The Art & Sole Cortez iD Project: Matthew Nicholson
To celebrate the release of the new mini edition Art & Sole book, we've collaborated with NIKEiD on an artists project which includes four special edition Art & Sole covers, and four Nike Cortez sneakers. In addition to our feature special on the Art & Sole Cortez iD Project, we thought we'd catch up with all the artists involved and ask them about the artwork they created for the project. For our second interview, we talk to papercraft expert Matthew Nicholson...
Can you tell us a little about your work?
Ever since being introduced to Lego as a child, I've always enjoyed working with my hands and seeing the instant psychical and tangible result. I consider the spirit of my work to be a direct continuation of these happy memories. I am able to recreate objects that I desire and produce imagined spaces through a cheap and accessible medium.
What is the title of the piece you've created?
How did you choose to interpret the brief - can you explain the concept behind your piece?
The most interesting part of this brief was spending time exploring the heritage of the Nike Cortez and its surrounding graphic literature. My response is a visualisation of this exploration, but, most importantly, it is a celebration of the Nike Cortez's involvement in the history of running. By building the Cortez from this rich ancestry of literature and graphic material, I aim to suggest that this is a shoe built, informed and improved by its past.
How was it working only with with the colour assigned to you?
Initially, when combined with the 'history of running' as a brief, this restriction proved problematic. Many of the concepts I had wouldn't have worked with such a colour restriction. However, I believe that the final response is both subtle and fitting in its use of colour palette to define and emphasise the shape of the final piece.
Finally, what were the production processes involved in creating the piece?
I approach each papercraft project in similar phased processes. Firstly, I visually deconstruct the object and flatten the key areas into a flatplan template. Then begins the process of trial and error that involves numerous mock-ups to help define the final shape of the template (by rescanning and redrawing the template between each mock-up). Once I'm happy with the shape and the visual appearance of the template, I then produce several finals to practice glueing the object together cleanly, with the final piece being the best result from this process.