I grew up about an hour south of LA and moved up here in 2004 to go to UCLA. Half way through college I started working for Shepard Fairey and am currently gallery manager at Subliminal Projects and do some t-shirt graphics for OBEY Clothing on the side. I live in a crazy house of five girls, which always makes for a good time.
It's exciting to me. In an over-stimulated world this is the stuff the holds my attention and surprises me. I'm not sure if it is because I grew up in Southern California and I'm not used to dramatic weather but there is something very shocking but at the same time very beautiful about events like a thunderstorm. My mom and I where in Santa Fe one time when a huge thunderstorm broke out, we were absolutely captivated and watched it for hours like it was TV. As long as it has that ability, I'll be drawn to it. I am also interested in subject matter that is not tied to a specific time period and that can be relevant outside of the context of my personal experience. These naturally occurring events are much bigger than you and I and are something we have no control over. I think that is a nice reminder of our time and place here and understanding why things happen the way they do in the natural world can answer a lot of life's big questions. When I'm deciding what to draw for the larger pieces it is usually based on a current fascination that I've spent a lot of time researching. I pull a lot of photos and create folders for each subject and then it becomes a matter of piecing different elements together to create the image.
I haven't. I still find it compelling and conducive to the type of work I'm making. The subject matter and what I'm trying to convey are more important than the medium for that transmission. If painting or photography were more effective I would switch over to one of those, but right now I don't think they would be. I imagine it will slowly evolve over time as my concepts change but for now I'm still interested in this type of drawing process.
I definitely envy them because my work can be extremely tedious. I also think it takes a certain level of skill to do loose, gestural work well the same way hyper realism does but it is more about decisive mark making and knowing when to stop, which is something I struggle with. When it is done well it's amazing but there is also a lot of terrible work that falls into that category.
There's a really great gospel album, The Great 1955 Shrine Concert, that will get you through pretty much anything. It helped me power through those late night's drawing when I wanted to freak out and it features a young Sam Cooke before he broke out onto the R&B/Soul scene. Viviane Sassen is a really interesting photographer and Anna Paola Guerra's photostream onFlickr is incredible. I've always loved Olafur Eliasson, Joel Sternfeld, Peter Alexander, Thomas Demand, and Walead Beshty. I drool over any Planet Earth-type shows or docs and I want to learn how to scuba dive so that I can go in a shark cage.
One time on my way home I was picked up on La Cienega by a guy in a yellow hummer who mistook me for a stripper. Granted I was walking buy Aphrodite Strip-N-Pole but I was wearing a t-shirt and jeans and eating out of a box of donuts. He offered me a record deal too.
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