With his work covering walls on streets and alleyways around San Francisco, Andrew Schoultz has been painting murals for the past several years like it was going out of style. He painted so many in fact, that I was surprised to learn that some of my favorites were painted by him years ago. Andrew has also created art and painted murals all across the country and at times outside of the US. Sometimes working alone, sometimes collaborating with other heavy hitters of the mural and art world, his early work was written about in a SF Weekly piece by Sam Chennault that is well worth the read.
That is Andrew Schoultz part one. Part two involves the ever growing number of gallery shows that have included his work. His intricate lines and imagery have won him an audience all over the country, all of whom have written gushing reviews of his work. Hopefully you get the point... I'm more than pleased to bring Andrew Shoultz to Fecal Face for some questions about OCD, blood, and the 'mural art scene'.
I make things. I make a lot of paintings and drawings, some sculptures and whatever else comes to mind. I have been super into mixed media on paper recently. I do it here In San Francisco, the greatest city in America. I also paint murals where ever I can, when I can.
Now that the rain has started again are you still loving San Francisco? Do you have any plans to move or are you going to stick around for a bit?
I have no plans to move. I am from Milwaukee originally, so this rain doesn't really faze me. I will take rain over freezing cold snow any day. San Francisco needs the rainy season to clean all the sidewalks, streets, and alleys. People who live here or have been here know exactly what I am talking about.
I keep talking about food in my interviews but I've gotten some really great restaurant tips so far. What's your favorite restaurant in the city?
When I can afford it, The Slanted Door at the ferry building is a divine treat. I love Hanabi on lower Haight Street, and El Toro Taqueria on Valencia. I actually like eating at home though too. My wife is an excellent cook and I am not too shabby myself.
The majority of your early work was with murals and street art. When that SF Weekly piece came out, they basically heralded you as the next big start of the "mural and street art scene". However, most of the work I have been seeing of yours recently has been in galleries. Would you still consider yourself as a street artist and muralist?
I don't know if I've ever classified or labeled myself a "street artist". I have done a ton of art on the streets, but I never really have found any separation in my work on the streets versus my work in the studio. I have been drawing since like age 3 which was long before any street art happened. I definitely still have a huge interest in doing work on the streets and will hopefully be getting to that soon.
Is there a point where you would take one over the other?
I don't know. I like them both. I like to do them both at the same time. That's when some serious development has happened in the past. Working on a mural all day and then drawing or painting at night. They both can kind of fuel each other. I would like to be doing a lot more murals these days, but it is very hard to find walls and even harder to find any funding. It's hard to find good walls for
murals not just location wise, but it has to be an appropriate addition to that specific environment. Sometimes in the past I have been offered walls that just didn't seem like appropriate places for murals and I didn't do them. I try to approach painting murals in a pretty responsible manor. I am always concerned with who has to look at it everyday and making the mural work with the environment so as not to be intrusive.
I've read multiple articles describing you as essentially being drawn to making art in public spaces (i.e. murals and installations). Can you speak to that point? Is this something that you agree with?
I guess I would say I am not as drawn to making art in public places, as I am drawn to the general audience of the public. I like that audience. It is the most
truly diverse audience that you can address with art in America today. Your audience could literally be anyone and I like that possibility. It also eliminates the
element of preaching to the choir because it would be impossible to predict who that choir would be on a consistent basis. I think this is the fact that really changes the way you go about doing art in the public space versus in the gallery. Children are also an important audience to me and are often an audience that is almost non existent in the gallery world.
A lot of your work is pretty immense and sprawling at times. Do you enjoy working large as opposed to working smaller?
I do like to work very large, but I do also like to work very small as well. The large work is definitely the most fun stuff for me to do since it's always exciting to paint something huge. Large and small are two things that also work really well together for me. I am very much into different scale in terms of sizes of things
in my work. It's fun to toy with many different scales in the same piece and especially on an immense level when doing large work. I love immense imagery right next to tiny delicate imagery and I think scale works almost the same as color in that respect. Color is essentially defined by what color is next to it and I think this also works with scale too. A tiny image appears even smaller next to large image.
The Boston Center for the Arts is such a great venue for both shows and artist studios (among other things). Very few cities have a facility like that, not to mention such a sprawling, multi-faceted one. I think it's really cool that you were able to do an installation there. How did that whole thing come about?
It came about pretty simple. My friend Caleb Neelon, who is an excellent writer, wrote a proposal for a show there because he was particularly psyched on the large space. The director of The BCA, Laura Donaldson, liked his proposal apparently and gave us the whole space pretty much to do what we wanted. This was definitely different from most of their past exhibitions. Laura was semi-familiar with our work but really put a lot of trust in us and gave us freedom. I really have to give it up for her on that because it's really awesome when curators and galleries have faith in the artists they are working with. Sometimes curators and galleries are very controlling and want to know every detail of what's going to happen. In my case - most of the time I don't even know, which can make it difficult. When I do installations and murals I like to keep the element of spontaneity alive, otherwise it can get boring and predictable. I hate formulas and I don't want to eliminate or ignore any good ideas that come along during the process. Of course I always have general ideas. We had some ideas for the Boston show, but pretty much went in there with no plan or maybe a 'half-plan' at best. We also had a lot of time to install. We installed for almost two weeks, going for 12 to 15 hours a day. A really great young artist named Brian Wilmont had his work in the project room and you should check him out if you get a chance. All and all I think the show turned out really good.
Elephants, towers, medieval imagery... How did you decide upon some of the re-occurring themes in your work?
A lot of the reoccurring themes have to do with the fact that I am drawn to story telling (In a non-definitive way). In stories, characters re-occur and build themselves. I like the idea of developing a character or image. Painting and drawing something over and over again seems like a very natural way to develop something. Undoubtedly, if you paint the same thing hundreds of times, it is naturally only going to get better and better and development can't help but happen. Repetition also stems from being involved in graffiti for the last half of my life. Writing the same word over and over, and slowly it changes, and finds a meaning. Some of the imagery I have been using as of late is sort influenced by a cross section between 15th century German map making, and Indian miniature painting from around that same time period. Most of the purpose behind these two art movements was for conquering new frontiers, telling stories of war, spirituality, belief systems, and also for the recording of history of those time periods. I am trying to form a parallel with this time period but sort of contemporize it, and address the same subjects that they were addressing but in a present day sense. There is something interesting about using this type of imagery that was based on older times of war and conflict, to talk about the present day mess that the US is in. This war is insane, and I can't help but vocalize this in my work. You know the saying "If you don't know history, it will repeat itself" (or something like that)? It sure seems like in history the pursuit of greed and power has been a re-occurring theme. The only thing that has really changed is technology and convenience.
It seems like traveling in your life has taken you to a lot of interesting locales.. Can you talk about making art in places like Indonesia? (In comparison to the US, I guess.)
I don't even know where to start with this one. I could go on and on for hours. I feel very fortunate to have gotten to go so many places to do art. For the
most part it is always awesome to travel places with a purpose, versus being a tourist. People react a lot differently to you and I think there is a lot more
acceptance and respect given up. Going to Indonesia and participating in the project 'Samasama/You're welcome' was a life changing experience. It
definitely has had a profound effect on who I am today and the art I make, but it all seems like a big dream to me at this point. In 2003 myself and five other artists from San Francisco went to Jogjakarta, Indonesia for two months painting murals and working with an artist collective there called Apotik Komik. After we went there, we brought four of the artists from Apotik Komik here to San Francisco for two months to paint murals and have an exhibition. The Indonesian group had some similar aesthetic interests as compared to the American artists, but definitely approached things in a way different way. The thing you have to take into consideration when talking about public art in Indonesia, is that they have only had freedom of their public space since 1998, which was when the over throw of Suharto's regime happened. Before '98 it was very risky to be doing anything in the public space, let alone painting a wall. Apotik Komik was out there doing it even before '98 and for this they became quite famous across Indonesia. When we were there it was 2003, and quite honestly it still was a far step for most of Indonesian society to see walls being painted in the public spaces - let alone by a white person. So it was definitely an intense experience. It's crazy to have a lot of pre-conceived notions about places and then actually go there and see them first hand and realize how wrong your pre-conceptions were. It was an amazing project, and I still keep in contact with some of the friends I made over there. They are amazing people and I feel so lucky to have met them. There is actually a nice book about the project available through Intersection for the Arts for about twenty bucks.
Would you ever live anywhere else?
No I don't think I would have any interest in taking up permanent residence anywhere else although I am looking forward to potentially traveling to Sao Paulo, and Copenhagen in 2007. I wouldn't mind staying some places for a couple of months, but I love SF. I feel lucky to live here and even more fortunate to have met so many great San Francisco people.
What's the typical time frame for a piece (murals included)?
There is no real time frame for the pieces or murals that I do. They are done when they are done. Most of the time has to do with a deadline. I could literally go on forever with murals and installations, so sometimes having a deadline makes it be done. It's good sometimes to be forced to be done with something.
What kind of music do you listen to while you're working (if any)?
I listen to lots of NPR and BBC when I am working and generally listen to an eclectic mix of stuff. Recently, I have been listening to such bands as Neurosis, Funeral Diner, The Smiths, My Bloody Valentine, Kayo Dot, Ghosts and Vodka, Don Caballero, Angel Hair, and Mastodon to name a few. My favorite type of stuff definitely leans toward heavier angular stuff like metal, hardcore and a lot of Chicago bands from the mid 90's. We are lucky here in the Bay Area because there are such great local bands here. Some of the bands playing around SF currently that are just awesome and worth while to check out would have to be King City, Django Obscura, The Enablers, Gypsy, Monuments to Masses and Funeral Diner just to name a few. Django Obscura is so amazing. They play Django Reinhart compositions and the lead guitar player is mind blowing. Seriously one of the best guitar players I have ever seen. One of my favorite things to do is see live music. I used to be out at shows a lot more though in the past, although right now I have just been too busy.
Do you think music plays an important part in the creation of art (yours or general)? Can you play anything?
Music does play a very important role fore me in making my work. A lot of times I literally have theme songs for different pieces when I am making them. Generally most of the art I make is along a similar vibe to the music I am listening too at that time. I wish I could play an instrument. I tried to play the guitar for a brief stint, but it didn't really workout, but then again I didn't really fully commit to it. I have always had sort of a one track mind. I tend to dedicate everything to that one thing I am trying to do. Other things like skateboarding and art, have always seemed to take precedence over playing an instrument. I have a lot of respect for people who can play instruments and make music though.
When I look at one of your pieces, I feel my OCD start acting up and it makes me appreciate it on a whole different level. How does it feel to have OCD people everywhere become fans of yours?
Yeah I definitely qualify as an OCD person. It's funny because people who are OCD really can't help themselves. A couple years back I was trying to take a lot more of a minimal approach to my work, and it just didn't feel right to me. Now, I just recognize it as being a part of who I am and instead of trying to push it away, I choose to just embrace it and push it forward. It's funny though, I am very Obsessive compulsive about my work but when it comes to having a clean studio or stuff like that, it no longer really holds up. If other people who have those kind of tendencies are psyched on my work, then that's cool. I definitely look at and appreciate things from both sides of that fence.
For some reason when I look at a lot of your pieces, I see things that remind me of blood. I don't know if anything in those pieces is actually supposed to be blood, but I end up taking that from it more often than not.
Is that just me or is that represented in the work?
Blood Huh? That's interesting. I think that's the first time I have heard that. In all honesty, I try to keep my work pretty open and non-definitive. There are specific things I am addressing and talking about for sure, but I would not eliminate the viewer's ability to draw other conclusions then what I am talking about or what I intended. I am not really that hung up on intent with art work. I think it becomes alienating to the viewer and in many cases, does not allow them to form their own opinions and conclusions. Right now I have been focusing more on trying to have a general feeling to a piece versus having a narrative. A lot of my work is addressing the subject of war, so seeing blood in my work is not actually far off at all.
A lot of your murals tend to be collaborations. Is that something at you enjoy? Does it make things more challenging?
Collaborations are fun. It's always fun painting with people. Some of the collaborations I have done have turned out great and some were disasters. My favorite ones were the ones that I did with Aaron Noble. I also really liked the installation that I did wit Chris Natrop last year at the Headlands Center for
Arts. It really turned out great. I definitely don't enter into them as lightly anymore. It's a situation where you really have to trust the artist that you're working with. It's seems to me that a collaboration works best when each artist can be distinctly represented in the piece, without overbearing or competing. It should all work together to make a picture that is interesting.
Anyone or anything you are really excited about right now?
I am excited about my upcoming solo show at Taylor De Cordoba Gallery in LA that's opening on December 2nd and I'm feel really good about it. I am also excited about the upcoming release of my book that's due out toward the end of December. It will be available through Park Life on Clement Street.
On a totally other note that doesn't have to do with art.. There is a series of shows and exhibitions coming up next year at Intersection for the Arts that will be focusing on the Industrial Prison complex. I was there last week, and it was really both exciting and inspiring to meet this lawyer named Charles Carbone. He is a prisoner rights activist who mostly works for prisoners serving life sentences or on death row. Basically he works for people and on a subject that has been easily swept under the rug by most of society. I was not totally uninformed about the industrial prison complex by any means, but hearing first hand about it in such detailed terms was really alarming and eye opening to say the least. It kind of made my stomach hurt. It is always so humbling to meet people like Charles, who are doing such selfless work in a community that very few are doing. Indeed many of these people are criminals who did horrible crimes, but that doesn't mean they should be denied basic human rights and treated like rats. Being an artist can easily become a very self involved activity. I think it's very important as an artist to be socially conscious and aware of what's going on in the world to some extent and try to participate in it on some level. It's very powerful to find ways to be active in the community with art, music or whatever it is that you do. It takes you out of the realm of yourself and challenges your comfort level with what is normal.
Also check out Andrew's upcoming show at Taylor De Cordoba Gallery in LA on December 2nd and his new book set for release sometime soon.
Comments
///////// BEAUTIFUL WORK!!! TAKE COLORS TO THE WALLS Written by on 2006-11-27 13:32:47
///////// i pass by that tree mural like every week. i was wondering who did it. Written by pesya on 2006-11-27 13:46:20
///////// The cover of Left Handed Stories(by T.Jenson) is an Andrew Schoultz piece. Andrew's stuff is so sweet! Written by haveboard on 2006-11-27 15:02:26
///////// does. epic stuff. tried talking before and he got bummed that i was bugging him. had a van full of paintings and was just standing there. sorry dude. Written by on 2006-11-27 16:01:37
///////// great work and even better person Written by dvc on 2006-11-27 16:21:40
///////// probably shouldn't write what people write on a public form. i answered earlier and i see it has not been posted. i hope someone caught it. sorry for the bother. Written by on 2006-11-27 16:56:54
///////// FRESH TO DEATH !!!!!! Written by PRINCE WISH on 2006-11-27 18:40:13
///////// i love this Written by on 2006-11-27 19:08:56
///////// fucking amazing Written by CROW on 2006-11-27 22:36:11
///////// its great to see your stuff progressing. I love where its going. keep it rad! Written by on 2006-11-27 23:12:08
///////// oh my god! it's amazing! long time no see something like this Written by dh on 2006-11-28 00:25:06
///////// Extraordinary stuff. Copenhagen eh? We'll be pleased to have you here. Going to exhibit or just for fun? Go in summer if possible, then murals, swimming and mayhem is a must. Peace Written by Silencio on 2006-11-28 00:36:29
///////// Very creative linework, would love to see these images in real life. Visit Edinburgh sometime. Written by Eddy McGowan on 2006-11-28 03:23:35
///////// fecal face is back. fucking sick art. damn this guy is great! Written by art art art on 2006-11-28 06:36:05
///////// love the volcanoes and cloudiness, amazing craftsmanship. thanks for showing us! Written by streuhund on 2006-11-28 08:13:14
///////// big ups andrew! always the most epic! Written by b. willy on 2006-11-28 09:00:26
///////// Is this the guy everyone is ripping off with their overuse of bird motifs and overly rendered texture, or is that someone else? Written by misterpharmacist on 2006-11-28 13:52:42
///////// Andrew Schoultz was one of the first artist to really open my eyes to the joys of art, due in large part to his mural work. For this, and all the great work not on the streets, I say thanks. Written by Huge Fan on 2006-11-28 23:02:07
///////// Rad art. Cool interview. Written by on 2006-11-29 03:21:25
///////// Andy has a unique style he can call his own.Congratulations your hard work shows! Written by Mars on 2006-11-29 05:19:03
///////// SPRAY PAINT THA WALLS! Most paintings, such as these, really brighten my day, even when its raining. Written by the beebe on 2006-11-29 10:56:56
///////// This work inspires me. Particularly with the comment that he wants his art to reach kids. Ahh how good it would be if art was everywhere.. Written by joobie joobs taste good on 2006-11-29 21:06:58
///////// Always have been a fan... Written by Hotchkiss on 2006-11-29 21:15:45
///////// this is my favorite artist... thanks soooo mucho..... Written by afp ain't freakin maybe on 2006-12-02 20:23:51
///////// his work fucking blows my mind Written by mildred on 2006-12-07 13:11:47
///////// Andrew->>>-----> You make a beautiful addition to the world. Period. I feel lucky to live in the Bay Area with folks like you. It's nice to set down roots in a place long enough to see the same kids around making stuff and progressing. Your hard work is paying off. It makes me stand still in the streets just to gawk
.. and sometimes that is a hard thing to do.
keep it up. i know you will. p.s.- you had a lot of great things to say. good job all around. Written by Monica Canilao on 2006-12-08 00:57:13
///////// I was just wondering what the deal is with the painting that is 6th down from the top (the one with the 3 men with turbans on their head and three "snakes" coming out of the middle). I just wanted to know about the imagery. I am assuming that these men are Muslims and I was wanting to know why one of them is worshiping the three snakes. Is there any significance to this? I hope you aren't attemtping to portray Muslims as worshipping snakes.... Written by JKrome on 2006-12-08 19:10:27
///////// increible. go up Written by sam3 on 2006-12-15 06:11:56
///////// Jkrome- i wanted to address your comments. I certainly respect and welcome viewers such as yourself, to form your own opinions about my work and all art for that matter. However, most of the time a viewers opinion about a piece of art, such as yours, or what a viewer may get from a particular piece of art reflects alot more about that specific viewer then what the artists may or may not be trying to say. First of all i would say that i am certainly not specificully trying to portray any particular religious culture in my work. I am simply portraying older times in a present-day context. In history many different cultures have worn similiar clothing and have had similiar customs of dress, specifically ones who lived in similiar geographic locations which happened to be dry climates or dessert-like climates. I find an interesting and relative connection with this, to portray this kind of climate, in relationship to the current global warming crisis and our shrinking water supply. I guess i might ask why you are "Assuming" these men to be Muslims?? This is not to say that it is not somewhat, of a likely conclusion to be made, based on what has been pumped in our heads by the media for the past 3 years and may be, in some ways one of the many points i am attempting to make in the piece. I consider this to be a valid and relavant topic to address in art these days. If not art, where???The media bombards us with stereotypes and I am interested in how that subconciously effects what we think and how we form our opinions/assumptions. Just because this happens to be a hot-button issue these days, is no reason to avoid it in art. Worrys of what people may think never stopped art from happening in the past, which has always been a vital forum for addressing such things as this.. Almost all of the most powerful and relavant art from the past 200 years has never avoided addressing issues of this nature, that were relative in the same resoects in their time periods either. In history many different religions such as Catholics, Hindu, Budhists, Gypsys, and Jews(just to name a few) have worn similiar attire as this, not just Muslims. I wonder if you even have read the interview at all, to have drawn the conclusions you have, Ofcourse, normally there is not an interview to accompany a piece of art, but if you were really concerned about this, i would have thought that you would have read it , and i am pretty sure that would have cleared this up. I normally am not into explaining my work in diffinitive terms, but i guess i feel the need here to clarify this. In the image you are speeking of, there is one man bowing, while three others are watching. These men are merely supposed to represent spritual human beings who all happen to meet at the same crossroads at the same time in life at a wretchid place, which happens to be a man-made stucture for releasing pollution into the atmosphere. The man bowing is not really worshipping anything, as much as he is summoning a great spiritual power. The other people are there, baring witness to the great spritual power of another human. The Irony here is supposed to be the idea of spirituality in the modern world, of pollution, environmental degradation and war and basically the irony of things that are sacred, co-existing side by side in the same environment as things that are catastrophically bad. My intention was not to portray a snake, but rather a powerful menacing spiritual power. The type of spirtual power it would almost take to prevail over the many woes of modern day society. Dont get me wrong, I wouldnt really expect a viewer to get all of this from my piece, nor do I neccessarily want them to. What I would expect, want, and hope for with my work, is to encourage some challenging thought in a viewer. I make my art specifically to not mean just one thing. It is open in many ways for viewers to find their own connections and meanings in it. I appreciate your comment, and mean no dis-respect. I just wanted to explain where i am coming from with this. Written by andrew on 2006-12-16 18:41:20
///////// To me, those figures appear to be Sikhs, right down to the detail, and considering I'm pretty familiar with the subject, I too was curious. But I can see why anyone, especially you (with your precise drawing style), are taken in by Indian Miniatures. I am wondering, by any chance, if you caught the Art of the Sikh Kingdoms that was at the Asian Art Museum years back? It was astounding, and I'm sure I would have fell in love with it even more if I didn't already have such a weighted history with the culture.
Perhaps, I think the only reason why viewers would be confused, is the melding of your own personal folkloric imagery with that of historical imagery and figures - what's the weight that is placed on the historical figure in terms of your own personal folkloric interjections? Turbans are about as widespread a garment as the Swastika a motif, yet the Nazis did permanent damage to it forever in the eyes of western culture. If you put a swastika in your work, even if it's in the context of Hinduism or American Indian motifs, you will undoubtedly have to explain yourself.
I guess that's what western civilization gets for bastardizing just about every culture that they consider the "OTHER".... Written by narangkar on 2006-12-17 11:27:22
///////// i don't think that a turban really has as much negative realivance as a swastika, and thats pretty far fetched. if someone tries to realize the world politically through art, it should be commended, alot of people create "safe" works of art that say nothing. art that is left up to an inviduals perception should not be attacked on this level. Written by mfrancis on 2006-12-20 23:37:09
///////// I shouldn't have to clarify my comment to people who are too stupid or lazy to read.
///////// lets see your artwork Written by on 2006-12-21 21:51:41
///////// Clarify your comment. too stupid or lazy to read. You are comparing a head garment to a symbol of the third reich who murdered hundreds of thousands of people. you gotta be kidding. Its easy to sit there and act like you know what you are talking about via- anonomously over the internet. There is one out of a very large amount of paintings here, that features this character that you are so hot and bothered by, which makes it pretty obvious how much weight it holds in this artist work, which is that this is a very tiny part of it. Why are you acting like it is such a major part of it??You must be really bored and furthermore, lets critique your art work?? Post and image of what you do in life.. please no pictures of you humping arrangatangs or mayonaise jars. Written by Limp bizkit on 2006-12-23 13:32:29
///////// Hey Andrew,
Just wanted to let you know I really dig your work. People gotta stop taking shit so literally. You've got a very intersting and visually appealing thing going on with your work. Keep it up!
Jonathan Weiner Written by VINER on 2007-01-12 17:03:42
///////// I am a muslim from Indonesia living in America, and i am not offended by this artists work at all. In fact, it makes me feel em-powered, and I think there is a very powerful message in it, that needs to be vocalized and addressed alot more in the public and in art. Keep up this good work andrew. Written by Rakman on 2007-01-13 12:43:58
///////// andrew, i can't even put into words the way your work makes me feel. i remember the first time i saw your work, the cubed elephant across the street from the women's place shelter. it was mind blowing. i've always loved elephants. don't know why. i photographed it and kept the photos. a real simple work, but just couldn't get my mind around how you arrived at that. also, finding your work around town, has been awesome. a real find. it always takes my breath away. once again, i'm unable to put it into words, but the effect of your work on my mind is something between flabbergasted and perfection. i just have to appluad your full dive into your own vision and path. i guess the only thing i can really say is that your work is obviously not the product of any type of laziness. it's a product of following your image and then working on it and putting the time and dedication into your craft that allows you to give to your creativity more than you take. and of course, to have not only the skill, talent and dedication, but the thousands of hours. how many artists can say that they have the ability to put exactly onto paper, what they hold in their minds eye? or to have what they put on paper exceed their minds eye? perhaps you're not reaching either, and that's what defines the creative pool you draw from, the constant work to extract. surely at times the work exceeds the primary vision. or perhaps your vision is only fully realized on paper. anyway, all of these comments, as you say, have more to do with my thought process, or reaction, than your work. but there must be something true, or shared between the two, and of course, that connection is the ultimate in sharing your creations. so, thank you, and know that i along with many others not only "get it" (in some way), but are thankful for the wonderful opportunity to be touched by your work... thanks! Written by evz-yoyo on 2007-01-15 22:18:33
///////// Andy, it's good to see that you've finally learned how to paint -- you've come along way from not being able to draw inside the lines of those Power Ranger coloring books. (I like the persian-stylee horses alot -- Ive been workin on illustrations for some indian folktales, and some of their old masters rendered in a style alot like the persians--I'm amped up on that sh*t)
Hope all's sweet with you an' Maddy.
Paz y Lucha, anonymous Bosch Written by anonymous Bosch on 2007-01-24 12:56:11
///////// --On second thought, those look mighty mongolian influenced too... Awesome, one way or the Udder.
Viva La Evolution! Written by anonymous Bosch on 2007-01-24 13:01:14
///////// Yo, andrew.. Looks great,,mad busy as usual, glad to see it.. (Shit it i thought it was 3 fish, and i was in to that..) keep on..jb Written by sleptember on 2008-02-10 17:23:50
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2/9 - Jeff Lurker (Portland, OR) submit: potd(at)fecalface.com
Michael Sieben & Cody Hudson Interview This is a great one where we talk art, design, music, film, BBQ, etc whilst enjoying a few suds.Jeremy Fish's Mix This Fecal Pal adds his mix heavy on Hip Hop- Aesop.Paul Urich's Mix Warning: lots of country, but don't worry, it's some southern good stuff.Paul Urich Interview This SF based artist and first artist ever featured on Fecal Face back in 2000 speaks of his art, the Nike he designed, and answers your questions. 12/19/07Rich Jacobs & Tim Kerr Austin Texas artist & music legend Tim Kerr (The Big Boys, Poison 13, Now Time Delegation), and recent SF transplant, curatorial heavy hitter (MOVE), and artist, Rich Jacobs... Andrew Scott interviews including two songs played live by Rich and Tim. Recorded 12/6/07Jay Howell Mix 45 minutes of Jay's favorite music - 11/14/07
///Dana Dart-McLean Interview Our Chicago corespondent Ryan Christian recently discovered her work at Kavi Gupta during the show "The Vaguely Paperly".
///Kevin Taylor Studio Visit We stopped through this SF based artist's Union Square studio and got some video and photos... We also got video of Kevin playing music too.
///Meredith Dittmar Interview This Portland artist does incredible things with clay. She opens a solo show Dec 9th in Mexico City.
///Hiro Kurata Interview 29 yr. old Brooklyn based artist preparing for a February show at Joshua Liner in NYC.
///Maxwell Loren Holyoke-Hirsch This SF based artist opens Megarealms at Fecal Face Thurs. Nov 5th in San Francisco.
///Derek Albeck Interview We love the work of this LA based artist and the fact that he plays "cornhole", can hardly hear out his right ear, searches for Chupacabras, and that he gets back forth to work in LA without driving his car.
///Steve Powers: A Love Letter For You Love Letter is literally a love letter painted on the walls facing the Market elevated train in Philadelphia.
///Marc Bell Interview He almost killed a co-worker once, prefers a cheese burger over fish-n-chips... oh, and has a new book, HOT POTATOE, out through Drawn and Quarterly.
///Austin Eddy Interview This 22 years young painting student at The Art Institute of Chicago is humble and shows much promise.
///Hot & Cold: The End is Here This collaborative art zine made by Chris Duncan and Griffin McPartland is releasing it's final issue on September 11th, 2009 w/ a show @Baer Ridgway in SF.
///Mel Kadel Preview A preview of Echo Test opening Thurs Sept 10th @Fecal Face. Mel Kadel answers a few submitted viewer questions as well.
///Allison Schulnik Interview This LA based painter, sculptor, filmmaker, and all around talent prepares for a solo show @Mark Moore Gallery in LA opening Jan 2010.
///Jason Faulkner Interview "I pretended to be a student at the Museum School for nearly a year, taking out expensive camera equipment and trying to weasel into any classes I could."
///Matt Furie Interview An update on this SF artist as he prepares "Monster Family" opening Oct 8th at Beams T Harajuku in Japan.
///Ben Jones Interview Invaluable source of inspiration, genius, and drum solos. Meet Ben Jones.
///Unagi Interview Bay Area hip-hop producer Unagi just wants us all to feel good.
///Eric Yahnker Interview "I personally get a kick out of the cable guy who can appreciate my work on his own terms, while the academic art critic can excavate further and appreciate it on theirs."
///Alexis Mackenzie Studio Visit Her show opens Fri. June 26th at Park Life in San Francisco. We stopped through for a preview.
///AJ Fosik Interview Alex Lukas interviews and visits AJ's Philly studio before his big show There's Aliens in Our Midst which opens Saturday June 13th at White Walls in San Francisco.
///Henry Gunderson Interview This first year student at SFAI is killing at only 18. His first solo show opens @Fecal Face July 23rd.
///Brian Willmont Interview "Wasted youth, totally lost and really angry. I hung out downtown drinking beer, getting high, cheering on bum fights, and going to shows. I was probably one of the worst students in my high school but did great in art school, ha!"
///Damon Soule Interview We catch up with the Portland based artist as he prepares for Same Loud No opening May 7th at Fecal Face Dot Gallery.
///Aaron Johnson Studio Visit "Works that are visceral, beautiful and flamboyantly timely, which is saying a lot" Roberta Smith, The New York Times.
///RIPO Interview Now living in Spain but this street artist was raised in NYC. He's currently showing at No New Enemies in Brussels. Manuel Bello interviews.
///Catching up with Matt and Kim Since our last interview with Brooklyn's Matt and Kim was so much fun, we decided to catch up with them again as they came through San Francisco to promote their new album.
///Shawn Barber Interview He answers your questions and we visit his studio for a video interview.
///Paul Nudd Interview The celebrated Chicago artist creates nasty gurgling vomiting videos and worm/slug/pest drawings.
///Bay Area Graffiti An interview with Steve Rotman who, with Chris Brennan, put out a book on graffiti in the Bay Area published through Mark Batty. Dan Carlson interviews.
///Souther Salazar & Megan Whitmarsh We visit the Eagle Rock studio of Souther Salazar, Megan Whitmarsh, Carlos Ramos, Mark Todd, Esther Pearl Watson, Seonna Hong, and Martha Rich in LA.
///Interview: Child Abuse New York's Post-millennial mathemagicians Child Abuse do not listen to their own jazz and metal fusion during sex which is good to know.
///Marsea Goldberg of New Image Art On the eve of New Image Art's 15 year anniversary show, Jeff Soto interviews Marsea, the founder and curator, about the gallery's unique past and its future.
///Mike Giant Interview Tattoo/ graffiti/ fix gear/ clothing mogul legend. Mike answers your questions.
///Michael Krueger Interview This art professor from the University of Kansas has recently had solo shows in Paraguay, Florence, Italy and the American University of Sharjah in the United Arab Emirates. Our Chicago man, Ryan Christian, interviews.
///Martha Cooper Interview Photographer Martha Cooper just released Tag Town a book of her photos which document the infant NYC tagging & graffiti scene in the late '70s.
///Interview: Mark Gergis aka Porest Audio revisionist Mark Gergis aka Porest discusses Sublime Frequencies, Tourrorists! and other sonic morsels from a comfortable cruising altitude.
///Carl Baratta Interview Just coming off a show @Western Exhibitions in Chicago, Ryan Christian interviews.
///Studio Visit: Faile Out in Brooklyn, Manuel catches up with FAILE at their studios as they prepare to School London.
///Studio Visit: Anthony Lister The Bello seeks out and finds the infamous Mr. Lister at his new studio in Brooklyn.
///Death Sentence: Panda! San Francisco trio prove that when pushed to the limit, any living
creature will revolt.
///José Parlá Interview Brooklyn based artist José Parlá sits down with Manuel Bello and reflects on the complexities of his journey into the world of 'Segmented Realities' and more.
///The Dodos Interview Our music editor, Chris Rolls, catches this 3 piece band before they head off for more world touring.
///Ryan Wallace Interview Been a fan of this RISD graduate and now NYC resident for some time. He was in SF last week and we got to ask him a couple questions.
///Damon Soule Interview We've known this Portland based artist for years, back when he lived in SF. Well, he's got a show at the NYC based Joshua Liner opening Oct 11th. Manuel Bello interviews.
///Joshua Petker Interview It's not all about the girls. This LA based artist's solo show opens Oct 4th @Corey Helford.
High 5s: Rain Rain Rain Just some things like police, rain, rattle snakes, bowling and your cousins.
Pearl C. Hsiung Studio Visit Michael swings through the studio of this LA based artist as she prepares for the international group show Arte Contemporaneo - ARCO Madrid opening Feb 17th.
Manfred Naescher - Mini Interview Berlin based artist/ illustrator... "film frames provide me with ready-made compositions and figurative constellations that I can work from."
Dumping out the 2009 Junk Drawer The Shopkeep blogs one up sharing Needles & Pens shows Tim Kerr, Russ Pope Mathew Rodriguez, Michael Sieben Nikki McClure, & Sara Thustra.
High 5s: My Holiday Vacation The last week of 2009 spent wishing a magical baby happy birthday in a complete haze.
Interview with Director Erich Weiss The film Hori Smoku Sailor Jerry explores the roots of American tattooing through the life of its most iconoclastic figure, Norman "Sailor Jerry" Collins.
Back in Papua New Guinea Artist Tiffany Bozic and her husband, who's the curator of Birds and Mammals at the Cal Academy, take a trip to study some of the rarest birds on Earth.
Michael Dotson - Mini Interview Inspired by Michael Jordan, this DC based 27 year old is a genius with masking tape and has a show coming up Jan 2010 in LA @Lawrence Asher.
Free Fridayz: I Swear to God... Full theme title: I swear to fucking God that if you do that one more God damn time I'm going to rip your fucking head off and feed it to a cute little squirrel named Fecal Face.
Mini Interview: Sam Falls This MFA photography student @ICP-Bard in NYC just released a new book "Color Dying Light" and is preparing for his solo PS1 solo show @Capricious Space in June.
Mini Interview: Matt Relkin Otherworldly landscapes & skyscapes containing dark primordial objects all belonging to a self-made mythology.
London: A Trip to Berlin And assisting Dalek for his show @Elms Lesters Gallery in London plus a lot of Berlin street art.
Free Fridayz: Your Saint This is a great week, but I can't wait to see what people draw for next week's theme.
DUALITY OF MAN Great photos from Carlos de Spinola trying to visualize South Africa's crime problem.
Free Fridayz: Stupid Police Chase This week's prize is a two day pass to the Treasure Island Music Festival running Oct 17th & 18th... Obviously you need to live somewhere near SF to win.
Michael Sieben's Summer Vacation Hopefully this blog gives you some temporary relief from the crushing terror of the impending Swine Flu epidemic.
Up and Down From LA Mel Kadel and Travis Millard came up from LA to SF to install Mel's show Echo Test @FFDG. This is Travis' blog from their trip.
High 5s: Sure, You Can Fly Contest winner, more Mel, marooned at China Camp, KQED, and people you've never met.
If You Build It We Will Burn It North Carolina collective, Team Lump, travels to East London's arty Bethnal Green neighborhood for this group show @Cell Projects.
Free Fridayz: POOR "I'd like to live as a poor man with lots of money." -Picasso
Ben Tour takes Manhattan Ben Tour, Bacon, Hotdogs & Heartburn. Manuel brings us a "Ben Tour" Tour of Manhattan and more.
Free Fridayz: Monkey & The Apocalypse The full title: A monkey eating the Eiffel Tower while ice skating off a cliff wearing a mini skirt and hoop earings during the apocalypse... Might be one of the best Free Fridayz to date.
Mini Interview: Adam Sullivan Paper, scissors, blades, UHU Stic, pens and pencils are what's used to create these great collages from this Ohio based artist.
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"#22, the best so far !" //
