Based out of Grand Rapids, Michigan, Pat Perry’s work reflects a Midwest mentality we recognize and love. The detailed work is as rugged and dark as it is unabashedly beautiful. Perry is one of the Paper Darts Volume 4 heroes, but we just couldn’t wait to share his work with our online readers. Below we treat you to an eyeful and an excerpt from our upcoming interview with Perry, where he discusses his sketching process.
From the Outlived Series:
Paper Darts: Your sketchbooks are pretty phenomenal. Can you describe your relationship with them?
Pat Perry: When you decide to pursue art as a living, projects, personal or commercial, get drawn out and complicated. If those bigger works are the movies I make, my sketchbook is filled with YouTube videos. Ed Templeton nailed it when he explained how everyone likes to pick up a pencil and draw as a kid, but most people lose that and stop making art for fun. My sketchbook is the way I feel is best to keep that raw, unfiltered practice alive. That book is for me and I can draw whatever I feel like drawing without worrying whether its right or wrong—what freedom! The observational drawings keep me on my game while also keeping a document of the days that go by. The drawings from my head stir the pot and are an escape from the monotony and stress of the real world.
PD: How do your sketchbooks translate into finished, fully illustrated pieces? Do you prefer sketching to the process of finalizing a detailed, finished work?
PP: The sketchbooks aren’t where you’ll find the initial, exact study for a finished piece. Only fragments that spark me down a path and on a tangent that eventually ends with a finished drawing or painting. The sketchbooks are great because I don’t have to execute the pages in a room by myself away from the life I’m desperately trying to translate and interpret. I can be right there under that overpass, next to that lake, in that hospital room, drawing. The fully finished pieces are just as necessary though, and I like forcing myself to work on something for a long time and seeing it to its end. I think an audience can be moved by a piece that took a long time, because that only reinforces how important the idea was.
From The sketchbook:
All Rights Reserved to Pat Perry.