Today there is a new interview with Bill Ward available online. It was conducted by Rob Cavuoto of Guitar International and is about the newly unveiled Bill Ward Drum art collection entitled “Absence of Corners”. Here is a segment from the full interview for you to read:
Robert Cavuoto: Can you tell me how this project of combining rhythm and artwork came up with SceneFour?
Bill Ward: The head of SceneFour contacted a friend I worked with and she told me about the concept and idea. I said that I’d try it and see what happened.
It actually developed into something quite different from what I thought it would be. I originally thought I was going to show up and play drums while they take pictures. It was quite different.
Robert: What is the process for capturing these images?
Bill Ward: They gave me stick and brushes with all different kind of lights in them. To get everything they needed I played in the dark for exactly one and half hours straight!
It was quite weird, for a second I thought I was playing a gig. They asked me to play quite hard and they needed me to slam the drums. The first thing I noticed was how many cameras were used at all different angles. They took snap shots and video.
After that shoot I had to go back the next day and do another 45 minutes straight of playing with a different set of sticks. They wanted to make sure that they got what they wanted.
This session had less cameras. About six week later they called me and said to come down and start looking at the pictures they had taken.
Robert: Art can be inspiring and provide self realization not only to the viewer but the artist. What did you discover about yourself through this process as well as when looking at the final pieces?
Bill Ward: That I can be flexible [Laughing] I’m sorry I couldn’t resist that! One of the things I discovered was what really appeals to you. Some things hit me straight away.
I then had the opportunity to name the pieces which was a bit unexpected. It took a considerable amount of thought to name them. Being removed from my daily writing and recording, I was caught up in this new project working on words and really having to find what words worked with the pictures.
It took me three days to come up with that title of the collection which I really liked, Absence of Corners. It was simplicity because there are really no corners in the pictures. For the most part it’s all curves with the way the sticks work.
For me emotionally, this session went really, really well. It was nice to see that what came out when looking at these pictures was part of my emotions and feelings.
It worked psychologically for me; I felt I got some of the uncomfortable feelings that I have been having lately on to canvas. It was quite refreshing.
Robert: The two pieces that I did see, “Grief” and “We Focus. We Persevere,” are phenomenal. They come across as dark and ominous. I was wondering if that was perhaps reflective of what you were feeling with the failed Black Sabbath reunion?
Bill Ward: It’s very much related to that. It has been emotionally uncomfortable. And I think a lot of it showed up and there is a connection. A lot of the time I feel that in hindsight there was a lot of reflection of what I’m playing.
It’s actually been really good to get through something that is uncomfortable and push through the wall and get to the other side. It’s like I’m still alive and the engine is still working. I had a little bit of that happening to me.
Robert: What do you want your fans to take away from this art?
Bill Ward: I think I have shared something very intimate. It’s almost like meeting somebody and letting them see who I am and where I’m at. As if to have that contact with a fan, that touch per se and letting them embrace me and not just me playing drums.
It’s more solid and personal. It’s something that is important to me and whoever will buy this or respond to it will be touched by it. I think the sad part of me is in the artwork. I ultimately hope that we touch each other and connect.
Robert: I’m looking at one of your pieces call “Grief,” it looks as if there is a face weaved within the rhythms. Was that face superimposed or was it all the sticks and brushes?
Bill Ward: That’s just the sticks and brushes. It’s weird ain’t it. When I went to look at the pictures, it was standing in the corner by itself. I said, “Oh my god, what’s that?”
I thought the same thing you did, that face needed to come out of there. It’s quite strange and I was surprises. It’s so bloody sad that it can only be called “Grief.”
Robert: Do you have favorite piece?
Bill Ward: Yeah I do. I like “Indestructible Youth” a lot, and “Hello, I Don’t Think We’ve Met [Yet],” which is more humorous. It just seems to fit and it’s quite obvious that something was inside there that all the cameras in the room picked up. It’s this huge blur of color.
Robert: How many pieces will be offered in the collection?
Bill Ward: I’m not sure, and I could be wrong, but I’m guessing 12 to 15.