Meet Rush Drayton, the creative genius who investigates human society through an animalistic, surrealist lens. Known for his thought provoking concepts and bold sculptures, Rush’s work resonates deeply with those who appreciate edgy, impactful art. Get to know the man behind the masterpieces in our exclusive interview.

Image: holly.blanshard

Sources of Inspiration:

   - When you're starting a new piece of work, where do you typically draw inspiration from?

Most of my inspiration comes from what I’m reading at the time. Lately, I’ve been delving into animals’ umwelt—how they perceive the world through senses incomprehensible to humans—and how we anthropomorphise them to understand their world. I’ve always had a deep fascination with the natural world, and as I’ve gotten older, I’ve tried to reimagine and conceptualise alternate ways humans can interact with their surroundings. Hyperrealism is a great medium to explore these topics, as it offers the closest representation to replicating something in the natural world.

  - Are there particular places, experiences, or even everyday moments that spark ideas for your sculptures?

Being out in nature is a big one. I spent a good portion of my childhood in Maine, a place full of untouched coastlines and national parks. My dad was a white-water tour guide in Alaska and an outdoorsman, instilling in my brothers and me an appreciation for nature. Much of my youth was spent exploring nature, usually with the intent of catching or observing animals. Creeping belly down in the water through the weeds, lunging at large bullfrogs became a common pastime. I think I get my best ideas from being alone in nature—it allows my mind to wander and become hyper-observant of my surroundings.

Image: holly.blanshard

Time and Process:

   - Can you give us a glimpse into your creative process? How long does it usually take to complete a sculpture from start to finish?

It really depends on the scale and the materials used in the project, but it usually takes a couple of months. Silicone is notoriously unforgiving to work with, and a good result is generally dependent on your mould-making ability. I start with an initial idea driven by a topic I want to explore. From there, I decide on the best way to display this. Silicone has no real structural qualities, so fabricating a suitable internal armature is critical to ensuring the sculpture's longevity. Once I have worked out how I will construct the piece, I begin sculpting in plasticine, a rigid oil-based clay that accommodates fine details like pores and wrinkles. From there, I create moulds and cast the work in silicone before painting, assembling, and hair punching take place.

   - Do you prefer to work on multiple projects simultaneously, or do you focus on one piece at a time?

I usually dedicate myself to one work at a time. However, due to how long the sculptures take to complete, by the time a work is finished, I’ve already thought of what my next piece will be. Committing to one piece over a long period forces me to consider what I’d like to achieve from my art, and when the time comes to start a new work, I'm ready to commit fully to the project.

Image: holly.blanshard

Material Selection:

   - Your sculptures incorporate a variety of materials. How do you decide which materials to use for a particular piece?

I’m constantly experimenting with new materials, more recently textiles, and how they can be altered to contribute a visceral feel to the work. For my latest work, ‘Animal Selves,’ I tea-stained muslin cloth, cutting it into fine strips before scraping out the cross-fibres with a wire dog brush to resemble fur. The pig’s head is intentionally meant to look like a mask, rather than a true depiction of a pig. I think the juxtaposition of hyperrealism with handcrafted elements makes the piece more welcoming and displays different spectrums of what can be achieved in sculpture.

   - Are there any materials you find particularly challenging or rewarding to work with?

Silicone has always fascinated me. It’s the closest proxy to human skin. However, achieving that look is an extremely technical process, and that’s what drew me to it. There’s so much to learn, and some really good resources online from old special effects gurus and courses like the Stan Winston School. Most of my fabrication knowledge has been picked up from time working in boatyards, industrial design, or special effects studios. There are always better ways of doing things, and as I progress, I’m constantly trying to incorporate new techniques or technology to advance my practice.

Image: holly.blanshard

Favorite Projects:

   - Looking back on your career, do you have a favourite project or piece that stands out to you? What makes it memorable or significant?

I think I saw the most profound impact through my previous work, ‘When I Grow Up’. It depicts an old man on a swing, commenting on the fact that males aged over 85 years had the highest age-standardised suicide rate in Australia. People reached out to me saying they were crying because they hadn’t seen their parents in ages, or they had firsthand experienced their loved ones being impacted by this epidemic. That was a pretty remarkable feeling, knowing I had actually achieved what I set out to do through my art—raising awareness on underrepresented topics using hyperrealism to evoke emotion.

Image: holly.blanshard

Personal Style and Artistic Expression:

  - Your sculptures are known for their distinctive style and materials. How does your personal style, both in terms of fashion and lifestyle, influence your artistic expression?

Hyperrealistic sculpture is not for everyone. People either love it or hate it. I think a lot of those views are derived from the fact that it involuntarily elicits emotions and makes people feel a sense of unease. Evoking emotion is what I set out to do in my art, and I think this confidence in the medium I have chosen to explore resonates through my personal style. I wouldn’t say I conform to trends; I’m more drawn to what I find interesting. I am comfortable with the fact that I may not please everyone through what I wear or the art I choose to associate myself with. However, I think they are a true depiction of myself, and I guess that’s all you can ask for.

Image: holly.blanshard

What’s next for you?

Are you working on any new projects?

I’m about to begin my Master’s in Innovation Design Engineering, a joint program offered by the Royal College of Art and Imperial College London. My intention for the course is to explore the themes I’ve already set out in my sculptures for real-world applications. I’m really interested in alternate forms of communication and how we can learn from animals to create interconnected environments. Sculpture provides me with a medium to explore these progressive topics. If I can bridge the gap between art and design, I think that would be quite impactful.

Image: holly.blanshard

 

Check out Rush's website here