Milo Hartnoll - I'm One Of Those People Who Are Ridiculously Creative (Artist from London)

We each have our own way of perceiving the world, which paints a picture of our underlying character traits. 

1. Tell us about your background and journey.

Milo Hartnoll (°1990, London, United Kingdom) makes paintings, photos, drawings and media art. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, Hartnoll creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.


2. How and when did you realize your passion for visual arts?

I'm one of those people that are ridiculously creative - I can watch someone making or creating something, and I can then do it immediately, without having to learn more than the basics. The downside of this is not having enough storage room for all my materials!!

3. What has been the biggest learning from your career?

 
Everyone has gone through his or her own unique, personal experiences that no one else has shared in exactly the same way. We each have our own way of perceiving the world, which paints a picture of our underlying character traits. 

This means that even if you were in the same time and place experiencing the same event as someone, the way you both perceived it would be different, impacting your lives differently as well. We may know what people tell us they’ve been through or what rough times they might be going through right now, but we don’t really know.

4. Describe your favourite visual effect from a movie. Why do you like it? 

Cool topic! Yeah, Davey Jones is stunning. I remember the trailer for Pirates 2, and I insisted for ages that it was good animatronics/prosthetics, with maybe a bit of CG. I didn't believe people who said it was all CG. I don't like the Pirates films much, but their CG characters are stunning.

The Iron Man suit assembling (and the suitcase suit in Iron Man 2) are both great because the VFX are tied directly to the storyline: it's super cool, but in both cases, it happens at a crucial, heroic moment - and that's really the key. You have to tie your VFX into your story, or they just become a technical exercise (see: Transformers 2).

Some of my favourite recent VFX was in Sunshine, a criminally underrated film (despite its many flaws). It has some of the best integration of live-action and CG I've ever seen, primarily thanks to a seamless fusion of the live-action cinematography and the CG camerawork. 

5. What do you think is the best method to review visuals for corrections? And what is your favourite software to work with? 

Photoshop


6. What is the one piece of advice that you would give to aspiring visual artists?

Never lose hope


Milo Hartnoll (Artist)

Instagram: https://www.instagram.com/milohartnoll/


Interviewed By Akshaya Rathinavadivel