CS: You said you’re working on something for London Grammar.
LP: I’m also doing this VR project. I can’t say much more about it. It’s kind of interactive music, so you can make songs and cue things up in this virtual environment.
CS: How do you evolve your aesthetic as a designer? It’s sometimes easier being guided by a brief but what about when you’re working independently?
LP: I guess there isn’t much thought about it. That creative drive is always there and I’m always experimenting, even if I’m doing something for a brief. A snippet of an idea. It’s almost like getting to know yourself in a way and keeping fresh. I get pretty bored so it’s a matter of always trying to push it. As soon as i put something out i’m like “oh, i’m so sick of that” so i’m always trying to push it to different areas and do different styles. I guess I’m known for one style in a way, but if you look at it, there’s quite a few different styles in that. So pushing it into painting will be completely different for me because it’s a different medium.
CS: What do you have coming up?
LP: A big switch coming soon into fine arts. Expanding more on what I’m doing now but focussing more on paintings and installations, like the virtual reality. Also I’m going to be doing some scarves again. I’m doing some collaborations with some different brands on products which I can’t really say much more about now. But definitely trying to expand more, which is full on, because you get so used to what you’re doing. It’s a big change which i really like - you have to be constantly evolving.
CS: Is there one particular discipline you feel allows you to express yourself most? Do you get more out of creating something tangible?
LP: I think when you do prints and frames it’s really nice to see your stuff taken from a digital space and brought into the physical. It translates when it feels the same and that’s when it works really well. I had an exhibition at the start of 2016 with Red Bull which featured a bunch of prints - they’re at a little exhibition at an advertising agency now - but they all worked really well, the colours all really popped. Sometimes things change from screen to print, it almost can be a different piece, but these worked out really well.
But exploring different ways of printing is something I want to do soon too, like working with metallic inks and screen printing. So, always trying to add another layer to what you see between the digital and the physical. I guess it’s like this weird play between the two, which I’ve always really loved. I really like technology along with nature, using this digital space that asks whether things are real or not. I think that plays with a lot of the things that I’m exploring. The link and the language between the physical and the digital - it’s almost like a dreamsphere to me and I don’t know which one is real or not. Is the digital version real or the print? It’s like a dream.
CS: PJ Harvey wrote her most recent album in a glass cube as performance art cross music production. What do you think have been some successful intersections of art and music?
LP: I think Brian Eno always does really good things with visual and music. He did a cool project called ‘Sounds of A Building’ where he hooked up different things that picked up the sounds of this old, big church and you could actually play the building. He’s someone who does that really well.
CS: I believe he had a lot to do with the inception of Vivid LIVE as well.
LP: He’s a fucking genius and someone I would love to meet! Always pushing his stuff into new areas.