Your work is extremely morbid and menacing, what draws you to the dark and grotesque side of art? What does it mean to you personally?

 

I would like to think that my work comforts the afflicted and afflicts the comfortable. At least that is my intention. There are so many facets of this world that are extremely morbid and menacing, and I’ve spent years pondering and philosophizing thusly, identifying the ugliest of all. Partially, this has been a result of evolving into what I want to be, by deciding whom or what I do not want to be and rejecting, pointing out all that I will not accept. My expression of art, a lot of the time happens to be an ‘ugly’ expression, for an insurmountable variance of reasons. I am drawn to expressing the ugly things we all hide from, myself included—sometimes myself especially. Other times it’s the best way I can cope with my chronic pain (Fibromyalgia, Visceral Hyperalgesia) – it helps me feel better to externalize a highly internal issue. Whether I do that successfully or not, I need the process, more than I need any other.

 

Can you talk a little bit more on the specifics and meanings behind the pieces featured in this edition?

 

“Opiate” was my first solid attempt at painting. 50+ hours of work. A piece I created that represented something I felt, deeply, At the time I was attending an art school near Wellington, and my tutor had gently suggested I “tone it back”. You see the original idea I had was to depict the Cardinal with an erect phallus visibly bulging at the fabric, and lower down - a child’s hand, pulling aside the hem slightly, peering out from under the gown with terror. You can still see the parting where this was supposed to be. The original Cardinals face had a more swine-like quality, as well. The title was inspired by the Tool album of the same name, (and to be specific the self titled song, which was in turn inspired by the well known Karl Marx quote). 

 

“Choices always were a problem for you.
What you need is someone strong to guide you.

Deaf and blind and dumb and born to follow,

what you need is someone strong to guide you..

like me.

If you want to get your soul to heaven, trust in me.

Now don't judge or question.

You are broken now, but faith can heal you.

Just do everything I tell you to do.

Deaf and blind and dumb and born to follow.

What you need is someone strong to guide you.

Deaf and blind and dumb and born to follow.

Let me lay my holy hand upon you.

My Gods will becomes me.

When he speaks out, he speaks through me.

He has needs like I do.

We both want to rape you.”.

 

“American Demonology” 

14x18" 

Oils on Canvas

 

This was my first commissioned work, and I enjoyed it very much. To date it’s my favourite 

commission. I was en-tasked the concept of creating my own version of the classic “American Gothic”— and was given complete creative licence.

 

“Deliverance”

21x30cm

Oils on Masonite

 

This work is quite emotionally charged for me. It was difficult to paint. I hope that the work and accompanied poetry speaks for itself. 

 

“Resigned, separated from mine own heart; it became a blight to me, you see.

While I longed for deliverance, my love; a blinding halo, obscured my vision of the stars.

I cut this heart from my breast, to sever the fetter,

I fed it to my animal kin; a blood feast to honour my memory, and my sacred name.

And in the eleventh final hour sweet tears I wept, as I sank below to sleep”.

 

How would you describe your style as an artist and does that differ from how your fans and viewers often describe your work?

 

I have always struggled to describe my own artwork. If I had to pick one word, I would 

say ‘stark’. The description I heard once, that I liked best was from a NZ Designer and dear 

friend; Luna, who construed it as “Opulent, wet death.” To be honest I haven’t given too much thought to the difference between how I see it and how others see it – I feel others thoughts and feelings (particularly in this regard) -- belong to them alone.

 

For some artists working with other art mediums can be beneficial for the work in general do you feel like this is something that applies to you? Besides painting what other mediums do you work in?

 

I do agree, but at the same time, personally, focusing on one or two mediums is best. I set very high standards for myself (and often fall short) so singular focus is crucial. But in my ‘hobby time’ I enjoy a wide variety of creative outlets and mediums. Sculpting is a favourite. I use oil based clays, which are fired then primed, molds made, and finished creations painted. I am planning on doing more sculpting in the future. I enjoy design – posters and CD Artwork are particularly enjoyable when you know your way around Photoshop. It’s also one of the best ways to make ends meet, without compromising my artistic and aesthetic values. I dislike drawing a great deal… which probably means I should draw more, right? Heh.

 

Inspiration is so important, when you’re feeling uninspired what do you do or where do you go to attempt to bring the inspiration back?

 

Nature, and looking at other artists work are both helpful when I feel in a rut. Often I just wait patiently; because I know whatever is eating at me, keeping me up at night, and deadening my creativity, will break before I do. I live for the breakthroughs, and they always come.

 

What artists do you feel inspire you the most? What is it about them that sets them apart from others for you?

 

Dan Harding, Chet Zar, Robert Bauder, Menton J. Matthews III, and too many others to name. I recommend everyone seek out these artists. They are my heroes, in particular Dan and Chet. Chet’s approach to the ego, and to art, is perfect, while Dan’s execution incomparable.

 

When you were younger where did you think your art would take you and have you stuck to that vision?

 

I didn’t become an ‘artist’ until I was 21. For a very long time, I had no vision at all. I have suffered from depression/mental illness for most of my adult life, and for the longest time I was incapable of picturing a future that included me in it, let alone one that included having any kind of success. It wasn’t until 2009 that I began to have hope of a future through art. It was something I had just done, quite naively, as a child to express myself in a positive way. I surprised myself. I consider myself very blessed to have the artistic status I now have.I had always been very creative growing up, but it wasn’t until I met Ryan Shaw, New Plymouth artist, and a dear friend of mine, and saw his fantastic surreal landscapes and characters that I felt that burning fire in my belly, that familiar urge to create once more. My second eldest brother, Neil, also inspired me a great deal when he began studying and teaching art classes in the Manawatu, I felt inspired, and excited about my future for the first time in years, and so I tentatively began my study at a particularly nurturing art college that Neil was also attending -- “The Learning Connexion” in Taita, Wellington. That is where I created “Opiate” – and it all unfurled from there.

 

How important is it to you to study art and did you study? Is it something you think is necessary to further one’s talent?

 

Although I ‘studied’ art, it was not the usual study that typically comes to mind. TLC’s particular approach is to nurture, and bring out one’s inner vision, creativity, and find maintainable ways to sustain it, as opposed to cramming in often pointless information, and dictating ones creative endeavors like almost every other art study program I’m aware of in this country. I was not taught how to paint, I figured it out through a series of great failures and small successes, and during my time at TLC I did not receive instruction on ‘how to’, whatsoever. I recommend this school highly. Simply put, (unless you ask them to), they do not tell you what to do. After 4 years, I left with an Honors Diploma in Art & Creativity, and started focusing full time on art.

My most recent study was Production Design & Sculpting, focusing more on the character design and sculpting side, which was a great deal of fun for me, and I discovered that I have a passion for it. Studying can be a blessing or a curse in terms of furthering ones talent, but it is definitely worth investigating different mediums especially if you find yourself bored with your current choice (hopefully that never happens to me!)

 

What are your thoughts on art and tertiary education when it comes to artists keeping their passion alive?

 

It has its pro’s and its cons, I guess it really depends on the individual artist’s disposition. I 

absolutely do not believe that study is required – and would warn future artists to be very wary of where they choose to study. It’s important to protect your unique and original vision.

 

Thank you so much, we are moved by your work and would definitely like to see more of it in Vinkk!