Monthly Archives: October 2009

Talking to MUDCHICKEN about WAFA

Question: Tell me about “We Are F@&#$*% Awesome”

WAFA Artist Collective, in which I am a co-founder. While I enjoyed the personal investigation of doing it on my own, I decided that it might be beneficial to invite and involve some of my friends to participate in the project. Through WAFA, I have been receiving framed works from other artists, and installing them as one single configuration. Its been an interesting experiment, and I enjoy the dialogue that ends up happening between the different works. New meaning is formed between the works, and for me personally.




WAFA group show, 2008



Question: Tell me about “Frames”

I’m tired of doing work for money. I would rather give my art away. The idea of selling my work is one of my biggest battles, and it inevitably interrupts the process. I start thinking about the “audience” and what people will like. What they will hang on their walls.  Its important for me to shut that out. Otherwise, my work doesn’t flow naturally. So at its root, the frame installations are a reaction against selling. I have such a hard time putting price tags on my memories. So that’s one facet of it. Putting the frames up in public also allows me to liquidate. I have so much work piling up in my studio, and it is nice to take piles of it and release it into the wilderness. And out there,  anyone is free to look at it, or not look at it. And anyone can come by and add to my work, or take a piece home, or throw it in the dumpster.

An ongoing project of curating original art work in the public space. Members of the collective send framed works to one artist, and that artist installs the works on the streets.


Frames, 2009


Talking to Mimi Kato

Question:  Tell me about “One Afternoon”

I love theater and performance even though I have never acted on stage. The process of my work satisfies my secret urge to become a performer. I describe my work as one-person theater. In my work, I play the rolls of all the characters, sew the costumes and narrate the scene. The stage set is prepared as I draw the background illustrations for the work.
One Afternoon stems from the scenery, life style, daily routines and happenings of people living in typical old suburban towns in Japan. The scenes are very similar to those that I experienced growing up. It is typical in an urban setting that your neighbors are living right on top of you. There is no breathing space between one residence and the next. You can hear and feel them throughout the day and night. There are many grey areas of private, communal and public space in condensed areas. The gestures of the figures in One Afternoon are exaggerated to bring out the absurdity of the human condition in contemporary urban environments.


One Afternoon,  2009


One Afternoon, detail


Talking to Jared Steffensen

Question: Tell me about “Land of 10”

For Land of Ten, I was trying to find a way to include the other nine artists in what I was going to do for the show. We were all from different parts of the world, India, Japan, and the US. So, I decided to use the piece as a way to bring us all together in the same way that the exhibition was. I wrote all of them and asked if they could tell me something about the landscape where they call “home”. I used their responses to develop each of the individual islands. Seven of the nine artists described specific things about the landscape around where they grew up, like certain kinds of trees, sand, and hills/ mountains. The remaining two had different responses to the question. One said that she never really felt she had a home and was more nomadic, always moving from place to place. So, I chose to represent her as the river that runs through the entire piece. The other said that she could live any where and that would be where she considered “home”. She is represented by a colorful tree that exists on all of the eight islands.


“Land of 10” 2007


Talking to Peter Frank

Question: Tell me about your work

In my work I bring always two levels together. The level as stage functioned is worked on always separately to the level of the Acteurs and both levels to stories-even is zusammengefürt. I often find the space level in strange strange Interiors. This linked with the often ridiculous aesthetics of the Pornografie. both levels waive themselves and it develop an often strangely graceful entrance into a history with that humor and that tingle to the erotism a basic role play. Main objective is that brought together from different worlds in subtle way the new reality generates.

Peter F

Peter F

Peter Frank, 2008


Talking to Phil Ashcroft

Question: Tell me about “Hinkley  and Olkiluoto”

the ‘Hinkley’ and ‘Olkiluoto’ series of paintings (2007-) – these are paintings referencing aging nuclear power stations that have either reached the end of their working lives, face decommissioning, or are to expand into new builds as the next generation of nuclear power stations.
‘Hinkley B’ (2008) the force of an immense alien dark matter hangs menacingly over a man-made, once-utopian structure whilst


‘Olkiluoto’ (2008) depicts a faded, distant nuclear power station sits underneath the fragmented shards of an overhanging, mountainous, golden yellow ore.

In these paintings there is a collision between the abstract ‘other’ elements and the muted real landscape, where scale, depth and positioning between the two appear uncertain.


Talking to Enrique Martinez

Question: Tell me about “Welcome to the Monkey House”

When I started this drawing I wanted to make a statement on the way Christian fundamentalism had infiltrated American society and corrupted our politics and culture. I started it in the midst of the Bush presidency. By the time I was done drawing I had a veritable orgy of violence, sex, greed and mayhem on my hands…a depiction of the American dream being hijacked by the reality of human nature. In this portrayal of your standard suburban setting, nefarious Elmo’s run amok, vaguely leading a parade of happy shoppers to the next strip mall. Rabid religious fanatics bludgeon with a crucifix, and pad their pockets with cash from gullible followers. A two-headed creature falls in love with itself as it rides into town on the back of a 5-headed sensory beast. All senses are represented: sight, sound, smell, taste and fuck. And it’s all caught, lo-fi on a cell-phone camera, uploaded to youtube and experienced second hand, wi-fi on a lap-top in a Starbucks, or from the comfort of cookie-cut homes, stacked on top of each other, under the freeway overpass. Welcome to the monkey house indeed. Let’s face it, we’re nothing more than a buncha apes set on a biological mandate to be fruitful and multiply, by any means necessary. Religion, country, power, money, fame, status…whoever your god is, you’ve made her/him/it proud. Now go out there and get laid. We’ve got a planet to populate.


Welcome to the Monkey House,  2008


Talking to Katy Heinlein

Question: Tell me about “Conveyor”

When I made “Conveyor”, I was really interested in Rube Goldberg machines and Miuccia Prada. I wanted to make something elegant, physical, and matter-of-fact that could easily cause a chain reaction of failure, but if successful, would seem like a feat. There are no connectors holding “Conveyor” together. Its installation requires a great deal from me–tugging and shoving a sand bag, 16′ board and unwieldy piece of foam into position from a ladder. This piece requires a lot of trust on the part of the viewer, which is something I try to engender with my work.



Conveyor,  2007


Talking to Jerry Cabrera

Question: Tell me about “Cape Paintings “

My interest in the spectacle of the bullfight is to isolate and extract the elements of grace, drama and fluidity without the glorification of violence or any other obvious spectacles associated with the event.
Depicting bullfighting scenes with the exclusion of the bull and matador, the movement of the cape becomes the focus of a body of work that re-examines the intricacies of movement present in the initial stage of a bullfight. The obvious figurative elements are referenced only in their absence, amplifying the active beauty found in the movement of the bullfighter’s cape.


Cape, 2008


Talking to Eric Yahnker

Question: Tell me about  “4-Eyed Dog”

Having spent years as an animator, anthropomorphism is just par for the course.  A pair of eyes can appear in profile just as easily as a dog can walk upright, wear a cape and talk.  Using this cartoonist’s device in a heroic, photo-realistic, eight-foot graphite rendering is akin to a dramatic actor cast as a lead in a slapstick comedy, and leaves room for metaphor as ancient and rich as Aesop’s Fables.  Many have suggested the eyes in this piece belong to Donald Rumsfeld, or some other contemporary political figure, but I can assure the source is far less charged.  Regardless, I enjoy the various interpretations.


4-Eyed Dog,  2009


Talking to Eduardo X García

Question: How important is music in your artwork

I say that without music, or sound, my work does not exist. all my work is based on audio in some way. it is a form of narcissism i feel because all the sound or noise that my work is based on is produced by me…


Pata de Perro,   2007


Talking to Dan Kozyndan

Question: Tell me about “Lioness”

I captured this shot of a friend (a sweet lil’ Texas gal from Amarillo, actually) in one of my first attempts a real underwater photo shoot.  The conditions were bad ( A massive forest fire near by was filling the pool with ash) and she had never done anything like modeling underwater, but we added a few disparate props almost at random and something magical started to happen that was not something we had planned at all.  Just looking through the lens a narrative was building itself wholly in my mind, seemingly without any input from me. It was a fun day.

sleeping lioness 1_0

Lioness, 2009


Talking to Michael Doret

Question: Tell me about KISS “Rock and Roll Over”

I did the art for “Rock and Roll Over” very early on in my career. Somehow it came out looking not like any record cover that had preceded it—or, I believe, has followed it. This was probably because I had had no experience doing record covers at that point, and I didn’t know what I wasn’t supposed to do. I was lucky enough that when I dealt with KISS, they were totally open to what I was proposing. I showed them one pencil sketch and with only a few minor comments they approved my design.

At the time, my art for “Rock and Roll Over” didn’t get much notice. It’s only been in the last 10 years or so that this piece has been getting this kind of attention. Perhaps it was ahead of its time? I don’t believe it’s my best work, but I do understand why it’s gotten so popular of late—and I’m especially gratified to learn that it’s inspired a whole new generation of graphic designers, many of whom have gone to the trouble of contacting me to let me know.

This piece, like so much of my other work, comes out of my childhood love affair with Coney Island—which was only a bike ride away from where I lived growing up in Brooklyn. Inherent in the design (whether by design or by accident) are the sideshow banners, colorful lettering and signage, shooting gallery graphics, and incredible energy that Coney Island was known for. These influences became very apparent in much of my later work, and continue to this day despite efforts on my part to make them go away! There are many other influences I could cite in this piece (Japanese graphics, Sci-Fi films, etc.) but Coney Island always seems to dominate my work.


Rock and Roll Over, 1976


Talking to Noé Cuéllar

Question: Tell me about ” Spare Room With A Crucifix”

“Spare Room With A Crucifix” is a reiteration of previous collaborations between myself and choreographer Adam Rose. I scored music for two of his solo performances, and the exchange quickly became a visual collaboration as well.

I made four photographs based on four of his most recent performances (“Mother’s Revenge”, “Saturn”, “Conjunction”, and “0=2”), which I read as portrayals of fabled characters of his own creation, in relation to occult research from an urban perspective.

For the production of “Spare Room” as a video installation, I presented these four photographs as ‘playing cards’ to three brilliant performance artists in Chicago: Smiley Thims, Marissa Perel, and Charles Mahaffee – who each rendered a card in site-specific performances.

“Spare Room” became an exploration on the boundaries of collaboration and the levels of extraction of a single performance potential.6800_213245720719_543240719_7677896_6824995_n

Spare Room With A Crucifix,  2009


Talking to Nate Frizzell

Question: Tell me about “Lost in the Thicket”

This show is all about choosing a path in life and discovering who you are meant to be. More often than not, the way isn’t so clear and I personally get lost again and again.
With this body of work, I was really pushing myself to take the paintings a bit further. I forced myself to be a little more patient and add more depth (both literally and figuratively) to each piece. In a way, the environments have become another character in each story of the different paintings.

Nate Frizzell

Isn’t It Smart to be as Strong as the Bear..If There is a Bear,  2009


Talking to William Hundley

  Featured artist: William Hundley

Question: Tell me about “Cop a Feel”

I usually don’t like to provide any description or explanation for my photographs because they need to communicate their own intention.
But for the Art Czar, I will make an exception to my preference.  I can say that the cop in the photo is an actual cop and the woman in the photo was a cheerleader at my high school.  I remember telling her on the phone to wear something slutty, but I did not tell her what color.

Cop a Feel, 2009


Talking to Meggs

Question: Tell me about  “Right to Remain Silent”

“Right to remain silent was my response to continuing zero tolerance anti-graffiti laws within our city of Melbourne.

The councils choose to ignore valid research about tolerance zones and the cultural benefits of street art and continue with a narrow minded viewpoint that all graffiti is vandalism, full stop. As an artist its frustrating to see that this is detrimental to quality street art and graffiti and only contributes to the style of graffiti that is generally considered more offensive and criminal (ie. Tagging). There’s a lot of public support for street art here, its even a tourist attraction, so I find it hypocritical that the local government wont acknowledge this.”

Right to remain silent

Right to Remain Silent, 2009


Talking to Alejandoro Almanza

Question: Tell me about “Just Give Me A Place To Stand”

I got invited to participate in
a show at Soap Factory in Minneapolis by making a piece with
the materials I could find there.
When I arrived there  it was indeed a factory building with a basement full of stuff.
It was like a candy store for me, I had like 5 days to built the piece.
It was 5 days of great fun for me and stress for some people.
The piece was hold by 3 stressful points, which one was a lever system using
the weight of a plant.
Just give me a place to stand on and I’ll move the world,
it is a phrase said by Archimedes who was a pioneer in the leverage systems.
I always wanted to use that phrase
since it makes reference that there is no secure ground in anything
no matter how sure you are.




“Just Give Me A Place To Stand” 2007


Talking to Noah Kalina

Question: Tell me about “untitled”

I really don’t know what to else to say about that photo. Perhaps you can say something, whatever you like.

Well, I like that it’s peaceful, empty and I like that you can’t see her face. She could be anyone, I love that.  I would call it the “White Room”


“untitled” 2009  but I call it “White Room”


Talking to Michael Garcia

Question: Tell me about “Where Ever You Are”

As children we would innately create spaces to hide from monsters, our fears and weave chambers to protect ourselves from harm, both real and imagined. We instinctively hide, and even have games all about crawling into dark niches, racing hearts, hushed breathing and waiting for the right moment to come back into the light. When child’s play becomes adult compulsion, we revert to our pure selves and our instinctive fight or flight mentality. After a dark and scary period in our history, Wherever you are invites everyone to come out of their forts, their crevasses, their shadows into the light, hopeful for a brighter day. This piece is one part of a larger installation idea where there are various safe spaces from which to come back into the light of day.


Where Ever You Are, 2008

Yigal Ozeri “Desire for Anima”

” Desire for Anima” is series of portraits of young women together or standing alone in lush fields of grass under expansive skies. The girls are presented partially or fully nude, seemingly engrossed within their idyllic surroundings. Their gaze is only ever turned obliquely towards the viewer, yet their vulnerability and fragility is haunting.


Untitled; Jana and Jessica in the field,  2009

Courtesy of Mike Weiss Gallery, New York

Talking to Carlos Rosales-Silva

  Artist: Carlos Rosales-Silva

Question: Tell me about Untitled (Chamberlain Alamo)

Untitled (Chamberlain Alamo)
I remember sitting in Texas History class at UT realizing how much a crock of shit grade school history lessons were. I spent alot of time during that lecture coming up with several beginnings of ideas for work that I have made and it kind of sparked an obsession I now have with academic historical revisionism in books and film. The sculpture grew out of the frustration with the Alamo legend, in which the Texans are cast as these unflinching heroes, when in reality the entire battle was ill advised and not authorized, a battle in which hundreds of men die because of William Travis’ stubborn pride. I wanted to literally crush this symbol of misguided pride, a symbol that is everywhere in San Antonio and instantly recognizable in Texas lore. The text on the table was a sort of impotent gesture in which a the winners of the battle are basically talking trash to the losers, the irony being that Mexico eventually loses the war and the text is then carved in to the table in an act of frustration. The table is also missing a leg but still standing, confusing the physical and visual structure of the table and again refers to the incomplete versions of history we receive and also gives the table a powerful physical presence once this detail is discovered.


Untitled (Chamberlain Alamo)

Talking to Gill Rocha

Question: Tell me about “El Cartornado”

“El Cartornado” is a sculpture that takes “una chinga” to assemble. It is so fucking heavy that it takes about six people to lift it. Its transportation ranges from $800 to $1200. If anyone knows of a nice museum or person who wants to buy, I would gladly work things out with them. Cucarachos love “El Cartornado” so much they want to eat it


El Cartornado, 2009

Talking to Carlos Donjuan

Question: Can you tell me about “R-U-Ready”

Well the title “R-U-Ready” comes from my two year old nephew Benny, who the painting is dedicated to. When he tries to say “are You Ready”, it sounds like he says ” r u weady. Its really funny. The painting deals more with the relationship and adventures that I have encountered with my two younger brothers.


R-U-Ready,  2009


Talking to Jorge J Lopez

Question: Tell me about “Parakusama”
it is about the mutation and morphing of my tumor drawings and an homage to yayoi kusama
she is one of my favorite artists…i realized in the process that her work is therapeutic for her but for the laymen aka me…it gave me headaches and blurred my vision.
so there…..don’t mess with the gods…lesson learned


Parakusama , 2009

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