Amanda Palmer wrote a bit about how her and Neil are different in their creative methods, and a whole lot of other really amazing stuff. (Putting this here so I can find it easily in the future because it needs to be read and re-read and re-read etc).
"we start off with all these fresh ingredients, recognizable (a heart, a finger, an eyeball, a glass of wine) and we throw them in the art-blender. i only let things mix very slightly. i keep my blender on 2 or 3. you can recognize the component parts: in the final art-soup, the finger might be severed and mangled, but you can peer into your bowl and see that it’s a finger, floating there, all human and bloody and finger-y. neil puts his art-blender on 10. you wind up with a fantastic purée, but often you have no fucking idea where the experiences of his life wound up in the mix of his final product. if you see a finger, it’s not recognizable as a human one. and that’s part of what makes Neil Gaiman (capital N and G) work. and, i’d argue, my choice to dial my art-blender down from a 5 to a 2 or 3 over the past few years, as i write more and more “direct” songs…i don’t know, it may be part of what i’ve needed to do to survive as an artist (or more likely, as a human).
we do these things instinctively, i think." ~read more.
God I love her.
Also, I've been looking at a lot of Yoshitaka Amano, trying to find some inspiration lately. LOVE this piece,
|salamander, by yoshitaka amano.|