Michael Shapcott

February 23, 2008

Michael Shapcott is a painter out of Plainville, Ct. His work is very figurative, colorful and filled with emotion. He also makes these really cool videos, many of which show his process of working. It’s great to see other artists work as you can learn all sorts of new tricks. I thank Michael for taking to the time to make these videos, as well as answer these questions.

CM: You went to the Paier College Of Art, what can you tell us about your experience there. Also what made you decide to go a private art school rather than a state college?

MS: Actually, I almost didn’t go to Paier. I was really drawn to what the University of Hartford had to offer. They were so much more equipped and they offered sculpture classes which has always interested me. I eventually decided on Paier because for one thing, it was more affordable, they’re known for their illustration program (which was my main focus at the time), and to be honest, the school was less intimidating. When I was graduating from high school I still wasn’t sure if art was going to be my life like it is now. I had kind of a rough beginning. At the time I had a strong interest in music and was in a band that took up a lot of my creative energy. While at Paier, I went through a crisis around sophomore year where I started questioning my place in art. I felt bound by illustration assignments that didn’t allow for much emotional expression in my opinion. I stopped going to class and almost dropped out - it was a crazy time that really brought me to big decisions about my life’s work. I went back the following year and switched from illustration to fine art. I started opening up more creatively with my new classes and teachers and was finally able to express myself in a more personal way. After that turning point I continued to blossom but it wasn’t until graduating that I found more of a sense of self and a deeper confidence in my work as well as a 100% commitment to being an artist.

CM: I’m always quite amazed when I see that Ralph Steadman is an artists influence. He’s a favorite of mine and I often find it hard not to make the same kind of stuff he does. What lessons or techniques have you learned from his art, that might be apparent in yours?

MS: Ralph Steadman is the man. It seems like his heart is really in drawing, something I relate to so well. When I first started painting, I remember being so worried I’d mess something up. I was too careful and too in my head and not really painting. Eventually, I started sketching more freely, exploring my imagination and not being afraid of what it came out like. It was what it was - if it came out like crap then it came out like crap. I look at Steadman’s work and he’s so free and experimental. I know that it’s not something people consider conventionally beautiful. In fact, it’s wild and violent and somewhat offensive. He practically throws up on the page in these amazing sketches and smears of color. It’s raw and honest and the emotional charge I get from looking at his work is just beautiful. His work has inspired me to let go , enjoy the process of creating, and most importantly be true to myself.

CM: Your paintings tend to be very large in size. What drives you to work in this scale, and what reaction have you noticed from people who view your art in galleries?

MS: Most of my paintings are larger in scale because I like the feeling of the figures in my paintings being at least life size. It makes them more real to me, like if they wanted to they could walk out of the painting. I also enjoy the physicality of painting. I’m able to use my whole body while painting on a large canvas. And there’s something addictive about painting big. It feels like I just need to keep expanding for some reason. If I had the space and the funds I might be making 15 foot high canvases. I don’t know.
Reactions from people vary but overall I think the size makes an impact. It may sound strange but there’s an intimacy to standing close to look at a painting and almost being swallowed by it. I’ve also had some cool personal reactions to my art in galleries. At my last show, this older woman came straight from a funeral or wake or something and walked up to my painting Peace and the Inevitable (which deals with the inevitability of death) and was blown away with how in line it was with her experience earlier that night. It’s kinda cool because in my video of that show you can actually see her checking out that painting for the first time.

CM: You work with a variety of materials, but list graphite as your favorite. What is it about this medium that you love? Is there anything you wish it could do different, or better?

MS: I think my love for graphite comes from using it all my life. When I draw it just feels so natural. Even the smell is nostalgic to me. I hated school so much when I was younger. I was borderline learning-disabled and reading was especially difficult for me in that environment. Whenever I went to the library in elementary school, I would always take out the same book. I can’t remember the name of it but I vividly remember the beautiful sketches and drawings it was filled with - a dream come true for a young kid who understood visuals so much better than words. I think that book was a big reason I started drawing at such a young age.

CM: What got you started in making the YouTube videos you have done? A few of them share your process and techniques, something that not many artists seem to enjoy sharing.

MS: I was making home movies and videos quite a while before YouTube came out but I only started making art videos a couple years back. I like having a record of what I’m doing at any given point in my life which is one reason for their existence. Another is that they motivate me to work harder because I so enjoy the part where I get to share my work with people. Also, I craved more from the art videos I’d seen up until that point (now there are a variety of talented artists who make really entertaining and inspirational videos). My aim was to blend instruction with speed-painting and throw in some humor and good music. I don’t have any issues with sharing my process and techniques because it’s something I’m always inspired by when other artists do it. I hope my videos inspire others and help them to view art in a new and exciting way.

CM: After watching these videos, it really looks like you can finish a painting in no time at all. How long does it take you to finish, your average sized work?

MS: Oh the magic of movie making. Editing allows me to take out so much of the tedious parts of the work. I try to leave in the juicy parts of making a painting like the end of sketch work or key painting for the piece. The time it takes me to finish one painting really depends on the piece. Sometimes they just flow out of me in a few days and other times it might take me weeks or months. I jump back and forth between working on about three different paintings at a time (keeps it fresh and less painstaking) so the length of completion is split up a bit. I usually work about 10 hours a day on art… sometimes I’m networking or replying to messages or filling out interviews, other times I’m drawing and painting nonstop for days, and sometimes I’m just feeding my brain with inspiring music, books, images, and films. I’m kind of an art-o-holic. I think about art about 95% of each day. Fortunately my girlfriend not only puts up with me but loves what I do and supports me unconditionally.

CM: You had also mentioned that you like an “unfinished” quality to your work, and you point this out perfectly with examples of DaVinci’s work. How do you know when to stop working on a piece, and what happens when you go too far?

MS: Usually when I think I might be done with a piece I sit back and stare at it for a really long time. Sometimes ideas pop in my head about what I can add to the painting or what I could change compositionally or get rid of. If I can’t think of anything that would make the painting better for me in someway and nothing else in the piece bothers me then I know it’s finished.

CM: Finally, what would you say keeps you going? The world of art can be harsh and difficult to keep up in, and you seem like you have an amazing attitude. What’s your secret?

MS: The main thing that keeps me going is a strong belief that it’s possible to be successful working for myself. There’s evidence everywhere of everyday people and some quite extraordinary people that have profitable small businesses or who are able to support themselves through various art forms. I’m so passionate about what I do and I pour myself into my work completely. It’s the only way I know how to be true to myself. That feeling of dedication, fulfillment, and enjoyment for my art is what I feel will bring me the greater success I’m striving towards.

If you would like to see more of his work you can visit these sites:
Michael Shapcott Profile and Myspace profile
You can also check out the videos he makes here: Youtube
You can also buy some prints of his work, Michael Shapcott Prints

He also just launched his own domain here: Michael Shapcott homepage

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Chet Zar

December 24, 2007

You might have seen his work with the band Tool, and have no doubt seen the effects that he has done with movies like the Ring, Darkman and Planet of the Apes. However it’s the fine art that he has done that really has the Creep Machine hooked. In each one of his paintings you can see the influence of Zdzislaw Beksinski, but with the work of Chet Zar, the subject of each painting seems to be aware of your presence, and is showing you things that that could be relevant to what is going on around you.

CM: You’ve been into horror art since you were a kid, and it seems like most parents believe dark art and youth is a combo for a future psychopath, yet this is hardly the case. Do you think the negative view on dark art is a hindrance, or might somehow support it?

CZ: Well, I was lucky because my parents were very cool about my interest in horror movies and dark imagery. Being a parent of 2 grown kids myself, I must admit that I can understand parents getting nervous about their kids being into dark stuff. I don’t think the fear is usually warranted but it’s actually really scary being a parent, especially in these times. The world is a much more dangerous place than when I was a kid. As a parent you worry a lot about their safety.
But to answer your question, I think that the negative view of dark art kind of helps to give it an air of danger and mystery and part of the appeal of dark art depends on that sense of danger and mystery. Once a thing becomes too accepted by mainstream society, it tends to lose some of its potency. So I don’t really see it as a bad thing and, honestly, it comes with the territory. If anything, it helps to foster a sense of community for those who appreciate it.

CM: What do you think it is about dark art, besides looking great, that draws people in just as easily as it gets people condemning it?

CZ: I think for the most part the interest in dark imagery is a safe way for people face their own fears and their own dark side. It’s healthy to face our fears, even to learn to love them, through art.
The real danger lies in the denial of our dark side, our inner fears and our fear of the unknown. A frightened ego is a fertile ground for neurosis.
Dark art works on a symbolic level as well. In many cultures darkness does not necessarily represent evil- it represents the unknown, the mysterious and the magical. These are the things I really find interesting about dark art, its sense of wonder.

CM: I sometimes feel that when the viewer looks at art, it might not be as intense as the concept in the artists mind, maybe something gets lost in the creative process. Is what we see in your work, as intense as the concept? If so what have you learned that allows this to happen?

CZ: The funny thing with my work is that I usually don’t have a clear idea of what I want before I start. Once in a while I will get a clear image in my mind but for the most part I either a: have no idea what I am going to paint or b: I have a vague concept of what I want. I really do my best when I have the freedom to allow the painting to develop. I think that is where my strength lies, to be able to go with the flow and to recognize and build upon the happy accidents. I also find this way to be a more fun way to paint.
So for me, the creative process is where I find my paintings.

CM: After watching your video for SketchTheatre, as well as seeing the skill involved in each of your oil paintings as well as sculptures, is there any area in the art process that you don’t completely kick ass at?

CZ: Thanks. That is a nice compliment. I don’t know if I would consider myself a master of any of these skills. If anything, I am more of a jack of all trades- I can do a lot of different things and I can do them all pretty well. But I do try to do my best with whatever I am trying to do at the time.
If I am interested in something, I can usually figure it out eventually. I have a tendency to be obsessive and tenacious about learning new things that excite me.

CM: If you hit a block on a certain piece, do you have any tricks that work for you to get out of the block?

CZ: Sometimes I will try to push on and get right through it. But often I will just set the painting aside and go to work on another piece. I always have 3-5 paintings going at once so that if I get a block I can move on to something else. Going to art shows and seeing great artwork also helps to get me re-inspired.

CM: Are there any specific bands or movies that really get the creative energies flowing?

CZ: Hmmm….I listen to a lot of different music. Nothing particular gets me going. It depends on what I am into at the time. I usually listen to old stuff like Devo, Nomeansno, The Minutemen, etc. That’s one of the cool things about getting older- you have all this music you can rediscover from your childhood that helps to re-inspire you. I definitely use music to help inspire me. Movies too. I have a little T.V. next to my easel and I love putting on old bad horror movies from the 60’s and 70’s while I paint. Those probably inspire my artwork more than music. “Zombie”, “The Last Man on Earth” and the original “Night of the Living Dead” are some favorites. Anything that inspired me as a kid really helps to get me going.

CM: In a lot of your work I can see these reoccurring elements. Numbers, smoking, little or no eyes at all, and the subject seems aware of the viewer. Can you explain the motivation behind these elements?

CZ: The only number I ever paint is the number 5. This is what I consider a number that represents me spiritually. This was ‘revealed’ to me in a series of psychedelic experiences that I had when I was a young man.
As far as the other symbols I use, I really don’t know what they mean. I try to paint intuitively and just go with my gut- it probably doesn’t sound as glamorous as some lofty explanation, but I use elements that I think look cool. I feel that the best thing I can do for my artwork is to stay out of the way and let my subconscious do the work. I think that approach puts me in touch with something deeper and more universal than I could consciously come up with. On that note, I think the cigarettes come from the Sergio Aragonez cartoons on the bottom of the pages of mad magazine, a comic magazine I used to read as a kid. I used to incorporate that element into my drawing when I was a kid and now I think it lends an air of humanity to my creatures- it puts them into a more physical and relatable reality. Plus, I think smoking represents a kind of modern day industrial kind of harshness (and I smoke myself, against my own better judgement).

CM: After years of horror movies, and making dark art, is there anything that still truly scares you?

CZ: The state of the world today and particularly the current political establishment in the U.S.

CM: So far you paint, sculpt and animate, is there any other medium we can expect to see from you?

CZ: I often consider the idea of making films. I was really into that as a kid. I had a super 8 film camera and made and edited my own movies. If the opportunity arose I think I would do it because I think I could make a good film. Writing is something I have always wanted to do but I am not very good at it.
As far as fine art goes, I would like to eventually have the resources to do a show of all sculpture work. But sculpture takes a lot of time and money. Actually, that was the original idea I had when I decided to get into the fine art field- to do sculpture, basically the things I paint but in 3-D. So I did the sculpture, “Softspot” and it took so much time, energy and money to create that I decided to paint instead.

CM: I read that you are going to be releasing some instructional dvd’s, this is really exciting news. Have you taught before? Can you give a hint as to what
fans and students can expect?

CZ: I have never taught before so I am a little nervous about it. I didn’t go to art school and pretty much learned on my own so I am now going through the process of really thinking about how I do what I do.
I am doing the DVD’s through the Gnomon School- Alex Alvarez and his crew are really a great bunch of artists and very cool people so I was excited to work with them. The first DVD will be how I do creature design for the film industry using Photoshop. I paint differently in the computer than I do in oils, so I go over all my techniques. It should be interesting because I created the illustration the way I do for the film industry- I didn’t have a lesson plan or even a specific design. I just kind of went for it and let it develop as I went. I think it’s coming out really well. In fact, I am going out to the school to finish it right after I finish writing this.
After that one is finished, I may do one on my techniques for creating my “Disturb the Normal” animations (the looping digital animations I created to project during the Tool concerts) using a combination of 3D and 2D graphics programs. I would also like to do an oil painting DVD as well as a sculpting DVD. Alex has offered me an invitation to do all of these so it’s just a matter of taking the time to put it all together.

CM:. With the success of your Talking Board show, are you going to be curating more shows?

CZ: That was actually really fun and I have my friend (and great artist) Nathan Spoor to thank for that. The Talking Board show was an idea I had for a couple of years so when he offered me a curatorial at a gallery he was running, I jumped at the chance. The gallery eventually closed down and we ended up having the show at CoproNason Gallery, which is pretty much my home base in L.A. Thanks to Gary Pressman for saving the day there. The show ended up turning out great and got rave reviews.

I was recently asked to curate another show of artwork from all of my friends in the film industry. There is so much talent in the industry (often being wasted, in my opinion), so I think that will be a really mind blowing show. I love art and I love showing artists I admire so I definitely hope to curate more.

CM: Are there any up and coming artists, which you think people should really keep an eye on?

CZ: Wow, there are really a lot of great younger artists coming out of the woodwork these days. I think the art world is experiencing a real renaissance right now. It seems like every day there is somebody new popping up. It’s an exciting time to be an artist.
As far as new artists to look for….Christian VanMinnen, Joshua Bronaugh come to mind. Lukasz Banach is a young artist out of Poland who I think is really talented.

There are some others that I really like that are not really new artists but artists that haven’t hit big yet like Jose Lopes. My dad, artist James Zar has been showing since the 70’s and his career is beginning to have a re-emergence with a new and younger audience. He was a really big influence on me. I hope to have a 2 man show with him next year in ’08 or ’09. My best friend Christopher Owen has been creating artwork all his life but has only recently begun showing his work. I think his stuff is amazing. He does really cool kinetic sculpture and was in fact the first artist to sell his Ouija board at “Talking Board Show”. But like I said, there are really too many to mention.

To see more work from Chet Zar, or maybe get some prints of his work head on over to his homepage: Chet Zar Homepage

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Kelly Vivanco

September 23, 2007

Not only does she have an amazing style, an incredible amount of mediums she is skilled with, but she also has a great sense of humor, that helped make this the longest and most enjoyable interview I have done so far.

CM: Can you tell us a little bit of what got you started in art, any schools you have gone to or specific training?

KV: I have been drawing and painting and making stuff since I was little. I would make a nest of paper, crayons, markers and other materials wherever I sat down. I used to draw subterranean cities and space warrens at home and in class and was fed by praise I guess because I drew well. I have a BFA in fine arts from the Laguna College of Art and Design. They are a small, classical, core skills oriented school with a lot of focus on figurative drawing for their fine art majors. I also did a semester in NYC before graduation and that was an eye opener.

CM: You have a very consistent feel in your art, What are the main things that inspire you? Are you inspired by things that happen to you, or what you observe from life?

KV: That’s funny. I used to think my work looked a bit schizophrenic. It took an effort to eventually congeal. I am inspired by old photos, vintage things, quirkiness, decay, animals, colors and moods…if that makes sense. I try to get a certain feeling going in the look and atmosphere of a painting so I naturally gravitate towards art that echoes likewise, even if it has an entirely different effect. I am seeing gobs of exciting work being produced by people today and I am always inspired by past masters like Hans Holbein and NC Wyeth, pre-raphaelites, Van Gogh and so on.

CM: I notice that some of the figures from your work seem to reappear in other works, are these girls self portraits or a fictional character?

KV: I noticed this too. Tell her to stop stalking me. No really, I realized this a couple of years ago. The same fictional girls would reappear and I would do it completely unintentionally. I would look at one painting up in my studio and then across to another earlier painting and see the same girl at different ages. I don’t use models or try to portray anyone in particular but the same ‘characters’ keep coming up unintentionally. I am sure a psychologist would have a field day with that, but tell them to keep their findings to themselves. I prefer the mystery.

CM: Your main painting gallery is filled with both oil and acrylic, is there one that you prefer over the other, or is one used for a specific type of feeling your going for? I also noticed that you have almost a different style for each medium, such as the outlines that you use to surround the figure when painting in acrylic, is there a reason for this?

KV: I switch off and don’t prefer one more than the other. When I get tired or find myself getting too rigid in one medium, I use the other for the next piece. My oils tend to be tight and rendered and my acrylics layered with washes and bold outlines. Of course this changes depending on the support, canvas or panel. I have been doing some more rendered, small acrylics on panel recently so, I suppose there is no use defining this sort of thing.

CM: How did your comic “Patches” get started? Have you had any art shows were the paintings from this comic were shown?

KV: Patches got started as something silly with no expectation of being well done. There has always been a commentary of weird things in my head that had no other outlet so Patches was the solution. I was participating in web forums that centered around other web-comics at the time Patches was birthed, so you could say it was the encouragement of that community which kicked it off too. At first I didn’t think I could do the same characters over and over without them varying wildly from day to day but it hasn’t been so bad. Even if it is that bad, who cares? They are cartoon rodent-like creatures scrawled on kraft paper, but I love them so. Patches is an entity to itself so there really isn’t a crossover into my ‘regular’ art. Maybe there could be…

CM: You draw comics, paint in oil and acrylic as well as linocuts, are there any other type of medium you would like to work in? Or something different, music, clothes design, bee keeping?

KV: So many interests, so little time. I had to make a conscious cut off to getting to wildly fragmented in my creative interests. There are just too many things that look like they would be fun. If I had time and sewing skill I would try to sew the clothes I come up with in my paintings. Some of the dresses and hats would be killer in real life. I would like to get further into sculpture as well. I did a custom vinyl recently for a show in San Diego and it was quite satisfying. I would love to make some figures like the girls in my paintings.

CM:When I draw, it’s not very elegant, something I really need to work on. Is there any area as far as art goes that you would like to be better in? Any area that you are too good in, and need to be stopped??

KV: It’s all about expectations and doing what you love to do. Do it for yourself. If you draw or paint to please other people, you will always be dissatisfied and unsure. One can never really know what anyone else will think. If you do it for yourself, and avoid the fear of ‘looking stupid’ or ‘doing it wrong’ you will get lost in the process and then the amazing stuff happens. I would like to be better at doing larger oils. I lack patience sometimes

CM: Who are some current artists that you like, and would like to maybe share gallery space with? Any artists from the past you would like to be shown with?

KV: Current artists I like are Joe Sorren, Mark Ryden, John Currin, Jeff Soto, Jonathan Weiner, Odd Nerdrum. There are tons of amazing artists I adore, a lot of them are on flickr and I enjoy seeing their work on a regular basis. Showing with an artist from the past (like those mentioned in question 2) would be like having lunch with Lincoln. A weird gobsmacked sandwich experience.

CM: Sometimes an artists work gives a hint to what the artist may be like, what they believe in, entertainment they fancy. Is there anything about you that would be surprising to know, if someone only knew your art?

KV: I guess people are surprised that I don’t have some elaborate back-story for my paintings. They take shape spontaneously and organically and aren’t full of fancy meaning. I like to paint and see where it goes. I often don’t have answers to questions posed by my finished works. People ask me what a painting is about, I just ask them what they think it’s about. Their answer is as valid as mine, in my opinion. Also I think people would be surprised that I make a hastily drawn web comic about rodents after looking at my paintings, or maybe not.

CM: I have some art buddies that do some weird things while working; some end up with paint on their face, grind teeth etc. Do have any odd habits while you paint?

KV: Not particularly. I don’t like to discuss a work in progress, or hear anyone’s take on it. I feel oddly superstitious that way. Like talking about it will take something away that I need to finish the piece.

CM: Lastly, just some random questions for you:
A. Do have specific brands of supplies you use, or whatever the store has in stock?

KV: Fumes give me headaches so I use Artisan water soluble oil paints then coast in with a surgical strike of Liquin to coat it when it’s all dry. They behave a little differently than traditional oils but I have gotten used to them. I use Liquitex soft body acrylics and mediums. I like their consistency and colors and they aren’t prohibitively expensive.

B. Any music you are embarrassed that you listen to?

KV: I think soundtracks have some stigma to them but scores by Thomas Newman are awesome. That’s Thomas Newman, not Randy Newman. That would be embarrassing.

C. Would you be more flattered if someone tattooed you work on them, or was so influenced by your work that they painted very similar to you?

KV: Tattooed, definitely. I would feel quite surly if I knew someone was intentionally copying me.

Well that’s all for this interview. Make sure you head over to Kelly’s site and look at the rest of her work, also check an see if she will be having any work shown at a gallery near you.

Kelly Vivanco Homepage

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David Ho

July 25, 2007

I first got interested in the work of David Ho about 2001. It was around this time that I started trying my hand at digital art, and the work David was putting out was very inspiring. He uses such programs as Photoshop, Illustrator, Poser & Bryce, and since the first time I laid eyes on his work, he has only gotten better.

CM: When I was a kid I wanted to be a special effects engineer, not too far a jump to digital art. Did you want to be something that was related to what you do now, or was it vastly different?

DH: actually i never knew exactly what i wanted to be. i think it was just by chance that i became an artist. there was a time in my life i was alone quite alot and at that time, i found drawing to be a great time killer. after completing my drawings, i would look at them and feel a great sense of productivity.

CM: A steady diet of zombie movies & Hitchcock pushed me into the art I do now. Your art is both dark and surreal, what were the main things that helped you to develop your style?

DH: well i always liked art that was a little different from the main stream. i think it was HR Giger and Michael Whelans work that influenced my alot in the beginning.

CM: I know you use a mixture of bryce, poser & photoshop. All programs have some limitations. If someone could design a software program specifically for you, what would it be like?

DH: thats a very interesting question. maybe they already have a software out like this already, but here it goes. i would probably want some kind of 3d scanner where i could create some creature or figure in clay, have it scanned, then have the wireframe ready in the computer for me to further manipulate and render.

CM: There’s really no cleanup when it comes to digital art, no brushes or ink to spill. Does the digital environment hinder your energy or do you work better this way?

DH: sometimes i do enjoy the smell of paints and the mess it creates. i think with the digital environment, its very suitable for commercial projects cuz it allows me to work efficiently and i can quickly adjust things when clients need a little tweaking here and there.

CM: You’re also able to work in traditional mediums, do you think this knowledge has helped to give you an edge, or imagination is the main key?

DH: for sure, i think it also helps me with composition, color, and shapes. i think every student should first learn traditional methods then delve into the digital world. with so many graphic softwares out there, its very easy to take art and all its elements for granted. for example, if traditionally i wish to draw a circle, i would either use my hand and free hand it, or use a compass. but within the computer, i could draw a circle in less than a second and not actually appreciate the true shape and curves of a circle.

CM: I could really see some of your creations as collectible figures, or vinly toys. Have you ever been apporached to do this, or would like to do so someday?

DH: that would def. be cool. no i havent been approached yet.

Well, that’s all I have to ask. If you have never done so, make sure you check out the links below. See more of David’s work, maybe pick up a print.. Looking at his work, I’m sure you can see that digital art can be very inspiring and powerful.

David Ho homepage

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8bitArtist

June 13, 2007

If your like me, your hooked on old video games, you were raised on them. Recently classic video games have gotten a resurge of attention, with help from electronic acts that make “chiptunes” and artists that are making works that feature or are inspired by our favorit 8 & 16 bit heros, or villains.

The following artist, who calls himself 8BitArtist, is an acrylic painter who recreates scenes from classic games. What you’ll notice first about his work, is that he paints in pixels.

CM: Ok, so what got you into painting? was this something you dreamed of as a kid?

8Bit: I was always interested in the arts but never did it for whatever reason. I had a couple friends who were artists and one is now actually pretty established artist, those are who inspired me to pick up my paint brush and get to it. As a kid, dreaming of being an artist and having shows and such didn’t even cross my mind. I was always just interested in looking at it, not creating it. I actually didn’t start creating it until my early/mid 20’s.

CM: has there been any form of education that has helped you, or are you self-taught?

8Bit: I took a couple art appreciation courses while attending some college but no real art classes where they show you different techniques or styles. All that knowledge just came from looking at art books in spare time and such. I’m pretty modest with the Nintendo art I paint. I’ts a very simple yet very cool art form, least I think so which is why I started doing it as a hobby.

CM: Im a huge fan of NES as well, I think most from my generation have it in our blood. Is there any art you have done besides NES inspired?

8Bit: Very early on I did some non NES art. It was in the vein of the outsider type art, which is the type of art my friend Gus Fink, the guy that inspired me paints. I also did an abstract piece. Once I started doing NES inspired art, I never looked back just because it got such a massive reception with people.

CM: So whats your process like, do you lay down grids on the canvas, collect screencaps of games etc?

8Bit: I will use an emulator to screen something I find interesting or I would just piece together whatever sprites and make a scene. I try and pick stuff that really strikes a fond memory, memorable scenes that rush up your childhood and just put a smile on your face. After I get the screen idea, ill grid the canvas and start painting. I used to draw it out first, but that was taking to much time, so ill just look at my computer screen every so often and paint from that. I don’t mask at all cuz that would take way to much time and I also had people asked me if I projected the scene onto the canvas and painted it that way. I didn’t even realize people painted that way. haha.

CM: Have you ever been asked to paint something weird or sick with NES themes? Samus dancing a strip club pole, or Mario as a hitman, or Pit from Kid Icarus as a Junkie?

8Bit: hahaha, actually yes. I was asked to paint Samus naked. The guy wanted to hang it above his fire place. Never in my entire life would I have thought I needed to ask the question “so, uh, do you want samus’ pubes winter bush, airplane strip or shaved?” haha, luckily (or sadly) that commission fell through. That was right when I first started painting too, that was the only weird one

CM: Well hopefully some more will come soon, that Samus one sounds great. What do yo see for yourself in the future as far as painting goes, new styles, new mediums?

8Bit: Well, I did start doing 3-d sculptures of some NES sprites. I did a underworld goomba about a year ago and I just finished a 3-d paratroopa. I make them out of little 1/2 inch diameter wooden cubes. Its really cool to see the 2-d sprites in 3-d form yet still stay pixelated. Those guys are some of my most popular pieces but they are expensive to create and time consuming. Turning something into 3-d that you know so fondly as 2-d is challenging, which for right now is why I stayed with simpler subjects for the sculptures. I did also do some bead sprites in my spare time just because it was something different to break up constantly painting. I will be doing 16-bit in due time and actually my next project coming up is incorporating bead sprites and a painting. I will be painting a 16-bit background from SMB3 and make 16-bit bead sprites from SMB3. I’m going to try and glue a magnet on the back of the bead sprite and an opposing magnet on the other side of the canvas, this way you can move the bead sprites all around the painted background and basically recreate the entire scene as many times as you want.

CM: Thats sounds cool, very interactive as well. Have you shown or plan on showing at the yearly “I am 8 Bit” shows?

8Bit: Iam8-bit wont allow me into their shows. I contacted them back in 2005 about sending a piece to the show and I basically got this as a response “As perfect as you seem for this show, adopting the name 8-Bit Artist even, the concept for the show is actually try to avoid pixel art in exchange for wilder, crazier interpretations of the old-school characters we know and love. However, don’t let that be ANY evidence that we don’t like your work - you’re incredibly talented, and I respect what a steady, able hand you have to paint what you do. Seriously.” this year in 2007 my good friend Jude Buffum did 4 pixel art paintings for them entitled “happy endings” but i’m not sure if they contacted him or if he contacted them. his paintings weren’t exact screen shots but still used some of the sprites from the game. He does more original stuff, mostly on the political side. I’d like to be in the show but id have to contact them again. I think my 3-d pixelated sculptures are more than worthy enough to be in that show.

CM: Yeh it does look like they are overloaded with paintings, sculptures seem to be minimal. Are you into chipmusic at all?

8Bit: I’ve just gotten big into chiptune music. disasterpeace and amanaguchi were the first two too really get me into it but now i’m listening to stuff like phlogiston, rushjet1, virt, anonymouse, temp sound solutions and stuff like that. Also disasterpeaces new chiptune music label II (Pause) is doing great things. I’m also good friends with the man producing the Play music documentary on the videogame music/chiptune scene. Its going to be a great achievement once finished.

CM: Have you ever worked with any of these artists? Like making concert posters, or even album covers? I could see your work fitting quite well with artists such as Metroid Metal, 8bitpeoples, and all those at Micromusic.net

8Bit: I’ve had a few people ask me about making album covers, but the only problem is I have zero knowledge of illustrator/photoshop/etc… so id really have to hand paint something to try and make something. there was an idea floating around of me displaying art at the next blipfest but as of right now, its just that, an idea. Anamanaguchi will be playing along side some videogame rock bands Aug 25th in baltimore Md called 16-bit Genocide. myself, jude buffum and some other videogame artist will also be at the show. There have been quite a few videogame music/art shows around on the east coast.

CM: Any last thoughts?

8Bit: Last thoughts is thanks to Creep Machine for giving me an interview and stayed tuned for more NES and SNES goodness from me. Anyone interested in pieces by me can check out my myspace or email me at eightbitartist@gmail.com.

If you would like to see more work, or even commission a piece of work head on over to one of the following pages:

8BitArtist myspace
8BitArtist Homepage

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Kendrick Mar

May 17, 2007

I found Kendrick Mar’s work through the reader gallery on Juxtapoz. A good source to find new emerging artists. I really liked the whole vibe of his work, so I decided to pummel him with some questions.

CM: First of all, please tell us a little background info about yourself.

KM: I didn’t come from an artistic background and I got a late start as an artist at age 22. For this reason I feel that I’m trying to catch up to the level where I should be as well as make up for lost time. When I was growing up, my dream was to become a professional musician. For some very complicated reasons I was not able to pursue that ambition and ended up at university studying engineering and hating it. In my fourth year of college, I took a drawing class and it was then that had an epiphany and decided to become an artist. It was a second chance at achieving my dreams. At that point, I wasn’t able to finish college. I ended up working in graphic design in San Francisco for my day job while continuing to develop my art on my own. After a few years of that I had saved up enough to go to art school and I moved to Chicago to attend the Art Institute. After I graduated I moved to New York.

CM: I often daydream about being a different city other than one in California, is there any specific reasons why you left CA when there are so many good art schools here?

KM: I knew that as a fine artist, I would eventually end up in New York because it was important for me to be here for the career opportunities. As part of my journey as an artist, I liken it to a religious pilgrim going to the holy city.
As far as art school, there are some very good schools in California that I considered but it just worked out that I went to the Art Institute of Chicago. It was a really positive experience for me. The school has such a diverse range of teachers and resources available that you can find your niche no matter what kind of art you do. I found that I learned just as much from fellow students as I did from the teachers. There were so many inspirational “a ha” moments when someone would say just the right thing that would help me at just the right time. It was a great nurturing environment for my creativity.

CM: I have never been to New York, I can imagine it’s quite intense. Has the environment there been helpful when it comes to creating art?

KM: For some reason, being in the big city doesn’t influence my creative process much. My work is very introspective and hermetic so the urban jungle doesn’t seem to inspire as much as I thought it would. Before I moved to New York, I thought my life would be like in “Rent”, but that hasn’t quite happened yet.

CM: Your website doesn’t show any form of sketches, is sketching something that you do a lot of? What is generally the process when you get ready to make a new piece?

KM: I do a lot of drawing, both realistic and conceptual. My ideas come from the many, many tiny sketches I do. I sift through the sketches and rework them, then do color studies, either in oil or on the computer. The goal is to find a motif that is strong enough so that the original concept won’t fall apart once I transfer it to the canvas. The sifting process helps me eliminate what is not necessary in the painting.
My compositions tend to be quite simple and spare. My first painting teacher, Squeak Carnwath, said that a lot of paintings have too much information in them and that’s something I keep in mind. I want my paintings to have what I call “iconographic immediacy”, hence the simplicity. The subconscious seems to grab onto and remember a very simple and pared down idea of what the image is, an overall Gestalt. The details don’t hold the piece together so much as a strong underlying concept. Michelangelo said that if you roll a sculpture down a hill, what doesn’t break off is what is essential. It makes me think about what that means in terms of a painting.
The actual painting process for me has a frantic feeling to it because I usually am trying to see the painting through to completion without the original impulse dying on me or without my losing faith in the original idea.

CM: When I’m supposed to be painting I have little rituals that I do, drink some tea, look around on the net far too long, watch movies, nap, Is there anything in particular you do while painting? Drink tea, beer, listen to music, watch tv?

KM: In the early stages of a painting I listen to stuff like ambient music or opera or Tom Waits. In the mid to late stages of a painting I like silence because I’m usually trying hard to not mess up the painting. When I’m trying to get ideas, I sometimes read while at my drawing table and it gets me into the creative zone. For some reason Haruki Murakami’s novels seem to work the best. In “The Windup-Bird Chronicle” the protagonist has to enter into and navigate a metaphorical labyrinth and I think it is the perfect metaphor for the creative process. The protagonist doesn’t seem to have much control over when he can access the magical place where he needs to enter and he fumbles around trying to get in. Every so often he breaks through to the other side, but only for very brief moments in which he can never quite achieve exactly what he set out to.

CM: I know that New York has some amazing galleries there, how has your experience in the art community there been so far?

KM: I’m not an insider to the New York art scene yet. The gallery scene is quite vast and I’m in the process of researching it. For various reasons the art galleries are not places where I feel entirely comfortable, so I prefer going to museums to look at art. The museum environment feels more welcoming for ordinary people.

CM: It was through the Juxtapoz reader gallery that I found your work, besides having me attack you with questions, has that feature helped you out?

KM: I’ve definitely gotten more viewers to see my work and my site.

CM: One of the things that drew me to your work, was the unique look of it, what are some of the artists that have influenced you in the development of your style?

KM: I started out looking at the old masters quite a lot, as well as doing a lot of figurative and representational work. As far as contemporary artists, I like Ross Bleckner because of the psychological space he creates in his work, Basquiat because his visual vocabulary is so fully formed and congruent, and Damien Hirst because he’s able to address the big questions like mortality and death with a chic aesthetic. I also like Lisa Yuskavage, Luc Tuymans, and Takashi Murakami, among others. My visual vocabulary is also heavily informed by toys and dolls.

CM: I have this one painting I did for class, and no matter how hideous it is, im quite attached to it. Is there one work that you have done that are extremely attached to?

KM: I don’t have a particular piece that I’m attached to as an object. I guess that means I’m a process oriented artist. The pieces that I feel are successful do tend to propel me forward in my process somewhat. But I find that once a piece is finished and no longer part of my creative process, my interest in the piece fades. It’s kind of like a flower that is clipped from it’s roots and then begins to wilt.

CM: If we were to look in the future 10 years from now, what would we see you doing?

KM: I don’t want to jinx myself and say that I’ll be wildly successful, but at the very least I want to continue making art for the long haul and find an audience who understands my work.

CM: Ok lastly, since I i’ve been told I need more practice asking dumb questions, here is
a small list to finish.

a. cheap paintbrushes, or the most expensive they got?

I gotta have the most expensive paint brushes they have. But nowadays, I mostly paint with palette knife. It forces me to work decisively and loosely in a painting and not get caught up fussing with details and smoothing things out.

b. favorite band or musician?

Nine Inch Nails is the best thing to listen to when I’m trolling for ideas because I like my ideas to have fangs. I want to make images that are cute and seductive, like an adorable little animal that you are charmed by and when you go to pick it up, it bites you and draws blood.

c. “if I couldn’t paint I would……..?

If I couldn’t paint and could do anything else, I’d play in an acid jazz trip hop group. Or be a surgeon.

d. one superpower, what would it be?

If I could have one special power, I’d want to be a psychic like Edgar Cayce or Nostradamus. But not Miss Cleo.

–
Ok that’s it for me. Head on over to Kendrick’s homepage to get a look at some more art from him. He has a great clean webpage, and a lot more images to see there.

Kendrick Mar Homepage

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Sarah Joncas

May 3, 2007

Sarah Joncas was born in 1986 and grew up within both Hamilton and Niagara Falls, Ontario. Her interest in the visual arts developed at a very early age, starting with the dedicated drawings of dinosaurs and lizards. Though at five years old her desire to become a paleontologist overshadowed the dreams of drawing cartoons for the remainder of her life, Sarah’s need to create visually returned and surpassed. Eventually the study and enjoyment of drawing from existing images stirred up the need in Sarah to create images of her own nature; ones that could reflect the world we live in, yet also appease the personal feelings/ideas that she herself maintained. With this, Sarah’s interest in art changed gradually from the world of animation and illustration, to the eventual and grounded path towards fine art. Though Sarah has developed a particular style and manner of painting, there still progresses a steady evolution to the art she is continually producing.

CM: First of all, congrats on all the success and attention you are getting right now. It really looks like your art is taking off. You seem to have gotten a quicker start than most, and at a younger age, is it a little overwhelming?

SJ: Thank you very much for the congrats. It still comes as a huge shock to me that everything has been developing as quickly as it has. Though I’ve always worked hard for what I have, I’m endlessly taken back when those successes come into reality. I wouldn’t say the load is heavy enough to be overwhelming for me (as I tend to thrive off of pressure, in some ways), but emotionally it has been a bit of an excitement roller coaster. With good time management and some common sense everything can run smoothly in the end, even if the list of duties exceeds what you’re typically used to.

CM: As far as your style goes, what do you think was the main influences that helped to shape it?

SJ: My style has changed very gradually, though I’ve always leaned towards certain traits. I started doing more creative work in my pre-teens, starting with anime/cartoon kind of imagery. I would write stories, draw out characters and settings, make comic book story boards - probably because at that time I was thinking animation or illustration as a career. Over time I’ve had many influences from music, film, and art history to novels, comic books and photography. Anything and everything. The tendency for me to use the “solo female” narrative has been going on since I started as well. As far as artists who’ve been of impact on my art, Joe Sorren, Viner, and Frida still carry strong with me.

CM: I also noticed that you paint with acrylic or oil, sometimes wood panels or canvas. Is there one you like better, or one for specific purposes?

SJ: Not particularly. It seems to really depend on my mood, though I have focused almost entirely on my acrylic/oil work now. If I switch to wood, it is likely I just want to have that feeling of wood for the “while I paint” period. The process is very enjoyable for me, and the tangible surfaces of my materials often impact how well my painting sessions may turn out – thus, if I’m not in the zone for acrylic, it will not likely work out to use acrylic.

CM: What do you think is the most valuable thing you have learned at college thus far?

SJ: I’ve been mostly bitter about my post-secondary education thus far, but, to be positive, I think I’ve matured more due to the responsibilities of living alone. My management skills have improved tons, I’ve become more confident towards arising opportunities, and I’ve learned to lighten up. As far as actual “education”, I’ve found there to be more rewarding material in my liberal classes, as opposed to my studio courses.

CM: Are you overall happy that you decided to go to art school, or was a university an option as well?

SJ: Technically or officially, I am getting a “university” education in the field of art since my reward for 4 years is a BFA… However, I would never compare my work load to that of an engineer student. I don’t regret going to art school even if I feel as though I’m paying a ridiculous amount of money for little to nothing. There are more benefits in mistakes and hardships then in success; you just have to learn how to respond to them.

CM: I read that music and film greatly influences you, are you either watching movies or listening to music while creating?

SJ: Always listening to music while painting, yet rarely watching movies… However, if I’m doing sketchbook sort of work that can generally happen anytime, anywhere. Film comes as more of an after thought, while music can be instantaneous.

CM: What specific movies or bands have influenced your art the most?

SJ: It’s difficult to put only a few. With music, bands such as Pink Floyd, Tool, Radiohead, NIN or Portishead have aided me. Sometimes it’s in the lyrics, sometimes in the sound, sometimes just a feeling. With film, movies like Blade Runner, Vanilla Sky, Fight Club, or Interview with the Vampire have all had their moments.

CM: Are there any specific artists that you would love to have your work shown with?

SJ: Every new event I participate in, I show with new artists I love. I have my list of personal loves, but more so then getting to exhibit with them, I would rather just get to see their work in person. Living as a student in Canada, I haven’t had the chance yet, but I’m sure in due time that will happen for me.

CM: Are there any artists that you would love to learn from?

SJ: Not in a “master-apprentice” kind of way. I prefer my solitude while painting, though that’s not to say I wouldn’t love to meet other artists and talk with them… Though, I’ve also found I tend to learn more by listening and observing, rather than talking.

CM: With such a big future ahead of you, is there anything else you would like to do alongside painting?

SJ: Take it as it comes, really. I would love to travel, learn to drive a motorcycle (and a car), go scuba diving (even though I’m terrified of sharks), possibly illustrate my own book… Battle a grizzly bear with my bare hands…

CM: Last question, your working space, clean or really messy?

SJ: Usually clean, sometimes messy. Overall, very, very small.

Well, that’s about it. Thanks for putting up with these questions. Hopefully ill be able to see some of your pieces in person, I’m sure they’re just as stunning.

If you haven’t done so yet, head over to one of Sarah’s site and check her art out. Her art is selling fast, so don’t wait.
Homepage
Myspace Profile

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