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Presenting THE GRIND: Go behind the curtain into the daily lives, practices, and physical and mental health disciplines of some of our favorite artists. We explore how they navigate ever changing digital and personal landscapes, while pursuing excellence in their craft. Our next feature is Norwegian Chef turned 3D-Artist OUTRUNYOUTH.
MEET OUTRUNYOUTH:
What began as a simple pandemic era hobby – sharing and curating his favorite digital art during breaks moonlighting as a Chef – quickly turned into an online cult following, and soon provided Outrunyouth the inspiration to begin creating and sharing his own art. The Norwegian artist had a surprise rendezvous with a new passion and purpose.
His striking work carries both immediate visual impact and emotional depth, with his vibrant and brooding creations housing existential queries about life and humanity within seemingly otherworldly landscapes.
“What fascinates me most is the unknown – folklore, dreams, and the complexities that elude easy understanding. It’s in these mysteries that I often discover my ideas.”
We sat down to learn the folklore of his own origins, how his background training as a chef informs his work, and why he thinks art is vital for society.
Read on for our interview with OUTRUNYOUTH…
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Let’s start with a little about who you are and what you create?
My name is Victor, I go by Outrunyouth. I’m a Norwegian 3D artist, my work centers around surrealism, mystery and introspection.
How did you get into digital art, from your original background training to be a chef?
It was during COVID, I created an Instagram account and just started. I enjoyed this style and aesthetic called Outrun, which is basically purple aesthetics with cars and big radiant sunsets.
I started reposting and interacting with artists and communities in that space and started to create a following. I did that for a year, posting a few times every day on breaks during my shifts in the kitchen.
I decided to give it a go myself and transitioned into posting my own work just made from my phone. People seemed to like it.
Was there a moment when you decided to go all in on art?
It was in 2021. I minted my first NFT in April. It sat until September when I suddenly got a bid. After that first sale I was like, “This is life changing. If I focus and go all in, something might work.” It was pivotal.
Are there any other pivotal moments in your artistic journey that propelled you or shaped your perspective?
I started taking some chances, and things took a turn. I started going outside my comfort zone, accepting commissions I didn’t feel ready for, or attending exhibitions where I didn’t know anyone. It’s good to do things where you feel out of your range.
Comfort is good, but in many cases it will just block you from evolving.
Are there any specific goals you’re working towards in the next few years?
I like setting goals, but I usually just go with what happens naturally. What comes along, comes along. It’s what I’ve been doing and I feel like it’s working. It would be great to have artwork in Sotheby’s or Christie’s. Mostly I just want to create the best art I can make. That’s my goal.
Do you have any practices that support your mental and physical well-being as an artist, like journaling, exercise, meditation, or specific foods?
I don’t really have many routines. I try to get in some exercise, I try to eat healthy, I try to get enough sleep. But I don’t micromanage myself. I feel like problems can arise from that, unless that really fits your personality. I let everything go, and I do things kind of instinctively.
Do you find that having a certain type of workspace, or vibe in your workspace impacts your creativity?
The extent of my workspace is the screen, a pair of headsets, and a quiet room. That’s all I need. Then I’m just waiting for that flow state to hit. I like doing the admin work in a cafe. It feels nice to get out of the house.
How do you manage juggling everything when things are especially busy?
I write down weekly and long-term to-do lists in a Notion document, and I keep everything on one page. I keep it very minimal.
When you feel you’re pushing yourself too hard, just stop. You’re not a machine. Art is not supposed to be forced.
Does your background as a chef have an impact on how you approach art and help you stay disciplined?
I think so. I also got discipline from doing Taekwondo professionally when I was younger. In the kitchen there’s a lot of time management, cooperation between people, preparation and planning. I’m grateful for all of that experience.
In fine dining, there’s a lot of play on textures and contrast of flavors and balancing these things, do you draw any parallels and inspiration from fine dining in your art?
I think a lot of the great cooks I know would be amazing artists. There’s a lot of the same parallels; utilizing color theory, composition, and even storytelling. I absolutely think it has impact.
Has support from other artists been helpful to you?
The continuous dialogue between artists is one of the reasons I come back every day. There’s so many people sharing the same journey and encountering the same problems. It’s crucial to have a group of people you can communicate with daily.
What’s your advice for other artists trying to reach their full potential?
I think it starts when you realize you should create for yourself. A lot of people get inspiration from social media, it’s hard to separate and block out.
Really dig deep into why you’re creating. It results in you creating your best work. You get in tune with your emotions, your mind. That’s where the creativity lies.
We love that your work is eclectic, but it’s all a very signature style. Tell us a little about how you developed your style?
I started off with this very purple retro aesthetic and it slowly transitioned into more fantastical landscapes. I started putting in this tiny character, and it just became more prominent as a way to control the environment.
The little person dictates the scale, controls the emotion, and positions the viewer inside the image. It gives it some sort of mystery; where is he going? Where has he been?
Your recent work features a lot of dark red and black. Was this an intentional shift in your style?
In the beginning it was an exploration in using less color.
The first one was called Purgatory. I really liked it, and went down the rabbit hole of this style. I really like Gustav Dore and John Martin’s work, and took inspiration in these darker, Dante, inferno-esque color schemes. It is a very cathartic thing to explore.
A lot of people message me, and say they really relate to the feelings they convey. I love hearing that people find some comfort or resolution in what I make.
What do you believe is the purpose and role artists serve in society? Is it purely for entertainment and pleasure? Is there something more?
I heard a quote a while ago that art is basically a substance. It’s something we need, and people don’t really discover they need it until, say, they lose a loved one. They experience such strong feelings. “Has anybody felt this way? Has anybody else gone through this?”
I don’t think it’s a luxury. I think it’s crucial for culture, for history. Everything we see around us is art.
The headsets you’re wearing, the keyboard you’re typing on, the hat you’re wearing, every company and their branding. Everything is very interconnected from the ground up. It’s very important for society.
Do you see yourself continuing to create art in the future, regardless of the market, simply for the love of it?
Yeah, absolutely. I feel like I’ve found my purpose. I’m gonna continue making art as long as I can. Everything I do is going towards doing this, I love it so much. There’s so much in my head I want to get out. Art is the best way to do that.
I feel like I’ve found my purpose. I’m gonna continue making art as long as I can.
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