Melbournians are being treated to an exhibition of the work of celebrated pixel artist Paul Robertson this month.
If you only know Paul through his art, you might be surprised to know he’s a somewhat shy guy who values sincerity. Above all he’s a modest guy, terms like “8-bit inspired” don’t curry favour with him and he isn’t fussed with being part of an artistic scene.
His work however reveals an active mind in perpetual motion. I’ve known Paul for years and always found him humble when discussing his talent.
Often featuring intimate scenes between a boy and a girl – and sometimes a domestic companion like a cat or a dog, but usually a cat – but more likely an orgy of miscreants tripping the light fantastic. With no shortage of details and references to dive into, the pieces suggest a rag-tag crew on epic quests, while the 80s video game aesthetics inspire the viewer to create their own accompanying bitching midi soundtrack.
Motion and journey are suggested with vast expanses and rapid colour flashes, adding to the sense of momentum. When your eyes aren’t darting around the frame to take in the ecstatic motion you’ll be creating backstories and projecting your motivations onto the major characters while their loyal fury/squishy/tentacled accomplices.
It’s not unusual to see a few overly sexualised women in the mix. It’d be unfair to draw too much attention to them, as Paul’s work exists beyond the extremes. If someone looks at one of his creations and isn’t overwhelmed, he pushes things further, adds more creatures, cranks up the absurdity. The worst thing anyone could say about one of his works is that is was “alright”.
You probably know Paul from one of his big successes; the 12-minute internet sensation that was Pirate Baby Cabana Street Fight (2006), his work as lead designer on Ubisoft’s Scott Pilgrim vs The World: The Game (2010) or his most recent foray into gaming Mercenary Kings (2013).
In between major projects his Tumblr (or Live Journal, if you rock it old school) are littered with miscellaneous animations, self-contained sprites from other projects and over-crowded static shots with as many characters as he can possibly dream up, all with no purpose aside from celebrating their convergence.
Naturally, given his fondness for pop-culture references he is often asked about his influences. Horror movies, Taito video games, action heroes, gainax anime, mythology and Japanese otaku all get regular mentions.
There might be more technically gifted pixel artists out there, but his celebration of psychedelic viscerality and eye for the absurd set his works apart. He keeps it rough and lets the content do the talking, preferring to pull out frames rather than add them to smooth out the animations.
He has been interviewed by The Verge and the LA Times, but if you live in Melbourne you have the chance to see his works in a formal setting and, if the drinks weren’t free you could even buy Paul a drink.
Adventures to the Heart of the Universe
Pixels and Animations by Paul Robertson
Lamington Drive Gallery
101A Sackville St
Collingwood, VIC Australia
The post Adventures to the heart of the Universe: The pixel art of Paul Robertson appeared first on Techly.