Interview With Troy Stith
Interview: Brigitte Coovert
BC: Tell us about your work.
TS: My work is centered around nature, it’s something I set out to do last year and I’ve been pursuing it ever since. I’ve always had an obsession with moss and the way it grows on rocks, walls, trees, and anything else it can stick to. It’s sort of nature’s way of telling you something has been there for a while and it’s adopting it as a part of it’s world now. When I create a piece, I aim to make the whole thing feel connected and as one. Even though the center of the piece is a vinyl toy usually, I try to make sure it’s surroundings are just as detailed as the piece itself. Making it appear that you’re looking at a snapshot of a far off world, rather than a custom toy sitting on a shelf.
BC: Why Gorilla Mouth?
TS: I was looking for a name to call my online store, so I just started pairing words together. Gorilla Mouth was born and it was kind of a joke at first but really started to stick. My artist friend Brad Pascual, whipped up the logo for me and it’s been Gorilla Mouth ever since. I don’t go by a moniker and I wanted to keep Gorilla Mouth open as more of a name for the place to find my work and work by other people (like my local art friends) for future projects. Which are brewing for this summer, so keep an eye out.
BC: What was the worst critique you’ve received and how did it affect you?
TS: Since I’ve only been in the toy scene for just over a year, I haven’t received a ton of critiques. Most people seem to watch the boards and only comment on things they like. I’m a big fan of constructive criticism and I’d like to see more of it.
Although, there is one that comes to mind and I appreciated the honesty. I had just finished my first Munnsai and someone said they liked it, but they couldn’t see the toy and it might as well just be a paper towel tube inside of all of the foliage and epoxy. I knew this person was right, I set out to make the Munny look like a tree, but I had failed to keep the feel of the platform while doing so. I’ve kept that crit in mind every time I set out to do a piece these days and I strive to keep the original platform visible, yet covering it as much as possible in my own style.
BC: What draws you to work in 3D?
TS: Short funny answer is that it’s the only field of art that I’ve found that I can do. I’m not really a 2D art kind of person. As much as I’d like to be, I’m just not. I’ve tried over the years to improve my drawing skills, but my hands and drawing just don’t seem to work with each other. I know a lot of artists sketch out their ideas before tackling a project, but for me, even if I doodled the idea, it wouldn’t do me any good. I would say 99% of everything I create is coming from my mind and is being directly created and manipulated to fit that mental image as I do it. This is another HUGE reason why I like creating in 3D, I have total control and instant results. If I don’t like something, then I can cut it off, smooth it in, or build off of it. Since I can’t draw, I do use a lot of reference, but what artist doesn’t? I use pictures to draw inspiration and from there I start in on my project, if I get lost along the way, then I go back to reference pics or take a walk to clear my mind and figure out what the next step needs to be. Like I said before, I’ve only been involved in the scene for just over a year, but finding 3D art has had a huge impact in my life.
BC: It seems like a lot of your work process and pieces have a Zen feel to them…
TS: When I set out to create the Munnsais and Dunnsais I studied a lot of photos of actual bonsai trees. The work that goes into these ancient mini trees is incredible. I wanted to keep that balanced and peaceful nature in my work, which I strive to do with every piece. I highly respect the thought and discipline that goes into each planned out branch bend or exposed root.
Although many of my layouts may look unplanned, each piece is there for a reason. I run the moss up the sides of a tree to balance the foliage that may be dominating one side. I’ve studied a lot of religious and spiritual paths along the way, but many of the core beliefs that I feel are important in life stem from Buddhist teachings, which also lends to the Zen feel of the piece.
BC: Even among toy customizers you work in a non-traditional medium, can you tell us more about that?
TS: My obsession with flock comes from my love of tabletop gaming. Although I haven’t played for many years, I was always fascinated with the scenery and dioramas artists were producing. When I chose the direction of doing a nature look, I knew exactly what materials I was going to use. From there, I’ve expanded on that and now I’m always discovering new flocking materials to use or just going outside and finding my own pieces of nature to incorporate into my work. My painting techniques also stem from my miniature painting days. It’s definitely a different approach that most of the other talented artists in this niche.
BC: Have any last words of advice?
TS: Don’t just talk about the things you want to do, actually do them. Trying and failing is still better than talking and never actually putting your thoughts into action. Failing will only show you how to improve on where you went wrong, or uncover a new route to pursue along the way.
You can see more of Troy Stith’s work at:
http://www.gorillamouth.com/
http://www.flickr.com/photos/11758302@N03/
