Matt and Linda Rowntree are a couple that share a passion for LEGO. For the past four years they have helped run online building competitions, contributed to large-scale collaborative builds at a host of conventions across America, as well as making a series of amazing film and popular culture themed creations. Whilst Matt has often taken the lead in this activity Linda has been involved at every step of the process. I asked the husband and wife team to work on a special build, an illustration of a Classical Greek myth, where their creative talents could fully work together for the first time. This is what happened.
David Alexander Smith: Both of you have been involved in the LEGO community for some years; how would you describe your different interests and how did each of you get hooked?
Linda Rowntree: I was never interested in Lego growing up. I became hooked the day I realised that I needed Matt to build (if he does not have a creative outlet, he is not a happy boy.) It was hard to get him to build without me joining in; I think he felt guilty being by himself building. I needed to build so Matt could build. The sets that finally hooked me where the insectoids and the technic sets. I think my interests are in the oddball, weird pieces that come together to make something fun.
Matt Rowntree: My interests are all over the place, I’ve always tried to consciously step away from comfort zones and identifiable styles. I’ve been with bricks my entire life from the early 70s and never had an official “dark age.” It was more of a “dim age” when I was in college and really couldn’t access my bricks practically with work, school, more work, Linda, more Linda, and more work. And more school. I was really busy then. I found the community back around 2013 looking for techniques relating to my “first” SHIP (SHIP being the acronym for a 100-stud plus long spaceship, meaning seriously huge investment in parts). Up until then, I knew the world was filled with crazy people but I had no idea that they could be concentrated into a couple websites called MOCpages and Flickr.
DAS: What is your build set-up like at home, and does it allow you work together?
LR: Don’t tell Matt but I see our Lego set up changing as soon as he finishes his new SHIP (currently being built for Simon Liu’s month-long building challenge SHIPtember). Our Lego room is perfect for the one person sitting at the desk in the chair with access to everything. If you are not the one sitting in the chair you need to ask for pieces to be given to you or try to find a working space. A re-work will need to be done for our next project together. Hint, hint.
MR: Fine! I’ll get another chair. Good grief! The space has evolved forever and always will. It has been conformed to fit my building technique and organisational madness, which tends to frighten Linda off a bit. The organisation, that is, not the madness. Actually I suspect that frightens her as well. Come to think of it, it frightens me too.
DAS: How would you describe your respective styles and creative approaches?
LR: I like my builds to be whimsical; I don’t want people comparing my builds to the actual object. My creative approach is still a learning approach, “Hey Matt, do you think that if I did this it would work to give this effect?” From there it starts a conversation and experimentation.
MR: Brick on brick. I usually have a vague notion of a direction, but I try to let the pieces and colours do the work. I do tend to corral it to maximise the fun for myself as it seems pointless otherwise. It’s likely a major factor in how Linda and I work so easily together.
DAS: Is there a build of each other’s you really like and why?
LR: There are several builds I like of Matt’s. The Looney Toon’s build was spot on and placed me back into my childhood (this was entered in Chris Phipson’s MocOlympics building competition). The Emotitron build puts a smile on my face every time I see it. The Perry Mason build, however, I would have to say was my absolute favourite. It did not get a lot of viewership; however, I believe people were confused by the colours. His goal was to use the wild colours to create the grey scale just like they did in the old black and white movies.
MR: Unfortunately, Linda hasn’t really put much together other than some interesting table scraps. However, in the body of work that we’ve created together, I would have to agree with her about the Perry Mason build. She came up with the brilliant idea and I built it strictly to get a solid smile out of her. That tends to be the gauge of success in any build for me.
DAS: Have you worked on a project together before?
LR: I am always a part of the builds. This project however was the first project where I feel my vision was a part of the final project and that I showed up in the build.
MR: It would be much easier to list the ones that we have NOT worked on together to some extent. Her critical eye and brilliant ideas are always present and keeps my tunnel vision in check especially if they are venturing off the rails. She helped rein me in on the Inception build as well as the Forbidden Planet. Our builds also tend to tell a story, so she is more of a proper editor in that light.
DAS: I set you the challenge of illustrating a Classical Greek myth. What did you choose and why?
LR: Initially this was a solo build. Matt chose the subject and built several of the elements before it became our collaboration. I had never heard the story but instantly saw why he chose it.
MR: Icarus was the one that stabbed me straight in the brain. However, I wanted to challenge the standard imagery of a young man contorted midflight as the feathers venture out in all directions. Those iconic images usually focus on the sun and its power over the human element. With this build, I wanted to eliminate the sun and rely more on the expression of hubris through a feeling of vertigo and that moment of realization as the first feather disembarks. I felt that there was much more of a connection with the viewer in that respect as we have all found ourselves at that point when we realized that ignoring a certain bit of advice was not a wise decision.
DAS: How did you go about planning the project?
LR: For me it was a lot of discussion with Matt about changing his vision to include my own. I had to come up with solutions and present them to Matt in a way that opened his eyes to a new vision and welcomed it. Trying to change tunnel vision is not as easy as it sounds. Also, since the feather and wing were already done, I took the lead on the Labyrinth.
MR: My initial idea was to build a framework of the wing with feathers and have a single feather falling away with a wax drip. I knew it would tell the story, but it also relied too much, I feel, on the viewer knowing it as well, in addition to being led by the title and the challenge description. I also added the element that is forgotten in the story about the advice Daedalus also instilled about complacency and flying too low by adding Daedalus in a smaller size about midway up.
DAS: Were there many problems along the way; how did you solve them?
LR: The Labyrinth was probably the simplest element in the build but honestly it was our biggest challenge. Since the wing and the feather were already done we needed to find a way to incorporate the old vision with the new vision without scrapping what was already done. The solution forced the Labyrinth to be a specific scale to read as a Labyrinth without it being the focus of the build. I think we built six different versions of it before we were happy.
MR: The iterations of the Labyrinth were definitely challenging. This final version was spot on with its smaller scale in comparison to Daedalus and the large feather and wing. However, this also led to what became the most difficult challenge: The photography. It was built to be photographed from above in forced perspective to increase the vertigo and make the primary subject the feather, the lighting and focus for all the elements proved argumentative, to put it nicely. In the end, compositing each element separately was the only way to get everything right.
DAS: How do you feel about the final piece?
LR: I think the final piece did what we set out to do; it does tell the story in a single image quite well. I am happy with where my ideas took it and I feel it made the project more complete. The initial vision was to only shoot the one feather with the wax dropping off of it. With this version I see us working together for a more complete vision and I find that exciting.
MR: I would say that it is our most complete vision fully realised. Like The Thing movie poster, I felt that there really wasn’t much more to do other than sign it (something I have very rarely done being an artist never fully satisfied with execution exceeding expectation.) I love how this piece of teamwork explored the entire process regardless of specific successes or failings. To me, the conversation was always open and free to go wherever it wanted and it was fun to follow and watch it evolve.
DAS: If the opportunity arose would you work together on another build?
LR: I am happy to say that we have a very large project we decided to do together. We will be starting it once Matt’s SHIP is complete. I think working on this build together has allowed us to finally see eye to eye and has helped us to understand and respect each other’s visions in a way that now allows us to build together.
MR: No way! Just kidding. I don’t think that there is any other option but to work together; it is how we have done everything and will likely be the way we do everything to come. I may have done the heavy lifting in the past, but I think with Linda’s comfort growing in the language of LEGO bricks and her receding intimidation of my organisational methodology, I see more equal time developing with the bricks. Her visions have no boundaries developed through years of LEGO building trial and error; so, there is freshness that I love exploring and building upon. Although, I’m not giving up MY comfy chair!
Check out more of Matt and Linda’s creations here.
This interview was originally published in Bricks Culture 7.