Interview With Mentalnoise

Is the Evil Bunny Mask motivated by the creation of IP or a desire to hide from society?

-The Mask debuted with my first series, "Distress," amid the pandemic. It symbolized the hidden reality that dwelled within the precarious balance of our lives before the quarantine was unleashed. We all wore our masks with a false sense of security.

However, when chaos was unleashed with the arrival of the quarantine, those masks began to crack and fall. The truth was laid bare before our eyes, revealing a society deeply hypocritical, cynical, malevolent, concealed behind appearances.

Over time, the Mask became the very essence of my work, a means to create a series of characters that tell different realities, like distorted mirrors reflecting the dark corners of the human condition, a profound exploration of our deepest shadows and, at times, our brightest hopes.

Do you have a lot of mental holes?

-I believe one of the defining aspects of my art is the need to deeply connect with the subject and understand it as thoroughly as possible within the time I have. This is why my creative process can sometimes be slow; I meticulously seek out every small detail to explore, which allows me to convey profound narratives through my illustrations. As a result, the themes often become highly personal, evoking a myriad of emotions within me.

I perceive art as a reflection of culture and its era, and I feel that my work seamlessly integrates into this concept. Consequently, my art effortlessly transitions from superficial pieces to profound ones, constantly mirroring the depth and complexity of the world around us.

Your drawing style looks realistic, but upon closer inspection, it doesn't look real at all. Why?

-Since childhood, drawing has been my refuge, a solitary passage where I find solace. When I studied art, I focused on achieving hyperrealistic perfection, and I dare say I reached that goal. However, I realized that my technically impressive work lacked substance during that process. They were like empty images.

Then, I began to study design and discovered new forms of expression. Hyperrealism was becoming monotonous, so I ventured into glitch art and visual experimentation, embracing the opposite of what had been my work. But ultimately, I realized that my true passion lay in illustration and conveying emotions through my pieces.

Thus, I concluded it wasn't about pursuing hyperrealistic images but about applying a realistic level of detail in terms of dimensions, light, and shadows while focusing on the idea I wanted to convey. That's why, in series like "Mental Ghosts," you'll find a precise level of detail that allows viewers to dive deeper into the image, revealing hidden narratives. In pieces like "Shadow of Justice" and "The Shadows of Power," my focus wasn't so much on realism but on the abundance of elements that could create a sense of chaos, a darkness where justice blurs and power contorts in the shadows.