A Bad Crit

An Interview With Sean Chao

Inerview: Monica Magtoto

ABC: Tell us a little bit about what you do

SC: I draw, I paint and I create sculptures that make people smile.

ABC: What was the worst critique/review/feedback you were ever given and how did it make you feel?

SC: Back in college, I was trying to develop an unique personality to my drawing. I began researching and examining artworks from various publications and exhibitions. Unconsciously I started to draw like one of the popular illustrators at the time. My instructor wasn’t happy about my drawing and gave me a harsh critique because my work wasn’t original. It was an embarrassing moment, but it struck me and woke me up.  

ABC: How did that experience change or not change the way you feel/felt about your work?

SC: After the critique I understood the differences between inspiration and mere imitation of other people’s work.

ABC: What did you do about it?

SC: I started to draw freely; I looked for things that have truly interested me in my life to inspire myself. I want my work to represent me, and to represent the person I want to become.

ABC: Where do you draw inspiration from for your work?

SC: When I work, I often doodle with a pencil, drawing lines and shapes without having a definite idea in mind. There was this one time, when I saw a silly smiley face in a few randomly placed lines. I liked the smile and I imitated and modified the smile over and over until it became a personality within the world I created.

My works are inspired from a variety of things I have learned to appreciate over the years. One of my inspirations is to observe people and animals. In their movements and body language, I found resemblance to my characters. A simple pose portrays an action. From the expressions I observe, I can create exhilarated scenery as if it is coming from a stop motion picture.

ABC: There seems to be a good sense of humor about your work. Where does it come from? Where do you get ideas for works like “Ear Drum” and “Mouth Watering”?

Most of my works involve bizarre and odd humor. I enjoy planting comedy within art. Happiness is an essential emotion to people, and comedy helps create happiness. People suffer from depression everyday, especially in the society we live in today. It is crucial to find humor and add some comedy into our life.

I grew up in Taipei, Taiwan. The culture is highly influenced by Japan. One of my favorite comedians is from Shimura Ken from Japan. He is a wonderful performer. He can create comedy in an instant, simply with a little twitch of facial muscles. Most of his humor is bizarre and unusual, and I think that’s the earliest influences for my sense of humor.

I grew up in a city with a very high population density. We were surrounded by so many different noises we couldn’t escape from. I believe that was one of the earliest influences and reasons most of my characters have no ears. However, besides the junk we are forced to listen to everyday, there are also beautiful melodies and touching words we sometimes forget to appreciate. Therefore, I created a character out of an ear just to emphasize the good of listening by adding humor into the character. The rest of the facial feature characters emerged from my mind one after another and became the series.

ABC: How long does it take you to make a piece such as “You Are Not Alone”?

SC: It took me few days to brainstorm the idea. The actual time I spent to create the piece is about one to two weeks, approximately about 4 to 5 hours a day.

ABC: Where do you hope to take your work? Will your pieces always be individually made or do you someday want to mass-produce them?

SC: I like the idea of hand sculpting my art individually. The concept of individuality and originality are essential to my work. Therefore if I someday have the opportunity to mass-produce my work as a toy or an art display, I will still continue to create hand-made artworks.

ABC: Do you have any new projects up your sleeve?

SC: I am starting to work on some new pieces for a show in October at Tinlark Gallery in Hollywood. It will be a two-person show with a wonderful artist James Ulmer. I will keep updating new pieces on my blog.

ABC: What would you like to say to all the other underdog artists out there?

SC: No matter what reason you decide to pursue a career as an artist, keep it going and keep it original!  I am still working toward my goals too. Don’t give up your dream.

You can see more of Sean’s work at: http://www.seanchao.com

Interview With Troy Stith

Interview: Brigitte Coovert

BC: Tell us about your work.

TS: My work is centered around nature, it’s something I set out to do last year and I’ve been pursuing it ever since. I’ve always had an obsession with moss and the way it grows on rocks, walls, trees, and anything else it can stick to. It’s sort of nature’s way of telling you something has been there for a while and it’s adopting it as a part of it’s world now. When I create a piece, I aim to make the whole thing feel connected and as one. Even though the center of the piece is a vinyl toy usually, I try to make sure it’s surroundings are just as detailed as the piece itself. Making it appear that you’re looking at a snapshot of a far off world, rather than a custom toy sitting on a shelf.

BC: Why Gorilla Mouth?

TS: I was looking for a name to call my online store, so I just started pairing words together. Gorilla Mouth was born and it was kind of a joke at first but really started to stick. My artist friend Brad Pascual, whipped up the logo for me and it’s been Gorilla Mouth ever since. I don’t go by a moniker and I wanted to keep Gorilla Mouth open as more of a name for the place to find my work and work by other people (like my local art friends) for future projects. Which are brewing for this summer, so keep an eye out.

BC: What was the worst critique you’ve received and how did it affect you?

TS: Since I’ve only been in the toy scene for just over a year, I haven’t received a ton of critiques. Most people seem to watch the boards and only comment on things they like. I’m a big fan of constructive criticism and I’d like to see more of it.

Although, there is one that comes to mind and I appreciated the honesty. I had just finished my first Munnsai and someone said they liked it, but they couldn’t see the toy and it might as well just be a paper towel tube inside of all of the foliage and epoxy. I knew this person was right, I set out to make the Munny look like a tree, but I had failed to keep the feel of the platform while doing so. I’ve kept that crit in mind every time I set out to do a piece these days and I strive to keep the original platform visible, yet covering it as much as possible in my own style.

BC: What draws you to work in 3D?

TS: Short funny answer is that it’s the only field of art that I’ve found that I can do. I’m not really a 2D art kind of person. As much as I’d like to be, I’m just not. I’ve tried over the years to improve my drawing skills, but my hands and drawing just don’t seem to work with each other. I know a lot of artists sketch out their ideas before tackling a project, but for me, even if I doodled the idea, it wouldn’t do me any good. I would say 99% of everything I create is coming from my mind and is being directly created and manipulated to fit that mental image as I do it. This is another HUGE reason why I like creating in 3D, I have total control and instant results. If I don’t like something, then I can cut it off, smooth it in, or build off of it. Since I can’t draw, I do use a lot of reference, but what artist doesn’t? I use pictures to draw inspiration and from there I start in on my project, if I get lost along the way, then I go back to reference pics or take a walk to clear my mind and figure out what the next step needs to be. Like I said before, I’ve only been involved in the scene for just over a year, but finding 3D art has had a huge impact in my life.

BC: It seems like a lot of your work process and pieces have a Zen feel to them…

TS: When I set out to create the Munnsais and Dunnsais I studied a lot of photos of actual bonsai trees. The work that goes into these ancient mini trees is incredible. I wanted to keep that balanced and peaceful nature in my work, which I strive to do with every piece. I highly respect the thought and discipline that goes into each planned out branch bend or exposed root.

Although many of my layouts may look unplanned, each piece is there for a reason. I run the moss up the sides of a tree to balance the foliage that may be dominating one side.  I’ve studied a lot of religious and spiritual paths along the way, but many of the core beliefs that I feel are important in life stem from Buddhist teachings, which also lends to the Zen feel of the piece.

BC: Even among toy customizers you work in a non-traditional medium, can you tell us more about that?

TS: My obsession with flock comes from my love of tabletop gaming. Although I haven’t played for many years, I was always fascinated with the scenery and dioramas artists were producing. When I chose the direction of doing a nature look, I knew exactly what materials I was going to use. From there, I’ve expanded on that and now I’m always discovering new flocking materials to use or just going outside and finding my own pieces of nature to incorporate into my work. My painting techniques also stem from my miniature painting days. It’s definitely a different approach that most of the other talented artists in this niche.

BC: Have any last words of advice?

TS: Don’t just talk about the things you want to do, actually do them. Trying and failing is still better than talking and never actually putting your thoughts into action. Failing will only show you how to improve on where you went wrong, or uncover a new route to pursue along the way.

You can see more of Troy Stith’s work at:

http://www.gorillamouth.com/
http://www.flickr.com/photos/11758302@N03/

An Interview With Nunzio Barbera

Interview: Volksradio Moos

VM: Tell us a little bit about what you do

N: I am a visual artist who works in mixed-media. At the moment I am working with collage, painting (acrylic), paint markers, craft paint, sharpies, many different lacquers, and pencil, watercolor and ink sketches. Incorporating these materials into my “mixed media”. Done with school. Majored in printmaking and painting at West Virginia University, never graduated. Majored in painting at Shepherd College, also in West Virginia and also never graduated.

VM: What was the worst critique/review/feedback you were ever given and how did it make you feel?

N: That would have to have been at WVU, for the worst critique. My painting instructor told me my work was too poster like. I thought all great art made it to posters so what was this guy talking about? My professor liked to paint “L”s over some expressionistic background, all he painted. Was not a fan of surrealism. So I always got “D”s or “F”s. Even though I would sell these to friends and had hours upon hours invested in them. So I painted a piece I knew I’d get an “A” on. I painted two over lapping tic-tac-toe boards and put the primary colors in the squares, he loved it. It took like ten fifteen minutes to do, wouldn’t have wanted to say I painted it, yet I got an “A”. I stood up, told the professor how full of shit he was and walked out of the class. Got an applause from my classmates.This is why I left WVU.

The worst feedback I ever got was a “Frowny face” as a grade. Shepherd College I did a masturbation installation. I posted collaged porn all over the men’s and women’s bathrooms. They were sealed and very glossy. In the men’s room I had wash rags dipped in elmer’ s glue so they were all crusty like a cum rag. And their was targets painted on the collages which lined the floors and walls. 

In the ladies room I had the collages minus the targets, and obnoxiously large cucumbers dipped in Vaseline. The back of the restrooms doors had a pack of cigarettes on them with a note that Read “Cum Again”. The art dept. was pushing interactive art and installations so I figured I’d give them both. My grade = “Frowny face”. 

VM: How did that experience change or not change the way you feel/felt about your art?

N: No effect. I could care less. First and foremost I create what I like to create. I am my own worst critic. I toss sketches out left and right. Paint and repaint works also. Some of my works have up to 6 separate paintings underneath of them. I never know when to stop either.

VM: What did you do about it?

N: Kept on, keeping on.

VM: You live in a place where not much happens, but your work is so full of images. Where do you find all those images?
 

N: I’d say it comes from “Pop culture”. What I see on T.V. and just the crazy ass TWISTED VISIONS in my head. Style comes from skateboards, punk rock, Dali, Tattoos, video games, JUXTAPOZ, my brother, PEPPY. I truly believe he guides my hands sometimes. Puts images there for me to see, then I “Grab” them and pull them out for the world to see. 

VM: You were a long-time a non-practising artist, can you tell why you started again with making art?

N: My younger brother, Joseph A. Barbera. “Peppy” past away a year ago in April. His spirit actually came to me as a glowing green orb. This was maybe a month or so after his passing. He told me “Nunz, don’t know what you’ve been waiting for, Get up off your ass. You only need like $50 bucks to get moving!” So needless to say I stayed up all night drawing and painting, till I could go to the store and buy a few things. Mostly shit from wal-mart. Only place really around me. Got paint markers and sharpies, some india ink and posterboards. Started fooling around with layers and lacquers. Thought what better way to layer than actually layer. That’s where the collage element came into play. I felt quilty using others images so I started TWEAKING them. And played photoshop on my own, manipulating the images and tying on my own without the help of some program. 

VM: Do you have people/artists that have inspired you and your work?

N: TOO many to name since being on here. But I will name some, that got me here and influenced me as started back up. Dali of course. Robert Williams, Pushead, Mad Mark Rude, Glenn Barr, old punk flyer art and album art, H.R. Giger, Alex Grey. 
Music and dreams, The Sub-conscious mind! 



VM: What are your plans in the future? 

N: To keep on keepin on producing art in as many different ways as I can come up with. To get the hell out of the small ass trailer I am living in. ( I know a West Virginian hill billy in a trailer, Hard to believe) And to start Showing my work in a gallery setting. I want to start an animated series. Maybe skateboard co. eventually. I don’t know just want to be able to eventually be able to support my family through my art. That would be the one thing that would make me happiest.




VM: What would you like to say to the other underdogs out there?

N: Do it yourself and for yourself first. Don’t be afraid of someone not liking your stuff. Stay true to your work, don’t bend and compromise your style to make others happy. And if your are passionate about what you create and are enjoying making it than you are doing something right. And really we are all underdogs. Not too many alpha dogs among us all any more.


http://www.facebook.com/pages/TWISTED-VISIONS-The-art-of-Nunzio-Barbera-II/111945672165367?ref=nf
http://nunzio.artspan.com/