Ryan Thewes, Architect

We’ve never featured an architect before! In this interview Ryan gives us a look into what makes architectural design different from expressive art,  but he still gets to push boundaries and make a statement with the pieces he creates.

Thewes Architect Sylvan ParkWhen did you know that you wanted to be an architect?

Somebody asked me that question yesterday and it caused me to stop and think. Actually, they asked, “Did you always know that you wanted to be an architect?”

When I was young, I could draw really well. Being from a small farming town in Southern Indiana with not much culture, the immediate reaction to that from adults is, “You should be an architect.” So that path had always been suggested to me from early on. However, like most people, I had no idea what an architect was or what exactly they did. I liked to draw and I was told that architects draw, so that sounded good to me.

Along those lines, people also called me an artist based only on the observation that I could draw. It wasn’t until later in school that I realized the difference between having a skill (drawing, singing, etc.) and actually being an artist. Previously, I had been given a subject and asked to reproduce that subject two dimensionally on a sheet of paper (portrait, landscape, bowl of fruit on a table, etc.). However, one day in art class, our teacher handed us a blank sheet of paper and instructed us to come up with our own painting. Something I had never thought about doing before and an idea that was very foreign to me. That is when I realized art wasn’t about the skill of drawing or painting, it was about the idea.

I still pursued architecture based on the previous assumption that I would get to draw all day. But by that time, I wasn’t satisfied with just drawing. I was in search of ideas and the creation of ideas and became fascinated with architects who seemed to put design and ideas ahead of all else. Architects like Frank Lloyd Wright and Bruce Goff.  As I began studying them and their work, it lead me to seek many different creative individuals and study how they work, how they think and what drives them to create.

I have had the unique experience of working and learning from two different architects that were apprentices to Frank Lloyd Wright and also working for one of most creative architects in the world, who was also a former apprentice to Bruce Goff.

My goal then became to apply the drive and creativity that I had worked so hard to seek out, and use architecture as my medium.

Thewes Architect Dickson OrthopaedicsWhat is your favorite style of architecture?

I try to stay away from styles. Styles are trends and if you are practicing a trend, then you are already behind. I feel like once I have designed something, it is time to start over fresh with a new idea and to grow from the previous projects. My aim is for a timeless design that will be viewed just as modern and progressive 50 years from now as it seems today.

Wright referred to his design as “Organic Architecture”, which can mean a lot of things. But deep down it is honesty in form, in idea and in materials. Like nature, it is something that is always changing and evolving.

Thewes Architect East NashvilleWhat is the best thing about being an architect?

It is a challenging profession, but it is very rewarding. Every building I design takes an amazing amount of time and effort so to see all that effort materialize and my vision come to life is what the job is all about. The most rewarding part is after all of the time and struggle, having a client that appreciates the finished product as much as I do.

OLYMPUS DIGITAL CAMERAWhat is the hardest thing about being an architect?

Unlike traditional artistic mediums, I am bound by many different factors that make it difficult to achieve my overall vision. Which means that vision could change multiple times during the course of the project. Budget, Building Codes and outside influences such as zoning districts all have tendencies to take every project and make them all the same.

I am taking what is probably a person’s largest investment and trying to push the limits of everything that is pushing back. It isn’t uncommon for people to tell me it is impossible to do what I am trying to do. It is a constant battle.

Thewes Architect 12th SouthHave you ever had to turn any clients down?

Yes. Frequently. I have committed myself to staying a very small architecture firm. I want to personally be the one that does all of the design on every project. So there is only so much work that I can take on at a time with limited resources. However, those projects that I do take on get my full attention and care; that is difficult to find anywhere else.

I have also committed myself to only taking on projects that fit within my vision of design. I often have people call up wanting traditional homes or wanting something to “fit in” with the neighborhood. Often, people get offended when I try to explain this as they feel I am suggesting my style of architecture is somehow superior to what they like. That isn’t the case. I respect their opinion and taste just as much as I hope they would respect mine.

Thewes Architect GoodlettsvilleDo you have any projects that you’re particularly proud of?

I have had a few projects that clients put their trust in my enough to create something very unique and special. When I arrived in Nashville, the economy took a nosedive. There wasn’t much work going on at the time so I decided to create my own work by designing and building an addition on to my home. Budget was a huge restriction, but it allowed me to express my design and show people what I am capable of doing. I was fortunate that this project gained a lot of attention nationally winning a few awards and was even listed as one of the coolest offices in the world by INC. Magazine.

Since then, there have been a handful of projects that stick out. The Ahlbrandt Residence in East Nashville, the Sharp Cabin in McMinnville and the Dickson Orthopaedics office in Dickson, TN. These are all good examples of me being able to express my personal style and design.

Thewes Architect Caney ForkWhat is your favorite part of the process of bringing a building to life?

Once I take on a project, it becomes very mentally consuming. Everything I see or hear or read influences the design. I don’t typically sketch. Most of the time I let the design incubate in my head and go through many different revisions. There are always so many ideas or directions something can go. But once an idea takes hold, that is when it gets fun. Getting it out of my head and into a form that can be viewed and shared with the client. Allowing them to visualize my ideas. That is the exciting part.

Have you ever had any projects that were particularly challenging either in design or execution?

Because I choose to do things differently than what is typically done in conventional construction, I can’t think of a project that hasn’t been a challenge. And since every design is different, every challenge is very different. Having built projects on my own and working in construction gives me an understanding of the limits of what is possible to build. I see a lot of students that design interesting looking structures in the computer, but the reality of taking those structures and building them is another story. Especially on real world projects with real world budgets.

The main challenge that I have across the board is convincing the client that the additional money needed to execute the design as opposed to just building a normal house is worth every penny. I have been fortunate thus far to have a good number of clients who appreciate and value good design.

I want to thank Ryan for being our last full-interview feature. When he first emailed me wanting to be on the blog I was hesitant, because I wasn’t entirely sure how much creative work went into architectural design. Ultimately, I’m glad we interviewed him for our last interview. I learned a lot and I hope you got something out of it, too. 

You can find more of Ryan Thewe’s work on his website and his facebook page.  

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Jonathan Garner


I first saw Jonathan’s work on facebook. He had posted a sold piece in the Murfreesboro Creative Group. I saw it and thought it was really something different. I tracked him down on Instagram and asked for an interview. My motivation for an interview was actually just so that I could figure out how he did what he did. I’m glad I reached out, because what he does is so badass that I had to share it with you.

 

When did you first realize that you wanted to be an artist?
Above The DeepI have been obsessed with various forms of art since I was very young.  Though the majority of my time growing up has been focused on the art of music, meeting my wife (who is now an elementary school art teacher) really helped push me out of my lifelong comfort zone. For about ten years I’ve been experimenting with sketching and painting, but I hadn’t been very happy with my results until I started experimenting more with chaotic means of applying the paint.

 


Your process is a little different. Can you walk me through it for our readers? Do you start with an idea or do you just jump in?
Big Hero BoomThe process begins in the art store.  As I’m shopping for surfaces I try to see how the paint would end up looking on the surface, relative to it’s own shape.  Stretched canvas isn’t something I use very often (though I have) because they are too fragile and tear VERY easily.  As I am purchasing surfaces, I go back through the store’s stock of acrylic paints and will pick up two or three colors for specific piece ideas as well as a few more basic colors, like the primes along with black and white.
The placement of the paint relative to the explosion and the surface determines the layering that will result. Your bottom layer of paint(s), for example, will typically set the overall tone for the piece.
When I’m getting into the proper process, I first decide how I want to blow the paint up.  At first, I used coffee filters filled with paint with a firecracker sticking into the paint, then I discovered I could also use glass containers, dixie cups as well as just putting the paint in a pile on the surface and put the firecracker directly into the paint.  Each of these methods has resulted in many surfaces being completely destroyed, but as I dial it in, that’s becoming more rare. The way I layer the paint, either in the container squib (coffee filter or vase) or on the surface directly, helps to approximate where the colors will end up relative to one another.
I try to choose colors that compliment each other for the overall piece, then add in small amounts of a ‘spoiler’ color to add just a little bit more depth into each.
What drew you to this process of exploding things for art?
The idea for the process comes from one of my favorite TV shows: Mythbusters (as well as Mr Bean).  I’ve seen them use explosives to try and paint rooms, resulting in wild spreads of paint and destruction.  Having grown up in a family that celebrate Independence Day like it was D-Day, I was comfortable around dangerous materials like small explosives. My wife’s constant encouragement was the thing that really made me push myself into the process.
We all have things we want to say to the world. I felt exposing the beautiful nature of the chaos in which we are all embroiled was the best way for me to express what I value.

 

Do you use different grades of explosives to create different effects?
Cornells NovaYes, but that’s a piece of the process I’m still experimenting with.  Smoke bombs are easy, because they are almost always the same.  Blue is blue and when you light it you get blue smoke.  The m-90/m-1000 versions I began using were so wildly disparate in terms of consistent strength that I had to try smaller firecrackers and eventually bottle rockets. More More important than the type of explosive used, however, is the material of the squib (coffee filter paper, glass vase, direct paint application) as well as its placement relative to the surface. If I place things in the middle of a board, I get a nice circular pattern.  Placing the surfaces around the squib like walls will give a completely different effect.
The other awesome thing is chaos.  Even if i use the same materials and placements, the results will always be different.

 

Jonathan has another video and a few more pictures of how he does what he does on Patreon that are worth checking out. You can also follow Jonathan on twitter or instagram – both accounts are @NSFWJonathan. And I know you want to follow him after seeing him blow up paint for art. 

If you like his stuff let him know by commenting below or sharing his work.

Norbert Thiemann of Cinespire Photography (NSFW)

I have admired Norbert Thiemann’s work for quite some time. In fact, every time I saw one of his photographs I thought it would be perfect for Furies. He might be one of the reasons I came back to Furies; to be able to bring attention to local talent like him and work like his.

I was lucky that he reached out to me to be the first interview for the rehash of Furies Magazine.

Cinespire Photography - 0293-02What inspired you to start taking pictures?
Both of my California cousins took still photographs before they became immersed in creating motion pictures. Seeing their different styles and approaches was very inspiring. It helped a lot that they are both so talented.

They also influenced my appreciation for watching fine films. The name Cinespire Photography came from my realization that the photographs would in some way be influenced by things I had witnessed on the big screen. Not surprisingly, I also gravitate toward the art and photos of times past.

When did you get your start as a photographer?
My plunge into photography started somewhere around 2006 or 2007. Initially, I bought the camera with the intention of producing works in stop motion, in conjunction with film making. After a few sessions with models I was simply hooked on taking stills.

Cinespire Photography - 0272-02How would you describe your work?
I would say it is earthed in minimalism, with a hint of dark and somber notes.  I think it also strives toward creating a faux realism.

How does today’s politically correct obsessed culture effect your content and the people who model for you?
Some of the work is erotic, but the majority is not confined to that definition.  I aim for my work to be both body and sex positive.  It can become empowering for those who seek it.  I’ve essentially witnessed two types of feminism, which are sex positive and sex negative. One just seems more healthy and inclusive.

Do you plan out your shoots ahead of time or do you let the subject inspire you?
It turns out to be a combination of both.  I generally have various loose ideas for a shoot, but I stay open to my subject, location and potential props.  A lot of my photographs were spontaneously created out of an inspired moment.

Cinespire Photography - 0232-01I notice that a lot of your work is black and white or has very subtle use of color. Why is that?
Great phrasing of this question, because I had to pause and think about it. I love everything about black and white, especially mingling in the shadows. It’s my opinion that black and white aids in making experiences more universal, instead of being solely about one specific person.

Although we had color TV’s when I was young, we still had the odd black and white portable model.  In the early years, it was rare for us to go to the movie theater, however we did frequent the drive-in. I’m sure I was influenced by all the black and white and muted colors from when I was growing up.  Watch some great classics and movies from the 1970’s to get my drift.

Cinespire Photography - 0113-01Are there any local artists that you’re inspired by?
For local, I would be remiss not to acknowledge Bill Steber.

What are your goals as an artist?
Recognition is big for every artist I’m sure. I mainly wish to be more prolific, and to keep growing.

If you could shoot anything/anyone you wanted, what/who would it be?
Beauty comes in many forms, and variety is so important. For some time I have been drawn to the presence of an international model who has gained notoriety for being utterly unique. Her name is Melanie Gaydos, and she has done some very fine work.

Actually, I’m happy to keep shooting with lots of different people, because of the importance I place in variety, and beauty in all it’s forms.

You can see more of Norbert’s work on his website (or the more safe-for-work photography on Instagram). If you like his work leave a comment and go like his facebook page to show your support.

Cinespire Photography - 0094b-02

Chris Carter

find more after the interview!

Find more art after the interview!

FURIES : When did you get started as an artist?

Early. When I was a kid, maybe 7 or 8 I started my first comic called super dog. It kinda spiraled from there. I’ve never really had any difficulty with drawing. They way I approach any piece is so open to change. It can feel like a maze.

FURIES : Is art hereditary in your family?

No. Music runs deep in my family, and my mother has an artistic side to her. However drawing, sketching, painting, things of that nature were not in my family. My step-father’s family has a strong artistic streak. So I did have a family influence through the years.

FURIES : What’s your work space like?

Where ever I have enough light or time to do it. Mainly my bedroom. It’s cozy and perfect for me  to settle. I have an easel for painting, not a great one, but it does the job.

FURIES : What current projects are you working on?

I have 2 new marker based images Im working on, as well as a new painting. I post all my work when it’s finished on my website. I really never know when I’m on a new project until I’m working on it. Then it’s done. Hopefully I will be turning more out at a quicker pace. J

FURIES : What kind of music do you listen to while you’re working on a project?

This can be a wide range, depending on my mood. I love listening to the Gorillaz, Biggie Smalls, Lady GaGa, the Beatles, and one of my personal favorites, Hugh Laurie’s Let Them Talk almbum. There’s tons of other artists I enjoy listening to while working. Those are some top ones. My vinyl collection receives a lot of attention while working in my room. Some of those eargasms are provided by Steve Miller Band, Pixies, Beethove, The Commodores, etc. Point is, if I’m feeling it, I can use it serve my muse.

FURIES : Has your art ever interfered with your personal life, or vice versa?

It seems like my art doesn’t always get the chance to thrive like it deserves. I grew out of my art for a good chunk of my teenage years. Music dominated my every move in those days. I’m just now getting to a point where I can focus more on creating.

FURIES : What are your plans for the future?

The future will hold many things. I hope that I will find a way to incorporate painting and drawing into my career. There’s talks of going to the west coast next year. May a way for me to focus intently on my path. Right now I pick up a pencil, brush, or marker and keep at it.

You can check out more of Chris Carter’s colorful world by going to his webpage or his facebook !

http://daysonend07.wix.com/carter13art

https://www.facebook.com/carter13artwork

 

Featured Artist: Dan Peters

dscf1101Furies Magazine: When did you get your start as an artist?

Dan Peters: I started making art at a young age, but it wasn’t until I took a painting class with Deborah Barr-Brayman in college that I developed a strong drive to pursue art as a passion and career.  A major moment was the day she pulled me aside and explained what it takes to make it as an artist, and also that she saw enough potential in me to encourage me to chase it. Smarts were never really a problem, but I’d just never felt driven to apply myself to anything at school, and until that instant I frankly had no future direction whatsoever. I can’t thank Professor Barr-Brayman enough for that moment, and I’ll certainly never forget it. Afterward she continued to encourage me to chase my passion and develop my own style, and I learned a ton about how best to do so. If it weren’t for all that, its genuinely possible that I would have never found out that art is what I want to do.

dscf1093FM: Is art hereditary in your family?

DP: Considering that both my grandpa and my Mom are really talented painters, I’d have to say yes.  My Mom does some awesome landscape paintings, and though  my Dad will deny possessing any creative ability until he’s blue in the face, he’s a really naturally talented photographer. My aunts and uncles are also extremely creatively talented, and I think being  lucky enough to grow up around creative people has been a real advantage for my own development.

FM: Do you force yourself to work or do you wait for inspiration?

DP: I think it depends on the situation.  If I have a deadline to make then I force myself, but I always prefer to work from inspiration. That doesn’t mean not having inspiration is a good reason not to work, because pushing yourself to work can be a great way to get through a creative block.   Sometimes though, you have to set down the brushes or sculpting tools or whatever and return to it later with fresh eyes in order to get the most out of it.  A friend of mine recently gave me some advice that I think really applies here:  “If you don’t love it, set it aside and work on something else.”  I’ve tried to let that guide my work habits ever since.

dscf10821FM: Where do you turn when you’re lacking inspiration? Is there a book, a movie?

DP: Action sports have always played a large role in my life. Something like skateboarding or snowboarding takes a lot of focus, so it can provide a solid  break from thinking, and at the end of a session I always feel refreshed and ready to work, and the ideas flow more smoothly. Other than that I’ve been reading a lot recently, and that certainly provides some inspiration. My friend Ian turned me on to the hilarious satire of Tom Robbins, and while I’m no “foodie,” I honestly like the writing styles of Anthony Bourdain and Eddie Huang.

FM: What type of music do you like to listen to when you’re working?

DP: I would say It depends on the mood I’m in, but I usually listen to hip hop, punk, reggae, or some mixture of those. If I’m in a more amped up mood and want to get something out, I like fairly abrasive, even confrontational, hip hop and punk. Regardless, something with a good beat and strong lyrics is what I want on the stereo when I’m working: anything with a good groove.

FM: What is your work space like?

DP: I usually have anywhere from three to six different projects going on at a time, so it can get pretty cluttered.  I try to be as cleanly and organized as possible, but I think I fail at that most days and most people who’ve seen it would agree.

dscf1162-e1354243451250FM: What do you need to focus?

DP: I find that listening to music while I work, especially through headphones, enables me to reach my highest level of focus. The headphones allow me to really tune out whatever might be going on in or around my work space and zone into the work.  I also prefer working late at night or early in the morning when the neighborhood is quiet.  But really, the biggest key is to be working on a piece that I can really get lost in. When that happens, it’s like time stops and nothing matters except the piece, and that’s total focus. I chase that feeling like a junkie.

FM: Has your work ever interfered with your personal life?

DP: I think I’ve missed out on social opportunities at times. Luckily, I have some really understanding and supportive friends and family.  I don’t think my art has ever interfered with any relationships, but it definitely turns me into a bit of a hermit at times.

FM: What current projects are you working on?

DP: Currently, I’m working on five new large paintings for The Pancakes and Booze art show in Los Angeles on October 18th and 19th. It’s going to be an epic event with live music, live painting, and, of course, pancakes and booze. If you’re in the central valley and can’t make it out to L.A. (though you should), I will also be showing some work at Christina’s Coffee in Turlock, California sometime near the end of August 2013.  I’ve been working on a lot of new stuff, so I’m definitely excited about these shows and the chance to get some of it out there.

FM: What are your future plans?

DP: My goal is to continue pushing my art as far as I can take it, and hopefully that will lead to the ability to live solely off of producing various kinds of artworks.  I would also love to get into teaching or doing workshops someday because I feel like anything I could do to help the next generation of artists find their voice would be time well spent. Whatever the case, I’ll need art supplies.

For more info on Dan Peters check out http://createvsdestroy.wordpress.com/ or add him on facebook https://www.facebook.com/dan.peters.104.

Tattoo Time: Lionel Fahy

SONY DSC

I was introduced to Lionel’s work through Noon Kamikaze; and, what imaginative tattoos!  I am just hugely pleased to introduce Furies Magazine readers to his work!

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42680013Furies Magazine:  Were you always involved with art in some form? If so, what?

Lionel Fahy:  My mother has shown us many exhibitions while we were young. we went to museums and i grew up in the suburb of a very historical city, with many Roman sites to watch. this city is called LYON and is in the south east of France. then i was a very bad student at school and the only things i was good in it were music and art classes. I’ve been doing some studies in an art visual school but left for a musical career as a guitarist…then went back to tattooing 14 years ago.

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Furies Magazine:  What led you to tattooing?

Lionel Fahy:  I think it is necessary to express ourselves whatever is the media. tattoos were illegal in my family because of the world war two, so of course, it was rebel for us and all our crew. there were nothing here, no tattoo magazines, no internet, only some punk vinyls. then we took the logos of the bands and the flyers we could find in some fanzines like maximumrocknroll or flipside. some skate stuffs and from the hardcore/punk scene. like teenagers.SONY DSC

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Furies Magazine:  How old were you when you got your first tattoo? Who did it?

Lionel Fahy:  I was 15 years old, drunk, tattooing by hand in the backyard. only real shit part of my life.

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Furies Magazine:  Who taught you how to tattoo, and at what age? How/where did you learn?

Lionel Fahy:  On tour i met an old tattoo artist and his son was a fan of my band. so i brang merchandising for him and it started like that. after a few weeks, he closed the shop, then i was alone…i just had the possibility to order some needles and my first machine through him. in this time you couldn’t buy any equipment without the support and agreement of an old timer….i learnt everything by myself and observing the people who tattooed me.

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Furies Magazine:  Where did you start out tattooing? Do you prefer to be called a tattooer or tattoo artist?

SONY DSCLionel Fahy:  I started at home. in this time there were no rules about tattoos in France. it has changed a lot compared to now! aahhah! I was touring with my band portobello bones all around Europe, and when i was back i was tattooing some friends from the french music scene… everywhere i was going on tour, i was trying to find the local tattoo artists and talk with them etc… so when i officially turned off my musical career, i opened my first shop that i closed 6 months later. I tried the sedentary kinda life but it was so hard for me! then i went back on tour but for tattooing this time. 2 years later i opened my shop OUT OF STEP tattoo in Nantes. but one more time it was so depressive for me to stay in one place only after all the trips i made before as a musician. i closed this shop a year and a half after that…and since, i’m on the road. And no!!! please don’t call a tattoo artist. I am a tattooist. that s a lot enough! ahahha!

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Furies Magazine:  What is your favorite style to tattoo?

Lionel Fahy:  Any kind, as long as it tells a story, and that it is not tuning, but tattoo!

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Furies Magazine:  Do you find tattoos changing with trends?

Lionel Fahy:  Of course, internet is unbelievable! the bad point is that people swallow your work in a few seconds, and the good side is that people can discover your work faster!SONY DSC

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Furies Magazine:  Do you have a favorite tattoo convention, and, why?

Lionel Fahy:  Mmh i dont really like to work on conventions. I made a lot but it’s a little bit always the same…this year i will be in Vianden, Luxemburg, one of the best, and Nantes, because the organizer is a friend and i will share my booth with my little sister. she is a tattooist too and her work is sick! the shop ‘s name is HEAVY PATATE. that will be her first convention. I’m very proud of her!

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Furies Magazine:  What inspires you/your work?

Lionel Fahy:  I’m really into illustrations for kids. I’m collecting books for a long time now… I’ve got a few secret names. I’m also admiring my children, i’ve got 4 kids and they are my reason to live.

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Furies Magazine:  Where do you see yourself in 10 years?

SONY DSCLionel Fahy:  I hope to be alive and healthy to see my kids growing. I’m thinking to open a private place somewhere. I still don’t know where and how…my life is very chaotic, so i just hope to be alive and healthy!!!!

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Furies Magazine:  Is there a piece you’ve done that stands out as your favorite?

Lionel Fahy:  Oh yes, so many of them! sometimes there isn’t any feedback on one piece, but i spent such a great time with this customer that it turns to be my favorite place of the moment!

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Furies Magazine:  Anything you’ve never been asked, but would love to answer?

Lionel Fahy:  Oh yes!!!!!!! I will do for free a huge fox face on the front side of a body!

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Furies Magazine:  Lionel can be found here:SONY DSC

Lionel Fahy
at BLACK PEARL
rue Jean Jaures
85000 la Roche sur Yon
france

Featured Artist: Daniel Counce

Counce_500_chickenheart.jpegsFuries Magazine: When did you get your start as an artist?

Daniel Counce: I began drawing before kindergarten but I didn’t really think about it until the Ninja Turtles and Mario Bros came around. So I’d say in the early fall of 1990 approximately. I know there’s a nerd out there that’s saying neither of those things came out in 1990 but whatever. I was in kindergarten. My junior year of high school was when I started to paint with acrylic on canvas. The first painting I sold I believe was in January of 2008 to a greedy gallery owner, and from then to 2012 I sold most of my stuff to her out of desperation so If you wanna see this stuff in person  good luck.

FM: Is art hereditary in your family?

DC: Art is not hereditary in my family. Although my parents did meet in art class when they were in high school. Aside from my mother and father absolutely no way art is hereditary. They are creative and do some art, which is fascinating to me, although it would not be consistent with what is considered the fine arts. My father is a carpenter and my mom is pretty crafty, but if you ask anyone before them they’d tell you its the devils work, or for rich gay people. And this is exactly how I was branded a black sheep by grandparents, uncle,s etc. I’m neither rich nor gay.

pigtimeFM: Do you force yourself to work or do you wait for inspiration?

DC: Both. I have epiphanies and force my self to finish whatever I’m working on before I bring the epiphany to life. Sometimes forced creativity is needed and sometimes where i can shine in the dark. If you sit around waiting for inspiration you’ll die old and boring. I force myself to be inspired. Money is a good motivator too. Honestly as long as people see my work, and whether or not they can relate, is more important than cash in the long run. If I inspire someone to think it might manifest into the viewers own breakthrough and then the sneeze becomes a hurricane. I’d also add that generating work is somewhat a seasonal thing. Spring and fall are more Music related where Summer and Winter is usually visual in my output. Peoples’ challenges or commissions inspire me as well.

FM: Where do you turn when you’re lacking inspiration? Is there a book, a movie?

DC: I just live and exist. As you all may know, Memphis is a creative vaccumm of work, sports, and drugs, but inspiration’s out there. I usually climb up into my memory castle and think of stories I haven’t told yet. “50 secrets of Magic Craftsmanship” by Salvador Dali is a good one. Mostly I think of brain excersises, or try to improve on things I haven’t really been successful with. For example if i think I’m at painting various hairstyles, I’ll work up some hair related compositions and go from there. Movies don’t really do much for me. Unless Im studying a certain something that can be seen in a movie. Most of my ideas come from bein’ beat, broke, and down trodeden; trying to cushion the rigidity of the world that mankind built for itself. In other words, the viscious cycle that is reality; having to have a job, in order to make enough money to make it to work. Essentially scraping by for survivals’ sake. To paint is to escape and share the dream, maybe even to experience it in some way. Everyone else is a puppet too, I just blow off steam with art, as opposed to the lack luster of drinking away boredom, or for that matter bein bored. Everyone suffers. Not everyone writes opera jams or paints. ‘Bout once every two months me and my wife go hang out with “friends,” which gives the both of us inspiration for writing music, or creating artworks for the following 8 to 12 months.   

tiger1FM: What type of music do you like to listen to when you’re working?

DC: Thanks to the interweb I can listen to anything. My favorites range from Slayer and Burzum to the White Stripes and Thee Ohh See’s or Curtis Mayfield all kinds of shit. The regulars are always like,   the Dead Kennedeys, Queens of the Stone Age, Gogol Bordello, Pearl Jam, the Melvins.  Nothing by anyone younger than me, and nothing that has fake instruments. Everything else is good. Minus modern country music. That shit sucks. Fundamentally I could get into Brad Paisley though, cuz’ he and god have it all worked out, I can dig that idea cuz me and god don’t speak anymore and I think he’s cool with that….

FM: What is your workspace like?

DC: My workspace is a 10×12 bedroom in my parents house (where I still live). My studio doubles as me and my wife’s entire living space. Creative people don’t get paid, and in Memphis No one pays.
FM: What do you need to focus?

DC: Nothing really. If i have a need to get something done I’ll finish it usually. Stopping is the problem. It’s hard to start a project but its way harder to stop. Especially for things like work, family reunions or fake holidays.

hd eopperFM: Has your work ever interfered with your personal life?

DC: Sometimes I think it does. I honestly feel like if I were not creative and very active I would have a better job, family etc. Its the whole black sheep thing again. Since I have a different perspective etc. I don’t seem to fit, my opinions don’t matter and my family or friends don’t relate, therefore less communications and connections, eg. less comfortable life style. People dont care about art or music anymore. The worlds’ focus now is on glammour and money, my focus is art, creativity and honesty.      Psy’s whole deal and Gangham style is all about how he’s wealthy and from the rich part of town. People want expensive purses and to not think about anything ever. So yeah my work has interfered with my personal life. I can’t talk about football or church so I’m essentially friendless. I may be slightly exaggerating but i think that me and my wife have such a warpped view and a dry wit that most people take our most facetious comments, which to us are insanly hillarious as our true world views. I think this along with my generally quiet nature, makes me very misunderstood by the general public, not that they are to blame. I find myself having endless conversations of others’ perceptions and how different they are from what I took from seemingly the same incident, I’m rambling so, “What was the question?” Ah yes, I think my work, or better yet my thoughts, often interfere with both my professional and home life.

the MatadrewFM: What current projects are you working on?

DC: I’m currently working on music and songs. Art wise nothing really deep. Im making mixtapes of my songs to leave at record stores for people to take for free so the cd covers are about all I’ve done lately. It’ll all be comission based or by request until i have a breakthrough or get tired of writing songs. Then I’ll paint seriously until the season changes.. Im considering doing some counterfeit art to sell at an antique store, or re-tellings of classics like “Judith beheading Hollofernes” or “Las Meninas”

FM: What are your future plans?

DC: To keep on keeping on, get a real job, get married, move to Portugal. Move out of my parents home. Make everyone happy. Die in the gutter a broke genius. Build time machine and rob people.     I dunno as far as I’m concerned, and in the kind words of John Lyndon Rotten. “No future No future No future for me”      and In my own words   “Hope is disappointment in disguise”. I really see nothing worth talking about in my future.   Im 30 and I live with my parents, work very hard at a job  that has no benefits, can barely support myself as it is and see no future improvements unless there is a zombie outbreak, then I’ll be f*cking royalty. Being clever doesnt pay…  Evidently money is everything. but I do have true love so I honestly dont really care about the future. From my observation I see all of my peers with only 1 thing. One guy has his own house and thats all. Another friend has 4 kids, and thats all. The next guy has his dream job thanks to trade school, and thats all.

I have Love and thats all you need.

Daniel’s work has been featured in the Memphis Flyer. You can also look at his facebook page