INTERVIEW

LOLA DUPRE

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Lola Dupre is a collage artist and illustrator from Scotland. Her works are entirely produced with paper and scissors, her subjects vary from the fashion to the political world. Politics gives her the opportunity to explore the ugly, but this exhausts her and she returns quickly to style and fashion. In her works she loves to collaborate with photographers and she is always looking to discuss new projects and directions.



Please briefly tell us about your background. Who is Lola Dupre?

I left school young and went on an extended tour of countries, cities and art studios for a few years. My academic qualifications are therefore rather poor, but I have always enjoyed reading and learning about things through practice and experience. When I began seriously making collage it lead me equally to art and illustration.

We admire the exquisite level of detail in all your works. Can you please briefly describe your creative process? Does it take long time from start to the end?

Thank you, the details are often the most contorted areas. The detail can be interesting to produce, the most meditative part of the work. Time varies hugely between pieces - from one day to three months.

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Many of your artistic works are based on famous people portraits. We can recognize famous figures of our times but also historical ones. We notice you realized a portrait of Mao like Warhol did. Can we say that you place this part of your work in the Pop Art movement? What do you think?

It could be Pop Art, but I think there are many movements inspiring every piece of art. Each of us knows only one point of view but the truth is that things are much more complicated and individual.

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In your works made in 2014-2015: ”Liquid 01", "Liquid 02" or "Black Matter”, we can see a geometrical approach of your subject; a fascination for the shapes. Somehow it make us think about Victor Vasarely's work. Do you consider him as a reference?

Thank you!, Op art is very inspiring for me, it always has been. I love the moire pattern references in Vasarely and Riley's work. It was a big influence for these works I made with CES in LA.

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In some of your works we perceive allegorical messages. For example, we see this in your work with war planes mixed with penises. Also, some of your works are political and some others are about our entire society. Do you think any artistic work should contain a message? Do you look forward to transmit a message with your work?

I think artistic works should contain as many messages as possible. I think messages are an essential thing in how dialogue forms and grows. I have my own ideas about politics and society, I don’t want to reveal them as such, just encourage dialogue or laughter. I look forward to the next piece of work more almost as soon as I start working.

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In most of your works we can see very original and almost expressionist elements (the girl with the triangle head, the cat with many eyes, etc). You could illustrate a Neil Gaiman's novel like Dave Mackean did. Would you like to work on narrative projects?

Would love to. The lines between fine art and illustration sometimes infuriate me, lines are barriers, barriers are walls.

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What has been the biggest obstacle that you have encountered in your creative journey?

The early years were the hardest, connecting with my first clients and collectors. I can’t think of obvious individual obstacles, I have never really found motivation a problem.

What particular work in your entire production did you enjoy the most?

None really, I usually just prefer the most recent things I made.

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What do you dislike about the art world?

I dislike any form of elitism, I dislike how fine art must fulfill a certain blinkered criteria. I am all about the love and light, free expression and uncensored and unrestrained creativity. Often as an illustrator I receive more artistic encouragement and freedom than when I am working with a gallery.

Can you tell us about your future projects and collaborations? What are your ambitions and goals for the next 1-5 years?

A few photographer fashion collaborations coming up which always excite me. My plans remain the same, to produce interesting new visuals. I still love the creativity of collage, the process of cutting up images. I want to come up with new techniques and approaches to collage. And most importantly continue searching for the most beautiful things that I can make. My goal for next year is the same is my goal for 20 years in the future.

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Lola Dupre is a collage artist and illustrator from Scotland. Her works are entirely produced with paper and scissors, her subjects vary from the fashion to the political world. Politics gives her the opportunity to explore the ugly, but this exhausts her and she returns quickly to style and fashion. In her works she loves to collaborate with photographers and she is always looking to discuss new projects and directions.



Please briefly tell us about your background. Who is Lola Dupre?

I left school young and went on an extended tour of countries, cities and art studios for a few years. My academic qualifications are therefore rather poor, but I have always enjoyed reading and learning about things through practice and experience. When I began seriously making collage it lead me equally to art and illustration.

We admire the exquisite level of detail in all your works. Can you please briefly describe your creative process? Does it take long time from start to the end?

Thank you, the details are often the most contorted areas. The detail can be interesting to produce, the most meditative part of the work. Time varies hugely between pieces - from one day to three months.

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Many of your artistic works are based on famous people portraits. We can recognize famous figures of our times but also historical ones. We notice you realized a portrait of Mao like Warhol did. Can we say that you place this part of your work in the Pop Art movement? What do you think?

It could be Pop Art, but I think there are many movements inspiring every piece of art. Each of us knows only one point of view but the truth is that things are much more complicated and individual.

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In your works made in 2014-2015: ”Liquid 01", "Liquid 02" or "Black Matter”, we can see a geometrical approach of your subject; a fascination for the shapes. Somehow it make us think about Victor Vasarely's work. Do you consider him as a reference?

Thank you!, Op art is very inspiring for me, it always has been. I love the moire pattern references in Vasarely and Riley's work. It was a big influence for these works I made with CES in LA.

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In some of your works we perceive allegorical messages. For example, we see this in your work with war planes mixed with penises. Also, some of your works are political and some others are about our entire society. Do you think any artistic work should contain a message? Do you look forward to transmit a message with your work?

I think artistic works should contain as many messages as possible. I think messages are an essential thing in how dialogue forms and grows. I have my own ideas about politics and society, I don’t want to reveal them as such, just encourage dialogue or laughter. I look forward to the next piece of work more almost as soon as I start working.

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In most of your works we can see very original and almost expressionist elements (the girl with the triangle head, the cat with many eyes, etc). You could illustrate a Neil Gaiman's novel like Dave Mackean did. Would you like to work on narrative projects?

Would love to. The lines between fine art and illustration sometimes infuriate me, lines are barriers, barriers are walls.

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What has been the biggest obstacle that you have encountered in your creative journey?

The early years were the hardest, connecting with my first clients and collectors. I can’t think of obvious individual obstacles, I have never really found motivation a problem.

What particular work in your entire production did you enjoy the most?

None really, I usually just prefer the most recent things I made.

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What do you dislike about the art world?

I dislike any form of elitism, I dislike how fine art must fulfill a certain blinkered criteria. I am all about the love and light, free expression and uncensored and unrestrained creativity. Often as an illustrator I receive more artistic encouragement and freedom than when I am working with a gallery.

Can you tell us about your future projects and collaborations? What are your ambitions and goals for the next 1-5 years?

A few photographer fashion collaborations coming up which always excite me. My plans remain the same, to produce interesting new visuals. I still love the creativity of collage, the process of cutting up images. I want to come up with new techniques and approaches to collage. And most importantly continue searching for the most beautiful things that I can make. My goal for next year is the same is my goal for 20 years in the future.

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Lola Dupre is a collage artist and illustrator from Scotland. Her works are entirely produced with paper and scissors, her subjects vary from the fashion to the political world. Politics gives her the opportunity to explore the ugly, but this exhausts her and she returns quickly to style and fashion. In her works she loves to collaborate with photographers and she is always looking to discuss new projects and directions.



Please briefly tell us about your background. Who is Lola Dupre?

I left school young and went on an extended tour of countries, cities and art studios for a few years. My academic qualifications are therefore rather poor, but I have always enjoyed reading and learning about things through practice and experience. When I began seriously making collage it lead me equally to art and illustration.

We admire the exquisite level of detail in all your works. Can you please briefly describe your creative process? Does it take long time from start to the end?

Thank you, the details are often the most contorted areas. The detail can be interesting to produce, the most meditative part of the work. Time varies hugely between pieces - from one day to three months.

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Many of your artistic works are based on famous people portraits. We can recognize famous figures of our times but also historical ones. We notice you realized a portrait of Mao like Warhol did. Can we say that you place this part of your work in the Pop Art movement? What do you think?

It could be Pop Art, but I think there are many movements inspiring every piece of art. Each of us knows only one point of view but the truth is that things are much more complicated and individual.

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In your works made in 2014-2015: ”Liquid 01", "Liquid 02" or "Black Matter”, we can see a geometrical approach of your subject; a fascination for the shapes. Somehow it make us think about Victor Vasarely's work. Do you consider him as a reference?

Thank you!, Op art is very inspiring for me, it always has been. I love the moire pattern references in Vasarely and Riley's work. It was a big influence for these works I made with CES in LA.

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In some of your works we perceive allegorical messages. For example, we see this in your work with war planes mixed with penises. Also, some of your works are political and some others are about our entire society. Do you think any artistic work should contain a message? Do you look forward to transmit a message with your work?

I think artistic works should contain as many messages as possible. I think messages are an essential thing in how dialogue forms and grows. I have my own ideas about politics and society, I don’t want to reveal them as such, just encourage dialogue or laughter. I look forward to the next piece of work more almost as soon as I start working.

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In most of your works we can see very original and almost expressionist elements (the girl with the triangle head, the cat with many eyes, etc). You could illustrate a Neil Gaiman's novel like Dave Mackean did. Would you like to work on narrative projects?

Would love to. The lines between fine art and illustration sometimes infuriate me, lines are barriers, barriers are walls.

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What has been the biggest obstacle that you have encountered in your creative journey?

The early years were the hardest, connecting with my first clients and collectors. I can’t think of obvious individual obstacles, I have never really found motivation a problem.

What particular work in your entire production did you enjoy the most?

None really, I usually just prefer the most recent things I made.

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What do you dislike about the art world?

I dislike any form of elitism, I dislike how fine art must fulfill a certain blinkered criteria. I am all about the love and light, free expression and uncensored and unrestrained creativity. Often as an illustrator I receive more artistic encouragement and freedom than when I am working with a gallery.

Can you tell us about your future projects and collaborations? What are your ambitions and goals for the next 1-5 years?

A few photographer fashion collaborations coming up which always excite me. My plans remain the same, to produce interesting new visuals. I still love the creativity of collage, the process of cutting up images. I want to come up with new techniques and approaches to collage. And most importantly continue searching for the most beautiful things that I can make. My goal for next year is the same is my goal for 20 years in the future.

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