as a reinterpretation of inputs instead of representation and reflection the isolation of the project and the trip also had its significance and place but i think i ve become more drawn to collaborative work in any medium exchanging ideas with others has become invaluable to me and i m still learning to focus less on how a photograph or any other creative pursuit or piece of art might fit into the greater whole of an outlined project and more on how i can best genuinely express my own thoughts through art three hours from london tanworth in arden warwickshire please view david dilillo s work on his website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your 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