With the advent of social media, blogs, online magazines, influencers and fans only options, it’s surely not easy to be a recognizable force of nature and even more rare to have the credentials to actually back up one’s fame or recognition. Richard Vyse has experienced the best of both worlds, meaning the pre-internet days as well as the present and much to his credit, his work is as well-known now as it was then.
What has always struck me about Richard’s work is his use of color and his celebration of the male form whether it be just a face or an entire body. Speaking from experience there is no greater gratification than to feel free in one’s chosen endeavors and to be recognized for one’s oeuvre... past and present.
What baffles me about the present times is the so-called rules and regulations that make one image acceptable and another not.... a man’s nipple is fine but a woman’s nipple can exile you to internet “Siberia”. Richard has skirted these issues by offering interpretations rather than photographic likenesses of the “banishable” body parts of his subjects which is part of what makes his work such a stand out. Personally, I am extremely attracted to his use of color, variety of talents and by his past as a fashion illustrator before newspapers ran photos of clothing. Take note that he has even been able to transform the past of what was fashion illustration and bring it into the 21st century.
It’s a pleasure
to see his smorgasbord of talents served up to us mere mortals on a daily basis
and so personally relatable when you reach the stage of life when there are no
deadlines, no musts and the only line on your to do list is to please yourself.
So, no more blather from me here is Richard Vyse up close and personal....
Jeffrey Felner: Much has been written about creatives who have a signature look; would
you say you have one? Want one? … and how would you best describe your work?
Richard Vyse: As a fashion illustrator I created different signature looks to reflect the client’s requirements. Now, I focus entirely on the erotic celebration and exploration of the male form. The look of my art changes depending on the medium that is in use. I create in ballpoint pen, china marker, prismacolor pencils and acrylics which have become my “tools of the trade” signatures. My signature looks then it comes to the actual finished piece itself is the contour line which tells the story of the look and shapes of the body; it is foremost about the line!
RV: The internet is my gallery, studio and portfolio for selling my art internationally. Instagram has expanded my ability to have my work viewed internationally but pieces deemed too salacious or graphic porno will be taken down and repeat offenders run the risk of being banned. I have had no problem so far even though I do show erections but only solo figures. My art is not confrontational but more of a celebration of the beauty of a man. Instagram accounts for about 60% of my sales with Facebook and gay art sites at 25% each. Websites and galleries do get the traffic and reach as many internationally as the Internet. I also sell on Saatchi Art but it is the internet that expanded my viewership and sales exponentially.
RV: Dinner with friends would be first choice but it would certainly be an interesting evening with Oprah, Barack Obama, Barbra Streisand, David Hockney and the Dali Lama... and if I could turn back time... Joan Rivers, Oscar Wilde, Picasso, Michael Jackson and Audrey Hepburn. Think about that dinner conversation!
RV: NOW...as I am free to draw or paint as I please and let my imagination take over after years of crushing deadlines and delivering fashion artwork with meticulous specifications. Now I can create whatever I want and whenever I want, which is usually every day. It is a source of self-gratification to sell art internationally when there is so much out there whether it be good or bad. In addition, I get to enjoy seeing my art featured in international gay art magazines like Mascular -UK, Juturna-Germany, Character-France, Noisy Rain-Mexico and Advocate-USA.
