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Rebecca Nawls-Walker (aka Wrecks) is a multimedia artist and digital musician from Chicago. Since 2017, she has been DJing and producing music, together with her digital artwork rising as a strategy to complement her mixes. Throughout the pandemic, she embraced NFTs, permitting her to merge digital artwork and music in new methods. Her distinctive mixture of text-based compositions, animated poster artwork, and digital music has been exhibited and picked up internationally. Now, Wrecks is concentrated on transitioning her digital work into bodily areas whereas persevering with to discover themes of self-reflection, vulnerability, and rebirth.
On this interview, Wrecks discusses her journey from enjoying saxophone at school to changing into a DJ and multimedia artist. She shares insights on balancing her visible and musical outputs, the affect of NFTs on her artistic course of, and the deeply private themes embedded in her text-based artwork.
Go to Wrecks’ MakersPlace Profile
Brady Walker: Welcome again to MakersPlace Spotlights. I’ve with me Wrecks, also referred to as Rebecca Nawls-Walker. We’re not associated. Wrecks, цan you begin by telling us just a little bit about your journey as an artist and as a musician?
W: In fact. So, I’m Wrecks from Chicago. I actually didn’t begin making music till my twenties, once I began DJing. I had just a little background in my faculty band—I performed saxophone—however I kind of took to music later in life, moving into the artist function. As I used to be DJing, I began enjoying with visuals and exploring the house of having the ability to publish our creations.
BW: Very cool. How did you transition from saxophone to DJing? What was that motion like?
W: Truthfully, you already know, after you play in your faculty band, you don’t all the time see a future in it. Once I lived in Austin, Texas, I met a whole lot of self-taught artists who have been producing their very own music in native studios. They might invite folks in to mess around with various things. Seeing that transition—self-produced artists, and DJs making it work with no matter they’d—illuminated a complete different house of creativity for me, one which wasn’t tied to only bodily devices.
BW: Textual content-based artwork is sort of a distinct segment style, and your work fuses that with poster design and animation. I assume this took place since you have been selling your self as a DJ, however when did you see the road between poster design and considering, “This can be a effective artwork medium”? Have been there any artists that influenced that, or how did that come about?
W: Truthfully, on the time it occurred, I used to be nonetheless actually centered on music. Then the pandemic occurred, and all these applied sciences began to unfold. I noticed so much about NFTs, and as a musician releasing on Bandcamp, I used to only launch music, get folks to obtain it, and that’d be it.
I discovered myself on a number of completely different platforms catered to musicians, however sooner or later, I simply loved making artwork to go together with the music. The distinctive factor about NFTs is that you can make animated album artwork in a means that I couldn’t add to, say, Bandcamp, or Apple Music, or Spotify. It was the primary time I began creating artwork particularly for this sort of medium, in a position to separate the 2 and deal with visuals.
BW: When making these items, how do you consider the stability between asking a viewer to look versus asking them to learn?
W: Truthfully, I don’t know. Typically I take a egocentric strategy—it’s simply an aesthetic factor for myself. I all the time begin by writing one thing private, and once I first began making these posters, I used to be really making an attempt to obscure the writing as a result of it was so private. I didn’t assume anybody could be studying that deeply.
Then the aesthetic half turned: how do I divert folks from actually studying the textual content, until they have been actually in search of it? I feel that stability—of wanting the textual content to be seen but in addition hidden—turned the main focus of discovering the aesthetic in these posters.
BW: How do you stability your musical output along with your visible output?
W: That’s been the toughest stability for me. I don’t assume I can do each on the similar time. I’ve change into a little bit of a perfectionist, so it’s simpler to deal with posters for some time or music for some time. Like, I haven’t made a poster in six or eight months, however I’ve been closely into music manufacturing. I feel it’s only a cycle for me—I shift between completely different emphases.
BW: This collection, Who Am I/Who I Am—how did it come about? What’s the story behind it?
W: I began a 12 months or two in the past with a collection referred to as Digital Dialog, which was a dialog with myself. Who I Am is a continuation of that—extra self-reflection. I felt like I used to be creating inside the limits of Twitter and NFT areas, with out displaying that facet of myself to family members. It was a strategy to step again and reintroduce myself and my artwork, even to myself.
BW: What did you study from that?
W: I discovered I used to be nonetheless unsure. After two years of constructing posters and questioning my id as an artist, I noticed I like the artistic course of. I’m not tied to at least one technique, and that’s okay. This collection helped me let go of the necessity for validation and cease worrying about how my artwork could be acquired.
BW: Once I noticed your work, I used to be captivated, which is why I reached out. I did an train to seek out artists buried within the feed on MakersPlace, and out of practically 1,000 profiles, yours stood out. Only a few artists have been doing one thing uniquely their very own, however your text-based artwork did, and it spoke to me.
W: I actually respect that.
BW: Your writing explores self-acceptance, self-knowledge, and vulnerability. Whenever you create, which comes first—the writing or the visuals? What does your writing course of seem like?
W: My writing is emotional and day-to-day. I mirror on what’s occurring round me—relationships, issues family members are going by means of—after which I mirror it again on myself. It’s simple to evaluate externally, however artists must deal with self-judgment and accountability. My writing is about being trustworthy with myself, determining the place I’m and the place I wish to go.
It’s a solitary course of, however what’s fascinating is that deeply private work usually resonates with others. It’s a means of witnessing your self whereas being witnessed by others. However first, you must be trustworthy with your self—that’s the continuing dialog.
BW: Is that this a observe you may have that’s separate from the artistic course of? Like, do you see one thing and assume, “I can see a spot for this within the artwork,” or does it begin with the intention to make artwork from it?
W: Effectively, I feel it all the time begins with the writing first. I’ve a whole lot of notes in my app, so I’ll pop it open and jot down completely different iterations of what I’m considering. It’s not all the time supposed as paintings, however there are occasions once I see a picture or consider movement, after which I’ll search for phrases or writings that may overlap.
There have been collections the place I’ve compelled myself to create one thing each day, so I write with the intention of constructing one thing. However I’ve all the time felt just a little unhappy with that course of as a result of it looks like I’m forcing the phrases and pictures collectively.
BW: Yeah, there’s one thing in regards to the dailies. I feel there’s a spot for them, and a whole lot of artists thrive with them. But it surely’s such a technical train, and I ponder what it could seem like if artists who’ve been doing dailies for a very long time simply stopped for some time and tackled one piece at a time.
W: Undoubtedly. I’ve puzzled that myself. I haven’t made a visible piece in a number of months, so I’m excited to get again to it and see what the method looks like in 2024.
BW: The place do you get the visible components?
W: It’s a little bit of a combination. Once I first began, I used Max MSP so much to do visible coding and create some nice visuals. I really ran this explicit piece by means of Max a number of instances to get a delayed visible impact—it’s actually good with visible synthesis. However I’ll pull visuals from wherever. Typically it’s about understanding precisely what I need, like on this piece—I particularly wished a watch and a skeleton, so I went looking for that.
I’ve additionally used AI for a number of months in my workflow to drag visuals, however usually it’s about discovering a video or synthesizing one thing in Max, then making the textual content work round it, relying on what the movement appears like. It actually comes collectively within the second with a number of items.
BW: In your description of Justification, you point out the push and pull in your design course of and the way you loved studying CSS animation. I discover that fascinating as a result of I can see the way you’re pushing your self. Are you able to discuss your design course of and the instruments you utilize?
W: The instruments are simply what’s out there, and I’ve been fortunate to produce other artists recommend issues. For this piece, I used Cables.gl, a visible coding language, which Purse Beats launched me to. I wished to do one thing bare-bones. Sure, I may code the poster, but it surely wasn’t simple. What drives me is determining how one can do one thing if it’s attainable.
Rising up, I didn’t all the time know what was attainable, however options opened doorways. Like I mentioned, it could’ve been simpler to make use of keyframes in After Results, however I wished to discover completely different visible approaches. Coding a poster in CSS wasn’t one thing I ever thought I’d do, but it surely opened up new prospects.
BW: Are there any poster artists you observe or take cues from?
W: I see a whole lot of designs on Instagram, so I don’t all the time bear in mind names. With this poster, I used to be centered on the grunge, glitch artwork aesthetic, like Max Capability. There’s an artist referred to as Causa Sui who does nice overlay work and movement. I’m influenced by folks exploring a number of instructions of their design, even when it’s not particularly posters.
BW: Poster design implies a depth that’s fascinating, like Radiohead’s album artwork—there’s all the time extra beneath the floor. Your work, particularly Unhappy Grls Membership, looks like there’s a complete story there. Is that intentional? Are there deeper layers to discover?
W: Sure. I create my very own lore round issues like Unhappy Women Membership and Digital Dialog. It lets me increase on concepts over time. I’ve all the time felt a bit insecure about repeating themes in music, however with one thing like Unhappy Women Membership, I can reiterate and dig deeper. It provides depth to the poster whereas holding the music extra delicate. That’s what I like about poster creation—it’s proper in your face, however there’s extra beneath.
BW: Phoenixx00 is the primary piece of yours I noticed on MakersPlace. It was curated by Foodmasku for an exhibition, and I used to be instantly drawn to it. The chunk of textual content on the backside actually stood out. Are you able to inform me about this piece?
W: Creating for exhibitions is all the time fascinating as a result of the work is so private, and themes can typically throw you off. However this piece felt like a dialog with myself. I used to be changing into extra assured in my design decisions and reflecting on a model of myself that’s in all probability dying, one that folks received’t see once more. It felt like a residing piece, one of many few that also feels ongoing.
BW: Are there follow-ups to this?
W: In a roundabout way for the Phoenixx00 piece, however extra for the theme of a number of variations of self—rebirth, dying, and beginning once more. I’ve been making an attempt to know how music and visible artwork match collectively versus individually, so that you’ll see extra of that, however not tied to this poster.
BW: I couldn’t assist however discover there’s no music connected to your work.
W: Sure, I did launch a number of items with music, however music has all the time felt unusual on this house. Sharing music isn’t as easy as posting visible artwork. Asking folks to hear is a distinct problem, so whereas I get pleasure from making music, it’s all the time felt like there are too many query marks for me to totally dive in—at the very least for now.
BW: How do you stability your artistic output along with your job? What does that workflow seem like?
W: Effectively, I’m actually blessed to have the ability to work remotely. There was a time, throughout the pandemic and just a little after, once I had to return in individual, which was difficult. However for me, the stability has all the time been about being trustworthy with myself. It takes a particular sort of grind to earn from artwork, pay your payments, and keep regular. That’s all the time been hectic for me, so the best factor has been to maintain my day job and spend my different hours engaged on music or artwork.
These different hours—engaged on music or artwork—really feel extra rewarding. I get pleasure from making music, but it surely’s extra intrinsic; it feels extra like pleasure, in comparison with spending all day making an attempt to make music and hoping it really works out. So, for me, the stability is letting the artistic work be my launch after my day job. I’ve been doing this for eight years now, and it simply feels good.
BW: Do you may have any wildly formidable unrealized initiatives?
W: Sure, really. Earlier this 12 months, my work was exhibited in London for the primary time, and it was displayed on these stunning CRTVs.
pIn my wildest goals, I’d like to throw a dance occasion in an industrial house with a number of columns of screens displaying poster artwork I particularly made for the occasion. There’d be mates DJing, and it could simply be this immersive expertise. I’ve been engaged on making use of for extra grants and fellowships to discover issues like that. So hopefully, inside the subsequent few years, I’ll transfer extra into creating work that’s bodily displayed however nonetheless digital.
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