Sorry for being total tard. I’ve had this interview with Rachell Sumpter sitting in my mailbox for a week now. Rachell creates some amazing paintings. The interview is short but full of awesome info. Check it out after the jump. Also, special thanks to Booooooom for introducing me to Rachell.
I featured IMAKETHINGS work awhile back and he was nice enough to answer some questions for me. Even though he doesn’t eat cereal he still seems like a dope dude. Check out the interview after the jump.
Maxwell Holyoke-Hirsch is an extremely rad artist. He’s also an extremely busy one, preparing for a solo show at the Fecal Face Gallery later this year. He was nice enough to take a lil’ break from painting and answer some questions.
Favorite cereal?
Lucky Charms.
What sparked your interest in art?
My parents, Bosch Blake and Lynda Barry.
I’ve read that you are a self trained artist. What do you think the benefits of not going to art school are?
You make some raw ass shit and nothing really matters. You can sleep in if you want, be where you want when you want. I still might go to school.
You’ve been involved in art exhibitions for the past couple years. Can you describe your first exhibition? What did it feel like the first time your art was in a gallery?
I was nervous, awkward and tremendously ecstatic. I remember distinctly saying to myself, I can do better then this, this is crap.
You’ve got your second solo exhibition slated for November at the Fecal Face Gallery. Can you tell us what you have in store for the show? Are we gonna see a lot of installations or more paintings?
I got a lot of interesting artwork planned, more paintings and installation stuff. Groundbreaking imagery
I love your collaborations with Yumi Okuda. How did these collaborations come about? What was it like working with Yumi?
Thanks, I asked her if she wanted to get down on some pieces for this tiny showcase show, she said yes so I got started on a handful of work to send to her and vice versa. It was fun and easy loose, she has a keen sense of form and shape, color too.
Your an illustrator and a fine artist. What’s it like working in both areas? Which one do you prefer more?
It’s hectic and action packed, its like juggling but with mediums and ideas. I love working in both areas equally.
Any advice for upcoming artists?
Lock yourself in your room for a year and draw everyday, then make a website and update like a crazy dog, make a few hundred zines too and send them to people you want your work and yourself around. Ignite the fire in your gut, do something about it.
What’s in store for the rest of 2009?
Ruining your sleep.
James Roper is dope, so dope he answered some questions. By the way if you know any other artist you want me to interview shoot me a tweet or an e-mail. (superduper@shapesofsweetness.com)
Favorite cereal?
Porridge (oatmeal).
What do you think it takes to become a full time artist?
Discipline, being anti-social helps and you might not cope if you like having money.
You’ve said before that when you were 17 you got into art and discovered that it wasn’t about visuals it’s about ideas. What ideas did you start portraying back then?
I actually said I found it wasn’t just about visuals. The first piece of work I remember making which was trying to communicate certain ideas was a piece called ‘Unified Militant Echo’. It was a comment on the monotony of high school which, similar to a school photo, consisted of rows and rows of hundreds of cut outs of the same image of a male and female student wearing a monotone grey version of the school uniform. Despite the negative connotations I was asked by the headmaster of the school if he could use the image for a school greetings card!
When you look back at your work from five to ten years ago what do you think? Do you think that you have evolved nicely?
Evolution is everything. I don’t know how some artists churn out a variation of the same painting year on year. It might pay the bills because buyers can buy into your work as a ‘brand’ but it’s boring as hell. Of course there’s something to be said about the subtle variations that can be explored with certain ideas but it can often be put down to laziness. A lot of my work I look back at I think were just stepping stones, I was basically trying to find my feet as an artist. ‘Push the pull’ which I did in my final year of my degree was the first in the ‘Hypermass’ series and although I’m not too keen on it now (though I think the title is one of my best!) it was an important piece in regards to where my work eventually headed. Another two key pieces were ‘Cytherea explicates the enfolded’ and the follow up ‘Conception of the unfolding implicate’ which were a definite bridge between the ‘Hypermass’ pieces and my new work.
How is the art scene in Manchester?
There is a scene but I’m not part of it, I’m a bit of a loner. There seem to be two main branches, one side is more conceptual and the other is graphics and illustration. I fit in the middle somewhere.
You work in a variety of mediums: painting, drawing, graphic, sculpture, film. Is there one medium that you prefer over the other? If so why?
Painting has a much more direct link with the nervous system from head to hand, it’s the best form of expression I know of (I’m sure music would be more direct but I’ve not got around to that yet). I enjoy the process of drawing as it’s very absorbing but it can be tiring as it takes a lot of concentration. The graphic work can feel a little soulless but I like the perfection of a vectorized image. I haven’t done enough sculpture as I’d like to, I don’t have enough time but I like the physicality of manipulating materials. Film seems to me to be the ultimate form in which to affect a viewer as it includes narrative, sound, music, visuals, dialogue etc. but it takes a hell of a lot of work and people power to get them made, especially to the standard I want.
Is there any medium you would like to try, but haven’t yet?
I’ve always felt I should try oils instead of acrylics, especially now my work is moving on from just block colour, but I’ll see how far I can go with acrylics before I try them out.
You have done a nice amount of exhibitions and been featured in a good amount of publications. What has been your defining moment as an artist? Does a certain exhibition or feature in a publication stand out?
I should probably say my first solo show in London but what stands out just for the shear surrealness of it is seeing a photo of Kanye West in a newspaper wearing the ‘Fallout’ t-shirt I did for Tank Theory.
Describe the perfect collaboration?
My work is so personal I’ve never been particularly drawn to collaborations. But if I share a common interest with someone I don’t mind but I expect the same critical standards in others that I expect of myself.
What non-visual things inspire your art?
Philosophy, music, various physical and mental sensations within my body and it’s relationship with the environment.
What’s in store for the rest of 2009?
I’ve been working on a short film which I co-wrote and worked on the production design for which should finish post-production in the the next couple of months. There’s a few other things which are in the pipe line but no definites so until then I’ll just keep working and see what my mind throws up.
Zach Gibson, a super duper graphic designer I featured awhile back, was nice enough to answer some questions and send over some work of his. This interview is packed full of rad links, so check it out.
Favorite cereal?
Honey Nut Cheerios 100%
What started your interest in design and art?
I didn’t grow up drawing or doing art as a kid. My mother is a real estate appraiser in South Florida, and my father sells 50 gallon steel drums in North Jersey, so art wasn’t something they thought to be of any relevance. Although, I remember coming home from school and seeing my mom at the kitchen table pasting together tons of photos of houses she’d taken. She’d be drafting floor plan after floor plan by hand. Looking back I think her work had a huge influence on my admiration of the meticulous aspects of design.
I was fortunate enough to attend a great high school that had a graphic design class, and it was there that I immediately fell in love with screen printing. I’d leave school early two or three days a week to work at a silk screening place, printing little league baseball uniforms and apparel for Temple University. I also worked at a skate shop for about six years, and that had a big influence on developing an interest in design.
I think through my interest in design I discovered a love of art and intimate image making. Like most art students, I was happily forced to take drawing, painting, and sculpture classes to make a portfolio for admission into the design program at Tyler School of Art. So I just kinda stumbled into the whole art thing and totally fell in love. I’ve since taken any opportunity I can to learn more and develop my growing knowledge.
You’re involved in the world of art and design? What are the perks and downers of each? Which area do you prefer to work in?
I’m just getting started in the art world participating in any group shows I can. It’s been a really nice change of pace for me from doing client work, but it’s tough to find the time to paint and experiment when working a full time job at Studio Number One and doing freelance design on the side. I wish I had more time to experiment with my paintings and drawings. I think that’s why I like the group shows because they sometimes forces me to work outside of what’s comfortable and through that I’m discovering new techniques.
Design is what pays bills and keeps me on my toes and working late. I’ve been working at Studio Number One for two and a half years now and I feel I’ve grown incredibly as a designer since starting. The people I’ve met and become friends with through the studio are just incredible and I love my job. It can be a downer when a client doesn’t like what you did. Sometimes in design you inject a bit of yourself into a project and rejection can be difficult to deal with. But I think it’s always a learning process. I don’t have too many downers with what I do, otherwise, I wouldn’t be doing it.
To answer the last part of your question, I prefer working in both, and in the areas where the line between art and design gets blurred.
Who are some of your favorite artists/designers?
Saul Steinberg is my absolute favorite I find comfort in the dialogue he creates in his work. It’s easy for me to get lost staring at the simple complexities in his lines. I have a huge list of artists and designers I enjoy and who I draw inspiration from, but I don’t want to bore people with name dropping. My favorite blog recently is But Does It Float and also the things that are happening on Space Collective.
Your handmade typography is amazing, my personal favorite is the junk mail typography. What about handmade typography inspires you? What are some of your favorite typefaces?
Thanks! I really enjoy making type out of tangible things, like junk mail, playdough, cut paper, foam, and cookies. Since 2005 I’ve run an online zine with my friend Justin Waldron called Nothing Fancy Volumes and really the top secret reason I started it, was to generate a reason to experiment with type. I know, sounds selfish, but we’ve also created an opportunity for artists to strut their stuff. I create the title pages for each artist that sends us jpgs. I enjoy the process of making type out of things, it’s an opportunity to step away from the computer and its distractions for a bit. I learned a lot from doing the junk mail type, there’s something nice in the idea of recycling what would normally be trash and making something beautiful out of it. Does that qualify as sustainable design? Maybe I could run with that for a bit.
You’ve made some zines. How did you first get started making zines? What was the first zine you made?
Ya, I need to make more zines. Not really sure what the first one was. I started when I was in school, I’d just staple together scraps and the photocopied reference I was using for specific projects. I’ve made a lot of one-offs just to archive things rather than throw them away.
What’s one mistake you have made as an designer/artist?
I feel mistakes are an important part of the design and image making process and an awesome way to learn. Sometimes I wish I had more time to make mistakes. The luxury of failure is not something you have when you’re working professionally because of time constraints on projects and the necessity to execute. The mistakes are less frequent now and I start to fall back on comfortable patterns of execution. It can sometimes limit the outcome of a solution. So I guess my mistake is not making enough mistakes recently.
What projects do you have planned for the rest of 2009?
This year is going to be a long one. I’ve recently applied and been accepted to the MFA programs at Calarts and CCA. So I’ve got a big decision to make, and come fall, I’ll be taking classes again. I’m also going to be starting a blog called “Tell Know One” this summer, the goal of it will be to document observations, experiences, relations, and design over the 2 year period of questioning and uncertainty while getting an MFA. http://www.tellknowone.com Coming this summer!!!
Thanks for this opportunity. Here’s some links to stuff I’m involved in.
Zach Gibson
Studio Number One
Simple Pleasures
Nothing Fancy Volumes
Zach Gibson on Twitter
Living Proof interviews Zach Gibson
I first heard about N8 Van Dyke about three or four years ago when I was a youngin’ posting my art on ConceptArt.org. His style is amazing and he has really blown up the past couple years. Here’s an interview I did with the super duper artist.
Favorite cereal?
Honeycomb. Haven’t had that crap for years but I loved it.
What was your first paid gig as an artist and what did you learn from it?
Very first job I did was while I was still in High school. It was for the mountain bike legend, Gary Fisher. I did a huge piece that was going to run in magazines but it never got used. That’s probably for the better because I would hate to see it now. I learned that the business side of art is almost more important than the art itself.
I first heard about you on ConceptArt.org about three or four years ago and you’ve been a concept artist for awhile now. How did you get into the world of art, showing galleries, doing illustrations for magazines?
I had no choice but to get into the world of art. It’s the only thing I know how to do. I sort of fell into doing video game concept art, though. I had a show with my buddy, Coro, and he had been doing video games at the time and he got me in the door. Fast forward seven or so years and I’m now at my third video game studio doing concept art. I still maintain my freelance work as well as gallery shows.
As for getting the freelance career and all of that going I used to spend a good deal of time and money at Kinko’s putting together photocopies of my work and sending it out to companies I wanted to work for. It’s much easier now just having a presence on the web. Other than that it’s just a lot of hard work and practice and going for what you want.
You’ve been a successful artist for awhile now. What do you consider your “big break” or defining moment as an artist?
My first big break was when I was 20. I passed on scholarships to some really nice art schools and decided that I just wanted to do it on my own. I was doing construction for 2 years when my art was discovered by a dot com company. It was called Learn2.com and they had instructional tutorials. If you didn’t know how to carve a turkey or change a tire or something you would go onto this site and it would show you. My job was to do the drawings that would go along with the tutorials. It was my first real art job and I made a great deal of money and got a lot of experience out of it. I did that for about 6 months before the dot bombed. I’ve been a full-time artist ever since I put down that tool belt.
You’ve been involved with the Upper Playground circle for awhile now. how did that come about?
Upper Playground has been great to me. They recently sent me to London, Portland and Seattle for solo shows. It’s been an amazing experience. I got hooked up with them years ago when I did that three-man show with Coro and another guy. I had been doing shows around SF and my work was getting a good deal of attention. I was in that show and then I kinda ran off and did other shows afterward. Then, about a year and a half ago I got picked back up by them and just started doing solo shows for them left and right.
You’ve done a couple of solo shows, what did it feel like doing your first solo show? How did you go about preparing for it?
I learned a lot by doing my first solo show. I think I was about 19 years old. It was in a café that I used to go to in San Rafael. It was actually a pretty big café with huge walls. I did all of these pieces and then when I went to hang them they just looked so small and insignificant on the wall. I hadn’t done a lot of big work at the time and didn’t really give that consideration. I was proud and nervous. I’m not very big on being center stage so it can be a little strange for me at openings and whatnot. In the end, that show got it started and took me to where I am now. I’m thankful to them for that. They popped my solo art show cherry.
Preparing for solo shows can be a bit of a head-trip. I try and just purge all of the demons and shit in my head onto paper. It can be a gut wrenching experience in a way but also liberating. I prefer to have a bunch of work already lined up before taking on a show because that way you have a jump-start.
What‘s on your reading list right now? (Books, blogs, magazines)
I always read Juxtapoz Mag to keep up on artists and hear what’s going on in their heads. I’m not really big on reading blogs. I spend too much time on a computer as it is with e-mail and work. There are a couple books I’ve had sitting on my desk begging to be read but I usually just push them aside and draw. I have a one-foot tall stack of comics I haven’t even read yet. It’s bad. I hope I haven’t forgotten how to read.
What is in store for the rest of 2009?
I’ve got a number of really cool things in the works. A lot of it I’m not able to talk about just yet. Aside from that, I’d like to get a show in San Francisco maybe later this year. I got a lot of work and travel done last year with all of the gallery shows and the Sparks Mural Tour. I’d like to find some focus and just lock myself away and not come out until I have a new body of work. The next level of what I have already done. I’ve got some ideas in the head so I’ll just be busy purging those.
Jeffrey Bowman, one half of The Wizard Hat, is one of the dopest illustrators out there today. He was featured on Super Duper awhile back, and was nice enough to answer some questions.
Favorite cereal?
Coco pops, though I tend not to eat cereal at all anymore, I am all about toast!
What was your first exposure to the art world?
There are several first exposures I guess through my early school art classes when I was exposed to the usual suspects, then through college I got a little bit more exposed to better art but I think the first exposure that I think of as my real entrance into the world of illustration and art world was my first week at university I got handed the first Neasden Control Centre book ‘NCC’. This was where I think my journey began, and what an amazing book it still is to this day!
You’ve spent the last two years as a freelance illustrator. Describe some of the hardships and perks of being a freelancer?
I think the hardships have defiantly been the lack of money, and the one to many freebies, but on the flip side without them I would’nt have got some of the more bigger jobs I’ve recently picked up, so that’s got both sides to it. I guess especially now the money thing is quite prominent focus in everyday life so its inevitable, that’s a hardship of freelance. A definite positive thing to come from freelancing is the focus and development of my work, I’ve really been able to explore what I do and how I do it through a balance of client work and self initiated, something you can’t balance working in a company.
Style is a word thrown around a lot in the art-verse. How did you find your style?
I think through a lot of different processes, many hours of just doing, trying, experimenting, but also many hours in the library looking at the history of design and illustration, trying to understand what I’m doing now and why. It’s in constant development and then re-development from one project to the next, but I think it’s also about having consistencies within my work such as the line work and form etc which gives it its overall style.
What has been your most defining moment as illustrator? Does a certain project stand out?
I think i am constantly having defining moments, as long as the progression onto the next project or the next good email arrives the last moment will be re-defined again. But to pick one it would be the email from Todd Francis at Element asking me to do a Tee for them… that’s made everything worth it, that was on my To-do list from day one I think!
What things besides other illustrators and designs inspire your work? Movies? Music? People?
Music inevitably, it feel like it goes hand in hand with illustration and design. I also get really into watching people who dress well, like indie fashion, it’s not something i can pull off myself but something that inspires me for some reason, I’ve never known why!
You’ve made a handful of zines. What was the first zine you made about?
I made a zine called Pump in 2007 with Andy J.Miller (my fellow wizard), Robert Loeber and House of Burvo back in uni, it was a celebration of our love for the world of design, illustration, music and fashion, we did two issues and it was super fun!
You are one of the founding members of The Wizard Hat. How did this project start and where do you see it going?
It started about 8 months ago or a little less, Andy J.Miller and myself had just done some work together and then got talking, we always sort of found our paths after uni crossing especially with what we were both into, then decided to say we were going to make a zine, I put it in a mail out i was doing for my recent site updates then i got an email from Computer Arts Projects asking to see some pics for an article they were doing, so two days later we made it, printed it, photographed it and launched it the day the article came out! It’s not stopped since, we have progressed from a zine into a fully functioning illustration house now doing other projects, exhibitions and many other things. We are trying to push the zine though with each issue to a new place. Issue 03 has a audio CD with music written by John Ringhofer, something we didn’t think we would ever be able to make happen! So who knows, more work, more issues, more exhibitions, and mostly more magic!
What are your plans for the future?
Hopefully start moving into other areas of illustration I have been thinking about, maybe a solo show, and I’ll probably continue to chase the mythical 25th hour of the day!
