JS: Yes! Working with animation and marble sculpture, but not necessarily at the same time.
RS: Many of your paintings resonate a tangible yet out of reach dream world type quality. Like a good fairy tale it feels like the world you have created continues to exist, going about its business even when we aren't watching it. Where did the idea of this world originate?
Do you ever dream of your created world?
JS: Not really. The way I found this world was by letting reference go and painting what I remember things looking like in real life. For me, it is much more fun and interesting to be painting, and finding something in the paint that looks vaguely like a Vespa at night on some lonesome highway, being lit only by the stars and an exploding telephone pole. This sort of approach; creating the narrative while simultaneously creating the actual painting. It's how I keep the act of painting exciting and fresh for myself. I always refer to Stephen King's incredible book, 'On Writing'. In this book he talks of throwing away plot and instead write from character. The motives in the characters will naturally drive the narrative without 'your brain' getting in the way. This is an idea that transfers well to painting, I think.
RS: Your sculptures are an extension of this dream world, yet the aesthetic is somewhat different from your paintings. Talk about the differences in your approach and workflow in terms of sculpture.
It has been a few years since I have had the opportunity to work with bronze, which I very much look forward to getting back to in time. I think the nature of being responsible for how a sculpture works with gravity and the physical elements (as opposed to the no-rules aspect of physics in painting) makes me think differently about composition and form. For example, with painting, I can use form in impossible ways to resolve composition or increase the flow of a painting, whereas there are different, more self-contained considerations when you are working in three dimensions. Someday, I would like to have a space big enough to be able to get back to playing with sculpture on a larger scale.
Read More from Joe Sorren in the Summer 2015 issue of RadarStation!