C.J. Pyle unravels the creative process behind his woven-style artwork.
C.J. Pyle was born into a working-class family from Richmond, Indiana. With the support of his mother, he was creative from an early age. Inspired by the detailed ink work of Basil Wolverton paired with his affinity for rope knots, he has been practicing his unique artistic style for almost 50 years. His career began as a drummer. While on tour, he always carried a portable ballpoint pen and paper so he could make art on the go. It wasn’t until over twenty years ago he retired the sticks to dedicate his life to artistry. His works have been displayed in exhibitions worldwide, including Halle St Pierre Museum in Paris and The Hughes Gallery in Australia. His intertwined images, which leave the viewer unable to see when the pen stroke begins and ends, are drawn on the insides of LP covers. Unlike the glossy imagery on the front of a 1980’s record, the inside serves as a makeshift canvas and is Pyle’s preferred surface, unrelated to his history and love for music.
Below, C.J. Pyle unravels the creative process behind his unique artistic style, the parallels between art and music, and how he overcomes creative blocks.
Lizzy Zarrello: What made you want to become an artist?
C.J. Pyle: I started drawing seriously when I was about ten years old. I seemed to be more visually oriented than my friends, so it made sense. My mother loved art and was very encouraging. My love of art has always been with me, it seems.
LZ: What helped you discover your woven illustration style?
CP: As a musician on the road all the time, I drew a lot. There were always ballpoint pens around, and the more I used them, the more my woven sort of technique seemed to develop naturally.
LZ: What is the creative process behind your unique artwork?
CP: I usually start drawing and erasing until an image that appeals to me starts to take shape. Then I go into creating all of the detailed passages until the work satisfies me and reaches its conclusion.
LZ: How has your past work as a musician influenced your art?
CP: I’m not sure. As a traveling musician and a visual person, I absorbed everything I saw around me all the time. As time passed, I realized that I had developed a sponge-like ability to retain visual imagery. I suppose that pulling from that image bank is the foundation for all of my art.
LZ: In what ways do you find that art relates to music?
CP: There are creative parallels, but I think that art is more of a solitary act for me. Music for me is always a collaboration with other musicians. I definitely feel that the same part of my brain is involved with both, and I think about those creative parallels while I’m drawing all the time.
LZ: Do you listen to music when you create your illustrations? If so, what?
CP: I do listen to a lot of music while working. I have a turntable, CD player, and satellite radio. One of them is constantly going. I am fortunate that I love all kinds of music, so I go back and forth a lot. Currently, I’m really enjoying an old soul station on satellite radio.
LZ: Are there any particular songs that inspire you?
CP: Too many to even mention. I get chills listening to certain artists. Aretha, Stevie Wonder, Marvin Gaye. Classical music is very soothing and moving also. Music ALWAYS puts me in a better frame of mind when I work. It never fails.
LZ: What inspired you to create your images on LP covers?
CP: To be honest, it’s because of the texture of the paper. I like the way that the pen reacts to that particular surface. The musical connection is a happy coincidence. I get a lot of joy out of the fact that people are so interested in the musical artists on the other side of the drawings. It adds another creative layer to the process.
LZ: How do you overcome creative blocks?
CP: If I’m struggling, what always seems to work for me is to walk away for a while. I do something totally unrelated to art. Mow the grass, watch a film, get a coffee. Usually, while I’m doing one of these things, an idea or inspiration will show up.
LZ: How do you think your artwork has evolved throughout your career?
CP: It has evolved quite a bit, as with most artists my age. (I’m 65) I’ve come to a place with my art where everything I’ve done and seen in my life is coming together visually in a way that is finally pretty satisfying. I’m never totally satisfied, but I’m not as frustrated as I’ve been in the past. I have gone through depressing stages with my art and the creative process. That was difficult. I think I’ve come out of that and can see a glimmer of light at the end of the tunnel.
Image courtesy of C.J. Pyle
