After we released some stuffs by Gustavo Eandi yesterday. Today we got to speak to Argentinian-born designer and illustrator Gustavo Eandi , on his creative process, how he interprets his artworks for us, and many more…. Let’s check out our interview with him below.

 Hi Gustavo! Hope you’re well. How are you and what are you up to nowadays?

Hey Domestik! All good, thanks man. These days, beyond some commissioned works I’m very happy to collaborate with, I find myself mainly focused on a rather large and personal project with LITE YEAR (two producers from NY / LA). A project that will see the light this year

But if we talk about this precise moment, here and now, I am a little stressed moving to a new apartment.

In short, personally, I could say that I’m in a good moment (only when I manage to abstract myself from this fucked up world, which is not easy)

We want to know you better, please let us know more about you in your own words.

I was born and (currently) live in Mar del Plata, a coastal, tourist city (although cold and somewhat dark), in the province of Buenos Aires, Argentina, with my wife and my son Benito.

I have been working professionally in this bussiness for more than 10 years, but I’ve always been interested and involved with images.

My earliest memories regarding that interest come from my father’s rock vinyl album covers in the 80s, the Spanish comic magazines like “el Víbora”, “Skorpio”, “Cimoc” (with Moebius, Enki Bilal, Milo Manara , F de Felipe, Simon Bisley…), also “Fierro” (from Argentina) from early / mid-90s, and the skate catalogs and magazines from USA and Spain from those same years.

Music looks like an inseparable thing from your daily life. How does it influence your works?

It is… Although I could tell you that I listen to music almost exclusively in my work hours and the rest of the day I enjoy the silence and the other sounds.

Sometimes in this process music becomes one more element of the environment, something abstract, something that is present but doesn’t directly influence my production.

How would you interpret your designs for Evidence D-006?

My designs for this collection are the result of the dialogue we had about reinterpreting ancient Indonesian masks, with a South American look and 15,000 km away from the source. Formally I used the hammer (in its most popular and western form) as a wink to bring that imaginary to modern times.

Where do you find your inspirations?

Mainly in books and popular graphic (self-thought) from my city.

Also in reviewing the work of certain artists (Martin Kippenberger, Sigmar Polke, Christian Marclay) or artistic movements (with the benefit that they speak about a concept rather than a single glance).

For several years I have been obsessed with Fluxus, concrete poetry, mail art. Augusto de Campos, Edgardo Antonio Vigo, Vórtice Argentina, Clemente Padín, Ray Johnson, Genesis P-Orridge (COUM Transmissions), among many others.

How does this quarantine situation affect your work, and how are you coping with this situation?

Thanksfully, I have a large studio where I can work with ease since before quarantine, and where I spend most of the day.

The only thing that worries me is that my 2 year old son can get through this situation as lightly as possible.

Is there a message you want to deliver through your works?

The message depends on each project.

Anyway I like being able to detach myself from my work, make it to look anonymous. I don’t know if I succeed, but generating “doubts” in the viewer is interesting and fun to me.

Do you differentiate your commercial and personal works? If yes, how?

No. The intensity, energy and love for what I do is the same in both cases.

If you can be focused on only doing one thing for the rest of your life, what would it be?

Draw with graphite. I could use it to practice, because I don’t do it as much as I’d like.

When this situation gets better, what’s your plan for the rest of the year?

Traveling as much as I couldn’t this year.

Tell us something that you’d like to share to creators and artists that’s reading this interview.

Let’s be honest with our work

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