In 2010, I had developed an interest in vinyl toys and the artists behind them. My mind was opening up to new possibilities and I was discovering really great artists. I was lucky enough to fall upon a store in Montreal called “Camion de Pompier” and for a short time, I started collecting some of the vinyl toys that I found there. Eventually, an opportunity arose through the store in the form of a small exhibition called “The Thought Processor – Canadian series” and I was invited to participate. I figured this might be a great way to work on some of my drawings for the Singing Bone and have a context to show them in. Also a way to motivate me to work faster. I started to envision the Singing Bone differently, and began to consider telling the entire story through images and without any words. I started to ask myself questions like “What if we could stare at a wall and see the entire life and death of a character? How beautiful would that be?”
I spent most of my christmas vacation trying to finish a drawing for the Thought Processor… a drawing that I have disregarded since then. I often refer back to moments like this before starting a project. I carry anxiety when I contemplate all of the time that I will potentially spend on something because of the time that will be taken away from other things, and in the end I might have not to show for it at all. It has not stopped me from going forward, of course, but there is always an awareness that weighs on my conscience.
After a year and a half of work, I had only four drawings to show for it. Of course, I was not working on the project full time, but I was moving way too slowly and this was due to my inability to let go of small insignificant details and trust myself. A week before the deadline for the Thought processor, the back of it still needed to be created. That is when I drew the skull that has since became a logo for the project. I created it in one evening, from beginning to end, and it is the one thing that everyone focused on when I completed the project. The four small drawings that I had accumulated in a year had potential in the line work but they were coloured awkwardly. Upon showing the final product, the skull received all of the attention and I drew it in one night. It was based on the head of the character of Simpleton and I planned to draw the rest of his skeleton later on. I learnt an important lesson with that skull of ‘letting go’. It’s process that I am still working on.