Meet the Artist: Adam Cruickshank
Based in Melbourne, Adam Cruickshank has carved quite a name for himself over the past decade. Graduating from Queensland College of Art in the early 90's, he worked as editorial art director in London, Sydney and Melbourne, before then deciding to jump full-time into his own work in 2007.
Since then, he has been commissioned to do work for a number of labels including Nike, Mambo, Diesel, Boxfresh and for international magazines such as The Illustrated Ape, XLR8R, Faesthetic, Creative Review, Sneaker Freaker, Co-Op.
His work has also been featured in Street Logos and The Art of Rebellion alongside the Guardian and the BBC. He has also designed t-shirts for Turtlehead, 22 Flavours and Commune.
He is part of design collective Sleep Club
Has your job ever got you laid, free drink, arrested?
“Although completely untrue, all three on the same night is the best answer I guess. Although all three have happened at some stage, only the free drink was the result of a job.”
What did you want to be as a kid?
“Apart from a six-month fascination with being a dinosaur skeleton hunter and jungle explorer, I wasn't really even aware of options other than artist.”
What's the best tool of your trade?
“My brain. The thinking process of what something means or otherwise signifies and why is easily the most important part of my work. In terms of physical tools, I try to keep them as different as possible every time I make something – it's always interesting because when you work with unfamiliar materials you're always on the edge of failure. I use a computer a lot, but I'd never call it 'the best tool'.”
Why did you choose these three images?
“I chose an image each from my last three exhibitions because I think they demonstrate that, although I can't seem to stick to one thing, there is a common thread. This is a hindrance and a benefit. They are titled, in order, ‘Derrida vs Wu-Tang Clan’, ‘Better Homes and Gardens, Motherfucker’ and ‘Don't Even Write’. This last one is a detail of a much larger piece.”
How would you describe them to a blind person?
“They are pretty much all to do with the space between high and low culture, why those terms are even used, and what really has impact and meaning to people's lives. How does the public interact with art and why are they so often annoyed by it? Why does work like Martin Creed's Work #850 (the Tate runner) inspire such hatred but people are fully prepared to interact with supermarkets and telecoms and government agencies that deliver us a lot more significantly dodgy shit?”
If your art was music what would it sound like?
“Cash registers ching-chinging, television blaring, powerlines humming, supermarket announcements, AM radio, galactic static, shamanic spiritual drones and lagerphones.”
Big up yourself
“I just did.”
How far have you gone for your art?
“Around the world. Twice.”
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