Ruben Ireland is a UK based graphic artist and illustrator that produces images that are haunting and somber, with faces and bodies that at first glance seem normal but upon closer inspection reveal themselves to be altogether out of kilter with the standard proportions of a Human figure. His work often features solitary women, quietly imposing animals and minimalistic environments, conveying a sense of inner peace, curiosity and understanding whilst exploring a range of subjects surrounding life, death, love, loss, fear and serenity. His tools include ink, acrylic, weathered papers, foods, photography and Photoshop with a Wacom tablet. Since graduating from Middlesex University in 2010 he has worked for a range of clients producing album art, t-shirt designs, digital media, limited edition homewards and editorial illustrations. Ruben has also shown work in galleries in San Francisco, London, Warsaw, Stuttgart and Berlin, with more on the way.
1. You characterize your artistic style as “haunting and somber”, which portrays bodies of humans and animals in proportions that are “out of kilter” with the norm. Has this always been your principal creation style? If not, how’d you get here?
I was never purposely going down that particular route, I’m just trying to express my thoughts and ideas. Especially during college and university, I think most of my work was quite humorous. Since finishing my education I suppose I felt a bit lost and lonely, as everyone does at that point, and my work naturally followed suit. It seems that the more I’ve delved into this side of myself, the more I uncover, and so I’m left with what appears to be a fairly somber outlook. I must say I don’t really consider my works to be sad or dark, as some might describe it. I see a lot of joy, peace and beauty. One theme I am perpetually interested in is skewing proportions. It is impossible to carry a self image in the mind that is accurate, and even looking in a mirror or at a photograph results in inaccurate readings, so I’m trying to create works that depict how my characters see themselves at a particular time, in a particular mood. I’m really trying to discuss the inner workings of ‘a person’. There is very little point in exactly portraying a face or body, because if you don’t explore the person inside, you’re just left with skin and bones.
“Hold On” | Numbered Canvas Print
2. Mostly all of your images portray women or women with animals. Do you have a muse, or multiple?
I have depicted existing women in a few of my works, when I’ve felt particularly inspired by someone I’ve met or even just seen online. But I prefer to ‘create’ people from my imagination as the resulting portrait transcends the set characteristics and baggage an existing person carries. In that way, the viewer can connect with my characters on their own terms. My thinking behind this is it’s really a matter of distinguishing between the meaning of a person, rather than what a person might mean.
“Let Go” | Numbered Canvas Print
3. You seem like the traveling type. Are you? Would it be safe to say you explore other worlds through your fairytale-like artworks?
Yes, I love to travel. Staying in an unfamiliar country can change everything about what you think you know, about people and the world. I do feel like I’m exploring worlds, or at least the little bits I can capture, but I definitely don’t feel like my work has anything to do with fairytales. I’ve never been keen on fantasy art. Whilst I firmly believe in the importance of dreams and the imagination, and try to capture an essence of them often, I don’t ever like to pretend as though any of these things take solid form in the real world. Reality really is a strange enough thing without the need for fairies and monsters. My interest in dreams lies in their relevance to what’s going on around us every day.
“Fortune” | Numbered Canvas Print
4. Let’s talk technique. We’re does your creative process begin and end? You say you sometimes use food as a tool…before our imaginations get the better of us, elaborate please!
I’ve experimented with as much material as possible to create textures to work into my images. Combined with hand drawn elements, I find that using inks, water, drinks and sometimes even foods in a very random and messy way, I can breathe life into the digital side of my work. I tend to start a piece with a rough idea and begin sketching or creating photo collages to try and capture what I imagine. Once I’ve worked on several components that I think could work together, I begin assembling everything from scans into Photoshop. It’s then a process of refining the image using digital painting techniques alongside working with my scans to try and bring unity to the elements. It’s a fairly longwinded technique and a larger piece can take a number of weeks to complete. But I’ve found that this length of time is not merely a result of how I work, it has also become an important part of the process, as it gives me the chance to properly consider what I’m working on and let the image pursue its natural development.
“The Silent Wild” | Numbered Canvas Print
5. Some artists are night owls, some morning birds. When does inspiration find you? Is there anything that helps to get you in the creative mood, i.e. chocolate chip cookies, 90’s music?
I seem to be a bit of both. During some seasons, particularly the winter for some reason, I tend to wake up early and get the most done before 12pm, but at other times I wake up late and work through the night. Sleep deprivation and trying to manage a routine sleeping pattern have been problems for me in the past, but now I’m quite comfortable letting my body and the seasons decide when to be awake and when to sleep. The trouble is when I get in bed and ideas start coming - being in charge of my own work hours makes it far too easy to get back up and start working on something in the small hours. All whilst listening to as much music as possible and eating mostly chocolate cookies, yes :)
“The City” | Numbered Canvas Print
6. You have a pretty long and diverse client list. Do you have an all-time favorite project that you carried out for a client? Or maybe an upcoming project that you’re really excited about?
Although it was a very involved and difficult project, in terms of getting it exactly right, I still look back on the album cover and booklet I did with composer Suzanne Farrin with a lot of fondness. Lately, I haven’t taken on many illustration Project as I’m planning several new gallery pieces to show during a lengthy trip to America. Which is definitely my favourite type of project for now, as I’m given a lot more creative freedom.
“News From Afar” | Numbered Canvas Print
7. Your advice to aspiring artists in 10 words or less:
People will love your work if you make work you love.
“Marianna” | Numbered Canvas Print