{"id":6698,"date":"2020-03-16T12:33:23","date_gmt":"2020-03-16T11:33:23","guid":{"rendered":"http:\/\/52.30.207.235\/meeting-leif-podhajsky\/"},"modified":"2020-03-16T12:33:23","modified_gmt":"2020-03-16T11:33:23","slug":"meeting-leif-podhajsky","status":"publish","type":"post","link":"https:\/\/blog.footdistrict.com\/en\/meeting-leif-podhajsky\/","title":{"rendered":"Meeting Leif Podhajsk\u00fd"},"content":{"rendered":"

You know him better than you think. Leif Podhajsk\u00fd<\/a>\u2019s artwork can be found on the covers of some of the most important albums of the last few years and his talent has been featured in a wide range of disciplines. The artist is interested in exploring the exchange between Nature and technology, resulting in stimulating artwork which develops the concept of \u201cnew psychedelia\u201d.<\/p>\n

His body of work creates an altered reality evoking surrealism and innovation, but still firmly grounded in our world: the organic, the technological and the human. Among those who have trusted his artistry are musicians like Tame Impala, Bonobo or Mount Kimbie, labels such as Warp or Sub Pop, brands like Nike or Red Bull and magazines such as Twin Magazine or Granta. And now, coinciding with the launch of New Psychedelia<\/em>, the first monograph compiling Podhajsk\u00fd\u2019s work<\/a>, we at Foot District have decided to immerse ourselves in the creative universe of one of the industry\u2019s most prolific graphic designers. Our conversation with Leif Podhajsk\u00fd.<\/p>\n

\"Leif\"<\/p>\n

Tell us about your creative process. What do you focus on to create, for example, an album cover? Where do you take inspiration from in that process?<\/strong><\/p>\n

The creative process for designing an album cover starts with the music and ends with the music. My task as I see it is to communicate the albums emotions, story, sound and structure into a visual representation of those elements. For me it always begins with listening to the music and getting an idea of how it feels. The colours and emotions it evokes. This is always the best place to start experimenting, letting those initial feelings feed the process.<\/p>\n

I also like to speak with the musician\/band and get their ideas on what they might want, sometimes they have strong ideas on what it should look like and other times it\u2019s more open to interpretation. The way I work is to try and let the music dictate where I go, I love to experiment and not have a clear idea of the finished article. This usually has the best results, rather than trying to force something into a direction or structured idea of how it should be.<\/p>\n

After this experimentation phase, I look to develop the campaign outward. A big part of what i do is not just creating an album cover but a visual world for the music to live within. I want everything thats created around the album to have a consistency and clarity to it.<\/p>\n

Once I have some concepts i will share these with the band\/musician and we will develop one or two selects. Pushing them further, maybe adding some type or logo to get closer to a finished piece. Once the last tweaks have been done the next phase begins, which is more about what i talked about above; expanding the visual world and bringing it together. Designing and laying out the vinyl, CD, singles, posters. what finishes should we use, how should the type look. Everything should feel like it belongs to the core of the music.<\/p>\n

\"Leif<\/p>\n

Is that creative process more theoretical or more emotional? Are you guided by a previous investigation or do you let yourself go by what it evokes?<\/strong><\/p>\n

There\u2019s really two sides to the creative. The first is mostly guided by emotion and feeling. Although it\u2019s backed up by research, speaking with the band\/label etc and then trying to use this knowledge as the foundation on which to experiment. Secondly is more practical. Expanding the imagery into text, packaging, posters etc. I love both sides equally, setting something up properly for print, where you know the type is going to work really well with the art is rewarding.<\/p>\n

The artwork usually gets all the focus – But it has to be underpinned with a strong graphical structure which lets it shine and also holds it all together.<\/p>\n

In “New Psychedelia” you compile your artistic background from the past decade. Have you noticed a change in yourself or in your work once you have the perspective of having brought it all together in one place?<\/strong><\/p>\n

It\u2019s a surreal experience to be putting so many projects into the new book. There\u2019s most definitely three or four distinct periods of my work. Which for me is really great as it shows i\u2019ve always been willing to change it up and take risks.<\/p>\n

I want to be continually moving and developing my approach.<\/p>\n

I\u2019ve most definitely changed a lot over the course of creating all this work. Both in myself and in the work. I think its become more and more abstract and encompassing. I actually started out doing mostly stark black and white pieces which had this sort of collage, symbolic feel to them. Which has expanded into full blown colour abstractions. But at the heart of my work has always been the exploration of nature. And an exploration of the self.<\/p>\n\n

Have you learned anything about yourself by making this book?<\/strong><\/p>\n

I\u2019ve learned that books take a long time to make. I\u2019ve also leaned to try and step back a bit and let others help me. I\u2019m quite controlling of my work and its been a big thing for me lately to try and let other people help me, rather than trying to do everything myself. I still find it really hard. I worked with Volume a new publisher who works closely with Thames & Hudson. They work from a funding model, creating books which might lie outside the mainstream but still have a big appeal. Using the artists audience as a means of helping fund really special projects. For instance we are doing a limited edition version of the book with a embossed slipcase with metallic inks.<\/p>\n

I was really into creating something of value, that could be collected and savoured and not just creating a book for the sake of it. It\u2019s more important than ever to try and create things with meaning and value.<\/p>\n

\"Leif\"<\/p>\n

What is the “new psychedelia”? How is it different from the old one?<\/strong><\/p>\n

It’s  new!<\/p>\n

The title of the book pays reference to early psychedelic movement in the 60\u2019s and 70\u2019s. Taking those ideals of experimentation, love, nature and exploration of both inner and outer selves and showcasing its revival in modern times. If you look at music, art and pop culture of the last decade, its been heavily influenced by these traits, but explored through the lens of a highly connected and technological world.<\/p>\n

If you look closely at such pop culture phenomenon\u2019s as; micro-dosing, ayahuasca, Burning Man, Meditation, Wellness, Yoga etc many of these things would have seemed impossible to break into a mainstream culture. What the book looks at is the inception of these movements (within our current cultural realm). It\u2019s foundations, as always, lie in art and music. The development for this transition has been swift with the advent of a connected world.<\/p>\n

Going from underground bands exploring new sounds or artists using new technologies to delve into topics of self exploration \u2013 These new technologies also help spread this underground evolution to a wider audience, with social media and the internet. This merging of past and present is what New Psychedelia incapsulates. A cross pollination of times and ideals, but with the same underlying values being even more relevant in a world which is hyper-materialistic, individualistic, throw away and void of real meaning. A world were our data is collected, our governments spy on us and the corporation is king. In these modern times people are more than ever starved of true meaning in their lives, and therefore look to new ways of finding inner peace and meaning.<\/p>\n

This book, through my own artist practice looks at some of the early work for bands such as Tame Impala, Young Magic, Foals, Shabazz Palaces, Peaking Lights and charts it\u2019s growth into a wider cultural sphere. The book, by following my own visual work is intertwined with the music and albums which help shape this era. Along with taking a deeper look at these albums and my own visual exploration, the book will delve into the core themes of New Psychedelia; Synaesthesia, Nature, Digital vs Organic and Anthropocene age. In an attempt to clarify and bring understanding as to our past but more importantly how they can inspire us to initiate positive change.<\/p>\n

\"Leif<\/p>\n

Have you changed your aesthetics during your professional career? If so, why?<\/strong><\/p>\n

My aesthetics have changed over the years, i\u2019ve always tried to push what i do into new areas. Looking for new ways to explore my creative process. I think its inevitable, as you change and grow as a person, so the work evolves.<\/p>\n

This for me is a natural progression. As my life changes so does my art.<\/p>\n

If your mind was made of colours, which ones would be?<\/strong><\/p>\n

Pink, black and orange. With a bit of blue. I like the warm combinations juxtaposed against colder dark colours.<\/p>\n

What and who are your references?<\/strong><\/p>\n

Nature, magic, balance, harmony, love, knowledge, wisdom and the everyday mundane tasks we all have to go through.<\/p>\n

References: I have a blog called Melt<\/a> which explores the relationships between technology and spirituality, through the lesser known or often overlooked aspects of modern and historical art movements. Cataloguing artists and music that inspire me and my close friends.<\/p>\n

\"Leif<\/p>\n

You can only save one of your artworks. Which one would you choose?<\/strong><\/p>\n

Probably the latest one. I\u2019m always in love with the one I\u2019m creating or just created.<\/p>\n

Once I finish something its done and I\u2019m ready to move on. The connection with it fades.<\/p>\n

Who would you like to work with?<\/strong><\/p>\n

As scary as this sounds to me, i\u2019d love to work with the youth. They are the ones who we have to help and teach as much as possible. They are the ones who can bring about change.<\/p>\n

If you could collaborate on a special edition of a sneaker model, which sneakers would you choose?<\/strong><\/p>\n

I\u2019m not sure which model\u2026 I quite like ROA \u2013 Hiking.<\/p>\n

I\u2019d love to develop a hiking shoe, something sustainable, high durability and repairable. I think adidas<\/a> and Nike<\/a> are working on some really interesting new technologies.<\/p>\n","protected":false},"excerpt":{"rendered":"

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