I have a whole lama kit of different kinds of animals, and a llama is my favorite. It’s more natural. You put your hands up like they’re in a cow’s body when you’re holding the animal in your hands. I’ve always enjoyed that about llama-ing up.
Can you talk about the way that you use the body language of the llama to tell the audience?
Well I don’t use it the same way that they do, because that would be weird, so I’ve chosen to use that kind of language in my own way, which I think is a very natural way of communicating.
How do you draw or paint a llama?
I’m not allowed to show anyone how I paint, and I wouldn’t tell anyone how I draw. I paint with acrylic paints or other stuff [laughs] that’s like my body. I’m not allowed to show anyone that.
Is it the same process of painting on your other stuff, like your collages?
Yeah! [Laughs] I painted those on collages before the kids came. I had one of these collages done. It’s done on a collage, but it’s all painted over the top of the original. I took these two pictures of myself and I put them together and I used color to make people a little more different. My little picture of my head and hands and hands, I made them different sizes. Sometimes the eyes are in the middle, sometimes they’re all the same size. It just depends on what the story is, and I just like to mix it up, and I get them all to look different. I don’t like drawing a picture from one point of view. A lot of people take it too literal, where they want a picture to be like a documentary like In Our Time, but I don’t want to do that. That’s why the faces are all different sizes.
Is there a reason you don’t draw a llama when you’re not drawing for kids?
I don’t do that.
What are some of the different styles the kids seem to like, and how does that influence your work?
As I got older I started doing this way of drawing like the ’90s, like drawing a whole panel. I was drawing a whole lorry, and every time you get closer you can see the little bit of the lorry that’s going in front of you. Sometimes it’s
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