Do you create art every day?

Certainly, I finished a painting this morning. I was working on a song very late last night and I mixed it this morning. I create something every day because it is a reaction. I don’t make art to be popular or seen, I make it because my hands have to, otherwise I’ll extinguish my own life. We’ve all had strange experiences in our lives; to deal with different things, many times, people make art and make music as a catharsis, as a therapy—that’s what I do. I have to do things with my hands or with my voice or with my brain so that I don’t get extremely depressed or extremely angry at the world.

I read in an interview with you once that you love old burnt out buildings and things like that and that you feel really at peace in places like that.

It’s my favourite place, a space that no one wants anymore. Architecture I love, I think architecture is so beautiful, especially abandoned architecture is really, really special to me because, at one point it is valued so highly. So much of America, maybe not so much in Australia, we’ve abandoned so much of our country. If you look at New Orleans or Detroit, they don’t give a shit about anything they built like more than 50 years ago. Those spaces we often reclaim as artists, we do a painting on the wall or bring in a little chair or something. I feel most at peace in those spaces, yes that is correct.

I once thought of doing a photography book or zine that would have pictures of old buildings with plants growing out of cracks, kind of taking back the structure.

Yes! Nature taking them back. That’s one of my favourite things.

Exactly! Before we were also talking about the feeling you get from drumming and you were saying that you believe that there are people that are put on this Earth that have ‘the gift’…

I think more than that, I think it’s a race. Where a lot of people want to talk about their race and pride in their race, I have very little pride left for America. I do know that I am a member of a strong race of drummers and that I have done this before in my life. I had a shaman tell me once that I walked out of Africa over fifteen hundred years ago and that I hadn’t chose to come back to the Earth until now. Ancient things make a great deal of sense to me and new things are very confusing to me, that I know to be true because, drumming is a snap to me, I can do it with my eyes closed. I’ve been doing it since I was 4 years old, even before that. I think it’s a race of people put here in order to lead people out of darkness, to use dance and to use rhythm as a healing tool.

(Taken from an in-depth interview in a forthcoming issue of Conversations With Punx)

Ian Vanek is one half of NYC-based art project Japanther. I love Japanther! They’re always involved in, and create, such awesomeness; collaborating with such a diverse range of musicians and artists such as Crass’ Penny Rimbaud, Spank Rock, Dan Graham and more!

Japnther in 3D:

For more Ian Vanek. All art featured by Ian! :)

Create forever!

I love getting mail. I love to write letters. I love receiving thoughtful, handwritten letters especially! I have an exquisite royal blue writing quill and ink pot gifted to me, that I write my correspondence with, sitting on my desk. Can you remember the last time you took the time to write to someone and it wasn’t via email or text message? Recently, I was going through my old shoeboxes full of letters I’ve received over the years from fans of my work and musicians and artists I’ve interviewed. Before the internet, when I first started interviewing people and making zines, I would often send snail mail letters with questions attached to folks I wanted to have a dialogue with. Rifling through them brought back some lovely memories (and also a few cringes at my inexperienced lame questions! ha ha).

I thought you guys might be interested in checking some of it out, so I decided to put together a series of posts—Dear Bianca… Correspondence From… First up is a questionnaire/interview that one of my favourite pro skateboarders and artists Ed Templeton filled in. He even drew a self-portrait for me!

Ed Templeton + Sonic Youth’s Thurston Moore:

Handwrite a letter to someone today!

Sonny Kay is without a doubt one of my favourite visual artists. Words will not do when it comes to his work; it needs to be experienced for oneself. Every time I look at one of his works my understanding of it evolves a little bit more, I find myself coming back to the images time and time again as inspiration for my mind and food for my soul—they remind me of the pure potentiality of life. Sonny is the art director for Rodriguez Lopez Productions and has created tee designs and album covers that complement the musical dialogue of artists such as long-time friend Omar Rodriguez Lopez, one of my favourite bands Le Butcherettes, the kick ass Zechs Marquise and more.

Art-wise, what are you currently working on? And so far, how do you feel about it?

 SONNY KAY: Right now I’m finishing laying-out new albums for Good Old War and The Mars Volta. The GOW project is more a matter of assembling parts that the band provided, whereas the Volta thing consists of original art I created for it, and now I’m in the process of adding lyrics, etc. So basically two different approaches. They’re both a good challenge, but of course the ones that utilize my own art feel more personal.

Previously, when asked about your artwork and the evolution of your album cover designs for Omar [Rodriguez Lopez] you have said, “I find my thoughts dwelling more and more on concepts of multi-dimensionality and what might be called the fabric of reality.” I wanted to ask you, what was your first introduction to these concepts? What first sparked your interest in these ideas? Have you ever personally experienced something that you perceived to be this?

SK: I suppose my earliest introduction to this kind of thing would be via people like George Harrison and Timothy Leary, all the sort of figureheads of 1960’s psychedelic awareness. I always had a kind of passing interest in psychedelic poster art, and that kind of thing, but more from an aesthetic point of view. I managed to completely avoid hallucinogens until well into my 20’s. Then about ten or eleven years ago I had my first bona fide “psychedelic” experience after taking a double dose of psilocybin mushrooms in Japan. I came away from that with the explicit understanding that there are dimensions of consciousness I could never have begun to imagine. And so from that point on I began reading everything I could get my hands on about hallucinogens, and more specifically, entheogens such as DMT. When I finally had the opportunity to try it myself, I was prepared for it in a way that I felt put me at an advantage over someone just happening upon it at a party or something. I felt like I’d primed myself intellectually. But nothing could have prepared me for the total sensory overload of it, nor the depths of astonishment possible that you just can’t imagine.

I read another interesting comment – “I think creativity should be valued much differently than it is now” – from you in an interview and I was wondering if you could elaborate on this thought?

SK: Well the point I was trying to make there was that I feel like the whole paradigm of consumption and profit needs upending. If it was impossible for anyone to turn a profit from creativity, I think we’d see a change in the kind of self-expression taking place. For one thing, I believe there’d be much less of it. And what there would be might be motivated by different ideals, more pure and more relevant to the essence of the human experience. Less about product and repetition and more about a connection to the truths at the core of our being. Removed from the context of capitalism, I think creativity could revert to the realm of “folk art”, or more appropriately, tribal art. It could serve a different set of functions entirely, which are arguably far more noble than plain old exploitation.

What does art mean to you and as an artist what matters most to you? 

SK: It’s a way for me to express things I feel and believe more creatively and poignantly than trying to verbalize them ever could. It’s a way for me to love myself and embrace the lifetime I’ve been given. I’m not sure what matters the most. I suppose contributing to the ongoing dialogue that forms the fabric of culture, in general. Giving voice to ideas that go against the grain of the moronic monoculture represented by our governments and the corporations who own them.

Currently, what is your favourite thing that you’ve created and what is it about it that you love so much? 

SK: That’s so hard to say. Usually my favorite piece is either the most recent finished one or whatever I happen to be working on at the moment. At gunpoint I’d probably say the one entitled Adrift, Or Barking Up the Rung Tree (pictured above). More than any other, it seemed in some way “destined” to exist, and that I was simply enabling that inevitability. Walking into a gallery and seeing a huge print of that one framed on the wall is an incredibly satisfying and humbling experience. When I built it, each element felt like a precise fit. The chimp’s eyes, too, are just so piercing and expressive, I feel like they look right into your soul. To me, they feel so utterly heartbreaking, and at the same time they possess this dignity. I really enjoy the dichotomy between the desperation in his eyes and the playful insincerity of what the baby gorillas are doing.

What type of art and artists interest you at the moment? 

SK: That’s so hard to narrow down. I can be pretty schizo when it comes to art, and I tend to go through phases of paying attention and then just shutting myself off completely. Right now I’m reading The Graphic Language of Neville Brody, who designed all the Cabaret Voltaire covers back 80s, I guess that’s more design than art but they get muddled up for me. Record art and packaging design never cease to interest and inspire me. On the other hand, pretty much anything featured in Juxtapoz is awe-inspiring and compels me to do better.

What is one of your all-time favourite album covers and what does it mean to you? What do you find compelling about it?  

SK: I usually say the first Budgie album, or Unknown Pleasures, but today I feel like talking about the third Bauhaus album, The Sky’s Gone Out. I imagine a lot of people might find it boring, but I think it’s one of the most evocative and creepy things I’ve ever seen. The genius of it is in its simplicity. I love the geometric aspect to it, that it’s essentially just a painting of a circle. Always been a sucker for circles… The stark, high contrast design acts like a trap for the eye. The way the circle bleeds toward the outside edges is just so… I don’t know, just weird. It was a revelation seeing this when I was 13 or 14. I loved the way it at once had nothing and yet everything to do with the title. Nearly all the imagery associated with this band is crucial to me, but this album cover is just monolithic.

I know that you love going to thrift stores (as I do) and you get a lot of your imagery for your collage work from old books you find there. What’s one of your favourite finds from a thrift store?  

SK: I found an incredible hardcover photo book entitled Africa’s Powerhouse about the energy industry in South Africa in the early 1970’s. It’s full of incredible, beautiful photos which I’ve definitely poached from time to time. But I treasure it because as a baby I lived in Johannesburg for about a year, and obviously don’t remember anything about it. That book has served as a kind of time capsule for me, a snapshot of a time and place in my life I could never really envision otherwise. A lot of thrift shop books you find time and time again, but I’ve only ever found it once. Also, I lost it for about a dozen years – left it with a friend who was scanning it for me before I had my own gear, and then lost touch with him. I met his wife at a show in Denver a couple of years ago and out of the blue she asked me if I still needed it, and I just about fell over. So it made its way back to me. I will never let it out of my possession again.

You also love to travel and have a fondness for Japan; in all your travels what place has had a really lasting impact on you?  

SK: Japan, without a doubt, just in terms of the aesthetic and the quality of life (and the food, and the people, and the music, etc…). But plenty of other places have had a lasting impact. I would happily go and live in Mexico for a while, the further south the better. I really feel alive when I’m down there.

Growing up, as a child, what were the things you found most fascinating about the world?

 SK: The diversity and infinite variability of the plant and animal kingdoms is something I’ve never lost my fascination for.

Now as an adult, what are the things that you find fascinating about the world? 

SK: The variety of culture and human experience. At the same time, I find it utterly perplexing that so many people accept reality at face value.

Have you ever had a life changing moment?  

SK: Probably quite a few of them, yes. As corny as it sounds, seeing the band Heroin play in San Diego in March ’92 definitely qualifies. So does being kicked out of/causing the demise of The VSS in ’97. My first DMT trip tops the list though, without a doubt.

I believe that there are opportunities all around us every day to learn from. What’s something that you learnt today?  

SK: There’s no such thing as a sure thing. Not that that’s really news, but I’m reminded of it on an almost daily basis.

What is your greatest vision for you art?

SK: That it connects with people and undermines the immediacy and “disposability” of the source materials and methods used to create it.

For more Sonny Kay. Purchase art by Sonny Kay. Rodriguez Lopez Productions.

Create forever!!

*Photo credit: Sonny Kay by Cameron Puleo and Sound Colour Vibration

Sean Yseult was the very first female musician I ever met. It was a huge deal for me. We first met when I was around 15 years-old – I cut school to go meet White Zombie when they toured Australia back in the 90s. I found her super inspiring… she played bass with such confidence and style—I was in awe! Over a decade later I find her even more inspiring! These days she’s living in New Orleans with husband Chris Lee of band Supagroup; is a designer with her own line of scarves and homewares that are stocked in US department store Barney’s; plays in two bands Rock City Morgue and Star & Dagger; takes photos; makes art; and is about to release the second pressing of her book, I’m In the Band: Backstage Notes from the Chick in White Zombie. I caught up with Sean after she spent a super busy weekend attending two art openings for her work. She talks about her latest music projects, White Zombie, her art, growing up with dreams of becoming a ballerina, New Orleans, being a female musician in a male-dominated world, Riot Grrrl, Hurricane Katrina and much more… enjoy!

SEAN YSEULT: My day has been pretty good. I’ve actually been writing a lot of music today. I have to do a soundtrack for a vampire kind of game, it’s going to be on iPhones and iPads.

That’s exciting! You’ve always had a fascination with vampires, monsters and horror themed things right?
SY: Yeah pretty much [laughs]. They definitely came to the right person!

On the weekend you had a couple of art openings for your work…
SY: Yes, yes I did. I had a photography opening and an opening with my art. The photography opening was a group exhibition on burlesque [Burlesque Exposed]. I photographed some of the burlesque dancers here in New Orleans in a turn of the century Bellocq kind of style. The art opening was a show I did collaboratively with a friend. The photos are mine and then he takes them and collages on them on canvases and various mediums (pictured below).

That’s Louis St. Lewis?
SY: Yeah it is.

You guys have had art shows and collaborated together before, can you tell me a little about your creative partnership?
SY: Yes, we actually met back at the North Carolina School of Arts which has become very famous lately, it was still pretty small though when I was there. It had a small art department, I met Louis there – he was kind of the bad boy of the art department [laughs] he kind of got kicked out. We stayed friends though and we’ve always had the same kind of fascination with history, Warhol and Salvador Dali – he really combines that in all of his collage work. It’s fun for me to give him imagery and see what he comes up with.

Looking at his work it seems to me that he’s inspired by the Dada artists.
SY: Oh definitely, I was always a huge fan too of Marcel Duchamp and the Dada artists. I’ve gotten to see a few great art shows when I’ve been over in Spain on tour. I actually got to go to the Salvador Dali museum up in the mountains an hour or two north of Barcelona. It was just incredible! It looked like a flying saucer had landed [laughs]. I think he designed everything.

You also met John Waters [writer/director of films like Crybaby and Hairspray] on the weekend! (pictured below)
SY: Oh my gosh! That was like Saturday afternoon. That was at his gallery. He did an intimate walk through with a few people and discussed all of his artwork that was getting ready to open that night. I couldn’t be there though because I had my own opening [laughs]. It was great he did that in the day time though. He’s just a huge hero to me ‘The King of the Underground’!

As far as your art, design and photography work goes, what project has been the biggest challenge for you so far?
SY: I’m not sure what project is a big challenge but my biggest challenge is always technology [laughs]. Even back to photography in the darkroom days it was always like ‘ugh’ I hated the technical side of things. Even with music, I love to write music and to play music but I dread having to go into the studio and do all the technical things. I just love the creating. I’m always challenged with technical details of getting the artwork made and of everything being proper.

(continues over page)

What is art to you? How do you or don’t you define it personally for yourself?

I think art is a hard term to put into words, but basically most things that involve creating and expressing are art to me. I sort of think its best not to analyse these things too much. You start to think about it too much and it starts to mess with your creativity.

Is art cathartic for you?

No. I don’t really feel like I get any kind of release of pent-up emotions or anything from making art. Though I can see how creating things could be helpful in letting go or addressing issues bothering you. It’s more about just creating something that didn’t exist before rather than releasing emotions for me. I don’t really take much seriously.

What’s the feeling you get from drawing or making music?

To be honest, I don’t get any “feeling” from it myself. I mean, I really enjoy it, but I see it more as I try and think as little as possible about it, and just make what’s in my head in a sort of almost meditative state. I think it’s up to someone else viewing it to be thinking about the feeling they get from it.

How would you describe your art?

It’s always hard to describe for many reasons. For one, I do a lot of different things that come into that category. Painting, illustration, producing and performing music, sculpture, designing, photomontage. So, I’m not really sure I could describe my art. As Frank Zappa once said, “Talking about music is like dancing about architecture.” I think he’s pretty right. I don’t necessarily think art should be described or critiqued.

Is there a particular movement, period in art or artist that has greatly inspired or influenced your work?

I think Marcel Duchamp and a lot of ideas of the Dada artists really kicked me in the head and taught me alot. The rejection of any rules. Not doing what’s expected. As well as the satiric side of making fun of ‘serious’ art.

What were you like growing up?

I was a little skinny nerd. Nothing’s changed. I was totally obsessed with music and art.

Your brother is also an artist and you both have a band together, tell me about your relationship with him. What’s something important you’ve learnt from him?

Andy and I grew up discovering music and art together so obviously i can relate better to him than anyone, so he’s the perfect person for me to collaborate with. When I try to think of something I’ve learnt from him, there’s one moment in my life where one sentence changed my outlook forever.

I remember being about 8 years old and making something to eat, and turned to Andy and said “Do you think it’d be ok if I put this kind of sauce with this?” or something like that. He just smiled and said, “Dude, as long as YOU think it tastes ok, there’s no rules, do whatever you want.” Now, it probably sounds silly, but as a little kid, that blew me away. I applied that to a lot of things in my life, especially my art and music. Fuck music theory, just as long as you think it tastes ok.

Has art always been a really big part of your life?

Yes. I know alot of people are like, “Music is my life” and all that bullshit, but I really haven’t thought about much else since I was 7 or 8. Even when there’s no music playing, I find myself processing the noises from traffic, wind and birds and things as if it’s music. It’s hard to explain. But, yeah, it’s constantly on my mind.

What contemporary artists have inspired you lately? What is it about their work that you enjoy?

I find that the amazing quantity of really horrible stuff that gets made in the mainstream inspires me to do things almost more than things I like.

What’s your preferred medium of choice and why?

I don’t think I have a preferred medium. I would get really bored if I only did one all the time. But I’m most comfortable with just a lead pencil.

What are you working on right now?

I’ve been working on photomontage a lot. Two of the biggest artistic influences on my life are John Heartfield (german dada artist), and Winston Smith (who worked with Jello Biafra a lot). They were both photomontage artists. And I became obsessed recently with finding old 60′s and 70′s reference books, so I’ve been at ‘em with the exacto-knife. As well as combining them with spray paint and mixing it up.

I recently finished my 2nd solo CD and a new Hobo Obituaries EP, so have been having a break from music production. But will be back at it real soon to complete the 2nd part to the Future Champions EPs as well as a fairly orchestral-style instrumental solo disc and a collaborative EP between Californian musician Shmoe and Hobo Obituaries.

Photo by Mischa Photography

What have you found to be your greatest challenge as an artist?

Getting any kind of support is by far the hardest thing. I mean, you don’t ‘need’ it and that’s not what it’s about, but at the same time, when you get no support it’s very discouraging. Even if you aren’t out to impress people, you get the feeling of “why do I bother?” a lot…

What do you do to keep things fresh and interesting for you?

I rotate what I’m working on from drawing, to making music, to carving, to whatever, and back again. So if I get bored with one, I’ll do another for a while, and wait to be inspired to want to go back.

Who or what compels you to keep drawing?

I’m not sure. It’s always a struggle to stay inspired but I couldn’t imagine what I’d do otherwise. So I guess boredom is what compels me.

How, if at all, does living on the Gold Coast, Australia influence your work?

I really hate to say it, but if I was being honest I would have to say really negatively. There is absolutely no creative avenues here, and very little support for anyone doing anything interesting.

You’re also a musician. What is one of your first musical memories?

As a child the first two cassettes I got of my own choosing were a Paul McCartney double Greatest Hits and Big Audio Dynamite II’s The Globe cassingle. Both huge influences. I heard The Globe come on the TV just the other day and stopped to think about it, and it really has so many elements that make it the right starting point for what I do. It was mixing a traditional rock/pop band with sampling, electronics and some hip hop / techno sensibilities. Definitely an area I have dedicated myself to since.

What are your top 5 albums and why?

‘Faith No More – Angel Dust’
My forrae into alternative music was ‘the Real Thing’ LP but I remember anticipating this release and not being disappointed at all.

‘Ramones – Rocket To Russia’
The band that taught all of us “un-co losers” to play guitar.

‘Solex – Low Kick and Hard Bop’
I really appreciate DIY. And for that matter, one person who does it all is even better. Like Solex. The one woman sampling machine.

‘Ween – Pure Guava’
I could write an extremely long essay on why Ween are the best. Not the kind of band you can paraphrase here.

‘KRS One – a retrospective’
I remember taking a tab each and then everyone left to go paint trains.. I stayed behind and tripped balls on this disc alone in the dark.

The majority of your friends are artists and musicians, is there any people from that network that has really inspired you? How so?

The people who inspire me the most are the ones who do it themselves. And there’s a big difference between what I mean by doing it yourself and doing what most people do. I think too many local peeps concentrate on being “picked up” by a label or something, and what they do is to impress these people, rather than just doing it yourself, and that’s it. It’s like the “doing it yourself” part of it is a step to making it. Where I consider doing it yourself and making your own disc or whatever, you HAVE made it. You’re not making this to submit to labels and things, you’re making it and giving it to people to listen to. And that’s it.

Have you ever had a really life changing moment?

Ever since I could remember all I wanted to do was be a children’s book illustrator. But that all changed in a creepy instant. I was about 12 or 13 and on a school trip to Sydney. We were in the middle of the city and stopped for lunch. Me and 4 or so other kids broke from the group and went and got some burgers and fries. We were from a small town and were really sheltered little kids, so we had never really been exposed to homelessness before and there was a lot of people there who were in that situation. We ended up sitting down to eat and made friends with one of the hobos, Maurice. We gave him one of those old Maccas calendars with all the vouchers. He was super stoked on it. My friend Mitchell tried to
give him a bunch of money but he refused, so we hid some at the bottom of the chips we gave him. We were talking to him for a while and he was a really nice, smart dude. Then he started asking us all what we wanted to be when we grew up. We went round the group and all my friends were saying they wanted to be a doctor or lawyer and fancy things, and he was encouraging them and telling them “that’s great!” and to work hard. When it got to my turn, I told him I wanted to be a children’s book illustrator and he totally lost it. It seemed to really anger him, it was bizarre. He told me to give up and that it was a bad idea in a very serious tone. His demeanour totally changed and he wasn’t kidding. It freaked the hell out of me. I still feel really weird about it. So basically I gave up on that idea. I still secretly wish I could, but don’t tell Maurice.

You can find Jhonny at:

http://jrmysteryschool.wordpress.com/

http://jhonnyhobo.tumblr.com/

http://www.gcbands.com/profile/jhonnyhobo (there’s 50 different tracks to listen to!)

http://jhonnyhobo.deviantart.com/gallery/

http://www.youtube.com/user/JhonnyHobo

Who or what has been inspiring you lately?
Have a super productive day lovelies!

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Photo montage by JhonBoy

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.” ~Jim Jarmusch

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“I’ve come to believe that nothing’s impossible if you can imagine it. There’s nothing new under the sun. When you’re moved, you’re moved, and you should seize the moment to express the feeling. It’s that moment of expression that I define as art.” ~Pharrell.

One of my fav hip hoppers and creators Skateboard P a.k.a Pharrell Williams has been flexing his creative muscles in the art world of late designing a line of chairs and candles. He has also launched an online art community ARTST Guild & Gallery. It’s billed as a “community where artists meet share work and collaborate”. I urge all of my camera wielding, music making, sculpting, writing, brush and pencil pushing, creative friends to check it out!

Artwork by Sanjai Bhana (a featured artist on ASTRT). Sanjai also has a blog crammed full of illustrative goodness. I especially like his Joey Ramone piece and Mr T tee.

For more info on ARTST Guild & Gallery check out an interview with Pharrell here.

Pharrell also recently spent some time at (one of my favourite photographers) David LaChapelle’s working on a collaboration. LaChapelle’s work is a kaleidescope of pop culture and art his images have featured some of my favourite artists: Debbie Harry, Courtney Love, Andre 3000 & Kelis (all Egyptian stylee), Chris Rock (contains nudity), Kanye West (as Jesus), Bjork, Gwen Stefani and (a naked) Moby (vs. robot)!

Thought for the day: Art is limitless (my Jhonny and his art remind me of this fact every single day).

Hope you all have a productive, creative day!

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