Both minimal and complex in concept; Chueh is currently one of the most noticed artists in LA.

The work of Luke Chueh has quickly become easily recognizable. Both minimal and complex in concept; Chueh is currently one of the most noticed artists in LA. Aside from painting he smokes cigarettes and is a real cool guy. I'm really pleased to post this brief conversation with Luke Chueh so enjoy...

PC: Tell me about your work.

LC: My work was initially inspired by the material featured in now defunct "Art Alternatives" and "Juxtapoz" magazines. I guess found inspiration in the comic books and anime I grew up with, and am taking advantage of the current market for "lo-brow" art. Conceptually, I employ a distinct balance between light and dark themes, illustrating personal issues by reinterpreting universal archetypes.

PC: Any specific reason you chose the animals you chose to include in your work?

LC: I came up with this philosophy behind my decision to use animals:

If I replaced my bears and bunnies with asian males or caucasian females, I would most likely alienate my audience. Animal characters transcend race and sex, and thus help me create a more universal message. Thanks to Hanna Barbera and Walt Disney we live in a society that is used to the personification of animals.

PC: How would you classify your work? Illustration paintings? And what is your process like using both paint and ink?

LC: I came up with a name for the genre I think my work and the work of my contemporaries falls into. I call it "Post-Brow" (as in after Lo-Brow). Though my work contains "Low-Brow" characteristics, it is lacking in the distinct and essential white trash factor, the element that truly makes "Low-Brow" low. The similarities between my work and low-brow art include my illustrative qualities, sense of humor, and sardonic / counter-culture attitude.

As for my process, it usually starts in the sketchbook. Once I come up with an idea and sketch that I like, I then enlarge and transfer that image to board or canvas. I prime my board/canvas with black gesso and use acrylic paints, working dark to light. I finish up with indian ink, scrawling out the line work.

PC: For what reason to you acredit the use of illustration and human/animals in contemporary art as a common and descriptive element in a lot of the work currently produced in the genre?

LC: I honestly don't know if I could really answer that question. I know the reasons why I do what I do, but as for other artists, I have no idea. Perhaps its simply a product of pop culture and mass media. As for illustration and contemporary art... if you ask me, there is very little traditional "contemporary art" being produced today that is worth a damn. Back in the day, abstract art really rattled the foundation of the art world, and challenged audiences, demanding them to redefine their definition of art. The idea that people still create it is mostly pointless in my eyes, since a majority of it simply isn't challenging, and is therefore irrelevant.

In our abstract world of mass production and increasingly shoddy workmanship, I think current audiences simply appreciate art that communicates to them, created by artists who actually have skills, talent, and creativity. Hell, anyone can throw a bucket of paint at a canvas, and besides... it's already been done a million times over.

PC: How do you imagine the development of Luke Chueh? What will a Luke Chueh painting look like when you paint one in 2009?

LC: I wish I knew where my work is going. I hope it will evolve with time and experience. The way I see it, as long as I allow myself to evolve (i.e., not allow myself to be dictated by my audiences demands) then everything will be dandy. [This is something I'm personally very conscience of and concerned about.]

PC: What is your favorite piece you've made thus far and why?

LC: I think my favorite painting so far has got to be "The Alchemist". In terms of concept and execution, I think I really nailed it. I also feel a strong connection to 'The Alchemist" in that, I like the alchemist, transforming my uglier personal experiences into "gold".

PC: What else is coming up for you in the future artistically?

LC: This spring, the Los Angeles based Munky King and I will be releasing our first excursion into toy manufacturing. We'll be releasing a limited edition vinyl toy inspired by my painting, "POSSESSED". Throughout the year, i'll be participating in random group art shows around America, and then in July I've got my next solo show at Copro/Nason gallery in Bergamot Station, Santa Monica. I think the title for that show will be "Lonely is an Eye-Whore". Finally in the end of the year, Gallery 1988 will be hosting the third installment of a show I've been curating entitled "THE VIVISECT PLAYSET". It's a show that features artists who regularly employ animal characters to illustrate the human condition.

PC: Describe for me the best day ever imaginable in Los Angeles?

LC: I think this might sound kind of lame, but at the moment, my best day ever would start with me waking up, checking my email (which would be spam free) and conceiving an idea for a painting that I'd be really really excited about. I'd spend most of the day working on it, and with each stroke of the brush, my enthusiasm would grow. Come evening, I'd meet up with friends and have a kick ass dinner (sushi). We'd go to some art shows and the featured artwork would be absolutely mind blowing. This would fuel my enthusiasm for the unfinished painting waiting for me at home. Meanwhile, I'd meet the girl of my dreams (our feeling's would be mutual) and after hobnobbing with the best, I'll finally make my way home and do a little more work on my painting. Eventually I'll call it a night, watch some television (Adult Swim), and hit the hay.

Please visit www.lukechueh.com for more information on Luke

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