FEATURES Pink Mink Mafia 6 Danny Meza and the Dudes 12 Alfie Numeric Analog Girl in a Digital World 18 Erik Otto Distancia 24 El Niño as told by 2mex 28 Gabe Larson Classical Master of Graffiti 36
MUSIC Ian Fleming Honestly from a Weathered Soul
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The Abigails Thomas Warren Sheds Some Light Into His ‘Black Hell’
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EATS Wendy Mendoza 48 READS 52 ARTIST BOX Ben Wright Echoes of Tradition in the Digital Age of Tattoo 53
Veronica Valadez Journey to Becoming a Yolteotl
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Juan Roger Bethke Glamour and Grit L.A. Surreal
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Photos by Geoffrey Nicholson
Latina Vamp, founder and creator of PMM, gives us some insight on her global empire. PinkMinkMafia–how did that name come about? When I came up with the name, I thought about a name women would be able to relate to and how it would relate to me. I always considered myself a girlie girl but with a tough girl exterior. So I mixed the two elements together. What was the initial purpose and where have you gone since? The initial purpose when I created PMM was to express my life style and culture through my clothing, to be my own boss and prove to my self that as a single mother I can be a independent woman. Never did I anticipate to have such a worldwide following of supporters that appreciated the style and how it related to them. 7
There are many fake organizations and we all know you are the originator in this but what are your thoughts on those that follow? Well I think it’s sad that there are people out there that think they can just copy a logo or a name, switch letters around and call their clothing company original and expect people not to notice. Rather than get upset about it, I find it amusing. I always state “Accept No Imitations” and “Beware of Posers” to keep our supports aware. I really don’t worry about these “fake” companies as you called them because I know PinkMinkMafia carries itself to a higher standard and has the potential for longevity.
into clothing and other merchandise? To have a PMM store has been my dream which I will make into a reality very soon. Making PMM brand clothing is in the works for 2014. I originally started by making Day of the Dead pencil skirts so it’s not something we haven’t ventured in before. I listen to the feed back of my members as well as supporters to find out what product they would PMM to add to the merchandise catalog. Possibilities are endless. Expect some surprises this year.
PMM participates in a lot of fundraisers like Aids walk, Cure for Cancer and so on is there a particular charity you are attached to? We try to do our part and participate in a variety of charity events. The one that I’m more passionate about is the Susan Komen Breast Cancer Walk held in Dodger Stadium every year. My mother is a breast cancer survivor and my hero. She is a very strong, motivated person and always on the go. Being an owner of a female owned company that has woman as representatives, I think it’s important to get them involved, educated and take preventative measures to stay healthy.
You are a huge entity in the Rock a Billy scene is there any other genre that you are open to? I wouldn’t say I’m huge, just well known perhaps because I love to go to shows and support our local bands. I host shows every so often so it’s good to build relationships with the bands and promote them when I have shows. However I’m not one to be stuck in a bubble either. I also love psychobilly, old school punk, blue grass, 80’s, rock en espanol, and well I’m pretty open minded to all the new music as well.
People love to say how they are worldwide but in fact you actually are world wide. How many chapters does PMM have and where are they located? I currently have only 5 chapters, LA, New Mexico, Japan, Brazil and France but I’m very involved with all of them on a personal level. I think it’s good to have them small yet very united. I expect to branch out into more states and countries this year. Purses, shirts, hats, sunglasses when can we expect a PMM clothing store? Is that part of the master plan to brand 8
Prospecting for PMM how does that go? They can go to our website or Facebook to view all the details on what all involved.
For those that would like to get more info on PMM where can they go? They can always Like our Facebook page at www.facebook.com/pinkminkmafia or our website at www.pinkminkmafia.com Any last thoughts or comments you’d like to put out? Yes I would in fact. I would like to thank Art! The magazine for giving us this wonderful opportunity and exposure in your awesome magazine. Everyone has been great to us. Big thank you to all my beautiful PMM ladies featured here and all their hard work, our loyal supporters that have stuck by us and watched us grow. We would not be here if it weren’t for you!
Photo by Geoffrey Nicholson
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Photos by Geoffrey Nicholson
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France PMM Chapter Photography by Eric Laguarda
Japan PMM Chapter Photography by Yucca Kai
New Mexico PMM Chapter Photography by Joe Calderon Photography
Brazil PMM Chapter Photography by Douglas de Campos and Soraia Correia 11
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“Art is my passion and my passion took the steering wheel.”
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BY NAOMI VALDIVIA
“Foxy State of Mind” 2013
ALFIE
NUMERIC ANALOG GIRL IN A DIGITAL WORLD
Alfie Ebojo, a. k. a. “Alfie Numeric,” is an artist based among the sprawl of endless palm trees, sunshine, and graffiti filled concrete of Los Angeles. In the faces of the stylized figures of the girls and women she paints, lie a complex world full of femininity and fierceness. This urban art warrior paints the icons that represent a growing female voice of strong women who want to make a difference in the world, all while growing every day as spiritual, introspective beings. Alfie holds a busy schedule. When she’s not painting, she’s designing, or reading, or training. We asked her how she does it all. “By the hair of my chinny chin chin. Hahaha! Actually, I’m not sure how I do it all myself. I am learning how to fine-tune and be more efficient in the things that I do. The best way is to kill fear and just dive.” Great advice! Even the name “Alfie Numeric” came out of her crazy work ethic. “I got into web design, which utilized my visual skills but also my pragmatic skills. I coded A LOT. Numbers and letters took over my world. Naturally as a designer, I loved typography and how each font has a history and a story tied with it. I started looking at the shapes of letters and numbers. Started getting into the significance of numbers and what they stood for. Then
“Shine - the Asuncion Clan” 2008
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Can you explain some of the Filipino elements you use in your work? I’m so happy that you are able to pick up on some Filipino elements in my work! Back in art school, I was told this, “Whatever you create, you better know intimately. The audience knows when you are bullshitting!” That stuck. One Filipino element is the Bleeding Heart Dove. It is a little blue bird with a white chest but in the middle is an area of red. It looks like somebody stabbed it with a little knife. Owls represent infinite wisdom in my pieces; white doves symbolize peace. Bleeding heart doves represent love and it’s many forms. “I AM” (A tribute to Oscar Grant and all victims of police brutality) 2009
I started reading up on Numerology. My beginning pieces had numbers signifying a message or an idea. My work is heavy on the symbolism now but not so much with numbers and I don’t code much these days. But the name is so deeply imprinted that it just stuck around after all these years.” When did you know you wanted to be an artist? It sounds cliché, but since I was a kid. I was always drawing. I drew on the walls, the comforters, in my mom’s nursing books. I found BBQ charcoal on the floor at a park once and drew on the midway of the park. A police officer, as friendly as he can be, walked my 4 year old butt to my parents where they were picnicking and told me I was “vandalizing” (but he said it with a smile). During recess in Catholic school, I got detention because I took chalk from the class room and drew on the playground. Nothing could stop me from creating. I didn’t really think I would be a showcasing visual artist until 2005. I really thought I was just going to be content doing commercial art and design, make money and have a “normal” life. Nope... Art is my passion and my passion took the steering wheel.” What has been your most personal painting to date? Each one is pretty personal. They are all autobiographical chapters of my life. If I were to pick one painting to keep forever, it would be “Shine - the Asuncion Clan,” done in 2008. It is of a child version of me, holding a rosary and looking into a flame dancing from a twig of my family tree. In the background and behind the child version of me, are my grandparents, looking over and expressing their support. I believe that spirits walk among us and often time, it is our ancestors guiding us. There are recurring themes and imagery in your paintings that many women and girls can relate to and interpret into their own life. What was your inspiration behind them? I guess there is a reoccurring theme between women and little girls. The little girls focus on the inner child; the women pieces are like journal entries. What I am going through currently. 20
LOVE the Kapres painting. The story of the Kapres is really cool. Funny that it likes tobacco and rum! Do you think more people will gain interest in Filipino folklore? I think so. They just need to be exposed to it. One day, I noticed that I painted and drew other countries’ folklores and stories until one day, I just asked myself, “Huh, why am I not looking towards the stories my ancestors grew up with?” Then a good friend of mine lent me her husband’s copy of Maximo D. Ramos’ Creatures of Philippine Lower Mythology and it was over! I am now researching about family stories that are passed down through generations for an upcoming series. What is YOUR power animal? Bleeding heart dove. I appreciate that you try to inspire others to find and prioritize health. How has your physical journey affected your artwork? We are divine creation and with that, we are energy flowing. Even if a person doesn’t believe in spirit, they, at the very least, have to believe that at the very basic, our hearts beat, pumping blood. We breathe, causing air to flow in our lungs. Our brain conducts electrical currents through synapses between neurons. So if we are divine creation and we are movement personified, then yes, my physical transformation in trying to fine-tune my health has definitely added to my own personal creation. And the difference this time is that I’m focusing on the health in all aspects of me–physically, mentally, emotionally and spiritually. It definitely helps in my creative process because it causes places in me that were “stuck” or “blocked” to finally get uncorked. So many thoughts and feelings and visions start swirling, and that is the perfect state of being to create. Movement is my meditation. I believe that emotions are in the muscles and physical activity is a way of getting things up to the surface.” Are you making a statement by making your female figures curvy? Oh absolutely! Like I said, I paint what I know, and who is the closest model I can draw from? Myself. And I am not editing myself unless I make them more voluptuous. Besides, it’s more fun to draw them with curves and a look of attitude!
Favorite art shows that you’ve been involved with? That is super hard to answer. I loved them all for each of their uniqueness and the people that they brought in. I made some very great friends from these shows, grew as an artist and learned how to be a one army business woman. I have much love to all the places that gave me space to curate or to show my art: Flock Shop, Rothick Art Haus, Hive Gallery, Tribal Cafe, Beatrock, Lost Souls Cafe, Remy’s on Temple, Glasshouse Records, Vintage Renewals, RIT Gallery and now Art Form Studio and Thumbprint Gallery in San Diego. I know I am missing a lot more venues but the art scene is so dynamic and has changed over the years. Do you prefer live painting or painting in your own environment? How does each affect the art? Live painting is fun. It gets me out of the house, into a social environment and I get to have wonderful conversations with strangers that end up being some level of a friend later. It also has taught me to make quick decisions and second guess myself less. You are given a task to paint in a couple of hours and the pressure of having something done at the end of the night is a great motivator. But when it comes to my personal body of work, I prefer to be at home in a more intimate setting. I’m having a dialogue with myself and really, who thinks that’s fun to watch? Most magical moment as an artist? On a personal level, that moment when a piece looks back at you and says “I’m done.” Career-wise, those moments when people are truly moved by my art, whether written or visual, and they pull me aside just to tell me. The dialogue between artist and viewers rarely takes place. As a visual artist, you spend countless hours working on a piece, a dialogue strictly held in your head. Then you release it, in hopes that someone looks at it, and not just looks at it and thinks “Oh, what a pretty piece,” but truly looks at it and gets the storytelling. We can’t wait to see what beautiful pieces Alfie comes up with next to continue to create a new folklore of strong, modern warrior women. “Forward” 2014
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“Please Help Me Find My Way” 2010
ALFIE’S FAVORITES ARTISTS: Frida Kahlo, Chris Cunningham, Spike Jonze, Michel Gondry, JeanPierre Jeunet, Wes Anderson 22
MUSIC: Mazzy Star, Massive Attack, Radiohead, Thievery Corporation, Supreme Beings of Leisure, Morcheeba, Goldfrapp, Betty Black, Kudu, Amy Winehouse
BOOKS: Art of War by Sun Tzu The Alchemist by Paolo Coehlo All About Love by Bell Hooks
“Like Attracts Like” 2010
“Stay Sharp” 2014
“Amplified” 2009
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Distancia: A Beautifully Crafted Creation By Artist, Erik Otto
By: Zuanci Lemus
San Francisco born and raised artist, Erik Otto did what many of us can only contemplate of doing ... Picking up, moving to another country to get a new take on life and an artistic sense of creativity. Erik is no stranger to the art world. He has been visibly blessing the streets, galleries, museums, studios, hotels, store fronts, you name it, he has done and has been doing so for over 10 years. His beautifully chaotic artwork consist of different mediums and reclaimed materials, that are often developed as an improvised conception, stemming from his or others personal struggles. His recent venture and project took him to Mexico City, Mexico, where he worked on his memorable production that consisted of paintings on panels, wall murals and sculpture installations with florescent lighting accenting, what looked like to be a beach ball... yes! A ravishingly painted beach ball and abstract swirl paintings surrounding a spiral staircase. I was lucky enough to take the journey out to Mexico City and attend the opening reception. Let me tell you guys, my mind was surely blown away. Never have I attended such a well produced show, where so much passion and hard work is not only seen, but felt. The show was produced and held in an eight room abandoned building that was in the process of being torn down. After walking up the two or three flights of worn out wooden stairs, I was visually greeted by a huge opened window across from the entrance. The room had accentuating lights allowing the viewer to feel spellbound, by the neon-orange colored triangular paintings on the wall. Walking past was like stepping into a dream world, a dream world titled... Distancia...
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Every room had distinct artwork. Some of the rooms were decorated with his paintings, which incorporated the use of acrylic, pencil, or spray paint on wood. Other works consisted of his emotion, derived, intertwining swirls, wall paintings with complementing colors paired with watered down paint, created a washed down effect which dripped down towards the floor. Sculptural installations were also produced using reclaimed wood and material, along with florescent lighting. The atmosphere was amazing. The creative juices were flying out of the art work and majestically into the air of the art show. People were walking around, admiring the work as much as I, enjoying the free Absolut and mezcal. To get a better understand of who Erik Otto is and what he experienced while working on his project titled: Distancia, I asked him a few questions to share with our Art! The Magazine ... Here you go my super awesome readers ... Enjoy it, leave it open on the coffee table and share it!
How old were you when you decided to become an artist? I don’t think it was ever a conscious decision. Art has always been a driving force in my life and over time the understanding and self-awareness kicked in and I learned how to narrow down my interests, be specific in my intent, and develop ways to keep it moving forward. What was so enticing about Mexico City, that allowed you to leave a comfortable, life in SF and semi start a new one in a foreign country? Mexico City is a new place of continual inspiration that I have yet to understand and that’s what keep me going back. From its government to its people there is higher importance placed on creating art and celebrating life and its both refreshing and fascinating.
What are your top 5 songs or albums you like to listen to when you’re working? DJ Shadow / Endtroducing Jose Gonzalez / In Our Nature Om / Gethsemane Sigur Ros / Inni Mulatu Astatke / Ethiopian Quintet Is there different music for every process? Sketching, pre-planning, building.. I used to have my soundtracks down to a science, but these days I’m all about breaking routines so it’s whatever gets me going at any given time. Often times, rocking a quick beat on the drums to get the blood flowing then working to long moments of silence can be less distracting. I enjoy losing track of time and music can feel like an unconscious timer. Again, it all depends on the mood for the day. Do you have a particular muse that inspires your art work? Travel and solitude.
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Is there a difference between the culture and scene in Mexico City when comparing it to SF? How did it affect you or your creative process? Warmth, passion, and overall positive attitude I receive from the people that is infectious. Combine that with an environment that has flexible rules and less restrictions it makes you feel like anything is possible. I know I’m a, Mexico City, street taco fanatic.. Did you have a favorite taco stand(s) in Mexico City? For sure! The corner of Alvaro Obregon and Insurgentes. Those are my dudes. Al Pastor with the shredded pineapple and a salted cucumber chaser. What lit the flame to the concept of Distancia? What was your material/ medium of choice? Traveling abroad is beneficial in so many ways, but what stands out to me the most, is the new perspectives it creates in my life and work. This show was a result of stepping out of my comfort in every way possible, to pursue something that seemed so difficult at the start but despite the uncertainties, I pressed on. In many ways, this effort symbolized an ongoing struggle we all face when we feel challenged to follow the matters of our heart. To make the work itself, I used acrylics, spray paint, and pencil, but where the influence of my environment stood out most was in the reclaimed wood used in the sculptures. Was the show everything you expected it to be? Production wise and atmospheric It exceeded all expectations. I couldn’t have asked (nor predicted) a better result. Being that you were in Mexico City for quite some time, how would you describe your over all experience? I still have a studio there with all the supplies and tools needed to continue making work and I’m already planning my next trip. I guess you can say it went well. Last question... If you caught wind that there was gonna be a zombie apocalypse within 24hrs what would you do? Grab a babe, hop on a motorbike, and head for the mountains, to start a new colony together.
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GABE
LARSON
CLASSICAL MASTER OF GRAFFITI BY: ALISON MASSEY 36
Any American artist old enough to remember the Reagan era, the Berlin Wall, and Michael Jackson’s Thriller, will no doubt know a thing or two about graffiti. Thirtyfive-year-old Gabe Larson, of Seattle, is one of those artists. Tags, scribes, throwups and pieces, has held his attention for the past twenty years. “I was around fourteen when I really knew that art was something more to me than just a passing interest. I spent a lot of time skateboarding and taking the bus in downtown Seattle. That is where I discovered graffiti. There used to be a decent amount of graffiti walls, legal and illegal, within the downtown area. I would take pictures of all kind of tags, throw-ups and masterpieces. When I developed the film, I would study them for hours. I still have some of those pictures and they are still some of my favorite photos I have ever taken. At the time, I could not care less about traditional art. Graffiti, however, consumed me. This inevitably led to my participation. I haven’t stopped making art since.” Larson has always loved the rebellious nature of graffiti. “I love that it was created by the youth. It’s visually appealing and accessible to young people. I also like that it’s an art form that gets right up in your face. You don’t go to galleries to see it. It’s something that’s displayed wherever the artist wants it to be displayed, regardless of what anyone else in the world thinks about it. The artist is in control and risks their freedom to paint something that will inevitably be painted over and will only exist temporarily. I love that kind of passion and punk rock attitude. Those artists are truly dedicated to creating their art.” Let’s backtrack a bit for a little history on graffiti. This art form exploded in the early 1980’s throughout urban communities. Unlike conventional artists, graffiti artists chose sidewalks, streets and public buildings as their canvas, walking the line between legal and illegal. Sometimes that line was ignored completely. They forced the passerby to consider the meanings behind images painted on brick walls, freeway overpasses, and lampposts. More often then not, these images challenged their beliefs on all they held sacred. Seattle isn’t the graffiti capital of the world that New York City is, nevertheless, they are making a name
for themselves. Gabe’s art has been featured in various magazines like Graffotism, Can Control, and Clout. Larson moved from Seattle to Long Beach, California in 2000. Although working full-time in construction is taxing on his mind and body, he makes art a priority. Larson throws on his headphones and listens to Slayer or Anthrax while he paints. Like many creative minds, he finds himself working at odd hours. “I start painting when I get home from work and struggle to get into the painting process for hours but usually it’s around midnight where I fall into some kind of meditation. I can focus, I’m motivated and everything just flows naturally. This usually goes on until 2:00-3:00 a.m. and then I get a quick three hours of sleep and go to back work. When I have a painting deadline, I get very little sleep. I asked Gabe to describe his style for anyone who isn’t familiar with his work. “I was once told that I employ classic oil painting techniques to depict contemporary scenes through portraiture with a noholds-barred attitude.’ That sounds like an intelligent answer and kind of fancy so I’ll go with that.” There is a softer side to Larson’s art. While looking through his portraits you will not only find some of Larson’s male friends, you will also find several paintings of lovely, young women. A beautiful brunette named Tracy, a lovely redhead in a blue dress named Rozalyn, and a curvy young woman called The Miracle, all have Larson to thank for capturing their beauty and insuring their memories are immortal. Okay, Gabe. I have some questions for you. Who are some of your favorite artists, past and present? Being a portrait painter, my favorites from the past are the standards and obvious ones like Caravaggio, Rembrandt and Sargent. As far as living artists Jeremy Lipking, Joseph Todorovitch, Stephen Early, Casey Baugh are all amazing. In graffiti, I’m a fan Veks, Sofles, East, Ces and a hundred others. Let’s discuss a couple pieces that caught my eye. Institutionalized really impressed me. I thought it was a photograph at first. What does this painting represent?
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That painting was inspired by a 1980s Suicidal Tendencies song called “Institutionalized.” It was painted for a music video themed exhibition called “I Want My Music Video Art Show.” The song, video and painting are all about a troubled teenager whose parents decide to send him to a mental institution to deal with his angst and depression. The Pepsi in the painting comes from the most famous line in the song “Mom just give me a Pepsi, please.” Everything in the painting is inspired by the imagery from the music video. Tell me about Sean. He seems like an interesting character. That’s a painting of a friend of mine and fellow artist, Sean Barton. We were doing a photo shoot. He came up with the idea of ripping his way out of the plastic bag. I was really pleased with the image that came out of it. I cannot take credit for that part of it. I painted it because it shows aggression, and anger and it tells a story of ripping and tearing your way out of suffocation. At least that’s what I thought about when I shot the photo and painted it. Looking back on all your work, what was your favorite moment as an artist? A few years ago, I was asked to be a part of an Andy Warhol themed art show. I consider it my first real art showing. I had been in plenty of art shows previously but I always knew the curator or gallery owners. When I was asked to be in this show, I didn’t know anyone involved and I was asked to participate based solely on the curator seeing my paintings online. Many of the artists involved were people that I have followed and admired for a while so it was a good feeling to think that someone felt my art is on the same level of the people that I look up to. My painting sold and it was definitely a proud moment for me. Looking back on all your work, what was your most challenging moment as an artist? Last year I did a painting for a show at WWA Gallery called Lolly Pop Dream. I must have painted over it four times before I started to feel like it would be worthy to hang in the gallery. I almost gave up on in and scrapped the painting altogether. In the end, I was happy with how it turned out. It just took a lot of patience. If you weren‘t an artist, what do you think you’d be doing right now? Wow, I can’t imagine doing anything else. Perhaps I would do woodworking or metal fabrication of some kind. I enjoy that sense of accomplishment I get when I have created something from crude materials. Is it true you don’t like the beach? What’s up with that? Yes, it’s true. The beach has nothing to offer me. I don’t feel the need to get a tan or learn to surf. I’ve spent 38
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the last fourteen years living just a few blocks from the beach and I have never once put my toes in the ocean. Lying around in the dirt with no escape from the sun is one of the most dreadful ways I could imagine spending a day. I appreciate the weather here in Southern California but I hate it when it gets too hot. Many people go to the beach to escape the heat. I go to the air conditioner. It works better. What can we expect from you in the near future? I am planning to challenge myself by starting some larger scale works than I am used to painting. I want to keep progressing and experimenting with new techniques. Hopefully things get weird.
To see more of Gabe’s work, go to gabelarson.com
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IAN
HONESTY FROM A WEATHERED SOUL
FLEMING Meet Ian Fleming, a Los Angeles based musician who holds no obligation to just one genre. His sound under his own namesake, Ian Fleming, is honest, melodic, hard hitting and even catchy in spots. Ian is also the front man for the heavy metal band, Ritual, a staple in the LA metal scene since 1994. Who are your biggest influences? Tears For Fears made me realize music was imperative to me at about 5 or 6 years old. But I always just loved good songs. All of them, from anyone. I was not picky about specific artists, I dug a lot of pop songs from the 80’s. I literally banged my head to my 45 of Quiet Riot in the early 80’s with my little bro and cuz. The Police were big for me. As I got older, I started needing heavier sounds. Metallica made me pick up a guitar and take it seriously. Alice In Chains, Megadeth, Pantera, Slayer, then death and black metal crept in to my life. How does living in LA effect your music? I am not quite sure. I have lived here for so long, I don’t really know anymore. It helps me stay focused, I guess, because it’s such a hellhole. I Just want to give my give then get the fuck out and go to an island or something. 42
How would you describe the sounds of the bands you are involved in to someone who hasn’t heard it? Honesty from a weathered soul. Your band Ritual sounds dramatically different from your other music. Do you find it hard to switch between different styles of music in terms of song writing or performing? No, not really. To me there is no switch. It’s like two sides of a coin. A painter can paint a pretty sunset, then create a bloody scene of death and it’s still the same painter. I don’t believe artists need be limited to one “genre.” It’s just silly. Where can we find out about shows? The best place to find out about shows right now is facebook.com/ritualblackmetal and facebook. com/ianflemingandthesecretagents, respectively. What’s your writing process like? Random. I don’t make rules. In fact, I try to forget things. If I can’t forget it, it must be good. Others won’t forget either. Sometimes, I come up with a riff that I just think is cool. Other times, I will just have some tune pop into my head and start humming.
Other times, it’s like a fucking tidal wave tsunami that makes me do things like I am a little ant with Ophiocordyceps unilateralis running to the top of a tree. How did you get into making and writing music? I was always an artist. When I was very young, I was a comedian. I would just entertain people with charm and wit. Then, I started to draw pictures. It was magical to me... I could create something real. Then, when I was a teen, I picked up a guitar and it changed my life. Shortly after that, I acquired a 4-track and started recording songs. The guitar and the voice and everything were always just tools to me...tools to draw a picture in a different way, a different medium. I just changed mediums, I guess. I started painting with sound instead of pictures...making songs. Do you have a specific message through your music? Yes, I do. Struggle is universal. All real people have it and it’s a gift. Life is hard. I understand! You live in the matrix. Pull your plug and live. Really live!! Be honest with yourself, to yourself. No matter the “cost.” Our little brains are not made to see the full picture. Let it be and enjoy the ride. What inspires you to write? Life, I guess. It’s really more like a need. Things grow in me like I’m preggo and I gotta get em out. Who are your favorite past and current bands/musicians/artists? Hendrix, Marley, Zep, Van Halen, The Police, Tom Petty, Tears For Fears, Metallica, Megadeth, Alice In Chains, Smashing Pumpkins, My Dying Bride, Paradise Lost, Behemoth, Edge Of 43
Sanity, Bob Dylan, Hall & Oates, Run DMC, LL Cool J, 2Pac, Burzum, Amorphis (old), Carcass, Faith No More, and a hundred more, I could go on forever... What can we expect to see from you in the future? A lot more music, albums, a few tv spots...the usual, except for the fact that I am extremely focused on getting as much of these tunes out of my head and into the real world right now, before I gotta go. There is a new Ian Fleming record about to be released called “From Ian With Love”. There is a new Ritual record to be titled “Epic Sagas Of Brutality” near completion. Both of these will be released in 2014. After that, an Ian Fleming cover album is coming. Listen to my version of “Eye In The Sky” if you want 44
a clue to what that will be like. It’s on the youtubes. There is also another Ian record, near completion, to be entitled “PLAY” like my tattoo. After that, I have no plans as of yet. Where can people find or buy your music? I have music for sale up on iTunes and Play Store and most of the typical digital spots right now, but I am moving more back towards vinyl and solely physical products because I believe they mean more. I may not have digital sales available much longer. Stay in touch on facebook for now. Ritualband.com will be up for a while. IanFlemingMusic.com may come back soon if I can work out the nonsense with the host dicks.
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BEN WRIGHT ECHOES OF TRADITION IN THE DIGITAL AGE OF TATTOO Ben Wright is an artist in Torquay, South Devon, with a talent for creating tattoo illustrations that echo the history of traditional tattoo art along with a touch of the digital age. Along with hand drawing many of his illustrations with a masterful handling of traditional mediums, he also brings it into the present with the use of digital mediums, with both his computer, and sometimes, impressively, even his smartphone. How would you describe your art? I would describe my art as a distant cousin of traditional style and neo traditional tattoo art, I turn my hand to anything but always end up coming back to that style. I wouldn’t know what to call it. I love working with bright colours and black and grey. What are your biggest influences or inspiration? Everyone and everything inspires my art. I love getting everyday mundane items and making them in to rocking (if not to everybody’s taste) tattoo designs... usually with a traditional flare. Skulls never ever get old for me, if I get the opportunity to design a skull tattoo I really revel in that. I also enjoy slightly realistic designs and surrealism. I am greatly influenced and encouraged by my children and their uninhibited imaginations which I will tap into now and again. They just appreciate things for what they are and not what they have been told that they are, you can learn a lot from that! Do you think your upbringing or childhood had some influence on your current style? In terms of my childhood having an influence in my current style, I can remember looking at tattoos as a youngster and being inspired by them. I cant say tribal (which was rife when I was little) was a huge influence, it has its place but just not in my heart. I have always loved traditional tattoos, I used to be very intrigued by the blue splodges littered on old people and seeing if I could make out what they would have once been and where society would have placed them when they got them all those years ago, sailor or social outcast? (those were the only two options in those days haha) Thankfully, attitudes have shifted and opened up a new category for 53
people who purely appreciate the beautiful art form. Another thing that stands out for me and which I have a special affinity to is owls. I received a gift of a small marble owl as a child from Holland which I have kept to this day. My portfolio is wedged full of owls in all styles which I will continue adding too forever! Rock music has also played a huge part in life and influencing me in all aspects. What got you into tattoo designing? I have always been into drawing and art. I have always had positive encouragement from those around me, the first time this was backed up was when I was 4 years old and I got my first piece of art publicly displayed. It was a huge deal for me and helped pave a lifelong love of art and pleasing people with it. My brothers and sisters are all very creative and excellent artists and we all helped each other hone our imaginations and styles as children. I think after having observed tattoos and appreciating them for so many years coupled with the fact I love drawing and painting, it was a natural progression to start dabbling in designing them. I started building my portfolio over ten years ago, within a couple of years the brushes were put away and I went on a hiatus. It wasn’t until my wife had seen some of my work from years past that my brushes were to see the light of day again some years later. She told me that I shouldn’t just sit on my talent. “Do something with it!”
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She helped me to start promoting my work and encouraged my every step with it, her honesty has made her the only critic I will listen to. What can we expect from you in the future? I have started to put down some foundations that will help cement a future in tattoos and tattoo designing. I never plan on giving up on being creative and my dream. I will continue to develop my style. Favorite music? I have followed RHCP since I was old enough to appreciate music in the early nineties. I have always loved loud, alternative music. As I have gotten older my taste has mellowed but I still love alternative sounds. I make music as well which has helped me appreciate all music as an art form (even if some is difficult to listen to).
Favorite movies or television? Movies are hard, it largely depends on my mindset! I love comedies and enjoy a good psychological thriller! Will Ferrell Gets me every time oh and Harry Potter is a good yarn to! TV shows, I am really into The Walking Dead at the minute and enjoy True Blood, too... generally I watch whatever the wife is watching, haha. See more of Ben’s work at: http://brcustomtattoodesigns.com/ h t t p s : / / w w w. f a c e b o o k . c o m / BrCustomTattooDesigns http://instagram.com/br_custom_ tattoo_designs www.twitter.com/benjiroxtattoos http://benjiroxtattoo.tumblr.com/ http://www.tattoo.com/benjaminwright
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Veronica Valadez Journey to becoming a YOLTEOTL
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Can you tell our readers a little bit about the connection to your ancestors through your work? VV: My work is a reflection of my Mexican indigenous heritage and identity as a Chicana woman. As a traditional Aztec/Mexica danzante, I have been fortunate enough to learn about the ancient teachings of my ancestors for over 17 years. Learning from my elders within the tradition of Danza Azteca, as well as studying the ancient manuscripts and calendar systems of my ancestors, has allowed me to reconnect to my ancestors in a profound way. When I dance, I am very cognizant of how lucky I am to be able to dance dances that have survived over 500 years of colonization. At the time of the Spanish conquest in Mexico, the Spaniards forbade indigenous peoples from practicing any of their traditions and religious practices, including danza. Anyone caught practicing these traditions were severely punished, even executed. Our ancestors had to preserve these traditions in absolute secrecy in order for them to survive colonization. That my ancestors risked their very lives so that I and others could dance today is amazing to me. It really makes me appreciate being a danzante and being able to hand down these traditions to my children and community. It is carried over to my vi-
sual art, which is an expression of my strong Mexica spirit. When I paint I feel as if my ancestors speak through me as I mark the canvas with their messages through symbols and metaphors created centuries ago. The Mexica people strongly believed that the only truth on Earth was expressed through the arts. When one creates art, one has to dig deep to bring about an expression of the human spirit, which can only result in the truth. The arts were of upmost importance to our ancestors for this very reason. They developed the concept of “in cuicatl in xochitl” or “flower and song” (flor y canto), which stood for the truth that was expressed through the arts. The arts and high moral standards were used as pathways towards becoming a fully evolved human being, a yolteotl. This is a goal that I continuously works towards and hope to attain. I love all of the colors in your work. Why do you work with so many colors? VV: My culture is colorful, diverse, expressive, passionate, and full of life. Colors attract the human eye and invoke a wide array of feelings within one’s being. Colors awaken the spirit and stimulate our cognitive abilities. One of the most common compliments I receive about my artwork has to do with the bright colors I use. My ancestors had a
strong appreciation and respect of the countless dualities we encounter in life, which are many times opposites and thus create balance such as; night/day, male/ female, life/death, child/elder, etc. In essence, these elements are complimentary opposites of each other. The same can be said about the colors I use. What is the driving purpose behind your artwork? VV: It’s important to acknowledge that the vast majority of Mexicans and Chicana/os living in the U.S. know very little about their indigenous heritage. Thus, the purpose of my artwork is twofold. First and foremost, like danza, my artwork is yet another vehicle for me to learn about the symbols, metaphors, ancient manuscripts, philosophy, cosmology, calendar system, culture and traditions of my ancestors. I strongly believe that we can only move forward by knowing who we are and where we come from, otherwise we are like rootless tumbleweeds wandering through life. Knowing who I am and embracing my roots has given me the strength I’ve needed to overcome the countless barriers that many people and women of color face in this society. Secondly, it is this strength that has fueled my determination, self-discipline and commitment to do what I can to help a larger collective goal of the Chicana/o community to revive, preserve, embrace, and share the traditions and cultural heritage of our indigenous ancestors. As an artivist, my goal is to create art that will not only educate the public about my cultural heritage, but to engage the community in critical dialogue about who we were, who we are, and who we want to be as Mexicans, Chicana/os, and descendants of the Mexica people. How does being a lecturer in Chicano studies compare to visually communicating to others about your culture and people? VV: Chicano Studies is a very interdisciplinary area of study, which means that many disciplines like history, political science, literature, education, philosophy, sociology, visual arts, performing arts, etc. are all taught through a Chicana/o perspective within the discipline of Chicana/o Studies. Furthermore, one of the goals of the Chicana/o Civil Rights Movement of the 1960s and 70s was to counteract the affects of cultural marginalization and repression through the arts. Chicana/os reclaimed their indigenous roots and celebrated their cultural heritage through murals and other artistic ventures like Danza Azteca, foklorico, visual arts, poetry and other literary works, and teatro, among others. With this being said, it is quite simple to include the arts in almost any Chicana/o Studies course, in fact, it’s almost necessary. I teach introductory courses in Chicana/o Studies at both Cal State Channel Islands in Camarillo as well as at Ventura College. Using visuals is an excellent way to introduce many Chicana/o related topics. I teach a course in Danza Azteca in which
students learn the history and choreography of traditional Aztec dances. The arts are a wonderful, hands-on, and very effective way to teach people about culture. In fact, the staff at the elementary school where I teach first grade recognizes the importance of the arts, so much so that when Ventura Unified School District informed us that they were applying for a federal grant to create six magnet school programs and asked us to decide what would be our emphasis, we collectively decided to establish a multicultural arts academy. We will begin to implement this arts academy in Fall of 2014. Who are your biggest art influences? VV: First and foremost, the artwork of my ancestors influence me the most. I was also inspired to become an artist when I learned about Frida Khalo, whose work embraces national and indigenous traditions. Los Tres Grandes, including Diego Rivera, David Alfaro Siquieros, and Jose Clemente Orozco, all of who painted murals throughout Mexico and even the U.S. with nationalistic social and political messages. There are also countless Chicana and Chicano artists from the Chicano Art Movement of the 1960s and 70s whom I look up to like Judy Baca and Patsy Valdez, in addition to many contemporary Chicana/o artists who are doing amazing work expressing not only the beauty of our culture, but also use art as a vehicle to express past and current
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political and social realities of the Chicana/o community. Where did you grow up/what was your upbringing like and does it influence your current work? I was born and raised in Santa Maria, California. I am a first generation Chicana. My parents are from Jesus Maria, Jalisco. I grew up in a farmworking and very Catholic family. I was raised in the projects of my hometown where poverty was and still is the social norm. I was the fifth child out of six. During their adolescent years, my older siblings were into the whole pachuco/lowrider culture of the time. They always had Lowrider magazines in the house. As a child, I used to love looking through their magazines and was fascinated by how classic cars were used as canvases to express culturally relevant art. My favorite pages were the ones in which art of Chicana/o artists were displayed. Most images portrayed pencil drawn lowriders, pachucos and pachucas, Catholic religious figures, and prison art. Living in poverty and having limited resources, this was the only art that I had access to. I also didn’t have access to art supplies so I used whatever pencil and scrap of paper I could find to draw and imitate the lowrider art I saw in these magazines. That was the beginning of developing my drawing skills, and I got pretty good considering I was just 10-14 years old. The other thing that influenced my art is the realization I had of the historical factors that locked my people into poverty. I have to admit that, even though my family was poor, I always felt that I had everything I needed and I give my mother a lot of credit for raising six kids under such circumstances. Although at times I resented being poor, I truly appreciate having gone through that experience because it really puts things into perspective for me and those experiences help keep me humble, and most importantly, it helped develop a consciousness within me that makes me understand the importance of community and family, and also reminds me how important it is to give a voice to the voiceless and to help fight for social and economic justice for all. What can we expect in the future from you? I’m currently at a crossroads in my life. Being an educator and artivist, I want to con58
tinue to use the arts as a medium to educate others about the history and culture of the Chicano people. I want to paint murals with school children (in an effort to bring more culturally sensitive arts to schools), and continue teaching Danza Azteca in the community with my cocabezas (teachers) and compadres Teotl Goitia and Magdalena Rodriguez. What I’m most looking forward to is launching a skateboard line with Mexica/Azteca inspired art. I also want to continue pushing my cell phone cases, prints, and puzzles (many of which include the twenty day symbols from the Aztec calendar so children can get to know their birth date symbols). Each of these projects would include information about the images and symbols included in the artwork in order to educate the public in general and Chicana/o youth in particular about the Mexican/Chicano heritage. View more of Veronica’s work at: www.veronicaxochitlvaladez.com www.etsy.com/shop/ArteYolteotl https://www.facebook.com/veronicavaladez.underthesun
JUAN ROGER BETHKE Glamour and Grit L.A. Surreal Los Angeles artist, Juan Roger Bethke, paints portraits with landscapes familiar to L. A. natives. Astoundingly, Bethke captures the feel of living in Los Angeles from multiple viewpoints within each image. A contrast of privilege and commonness–of glamour and grit. Bethke takes from his childhood memories and subconscious thought that developed in this unique environment, and creates a distinct, Los Angeles surreal feel. Bright, burning pink and orange sunsets, giant, fashion billboard models, neon signage, and cracked concrete, are just a few elements in these surreal scenes. When did you know you wanted to be an artist? I don’t recall the exact time when I knew I wanted to be a career artist, I think it was about age seven. I had already been drawing obsessively for a couple of years, but it was then I remember I made a conscious decision to consider it, and years later in high school I decided for sure. I think everyone around me also assumed I would be a life-long artist. How did you upbringing influence your art? Well it influenced me a lot. I had a very rough upbringing, and had major events that made me see the world and life in a not-so innocent way. I developed a dark and cynical viewpoint and it shows in my work. What’s been the hardest part of being an artist so far? The hardest part of being an artist for me has been figuring out who, as an artist, I am, what exactly am I saying, and the overall look of my style. Also, juggling life and trying to carve an
“Roma” 8” x 10” Oil on Wood Panel
art career has been challenging as well. The most significant aspect of this juggle was coping with health problems that started to affect me about 10 years ago. I became clinically ill with an anxiety disorder and it totally changed everything. The first couple of years life was manageable, but in 2007, my health got worse. Everything was different, what used to matter didn’t anymore and even doing simple tasks became a chore. Facing an illness like that really changed my world-view and has certainly had an impact on what I have to say as an artist. 59
How would you describe your style? My style keeps going to retro influences, along with a surrealist edge. I don’t really know if there is a simple description for my style, but its definitely pictorial. Who are your biggest art influences? I have so many influences that affected my art its hard to narrow it down. I really like the pop-surrealists and advertising illustration from the 50’s and 60’s. Some names that come up for me right now are Neon Park and Dawn Mellor. I love their work! Proudest art moment to date? My proudest moment is getting my foot into editorial illustration for magazines for Harris publications. I feel that was a big accomplishment for me. Can you tell us about “Young Man with Tattoos” and your thought process while creating it? This painting was significant because I felt it was a first in my artistic journey to express where I came from. I wanted to give hints of my childhood influences, and experiences and the kind of people I was exposed to in my early life. I also wanted it to express something about urban society in Southern California and yet be a bit surreal. There was also a desire to emulate the style of the old masters like Vermeer, and the way paintings were titled with very elitist sounding titles. So I combined a highbrow name with a relatively low brow image.
“Young Man with Tattoos, 40 ounce and a Fox.” 13.5” x 17.5” Oil on Masonite
What is happening in the painting, “L.A. Liquor Store Scene, Wildfires Present” where these glamorous giants are sitting atop a liquor store? This was a continuation of the “Man with Tattoos” concept, merging 60
“Taqueria” 16” x 20” Oil on Canvas
fancy sounding titles with a disturbing image. The inspiration here was my social comment on the income and social disparity of Los Angeles, and how age old privilege still holds influence in supposedly progressive places like Los Angeles. It’s also about how L.A. in general is a place where you can be surrounded by people and serious catastrophe, and yet nobody seems to care. What can we expect in the future for you and your art? I am working on art that’s more surreal and pushing the conceptual boundaries of what I’m already doing. Where can we find your art? Where can we buy your art? My work is always available online at my website www.rogerbethke.com and my Etsy store https:// www.etsy.com/shop/Rogerio. Im always looking for gallery opportunities as well and announce that on my Facebook page. Right: “L.A. Liquor Store Scene, Wildfires Present” 24”X30” Oil on Canvas
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