Art Space Talk: David Stoupakis

David Stoupakis is a dedicated painter who has quickly earned international recognition for his art. David has stated that his paintings are about the strength of imagination, innocence, and the truth that children are are far more intelligent than most adults give them credit for. In a sense, David explores his own world through his imagery-- a world that often conveys a fairytale-like quality... yet it contains the essence of reality.

David's paintings, like fairytales, are open to interpretation. Viewers have had mixed reactions about his work. Some observe a sense of purity within David's imagery-- while others see only brutality. The reality of David's imagery is that what you see is in the eye of the beholder. Thus, his paintings have an aspect of psychology about them-- it reminds me of Carl Jung's theory about the 'shadow self'.

The Tea Party, oil on board, 24" x 24", 2006

Brian Sherwin: David, can you tell our readers about your youth? Do you recall any key events that helped guide you toward the direction your are going today?

David Stoupakis: When I was a young kid I found an old wooden chest while looking through the window of my neighbors ran down barn. While I was peering in I got startled by a noise and ran. That night I couldn’t stop wondering what could be in that chest. The mystery of not knowing was running all kinds of stories through my head. It was the first time I recall really feeling the power of what imagination and story telling can do for you. I feel it's moments in my life like that one that play a large part on the direction I take my art in today. The idea from a vision and the curiosity of the unknown.

Balance, oil on board, 16" x 19", 2005

BS: Do you have formal training in art? If so, where did you study? Who were your mentors?

DS: I did one year of art school at the Art Institute of Boston before making the choice to study on my own. I think art school can be amazing and be really beneficial. However, at that time I just wasn't ready to go through with another 2 to 4 years of schooling.

BS: David, what about early influences? Were you inspired by certain artists or musicians?

DS: My early influences came from fairy tales, horror movies, and most of all comic books. Almost all my early work was heavily influenced by comics. I also studied some of my favorite artists like Sargent, Vermeer, Bosch, and Goya. Music has always played a roll overall. After all, we all need soundtracks to are life.

Frozen, oil on board, 16" x 28", 2004

BS: I've read that you started out as a mural painter... do any of these murals still exist? Can you tell us where some of these can be found... or would you rather forget your early commercial work?

DS: I started out doing murals, signs, and video games. I'm not sure if any of the murals are still around because I haven't been back to visit any of them but in no way would I want to forget any of the early commercial work I did. I feel like everything I have done has helped me grow into how I am today.

Mary And Her Lambs, oil on board, 16" x 28", 2004

BS: What made you decide to make the jump from doing commercial art to personal art? Do you still do any commercial art on the side?

DS: I just had my own stories to tell. It wasn't really ever a jump over from commercial to personal. I've always done my own thing outside of the commercial art gigs. I think I was just still trying to find myself as a painter when I was taking on those jobs. Then when Aprella and I moved to NYC that’s when I made the decision to step way from the commercial art thing and really try to put myself out there with my own work. Now I only get involved in select projects outside my personal work that I believe in and truly want to do. That's not to say the commercial art world is bad. It can be a really amazing money making job. But, the long hours needed give no time for personal work and being my own artist was what I wanted most.

BS: David, in recent years your career has really had a boom- you've had interviews in Juxtapoz, Hi-Fructose, and have been very involved in the scene... does this form of success ever make you wary? Does it put pressure on you? Or do you just let the chips fall, so to speak?

DS: It's been a great year and I just take it as it comes and roll with it. I am extremely grateful to have the opportunities that I've been given. Sure, it's high stress at times, but it's not worth complaining about. Life can be truly amazing when you work hard at it and anything is possible if we just set are hearts to it.

The Day The Frogs Rain Down, oil on board, 18" x 24", 2005

BS: David, some people view your work and only see disturbing images of children... they miss the point of what you are trying to do. Based on what I know of your work- I'd say that you are trying to give voice to children who have never been heard- voice to the abused and broken. That is what I see in your work. Would you like to clear the air and say, in your own words, what your imagery is about and the motives you have behind it?

DS: I feel that most of the time people see negativity in things because of the conflicts they are working out in their own life. So they seek and dig for something disturbing or some sort of negativity in something. I have never seen what I do as disturbing. My works are about imagination, innocence and the truth that children are far more intelligent than most adults give them credit for. I work with antique photos of children that I find and purchase quite a lot. For me it's sad to think of these abandoned or sold off images of children just sitting in a box in a dusty store. So, I bring them home and paint a world for them to live and tell their story in.

BS: Can you go into detail about your process? How do you start a painting?

DS: Mostly I paint on board. I start out with a lot of gesso and sanding. Most of the time I do an under drawing then I just get into the oil paint. I always try to experiment with different ways to do the process. So I can try to keep it new and growing.

Red Ribbon, oil on board, 24" x 26", 2006

BS: David, tell us about your studio... do you work in a small space? Large space? What is it like to be in the studio of David Stoupakis?

DS: It’s a good size space. There's quite a good deal of antique photos, fairy tale books, misspelled writings and an overall trash pit of paper, empty coffee cups and supplies. The most important thing about my studio is that I share it with Aprella. We both work everyday-- as much as 12 hours or more a day sometimes. So if we didn't share the space we might never find the time to see each other.

BS: In many ways you remind me of Chet Zar in that you have created a unique world with your paintings. Like Chet, you don't really seem to care about what is popular at the moment... you continue to dig into the world you have created without looking back. I assume that you will continue to dig deeper into 'your world' no matter what fate brings you as far as success is concerned. Would you say that I'm correct in feeling this way about you and your art?

DS: It's just all about me trying to understand more about what I am doing. So, yep-- you got it. For me it’s never been about what’s popular. It’s always more about me working out whatever I am going through at the time-- as I am sure it is for many other artists as well. I'm on a quest to understand this world I have been creating and if it happens to put me on a path of being unsuccessful that will suck, but I'll still be me doing what I do. I am not selling paintings to match your couch.

The Messenger, oil on board, 36" x 36", 2006

BS: Do you have an suggestions or advice for artists who are just starting out?

DS: Make art all the time-- and really all the time. You won’t grow unless you do, and the art won’t make itself. If you have a TV-- get rid of it. When you feel you are ready figure out whatever field it is you would like be involved in and approach them. They don’t know about you so you need to let them know who you are. If you are trying to get involved in the galleries pick up this book "Taking the Leap" it's an insider's guide to exhibiting and selling your art by Cay Lang. Don’t let criticism get you down. The art world can be really overwhelming at times. You definitely need to work really hard at it. If one place turns you down keep moving on to the next place and just keep on hitting it and don’t ever lose site on why you make art. Your art is who you are. The most important thing is to just believe in yourself.

BS: Finally, is there anything else you would like to say about your art or the artworld?

DS: I am so very grateful to be where I am today. It is a dream come true to be living from my artwork and I am so looking forward to the road ahead for Aprella and me. I'm an extremely fortunate person.

You can learn more about David Stoupakis by visiting his website, www.davidstoupakis.com. You can read more of my interviews by visiting the following page, www.myartspace.com/interviews.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Travis Louie

The art of Travis Louie has had a great impact on the pop-surrealism scene. Travis is known for creating detailed drawings that are often mistaken for old photographs that have been manipulated. Travis has concentrated on his career after leaving behind over 10 years of freelance illustration work- since that time he has displayed his art at some of the most respected galleries on the scene today. His work has been exhibited at the Roq La Rue Gallery, Copro Nason Gallery, the Shooting Gallery... and has also been featured at Art Basel. Travis's draftsmanship reveals the determination and passion that he has for his art.

Brian Sherwin: Travis, as a child you were thrilled to watch "atomic age" sci-fi and horror movies. That connection is obvious in the art you do today. Do you create art as a way to stay connected to your youth? Is it a way to keep 'forever young', so to speak?

Travis Louie: That's an interesting conclusion to come to.

You're partly right, . . . I had a great time watching those movies as a child and the imagery has certainly stayed with me, . . .but essentially it's quite universal for artists to be influenced by their environment, . . . their life experiences, . . traumatic or otherwise, . . .that sort of thing.

I'm not so sure I stay connected to my youth through my paintings or that they keep me "forever young", but I do like to try and capture that feeling of wonder I got from those films. If anything, the act of painting keeps me grounded and maybe has a kind of Rip Van Winkle effect. Time seems to stop, when I'm working on my pieces.

Back to those atomic age sci-fi films, . . . these days, a few of those films have taken on another dimension for me. I am more aware of the cultural and political environment that existed, when they were made. Movies like "Invasion of the Body Snatchers", Sam Fuller's "Pickup on South Street", and "Godzilla" come to mind. They contain metaphors for fear of a communist invasion and the threat of nuclear destruction.

BS: What other influences do you reveal in your art?

TL: German Expressionist filmmakers like Fritz Lang and F W Murnau, . . . who influenced other filmmakers that I admired, like Orson Welles, Val Lewton, Jacques Tournuer, and basically all the great Film Noir directors as well as the 19th century photography that I collect, . . . have had an enormous impact on the look of my work.

People have said that I paint monsters, but I'd like to think the characters in my paintings have some humanity and kindness in them.

BS: Travis, I understand that you started out as a professional illustrator- you have over 10 years of experience in that field. How did you make the jump from illustration to creating personal artwork for galleries?

TL: I had exhibitions in galleries while I was working for studios and freelancing for a living, . . . but I just wasn't happy with the results, . . .I finally decided I should really make a go at it and concentrated my efforts on improving my work, . . .once I felt comfortable with what I was producing, . . . I started showing my work to more galleries in 2003. I think my artworks just needed a chance to evolve. Not so much in the technical aspects of the work, but rather on the aesthetics . . . I always have to remember, "It's not just how well you paint, it's also what you paint"

BS: Where did you study? Who were your mentors?

TL: I went to Pratt Institute in Brooklyn, NY I can't say I had any mentors there. They didn't teach people how to paint, . . . they taught them how to think, . . . "artistically". As far as I'm concerned, . . .the jury is still out on whether or not, that was a good way to teach.

As much as I appreciated the lessons in "problem-solving", my skills didn't really get a chance to improve until I'd been out of school for a year, which was probably the "norm" for most of my graduating class. I'll even go as far as saying most of the students from the illustration department weren't prepared, when they left school, . . . when I say this, I mean that a lot of them didn't seem to know what finished work looked like. This became problematic when they graduated, entered the illustration market, and were then put into the same talent pool as the very best in the business, . . . competing for the same jobs.

I even had this feeling during my junior year that our work as a whole wasn't strong enough. Being a year or so away from entering the real art market, I began to think it was unfair to coddle the students into thinking they were better than they were and that they might be prepared to tackle the "real" art world when they graduated. Of the 75 or so students that shared the same illustration dept with me, I couldn't name more than 5, who might still be doing artwork for a living today.

BS: You have had several great exhibitions at top venues for pop-surrealism- Roq La Rue Gallery, Copro Nason Gallery, Fuse Gallery... just to name a few. Can you share some of the experiences you've had exhibiting at these galleries? Do you think you could single out the best exhibit you've had so far? If so, why did it leave such an impression on you?

TL: All the galleries I've been fortunate enough to exhibit in have been good to me, . . .that's my diplomatic answer to that question,. . . next question.

BS: Travis, I've read that you create several thumbnail drawings of your paintings before you start to work on them... you also write short stories about the paintings before they are created. Do you have a story for every character you've painted? Also, why does that process work for you?

TL: My work is created in several stages, . . . the first being the idea and or inspiration which can come at any time at any place. When I'm purposefully trying to come up with something, I make many little thumbnail drawings and write little character descriptions or complete little short stories to accompany the concept of a piece before i even get to the painting, . . . sometimes my process in the writing stage is very "stream of consciousness" kind of creative writing. After I've fleshed out enough information, I make a tight drawing to work from, I prep my board, transfer the drawing, and begin painting.

BS: Some critics have mistaken your paintings for retouched photographs. Could you explain your technique/process so that people will understand why they sometimes appear to be retouched photographs? What is your motive behind working in that manner? Do you study or collect old photographs?

TL: Unfortunately, since it is the "look" of those old photos that I'm trying so hard to emulate, my work is often mistaken on the web to be retouched photos, . . . I work in thin layers of acrylic applied in glazes with very small brushes over a really tight graphite drawing. I learned from looking at Victorian watercolor techniques sans body-color. I looked at a lot of Maxfield Parrish illustrations as a working model.

BS: I've been told that John Merrick, better known as 'The Elephant Man', is one of your heroes. Can you go into detail about why he is one of your influences? It seems that you do not pity the life that he had.... instead you admire his strength, is that true?

TL: Where did you hear that? Well, . . .about John Merrick, . . .my interest in him as a human oddity who was born with unusual circumstances that could not be treated by 19th century medical practices, stems from the photographs and illustrations of him I saw where he was finally being accepted as a human being and treated with some dignity toward the end of his life. The principle image I recall, was of a well-dressed Victorian man with an unsettling physical condition enjoying a night out at the theatre in full public view.

BS: Travis, tell us about your studio space. Where do you work? Do you listen to certain types of music while working? Are you a recluse... or do you openly invite others to your studio? What is it like to be in the studio of Travis Louie?

TL: My studio space is the entire basement of my house, . . .I have a few different work stations with large boards, a place to assemble my frames, a drawing table, and shelves of reference material. It can be very cluttered when I am working (which is often) and I do not have many visitors. I am not a recluse per say, . . . but I don't see the point of having visitors down there. I listen to all kinds of music when I am working, . . .but lately, I've been playing DVD's of old motion pictures, . . . I like the quick dialogue from those old Noir pictures. I also like the old movie soundtracks by composers like Elmer Bernstein, Jerome Moross, and Wolfgang Korngold.
BS: Do you have any suggestions or advice for artists that are just starting out?

TL: Learn to draw first and foremost, . . .there are so many new artists out there with minimal draftsmanship, . . . it's embarrassing really.

First impressions are very important in this business, . . . be aware of what finished work looks like.

Treat every body of work you create as if you were trying to make a big impression, . . . Don't slack. It's a lot easier for people to tell if you are "phoning it in" than you think.

Timing is everything, . . .being persistent creates more opportunities for being in the right place at the right time.
Don't miss deadlines.

Being persistent isn't enough, . . . if you submit to a gallery on a regular basis , . . . make sure the work improves each time and that the work is consistent with the kind of artwork exhibited at the gallery you are trying to submit to, . . . otherwise it is just annoying.

Don't believe everything you hear, . . . hype is not quality, . . . hype is marketing.

Be self-critical and trust your gut, . . .if something looks like it sucks, . . . it probably does.

Did I mention learning to draw?

BS: Do you have any upcoming exhibitions?

TL: My next show is at the Shooting Gallery in San Francisco opening Oct 13th. I'll be in attendance.

BS: Finally, is there anything else you would like to say about your art or the art world?

TL: I've been very fortunate to be able to make a living with my art and I thank everyone that has supported me along the way.

You can learn more about Travis and his art by visiting his website: www.travislouie.artroof.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Travis is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Laurie Lipton

Laurie Lipton was born in New York. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). She has lived in Holland, Belgium, Germany and France and has made her home in London since 1986.

Inspired by the hyper-realistic paintings of the 15th-Century Flemish masters, Laurie's drawings are known for their intense detail. In a sense, pencils are her paint and paper is her canvas. Her work is smooth and appears to be almost photographic at first glance. However, a closer look reveals the intricate detail of her work. From thousands upon thousands of distinct, precise, cross-hatched pencil-strokes, Laurie builds up rich, monochrome tones. It is rare to find an artist who can draw as she does- I consider her to be a contemporary master.

Laurie's art has been exhibited internationally and has been widely published and documented- including Juxtapoz magazine and the book 'Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists'- by Jon Beinart.

Brian Sherwin: Laurie, can you go into detail about your youth? Can you recall any experiences that helped to guide you to where you are today with your art?

Laurie Lipton: My father used to take my brother and I to museums on Sundays so my mother could have the day to herself. I was enthralled, especially by the religious paintings. I wondered how the artists managed to create such beautifully detailed worlds. I thought it was the most magical thing I'd ever seen, and used to stand in front of a painting for hours, trying to burn it into my eyeballs so that I'd never forget it.

I begged for art supplies and used to sit in my bedroom for hours painting and drawing. My mother was quite worried about me and wanted me to go out and play with other children.

BS: Laurie, you were the first person to graduate from the Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). Can you tell our readers about the art program there? Who were your mentors?

LL: A professor called Herb Olds inspired me when I was a freshman at CMU to see objects as forms caressed by light. He taught my eyes to see differently. He also showed me how to use the composition of a whole page and how important each mark was. Otherwise..... I was bored. Everyone was splashing paint everywhere. So what?

BS: While in college you desired to paint like the 17th century Flemish Master, but no one could teach you. You took it upon yourself to study Durer, Memling and Van Eyck- cutting classes in order to copy their works at the university library. Can you go into detail about how you learned to draw in a manner that captured as much detail, if not more, than you could have done had your learned to paint in this manner?

LL: I was one of 3 students who were allowed to spend their Junior Year Abroad just traveling around Europe. It was an experiment CMU tried with us. At the end of the year, we were supposed to present a portfolio to the faculty and get a year's credit. They had to end the program with us, however, as the entire Junior year class wanted to leave and travel around Europe.... so we were the only ones who got to have the experience. It changed my life. When I saw Memling, Durer, Van Eyck, Michelangelo, Da Vinci in the flesh I felt as though I had seen a part of God. I know that sounds very dramatic, but that's how moved I was.

At first it depressed the shit out of me: how could I possibly hope to create anything near to those works of genius? and if I can't, why bother? Then I reasoned that I am not Da Vinci, Memling, Van Eyck, etc. I am Laurie Lipton....... and if I can somehow touch/leave behind my essence, my Laurie Liptoness, then I'll have done something unique with my talent.

I went back to the States to finish my year at University and worked so hard that I almost had a nervous breakdown. I didn't care. It was as if I was on fire. I went to classes in order to get my grades, but stayed up all night drawing. I was a wreck and looked like a zombie, but by the end of the term I had my own Liptonesque vision and unique technique.

BS: I've read that you see your pencils as "colours" and that "no one in their right mind would have the patience to draw in this way, which is why it works for me so well.". Would you say that your method is a mix of pleasure and pain? What reactions do you get when people discover how long you spend on your drawings?

LL: I am not a masochist. My work is pure pleasure. I am pleased by people's reactions to my work. It's hard to tell when you see photos of my drawings, but when you are actually standing in front of one, you can see all the zillions of little lines I've used to make the picture. It's very impressive. Even I'm impressed.

BS: Laurie, you were also inspired by Diane Arbus and her use of black and white. Can you go into detail about how she inspired you?

LL: I came across Arbus' work when I was a teenager and felt an instant affinity with her and her vision. Her use of black and white was a revelation to me. It made the subject matter even more bizarre and disturbing. The viewer wasn't being distracted by colors. Nothing got in the way of the image. Her grays were a stark, frozen almost nightmarish palette. I experimented with it and found that it was exactly what my imagination needed.

BS: What else has inspired or influenced your art? I've noticed that several of your pieces seem to draw inspiration from the traditions of Mexico... can you go into further detail about these influences?

LL: I think in images. My emotions get filtered in my brain and come out as images.

I was taken to the Day of the Dead festival in Mexico and was amazed. What a different approach to mortality! My culture tries to ignore death and aging. If you get old or die you're considered a loser. People spend billions on keeping death at bay. In Mexico, however, it was celebrated, embraced, made fun of. What a relief. I've experienced the deaths of many people that I loved, so I found the Day of the Dead a good playground for my repressed emotions.

BS: Laurie, you were born in New York... since that time you have lived in Holland, Belgium, Germany and France- you now reside in London. How has your travels enhanced your art? I will assume that each location has had an influence on your work.

LL: What a complex question! Well... just by leaving my "Comfort Zone" (as they say) and putting myself in a new situation and new culture, I was able to expand my life and reality. It not only enhanced my art, it enriched my life. When everything is new and unpredictable, even the language, it wakes you up. You become aware of everything.... street signs, shops, clothing, everything.

Leaving your country of origin also gives you a unique, outsider's view of your home. I always felt like an outsider, but actually being one has helped me to see things differently, more objectively, in the USA.

BS: Laurie, you have been featured in Juxtapoz and your work can be found in 'Metamorphosis: 50 Contemporary Surreal, Fantastic and Visionary Artists' published by Jon Beinart. How do you feel when your work is reviewed or featured in a publication? Do you get excited? Nervous?

LL: I have been doing this for 30 years now so I'm a bit jaded, though it's always nice to be appreciated and noticed.

BS: What are you working on at this time? Also, can you tell our readers about your studio space? What are the conditions you need for working? Do certain types of music inspire you... do you prefer to have company when your working- or do you like to work alone? Give us the details.

LL: I live alone and work on an architect's table. I always put headphones on to cut out the outside world. I blast music all day, from opera to blues to folk to rock.... it depends on the mood I'm in.

I'm working on a 2nd Day of the Dead show for the CoproNason gallery in Los Angeles for October 2008. I have also just signed up with the Strychnin Gallery and have several group shows with them, as well as a solo show in Madrid this October inspired by the work of Goya.

You can see where and when my shows are on my website: www.laurielipton.com

BS: Laurie, do you think you will ever put the pencils away in exchange for paint or some other medium to focus upon? Or do you see yourself drawing until the day you die?

LL: I have painted. I have worked with sculpture. I have done lithography and etchings. I will draw till the day I die. Hopefully.

BS: Do you have any suggestions or advice for artists who have chosen to focus on drawing? What kind of pencils do you use? Can you suggest a certain brand? What about advice for artists in general? Any suggestions for emerging artists who are just starting out?

LL: The only advice I have to give artists just starting out is this: work. Work. Work. Experiment with all the pencils and papers you can find and see what fits you best. The more you work, the more you try, the better you'll be. It's simple. There are no short cuts. If there were, I would have found them by now.

BS: Finally, is there anything else you would like to say about your art or the artworld?

LL: No thank you, Brian. I think that just about covers it all.

You can learn more about Laurie and her art by visiting her website: www.laurielipton.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Laurie is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Tristan Schane

(Wolverine- an example of Tristan's work for Marvel Comics)

Tristan Schane jump-started his career in art during his teens as a comic book illustrator- eventually working for major labels, such as DC Comics and Marvel Comics. During those years he illustrated popular characters: Wolverine, Ghost Rider, The Midnight Sons... just to name a few. Since that time Tristan has worked to develop his own imaginative art in both sculpture and oil painting.

As a sculptor he draws a lot of technical and visual cues from the sculptural work being done in cinema special effects. It is that industry’s trailblazing use of new techniques and materials, and its exploration of radical new imagery, that has helped to fuel the direction of his own sculpture.

The painting style that he has been developing over the past few years has gone through a metamorphosis. When Tristan began working as a fine artist he was very influenced by Surrealism. From that starting point, he began to develop a language of imagery and a technique that he calls Subversive Realism. However, his work continues to grow as he searches for an art that is true to his own design.

Tristan's work was recently included in 'Metamorphosis'- a book containing the work of 50 surreal and fantastic artists- including Carrie Ann Baade, Chet Zar, and Alex Grey.


Brian Sherwin: Tristan, you have been a professional artist since you were 18 years old. You started out in your teens doing professional comic book illustration. You worked for DC Comics, Marvel Comics, First Comics, and Continuity Comics. You've even done work for Clive Barker. How did those early illustration experiences prepare you in your pursuit of creating fine art? Also, why did you decide to make the jump from your former professional to creating personal works of art?

Tristan Schane: Actually my first professional gig was when I was 15. I did a back up feature for a DC comic book.Well for one thing, I learned how to paint as a comic book artist, painting super heroes and monsters and what not for covers, posters and other comics related products. I don't know that my professional experiences prepared me specifically for the fine arts industry -- it certainly works very differently than the comics or book cover business, but it did give me some very specific strengths as an artist.

For one, the ability to make quick artistic decisions and follow them to completion. I am not an artist with many (or any) unfinished works in my studio. Comics have very tight deadlines and a lot of art goes in to each page so you have to have a very workman like attitude towards the creative process. That's a skill set that has followed me in to every medium I work in. Being creative under pressure is another constant factor in illustration of all sorts and another skill set that's useful I think in any creative industry.

Really, it was around 1993 that I started doing fully painted work for the comics industry. Up to that point, I never had any ambition to be anything other than a comic book artist. Once I started painting, though, the world of comics art started to seem very constraining and I became more and more drawn to fine arts as an environment I'd prefer.

BS: It is my understanding that you've used practically every medium under the sun. You now paint exclusively in oils. Why is oil paint your favored medium?

TS: In comics I'd often have to do a painting and hand it in inside of a few days, so acrylics or gouache were the obvious choice. There are some artists who can really get these paint mediums to express what they're after. For me with water mediums and acrylics it was always a wrestling match ending in a compromise between what I was after and what the paints would allow me to do. Oils work very naturally for me. For me, they perform as if they actually want to come out of the tubes and infuse the paintings. It's a wonderful medium.

BS: You also create life-size sculptures. Can you tell our readers about the process you use?

TS: The piece begins with an armature made out of aluminum armature wire and hardware cloth. The general contours of the piece is drawn three dimensionally with the armature wire, which is grounded in to some plumbing secured to a stand. Then I build it out the armature with the hardware cloth, creating the rough forms of the sculpture. A support structure of steel rod is designed and bent to contour invisibly to the inside of the sculpture, to carry the weight were it will be needed. This is attached at some point to a main support structure made from plumbing pipes and fittings. This whole process is an art in itself -- sculpting with wire and hardware cloth. Occasionally secondary supports will be attached if the pose of the sculpture requires it.

When the armature is all built out and secured, I cover the hardware cloth with aluminum foil. Over this I build the sculpture. I work in oil clays. After this i make a mold, either a rigid mold or a silicone rubber mold and then cast out the piece in various materials. Lately it's been polyester but I will be doing some silicone sculptures this year.

BS: You have stated that you draw inspiration from influences that are considered unorthodox for a fine artist. Can you go into detail about this?

TS: As a sculptor, I have been influenced more by the film SPFX industry than any other source. It is from reading about and talking with the those artists that I learned my sculptural technique. Generally I feel very disappointed in the technical abilities of fine arts sculptors and am always looking to the sculpts done for animatronic film effects characters as an inspirational resource for my work.

Lately as a painter, my influences are more traditional, though in my development as a painter I must confess that I have been influenced a great deal by conceptual design arts and Science fiction/fantasy book cover illustration. There are some masterful artists in those fields, and it's the amazingly imaginative way some of these artists can create realistic, but other worldly or future worldly scenes that look so comprehensive. There was a long period when this was by far the majority of the sort of art I looked to to inspire me in my fine arts paintings.

BS: Tristan, you call your painting style Subversive Realism. You have went on to say that Subversive Realism represents a fusion of the skills and sensibilities which you have acquired over the years working as an illustrator and as a fine artist. Can you go into further detail about Subversive Realism?

TS: Subversive realism was a term I came up with to try to describe the sort of visual language I am trying to develop. I am definitely an adherent of hyper realist technique, as a painter and a sculptor, but I am not a representational artist when it comes to subject matter. Neither do I consider my work surreal or visionary.

Sometimes in a painting I feel what I am trying to do with a concept is to use the image to dissect the perception of something without removing that perception so the perception and the object of the perception are both present. I don't often succeed, but that is something I wrestle with. I'm working on a new work right now which I feel may be the closest to this yet.

BS: Are you ever concerned that your art will not be taken seriously by the artworld elite due to your former profession? Or do you see the skills you learned during that time as tool to utilize in order to breathe new life into what is considered traditional methods?

TS: Yes and no. I don't know that people are less inclined to take me seriously because of my illustration background. I think my work is often dismissed for being hard to categorize as specifically this or that. Not surreal. Not hyper real. I hear the word "disturbing" a lot and I think that often signals someone's knee-jerk reaction of not really looking at the work beyond an instant and superficial response.

I have a bigger concern that not being a "trained" artist with an MA, it's very hard for me to crack in to established gallery venues. However, all I can do is pursue my artistic sensibilities where they take me and focus very hard on trying to develop the imagery and concepts that I'm after.

Beyond that I work very hard trying to establish myself as an artist in the industry. If I succeed, great. If not, well it won't be for lack of trying.

BS: So... would you say that working as an illustrator is a good stepping stone in regards of learning various skills? Does the industry teach artists more than what they may learn in school?

TS: I can't say one learns more in illustration. One learns the business of illustration and the artistic requirements of commercial, illustrative arts. There are certainly some skills there worth having. I think one has to be much more able to pursue the learning of different mediums and techniques when one learns as a professional. Anything you don't teach yourself or go out of your way to learn is just not there for you. No one shows you how to do anything.

It seems people are exposed to a greater variety of art mediums, art industries and and art styles in school. There is also a greater opportunity to network with other artists and arts professionals in the schools, which translates to having those networks after graduation. I think starting out as a professional freelancer can be a little isolating, especially from the avenues of fine arts.

Lastly, I have found that the fine arts business is very much like any other, and having gone to this or that school, studied with this or that professor and having a degree in fine arts helps open doors regardless of one's abilities which aren't nearly as accessible otherwise. Had I known way back when that I'd ultimately be a fine artist, I would have chosen to go to school rather than to work.

BS: You have stated that you started fine art painting as a surrealist (sample image above and below)... but you quickly felt that the visual language of surrealism was to atavistic for the modern world, too reliant on visual structures and styles that while beautiful were out of touch with the flavor and sensibilities of today's world. With that said, what is your opinion of Pop Surrealism and the lowbrow movement in general?

TS: Definitely. Early on it was all Dali and Magritte. When I was talking about surrealism being atavistic, I was referring largely as it applied to my own sensibilities. When I worked in surrealistic imagery, I felt I was borrowing from someone else's native millieu. An era when those sensibilities sprang from the world around them and belonged to it as a natural native. It was authentic for those artists, but it just didn't feel personal and genuine for me. It didn't resonate with my sensibilities and mindset. It didn't feel like it belonged to me or my world.

I still constantly get ideas for pieces that would make great surreal works, but I have no interest in producing them. What is called pop surrealism or low brow art are vague encapsulates that hold within those very broad band widths some very talented artists. I think the terms are very general and often not descriptive. I don't think to much in terms of this or that art movement. More in terms of this or that artist.

BS: So is it safe to say that you are searching for an art that is new... fresh... an art that does not have to hold on to old traditions even if those traditions and methods are relatively young in the span of art history?

TS: All life is progressive. I couldn't come up with an art form that owes nothing to the past. Nothing can exist in a vacuum like that. What I am looking for is within myself -- a visual language that is purely of me, my world and my time. As my world was inherited from the earlier generations and eras, so will my art, but it must be of my world and my time. It must feel to me to be genuinely personal and authentic. I am trying to find this language within myself and my relationship to my world, and I am constantly trying to avoid sensibilities that seem obviously inspired by earlier aesthetics. I have a long way to go. It's definitely a work in progress that is constantly stretching and reforming.

BS: Tristan, are you represented by a gallery or are you seeking gallery representation? Also, do you have any upcoming exhibitions of your work?

TS: No, unfortunately at present I don't have a gallery. It's been very hard for me to connect with a gallery that both appreciates my work and can sell it to their clients. Usually the galleries I have shown at do great shows, but make no money.

An artist who can't earn with his work winds up with very little time to create that work, having to work other jobs to pay the bills. It's very expensive for an artist to frame and ship work to and from a show with no sales. I have been represented by two different NY galleries in the past few years, both were in Chelsea, both very enthusiastic, but neither could promote me successfully. I am currently seeking for proper representation.

I have a collaborative show in the works -- several sculptures, but it is still in the planning/talking phase so until it's definite, it's more prudent for me to keep mum.

BS: Finally, is there anything else you would like to say about your art or the artworld at this time?

TS: I could give a fifteen page diatribe about how I wish there was something like the WPA still in existence with public funds going towards commissioning all sorts of artwork, but....

You can learn more about Tristan Schane by visiting his website-- www.tristanschane.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Tristan is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin

Art Space Talk: Kim Scott

Kim Scott has been creating art as a profession since 1973. She is known for depicting conventional and unconventional figures that stem from different sources. Monster and Sci-fi movies and books from her youth have remained a constant source of inspiration in her work. Kim Scott's artwork has shared walls with many interesting artists: Alex Grey, Mark Ryden, Todd Shorr, the Clayton brothers- just to name a few. Her work can be found in several collections, including the Crocker Art Museum.

Brian Sherwin: Kim, when did you first discover that art would be an important part of your adult life?

Kim Scott: I was always the "class artist" from the beginning, but at 19 I realized that I could make art for a living. " I was taking Marine Biology classes at the time, thinking about what to do for a REAL JOB, then I realized that making art IS a real job.

BS: Kim, how has society influenced your art? Are there any social implications in your art?

KS: I am a Vanitas painter. I paint topics relating to my own experiences and focus on impermanence and vanity. I have always been interested it this, but when I started doing Tibetan Buddhist practice 14 years ago, it really showed up in the work. I have taught art to adults with developmental disabilities, high risk youth and inmates in the California State Prison System on and off over the last 15 years. I've seen the power of positive personal expression. I think all my travel has added depth to my work too, all the museums, archeological sites, temples, mosques and Cathedrals..... seeing the rich and poor over time. Seeing the things that people make, that are important to them is really interesting to me."

BS: On average, how long does it take you to create a piece?

KS: Between two days and two weeks. I paint pretty fast, but the oils and glazes take a bit of time to dry properly.

BS: Has your art ever been published?

KS: In a few Mags, I did the cover of Tower records now defunct "Pulse" mag, I have made images for some local mags and rags and get included in local newspapers quite often. I have a piece in the "Western SciFi" Catalogue from the SF Minna gallery show of the same name. I am a member of the Art Dorks collective, and we are going to put a book out later this year.

BS: Kim, what was your most important exhibition? Care to share that experience?

KS: One of my goals years ago was to get my work into a one person museum show. After 6 years of working on it, the Crocker Art Museum asked for work. It consisted of 18 miniature paintings I painted while in India. I received a letter while working there asking if I would like to do the show.... HELL YES!! I was so happy. Getting work into the Western-Scifi show was a boon too. I met soooo many fine artists that opening night and after... Mark Ryden, Ausgang, KRK Ryden, Mike Davis, Isabelle Samaras.... and the list goes on. It expanded the region my work was being seen in and started conversations with many artists living outside of my town.

BS: Kim, do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

KS: I like Indian, Persian and African music, I listen to international internet radio stations, I like progressive talk radio and too much TV! (guilty pleasure) If I need inspiration, I clean the studio or gesso wood panels, I always feel like painting after that.

BS: If you could pinpoint the characteristics of people who collect your art, what would they be?

KS: Brave. So much of my work is a little hard to look at. I try to make it beautiful and authentic. To me, beauty is something that moves you, not just something that is pretty. Some people gravitate to this. They appreciate moving out of their comfort zone to reflect through the work. To have this intimate emotion. They are my collectors and fans."

BS: Kim, discuss one of your pieces. What were you thinking when you created it?

KS: (Escape and Good Luck!- image above) I had this cut off funny little fragment of a starving artists "real oil painting" from the 99 cent store knocking around the studio. I decided to expand on it, so I nailed it to a piece of plywood and painted it close to the same background color as the painting fragment. I extended the landscape component out from the fragment onto the wood... and just looked at it for about a week, trying to see what else needed to be there. I almost always think of my work as self portraits, and had been using meat as character for a while. This bucolic setting just seemed ripe for a swim... the first title was "swimming Lesson" but quickly got changed to "Escape and Good Luck" ... the surprised and panicked look in the eyes cinched the name change. What is she running from...? Her past? The dogs? A mirror? The frying pan? Where was my fan brush when I needed it most?! Recently I have been approached by several guys with cannibal fetishes... I supposed it was only a matter of time...

BS: Do you have a degree or do you plan to attend school for art? If so, how did it help you as an artist? What can you tell us about the art department that you attended?

KS: I have an MA in studio art from california State University at Sacramento. I also went to American River Community College, where I received some good basic painting training from Gary Pruner, and other Photo Realists. When I went to school at Sac State, the method of teaching was "go paint". Not much info into technique and such. This has its benefits, studio time is sooo important. Developing self motivation is key. I talked to a new younger painter friend the other day who said he had Eric Joyner for a background painting teacher in SF......BACKGROUND PAINTING TEACHER!!! I wish I would have had one of those!

BS: Kim, why did you choose the medium(s) that you use?

KS: Oil looks the best. The End. It stinks, you can develop allergies, it takes time to dry.... but the surface and color. Sorry... as good as acrylics can look, oils look a little better. More beguiling. I also use enamels on copper in the Limoges style now and then. It makes your work look like jewelry. Beautiful, and hard to control. Sometimes thats a good thing.

BS: Where can we see more of your art?

KS: www.feedyoureye.com , www.artdorks.com (new site opens soon) www.myspace.com/feedyoureye, www.davescave.com

BS: Are you represented by a gallery? Do you have any upcoming exhibits?

KS: Toyroom Gallery in Sacramento lets me use their space for lots of fun stuff, I've had my own shows there and I have curated a couple of group shows there too. I just curated the "Everything Nice" show there and then it traveled to Thinkspace and Cannibalflower in LA, See the amazing artists involved at: http://www.sacforart.com/everythingnice.html The Art Dorks are having a few shows this year including one at McCaig-Wells in Brooklyn in June and at Thinkspace in LA also in June. I have showing some collabouation works at A Bitchin' Space in Sac this year. Toyroom in October... More in the works in NY, Phoenix, Philadelphia and Seattle.

BS: Kim, what galleries have you exhibited in? Can you provide links to their sites?

KS: Heres a few...

Toyroom Gallery (Sacramento) www.toyroomgallery.com
A Bitchin' Space (Sacramento) www.abitchinspace.com
Youngblood Gallery (Atlanta) www.youngbloodgallery.com
Feinkunst Krüger gallery (Hamburg) http://www.feinkunst-krueger.de/framefeinkunst.html//l
McCaig-Welles Gallery (Brooklyn) www.mccaigwelles.com
Thinkspace (LA) www.thinkspacegallery.com
Cannibalflower(LA) www.cannibalflower.com
Anno Domini(San Jose) www.galleryad.com
Subject Matter Gallery (Costa Mesa) http://visualsubjectmatter.com
Hope Gallery (New Haven) http://www.hopegallerytattoo.com/event.html//l
RX gallery (SF) http://rxgallery.com
Horsecow Gallery (Sacramento) www.horsecow.com
Shooting Gallery (SF) www.shootinggallerysf.com
Varnish Fine Art (SF) www.varnishfineart.com
111 Minna Gallery (SF) www.111minnagallery.com

BS: Kim, what trends do you see in the 'art world'?

KS: Thank Buddha that painting the figure is back. Cabinet painting is back. Art that can be collected and shown in a regular sized home or apartment. Technical excellence. The craft is way up, and when the ideas are there too, its magic.

BS: Kim, do you have any advice for emerging artists?

KS: Go to your studio. Mature as a human being, or your work will suffer. Also, learn the business, no mater how good you are, if you can't interface with the business world, its hard to cleanly close the deal on your art skills. Stop that prima donna stuff. A little goes a long way. Let your art kick their ass, not your attitude. Don't forget to have fun! Not many artists make a full time living on their art making. Its not a crime to work a second job... make it something you like. "Those that can't do, teach" is a stupid saying.

BS: Kim, has your work ever been censored? If so, how did you deal with it?

KS: I was asked to cover up the nipples on a painting going on the front of a local newspaper... no problem. My other work? I have put up signs warning about content at galleries a few times.... I have had VERY explicit work up at college galleries and public shows several times without censor. I was pleased.

BS: What was the toughest point in your career as an artist? Have you ever hit rock-bottom?

KS: Being an artists is its own punishment and reward. Hard to make a living, fun and rewarding to make stuff, Its great to contribute to the world authentically. Richeous livelihood is good when you can do it. When I feel bad about myself, if I don't believe in my intrinsic value as a human...my work suffers. Sometimes its hard not to cave into the pressures of the media about how you should look and such. Vanity causes a lot of suffering! Best not to buy into it. Go to your studio!

BS: Kim, in one sentence... why do you create art?

KS: I long to commune and the visual language is the language I use best.

BS: What can you tell our readers about the art scene in your area?

KS: I was born, educated and raised in Sacramento CA. Also known as "CowTown", "the Big Easychair" ,"Sacatomatoe" and "Sacra". People who live here or who move here are under the old native "curse of the two rivers". (you will not be able to leave Sacramento, or if you do leave you will have to come back until all of your spiritual work is done) It houses the oldest Art Museum west of the Mississippi river (the Crocker, just had a radiant and bitchin' Irving Norman show), has the best farm fresh food and doesn't know how great it really is. Painting was NEVER dead here. There are lots of galleries, a fantastic 2 percent for the arts public collection, and the RCAF (Royal Chicano Air Force) makes it their home. During the early 70s, some of Chicago's coolest cats, the "Hairy Who" moved in, partied and intermarried with the locals, making a funny and funky mess of valley art here called Valley Funk. Influential Valley dignitaries have included Wayne Thiebaud ,Thomas Kinkade (!a little further up the hill...), Hudson River valley painters including Norton Bush and Thomas HIll, Funk artists Robert Arneson , Jim Nutt and Pop photo realist Mel Ramos. Plus a BIG bunch of other men and women making all kinds of stuff. Pop Surrealism and Lowbrow R us for the last 30 years. Huge car culture, Johnny crash'o'rama, and Bill Liberty Tattoo. Its an art vortex. Come and take the ride sometime...but if you need to brush up on your spiritual work, you may be here a while.

BS: Kim, has politics ever entered your art?

KS: It enters my life, so it can't help entering my art....This is Sacramento after all... gotta go to marches at the Capitol a couple times a year to defend the arts in CA, or other causes.

BS: Does religion, faith, or the lack thereof play a part in your art?

KS: A spiritual component is present in my expression.

BS: Finally, is there anything else you would like to say about your art or the "art world'?

KS: Give me more shows!

You can learn more about Kim Scott by visiting the following website-- www.feedyoureye.com. You can read more of my interviews by visiting the following page-- www.myartspace.com/interviews. Kim is involved with the beinArt International Surreal Art Collective.

Surreal Visionary Fantastic Art & Metamorphosis Art Book

Take care, Stay true,

Brian Sherwin