Art! The Magazine Issue 1

A In This Issue...

Art! The Magazine | Issue 1 | March/April 2013

4 Editor’s Comment 11 Slash 21 SPOTLIGHT

6 Amber Orosco 14 Shaky Kane 28 Gilbert ‘Magu’ Lujan

... and His Conspirators

- Colorado Crush - Magick Eye 2

36 Jason Atomic MUSIC 44 FLorence Joelle EATS 48 Ha’s Corner READS 52

42 The Art of Rebellion...

MUSIC 46 Folk Grinder

Excerpt from

The Fight for Peace

54

THE ART BOX

50

READS Say Hello To Heaven

53

READS Vincent Redux

- Caspar Williams - Miso

www.artthemagazine.com

|

info@artthemagazine.com

*Front Cover Art by Gilbert Magu Lujan

Art! The Magazine | 1

. . . . . OUR TEam .

EDITOR IN CHIEF EXECUTIVE EDITOR CREATIVE AND DESIGN DIRECTOR ART DIRECTOR DIRECTOR OF OPERATIONS PRODUCTION ASSISTANT MUSIC EDITOR CARTOONIST/ILLUSTRATOR GRAPHIC ARTIST DIRECTOR OF SOCIAL MEDIA WEBMASTER

Alex Trillo Billy Chainsaw Susan Seim Sandra Maya Tanya Rose KidJared Trillo Rick Manny Quintana Jose Lozano Robert Mu単oz Chuck Vanegas Lupe Flores

CONTRIBUTING WRITERS

Liz Evans, John Saringo-Rodriguez, Luna George and Angel Guerrero

CONTRIBUTING PHOTOGRAPHERS Mario Trillo, Oscar Castillo, Gil Ortiz, Theresa Kauilani, and Manko

2 | Art! The Magazine

Editor’s Comment There has been repeated questioning as to why I would attempt to publish a magazine when the prediction exists for the death of the industry. The answer is simple, ART! Art will never die!

Art in all of its forms is everywhere! The questioning should not be why, it should be how. The how comes in the form of ART The Magazine!

Bridging the cultural aspects of surrounding artistic communities is our goal. We want to expose the life source behind each genre. We are covering the sculptor, the graffiti artist, the poet, the photographer and everything in between. Art is so much more than what we see. Art lives, breathes, communicates and at times it saves.

Much Love and Appreciation— Alex Trillo Editor in Chief P.S. —Mom and KidJared.... this is for you.

SPECIAL THANKS Tania Rodriguez, Gil, Liz, Gibby, Jacky & Carmen Armenta, Luis Trillo, Mario & Angel Guerrero, Joe Vex, Oscar “Sketch” Navarro, Deadmundo, Sergio & Diane Hernandez, Maria Agulair and the whole Trillo/Fuerte Clan.

And to the ones that have been there since day one of this project Big Gabe Calderon, Ray Rodriguez, Rick Moran, Victor Campos, Linda Hart, Andi Garcia AG, Lydia Holguin, Brenda Stevens, and a big super thanks to Hugo Romo.

So much appreciation to all of you that have been along for the ride old, new, past, present, future doesn’t matter I value you each of you tremendously. Thank you for coming along on this venture hope you like what you see. Much Love everyone.

4 | Art! The Magazine

W W

Amber Orosco

Bodies of Art

e had the opportunity to meet Amber Orosco at the Annual El Velorio event.

Along with the other 2,000 plus people in attendance we were amazed with the costumes and more than life size altar she had created. Many people are in to the style known as “Dia de los Muertos” it has become more of a fashion to most. From clothing to tattoos and everything in between, the Day of the Dead events have become more than an annual ritual. What Ms.Orosco does goes beyond just that once a year face painting. She can transform someone and transcend them into something more than what the eye can see. Here’s a little on what she had to say.

I didn’t decide to be an artist…God’s guidance drew me to art and made me the artist I am today. As a young girl I have always painted; drawn, and created costumes by hand. I would gather old clothes and fabrics; and make my own costumes. This artistry continues to this very day where I am constantly designing, dreaming and dressing people up in the costumes & other items I create. I had my daughter at a young age, and needed to able to provide for our household. I chose to become a medical assistant, and worked my way up the corporate ladder at a University. Ten years later, the budget cuts got me. I prayed a lot… it was

Let’s get straight to the point you are beautiful and talented, most will see that as a double threat. Is there a third talent you are hiding from us, because you know that would make you a triple threat?

Thank you…. This is something I do struggle with. It is very hard to be taken serious; and at times I question the motivation behind various offers of assistance. I think this is one of the main reasons I started to face paint. When the makeup is on…. I am no longer Amber. I am my inner being; people see my soul rather than my face. The funny thing is I don’t take compliments on my looks well. When I was growing up, I was very plain, “olive oil”, was one of my nicknames LOL! People judge a book by its cover far too much! Behind it all I’m constantly working on Costumes, body art, headdress’s, murals, canvas, and I love to COOK! Tell us about yourself when was it that you decided to become an artist?

6 | Art! The Magazine

Image by Mario Trillo

dents. At first this was intimidating; I stopped painting once again and, focused heavily on make-up, body art, and costumes. I have not let go since….

I think if I had the guidance growing up about the importance of college and following your dreams, I would have ended up in a different career. God works in amazing ways. I have but one regret, and its that I would have “listened to my heart” and embraced this gift much earlier.

Growing up was there any one artist that influenced you?

Image by Mario Trillo

a tough time in my life. I went from being able to provide for my daughter and I, to living on unemployment. There were a lot of sleepless nights, anxiety, panic, and feeling lost. I vividly recall the night it all changed. It was visit from my grandmother. Many may not believe… but I do. She comes to me when I am lost. She sat next to me on the bus; put her hand on mine, and chuckled her little cute laugh she always did. I smelled Altoids in my dream; she loved them. She said to me; “Amber everything is going to be ok”, she then said; “remember your gift”. The next morning I woke up, changed my house around and began to paint and transfer my feelings onto canvas. I then held my first show with the help of my cousin; Steven Talavera; as well as friends: Michael Helvick, Paul, Charles, Chen’s Panda, and Gabbi’s Mexican kitchen in Orange.

After the show I realized that I had put my gift to the side; decided I would make it one of the central focus points in my life. From there, it all began. It gave me purpose, passion, and most of all just made me happy seeing others so excited. I then landed a job at LCAD, in Laguna Beach, where I have been working and studying the arts around me. It’s good to be in a place with such talented faculty, and stu-

Michael Jackson, I was a huge fan! I adored his costumes, his style. I remember saying one day I would love to make him a jacket! And Madonna! Who didn’t love Madonna?! These two artists were a favorite of mine, because they were not afraid to be themselves. I loved the sense of style and BOLDNESS! Also, Jose C. Orozco.. I could get lost in his work, and it has nothing to do with the last name! I just love where his art takes me. While growing up; I

Image by T. Kaul - Vue Photography

Art! The Magazine | 7

was very much into Chicano and Street art.

So we see that you paint and design your own clothing as in art pieces; is there one you prefer over the other?

I adore art in “transformation” and would say, transforming flesh into “Bodies of Art”!

I have been going with my soul lately; I do what it tells me to do. I dream about paintings, and I dream about headdresses. One may say, “What”? But, yes, I do. I really believe we as people feed off one another’s energy. Some people have this Aura about them, which can be so fascinating; while others can drain every inch of your soul.

Let’s talk headpieces, where do you get the ideas for such amazing work? What’s the process? Don’t worry your secret will be safe with us.

Most of my idea’s come in forms of dreams; and/or just sitting with a like minded artist or someone with that “aura”, and just spending time. As I mentioned above, it’s happened sev-

Image by T. Kaul - Vue Photography

8 | Art! The Magazine

eral times. Sometimes I would take a seat near someone and visualize an image of a headdress on his or her head! “lol”. I recently had the opportunity to recreate a Catrina popular hat for Frankie Franco, and I just added my own touch and flare. I always seem to go with what would I wear if I were a Catrina…well I would be FANTASTIC!! So bigger is always better!

Recently, over the holidays, you did volunteer work. That was very charitable; is there a reason behind that?

I have become more involved in charity, as of late. The last two years of my life have been challenging beyond words, and yet triumphant! I hit a very low point in my life, where everything hurt, words, actions, parents, friends, lost loved ones, lost love. So on and so on… Lots of crying has gone on in my heart and soul for the last two years. People see me as having “everything” together but what they don’t know is – I JUST got here! I’ve had a lot of soul searching, a lot of praying, and a lot of moments falling to my knees; crying. Most of all; I’ve spent much time asking for “forgiveness”. Once I did this everything in my life slowly started to change. My soul began to soar; my inner being began to shine. I would get lost and pray, and I would feel the presence of my lost loved ones near me. So when I get the whisper in my ear or feeling in my heart to do something such as feed the homeless on skid row; well I am going to do it. I knew He “God” wanted me there. I love helping others.

I enjoyed helping charitable events, I feel as though I must give back.

In addition to my volunteer work at Thanksgiving; I was asked by Eric V. Ibarra (Founder); of the Las Fotos Project to participate in El Velorio. This fundraiser was created with the goal in mind to raise money for their cause which supports the arts. This event hit so close to home; I needed to be there. I love what Eric is doing, giving young Latina teens an opportunity to explore and flourish in photography. In this I assembled a group of my closest friends and created each and every one of their costumes, as well as their make-up in true Dias

de los Muertos style. An Alter was constructed to celebrate the occasion. That is another love of mine “altares”. This gives us the opportunity to show our love and remembrance of our loved ones, who have left a special print on your heart. Thank you Ganahl Lumber for the donation, and Chad for building the monster.

We heard a rumor that you will be putting out a calendar in the very near future, what are the chances we can get a signed copy?

Well you’ve heard right! I’m hoping that this will come to fruition in the Spring; (just guessing here!) and when its done – you’ll be the first to receive a signed copy!

What, if any, have been your biggest challenges in the artist community?

Not being taken serious! Another challenge is not knowing exactly where I fit in with my art…

I have so many ideas that my head is spinning.

One challenge of being an artist is the funding... its not CHEAP!

Image by Mario Trillo

Is there a goal you are aiming for? Sometimes artist want to make money and others want their work to be seen, while others seek the fame. What category do you fall under?

This is my passion; but passion alone will not provide comfortably for my daughter and I. College is coming for her next year, and I want to be able to take the financial stress off of us.

That’s it… not asking for all the riches in the world. Before; I would have, but now I feel as though I have them. My life is full of so many rich blessings! My amazing child Desirae; who I am so proud of!! My family and friends; most of whom have become “my family”. While I would love to fly around the world, body paint, costume, and make headdresses, (both my short-term & long-term goal), my immediate goal is to make it through another day “smiling” because I love what I do!

Image by Mario Trillo

For all your fans where can they see your work and most importantly where can they catch you in person? Any upcoming events?

Art! The Magazine | 9

W

Image by T. Kaul - Vue Photography

As of now I have no immediate upcoming events. My calendar changes very quickly; so my main form of communication is via Facebook! You can find my public page at amber. orosco.31@facebook.com. I do frequent local LA Shows and the Art scene; just remember what I look like and if you see me, please come say hi!

Just want to say, “thank you” to my daughter Desirae. You have taught me so much, and I want you to know how proud I am of YOU! Remember you can do anything with hard work and dedication, go for what you LOVE! Alex Thank you for giving me this opportunity! Thank you God, for blessing me with an amazing talent and gift of life. Thankful for my Auntie’s, dear friends, who have become my family, and been by my side; Elisa Kazarian, Mike Munoz, Patty Guerra, Gina Rosales, Theresa Kauilani, Josie Sanchez, and Mirna Elias. You are my ROCK! To my mother and father for giving me life.

— A.T. For More Info: https://www.facebook.com/AmberOroscoArt Image by Mario Trillo

10 | Art! The Magazine

W

Slash

A Guitar Legend and His Conspirators

W

hether you’re a hardcore fan or not, watching Slash perform is an experience in itself. A guitar God and legend, he plays the guitar as naturally as a bird flies in the sky.

On December 2nd 2012, Slash featuring Myles Kennedy and The Conspirators took stage at the Wiltern in Los Angeles. Upon approaching the venue, awaited a line wrapping around the building with eager fans ready to hear and see Slash in the flesh. For someone who has been a fan since childhood, seeing Slash perform is more than the usual concert experience; it is seeing an idol that has been a guide and inspiration. To understand what it means to be a true fan you must know and understand who Slash is, In turn you will be able to grasp a better appreciation of who he is and his talent.

Slash was born as Saul Hudson July 23, 1965 in Hampstead, London to Ola and Anthony Hudson – his mother (a celebrity costume designer) was African American and his father (an album cover designer for musicians) is British. At the age of five Slash moved to the United States. He was given the nickname “Slash” by family friend, Seymour Cassel, because he was

“always in a hurry, zipping around from one thing to another.” His younger brother, Albion “Ash” Hudson was born in 1972.

In 1974 his parents separated and Slash chose to live with his mother.

In his youth, Slash was an avid BMX rider. His venture towards music began when Slash decided to form a band with friend Steven Adler, in 1979. The band never actualized, but it led him to take music lessons. His first attempt to playing music was with the bass, but he switched to guitar after a lesson with his music teacher, in which his teacher played for him “Brown Sugar” by The Rolling Stones. From then on he practiced playing guitar up to 12 hours a day.

In his early years Slash started and joined several bands off and on, one of which was with Steven Adler in the Hollywood Rose, along with Axl Rose and Izzy Stradlin. Later, Axl Rose and Izzy Stradlin had asked him to join the newly formed Guns’N’ Roses. Duff McKagen and Steven Adler completed the band. They played in several Hollywood venues, including The Roxy, The Troubador, and the Whiskey Go Go. At the start, the band often played as opening acts to larger bands, but with growth in popularity they exploded after their first album, “Appetite for Destruction”, released Art! The Magazine | 11

in July 1987. In 1988 the band received its first and only NO.1 hit with “Sweet Child of Mine,” recognized by Slash’s famous guitar riff and solo. The band would go on to release G ‘N R Lies (1988), Use Your Illusion I (1991), Use Your Illusion II (1991), and The Spaghetti Incident? (1993). Within this time period the band’s tension between one another had increased. Also, Slash developed a drug problem and Steven Adler had left the band due to a heroin addiction, in which Matt Sorum was his replacement. Izzy Stradlin had also abruptly left the band, who was replaced by Gilby Clark.

After the release of The Spaghetti Incident? in 1993 the band had 3 years of inactivity.

In 1996 Slash announced that he would be leaving the band. He stated in his 2007 autobiography that his leaving the band was due to 3 specific reasons: “the disrespect shown by Axl Rose to their audiences and crew by causing the band to almost always 12 | Art! The Magazine

take the stage late during the Use Your Illusion Tour; the legal manipulation that Axl Rose forced on his band mates by demanding ownership of the band name and downgrading them contractually to hired hands; and the departures of Steven Adler and Izzy Stradlin.”

Slash had formed Slash’s Snakepit in 1994 with Matt Sorum on drums and Gilby Clark on rhythm guitar, as a side project from Guns ‘N’ Roses. Mike Inez (from Alice and Chains), on bass, and Eric Dover (from Jellyfish), on vocals, joined in on the project, as well. They released “It’s Five O’Clock Somewhere” in February 1995.

In 1999 Slash chose to regroup the band with Rod Jackson on vocals, Ryan Roxie on rhythm guitar, Johnny Griparic on bass, and Matt Laug on drum. They released Ain’t Life Grand in October 2000.

In 2002 Slash disbanded the group. He then joined with Duff McKagen, Matt Sorem, and Dave Kushner to form a new band—

Velvet Revoler. They were in search for a singer until they decided on Scott Weiland (from Stone Temple Pilots). The released Contraband in July 2004 and Libertad in July 2007. In 2008 Scott Weiland decided to leave the band. Despite him leaving, the band has not officially disbanded. In 2010 Slash announced that they were still in search for a singer. They were still writing songs and auditioning. In 2011 Slash stated that the band would be on hiatus for several years while the members would work on other projects.

In 2008 Slash began working on a solo project featuring several different artists.

Slash’s wife, Perla, had stated that “It’s going to be Slash and friends, with everyone from Ozzy to Fergie.” The album, simply titled Slash, was released in April 2010 reaching NO. 3 on the U.S. charts.

Slash began working on a second solo album in June 2011, collaborating with Myles Kennedy, Todd Kerns, and Brant Fitz. They also became his touring band, formingSlash featuring Myles Kennedy and The Conspirators. In May 2012 they released the album Apocalyptic Love.

Throughout Slash’s musical career he has recieved several awards and recognition for his fantastic art for the guitar. In 2012, with his former band Guns ‘N’ Roses, he was inducted into the Rock ‘N’ Roll Hall of Fame. Further, his fame was extended to receiving a star on the Hollywood Walk of Fame. He is loved and respected by many and maintains his role as the ultimate genius on the guitar.

Carrying this knowledge while walking into the Wiltern venue on December 2nd, greatly impacts the overall experience. The hum and energy of the crowd equipped with beers in hands and ears ready to hear vibrates through the air. We are warmed up by the bands Red9 and Hillbilly Howard- Both bands entertaining and success-

ful at heating up the crowd. The moment Slash and The Conspirators hit the stage, the music pulls the crowd in, tantalizing the ears and hearts. The band rocks, playing a range of songs from the recently released Slash solo album Apocalyptic Love to old hits from Guns ‘N’ Roses and Velvet Revolver – every song exciting all that were ready to hear. Myles Kennedy’s powerful voice takes on every song effortlessly with power and grace. At one point Slash takes on the stage solo, lulling the crowd by singing through his guitar- playing a bluesy sound that plucks the strings of the heart.

This show classically stands tall representing what music is and where it needs to continue to go. The passion in Slash’s guitar playing; the intensity of Myles Kennedy’s voice; and the contagious energy of The Conspirators as a whole, is a dream show for any music lover and fan.

—Rick Manny Quintana and Susan Seim

Art! The Magazine | 13

STRANGE DAZE: A Walk on the art side with...

C C

utting to the chase: once you’ve seen the work of Shaky Kane, you may find yourself forever changed. Through his contributions to such influential British publications as 2000 AD, Deadline, and Revolver, the enigmatic Kane became a living legend in comic book circles, before inexplicably dropping off the radar for a decade. Thankfully, in 2011 – having hooked-up with with wordsmith David Hine, Kane made a triumphant return with mind-melt maximus series The Bulletproof Coffin. It’s critical and fanboy acclaim subsequently spawned a sequel, The Bulletproof Coffin: Disinterred. Both publications are highly recommended for those who crave having their mind’s eye massaged into seeing the world from a way more interesting, yet disturbing perspective.

the silhouettes of the dead up on top-field during the frequent and savage electrical storms of summer.

WHAT KIND OF THINGS DID YOU DRAW/PAINT BACK THEN? SK: I would paint saddle-back pigs onto stretched hide. These I would attempt to sell at the Farmers’ gatherings. I would receive a sound thrashing for my troubles.

HAS PERSONAL EXPERIENCE EVER MANIFESTED ITSELF IN YOUR WORK?

SK: I think I work more in the realms of the what if. I sort of come up with ideas as of the instant, I

We decided it was time for Mr Kane’s confessional…

DESCRIBE YOURSELF AS A PERSON.

SK: I’m so introvert that I’ve passed right over into borderline extrovert.

WHERE AND HOW WERE YOU RAISED?

SK: I was born in Devon, in the rural town of Witchazle, curiously enough in the very market square where the last Devonshire witch was burnt.

An unfortunate soul with a cruel turn to her eye named Mary Tyler-Rose. Book reading was never encouraged and I was brought up in the belief that it was sinful to mimic the works of our Lord, be it in any form, so of course drawing was a secretive activity for a Witchazle lad.

DO YOU REMEMBER WHAT INSPIRED YOU TO START DRAWING/PAINTING?

SK: I was inspired by the way lightning would cast Opposite Left Page: LADY JUSTICE Right: KILLER COVER

Art! The Magazine | 15

SK: There’s a corner, an alcove by the patio doors. It’s 80 cm wide. I sent off for a work table from Ikea along with an expandable scissor action angled lamp in gun metal grey.

This I optimistically refer to as Wishbone Studio. I like to be with the family.

I listen to the TV while I doodle at night drinking Cold Budweiser, it’s got to be ‘The king of Beers’.

That’s the only life I know. I rarely go out. I went out once and it sucks.

WHAT SORT OF STUFF POPULATES YOUR WORK SPACE?

Above: KILLER Opposite Right Page: BURROUGHS

rarely have to put any thought into what I do.

DID YOU ENVELOP YOURSELF IN ART AND ARTISTS WHEN YOU WERE GROWING UP? SK: Not at all. My first paid job was frying donuts at the Crusty Cobb – 6 o’clock start. It was a steep learning curve.

WITHOUT STATING THE LOCATION – TO PROTECT YOU FROM STALKERS – WHERE DO YOU RESIDE?

SK: I live in Devon [a coastal area in South West England] where nothing’s ever like you’d assume: assume makes an ass out of ‘u’ and me – now there’s a power-point presentation!

DESCRIBE YOUR HOME ENVIRONMENT: WHAT KIND OF THINGS DO YOU LIKE SURROUNDING YOURSELF WITH?

SK: I like theings neat. I don’t like old stuff. I’ve laid oak flooring. Looking around here, most of the things come from the now almost defunct Habitat [a one time hugely popular contemporary furniture store/company]. There’s a TV cabinet in gloss white and a grey retro Italian chair – it’s the bomb, Billy! The Bomb!

IS YOUR STUDIO IN YOUR HOME?

16 | Art! The Magazine

SK: I bought this sticky notice board.

So I constantly update my horizon. One item which I’ve kept on the board is a clipping from the local paper, headlined, ‘STUDENTS BRANDED’, [in which] drunken students had been permanently scarred after burning initials onto their skin with a make shift branding iron. I often think about this while I’m drawing . I particularly like the detail about how the students, and I quote, ‘had to bite on a wooden spoon to stop themselves from screaming!’ that must have been quite a party. And these are the brains of Britain here. Now, do you see why I don’t go out?

PANELS IN YOUR WORK ARE OFTEN PACKED WITH COOL TOYS AND STUFF.

SK: I’ve got a fair bit – thinks like Frankenstein’s monster in a hot rod. [Although] I put it all away, I don’t like stuff getting dusty.

WHAT IS YOUR GREATEST INSPIRATION?

SK: It’s being able to do something off my own back and pull it off. I’m always made home movies, trying to get songs together, and drawing comic books – anything which is in the realm of possibility. Creative stuff. The only identity I have is through my work, if you want to call it that.

JACK ‘THE KING’ KIRBY IS AN EVIDENT INFLUENCE ON YOUR WORK. CAN YOU REMEMBER WHAT YOU THOUGHT WHEN YOU FIRST CLAPPED EYES ON HIS WORK.

SK: This is true. When I was about seven, my dad brought home a pile of magazines and American

comics from work. I think a young baker – who was referred to, to us, as THE BOY – had brought them in. These would have been early ’60s Marvels. I was never very good at reading, but I was really taken by these things as possessions. I liked everything about them. I think the first comic book I saw was a Marvel Pop-Art Production, Thor battling the Absorbing Man. I remember him touching a glass shop-front and turning to glass, and thought it was the greatest thing ever.

WHY DO YOU FAVOUR OLD SCHOOL COMICS/ COMIC BOOK ARTISTS OVER CONTEMPORARY ONES?

SK: Something happened to comics with the progress made in the printing process. The magic just went as soon as the colour switched over to computer rendered. They are for the most part the most ugly things in publishing. Can’t the publishers see this? What sort of assholes are they?

Obviously I like Jack [Kirby], but equally I like Curt Swan. I like his depiction of small town America.

I yearn for it with a false nostalgia. I like anyone who draws in a clean line. I like American art. I like America.

YOU ONCE REFERENCED FRANCO SUADELLI AS SOMEONE WHO’S WORK YOU ADMIRE.

18 | Art! The Magazine

SK: Yeah. I bought his The Blonde books. Clean line, great girl art. He’s a cool guy. Bondage, it’s fun. I tried to do some stuff like that for [Brit mag] Deadline, things like Hi-Heel, This Is What We Look Like When We Die and The Red And The Black. I got a stinking letter from a feminist who did not share my world view. She was probably right though, you never know what the readers’ personal circumstances are. That’s why newsreaders wear ties, your mother might have died that afternoon.

SEX DOESN’T APPEAR TO BE A MAJOR ASPECT OF YOUR WORK, SO WHY DID YOU GO DOWN THAT S & M ROUTE.

SK: I sort of like the idea of dressing up. I like make-up, it smells nice. I don’t like the reality much. I don’t really like up close personal stuff.

I don’t actually like people too much, you never know what they are thinking.

DO YOU THINK THAT THERE IS MORE, OR LESS FREEDOM TO DEPICT EXPLICIT IMAGES IN COMIC BOOKS THESE DAYS?

SK: More or less. Look at Fantagraphics’ Johnny Ryan. Always strikes me how strange a notion ‘adult content’ usually implies something kind of juvenile. I would never knowingly overstep the

I also did Bobby Moore’s Mysterious World Of The Paranormal! for [British weekly music paper NME] , but that finished when the 1966 world cup hero sued them for undermining his authority as a serious football reporter – he was sports editor at the Sunday Sport [newspaper] at the time! The NME never asked me to do anything again!

WILLIAM BURROUGHS IS APPARENTLY ANOTHER INFLUENCE ON YOUR WORK. WHAT IT IS YOU LIKE ABOUT HIS WORK?

SK: I like the way the information is presented.

I’ve got a short attention span. I’d use up all my good ideas in one panel! That’s what comic book writers do. Burroughs had a scatter-gun approach to literature.

YOU DISAPPEARED FOR A WHILE. WHERE DID YOU GO AND WHAT DID YOU GET UP TO?

Above: AMEN Opposite Right Page: MONSTER TRUCK

mark, [although] sometimes I might be a bit unsure of where the line actually is.

WHAT DO YOU CONSIDER TO BE YOUR FIRST BIG BREAK REGARDING GETTING YOUR WORK PUBLISHED?

SK: Meeting Brett Ewins, although I can’t remember the circumstance. Out of all the British artists, this guy was one of my art heroes [Ewins is reknowned (amongst many other things) for his work on Judge Dredd in UK weekly comic 2000 AD]. He was so encouraging and generous with his time: which is why it was so awful to read about him being beaten by the police recently [2012].

WHERE AND WHEN WAS YOUR WORK FIRST PUBLISHED, AND IN WHAT PUBLICATION?

SK: My first regular paid work was in [Brit music weekly] NME around 1984. I sent in a gag about William Burroughs. It showed the guy from the library coming around because he’s been cutting the books up. It got in print and started me wondering maybe there was more to life than frying donuts!

SK: I just vanished. Things never effect me. I can cut myself off from my emotions. I spent 10 years doing either moronic factory work or I was unemployed. Didn’t really hurt. I liked it. And those days are gone now, they can’t touch me.

WHAT DREW YOU BACK TO THE COMIC BOOK ARENA?

SK: It was running into David Hine [a comic book writer responsible for everything from X-Men to Batman and the jaw-droppingly brilliant Elephantmen]. We got talking and we got a plan. Image Comics liked us. The critics liked us. It’s all good.

CAN YOU GIVE THE UNINITIATED A HINT OF READERS CAN EXPECT IF THEY CHECK-OUT YOUR (AND DAVID HINE’S) ‘BULLETPROOF COFFIN’ OR ‘BULLETPROOF COFFIN: DISINTERRED’?

SK: It’s a hallucinatory optical assault. On the surface it’s fairly self consciously comic-bookie, but start reading it and you follow Steve Newman’s madness as he pursues his comic book fantasy to it’s logical or should that read- illogical conclusion.

Its unique, I’d say.

YOU RECENTLY RERELEASED THE EYE-CANDY EXPLOSION THAT IS ‘MONSTER TRUCK’.

WHY DID YOU DECIDE TO DO THE ENTIRE

Art! The Magazine | 19

Above: SHAKY KANE Photo by: STEVEN COOK

BOOK AS ONE CONTINUOUS STRIP?

SK: This came out of nowhere. A guy I was working for in an unequaled gesture of benevolence paid me to let myself into his office three times a week, to draw a graphic novel. Working without a script I just set to work. The format came with the idea of passing by the images, as if travelling in a Monster Truck. The first idea being the one I always run with. It was a lot of fun. I got a lot of books out of it and was paid for my troubles.

CLOWNS REAR THEIR GREASEPAINTED FACES FROM TIME TO TIME IN YOUR WORK. DO YOU LOVE OR – AS IT APPEARS TO BE THE CASE WITH MOST PEOPLE – HATE THEM?

put the Horror Channel on and let it play in the background.

IN ALAN MOORE’S GUIDE TO WRITING COMICS ESSAY, YOU ARE QUOTED AS SAYING “DON’T BE COOL, LIKE EVERYTHING.” DO YOU STILL STAND BY THE SENTIMENT?

SK: The actual quote is a misquote. I actually said “DON’T BE HIP, LIKE EVERYTHING!” Hip is doing what the latest in-thing is. Cool’s okay. cool is universal.

WHAT DO YOU REGARD AS BEING THE DOWNFALLS OF BEING HIP, THEN?

SK: I like clowns a lot. Where does it come from that they’re sick in the head? Maybe they like the way the makeup smells.

Well, HIP is a trap. It can only relate to a particular mode of behavior. It’s an affectation, Uhhh I’d imagine!

WHEN YOU’RE NOT DOING ART, HOW DO YOU OCCUPY YOURSELF?

DO YOU THINK THAT THE WORLD’S GOING TO HELL IN A HAND-BASKET?

SK: That’s all I do. I can’t stand going to the cinema, I’m always relieved when the movie’s over – I’ve always been like that. The only TV show I like is You’ve Been Framed, although I sometimes

20 | Art! The Magazine

No, I always like the way things are. I like the here and now. That’s the best place to be.

—Billy Chainsaw www.facebook.com/shaky.kane

COlorado Crush

V

iewing street art and graffiti in a gallery will not give you the same sense of excitement as it does when you stumble upon it in public.

In the street, these works are raw, powerful, fleeting, and at home. They’re gifts, generously left behind by artists, that can’t be bought or sold - only discovered. Just as you would visit a gallery, take time to explore the streets. Appreciate the art that already belongs to you.

With that being said, a place worth exploring, if you are completely in awe of art and enjoy graffiti in all its splendor, is located right on the streets of the Rhino Arts District in Denver, Colorado where a true treasure of graffiti has unfolded and become a community landmark for everyone to enjoy. This landmark was as a result from a live painting event called “Colorado Crush” which happens yearly in the Rhino Arts District. Colorado Crush is an event started

by Dread ICR KD, a graffiti artist from Denver whose vision was to share a group of talented artists with his community by showcasing their

| SPOTLIGHT | An art destination, worth visiting art in a public space. This showcase has now become an urban backdrop for photography and music videos and is also complimentary to the everyday life for those residing or visiting the Rhino Arts District in Denver, Colorado.

Now on display for public viewing and the main feature of “Colorado Crush” is a 40 foot tall wall titled “Hello My Name Is” painted by Dread ICR KD, Else, 4sakn, Gamma and Path One. The Hello My Name is Sticker “marks the beginning for a lot of graffiti artists and is a basic foundation for many still today” says Dread ICR KD, and was the inspiration behind this magnificent production. Bursting out of the sticker, Dread ICR KD, Else and 4sakn’s names popping in a different angle and with a different letter style. Bringing extra flavor, a brown haired hipster chick with a white shirt hanging off her shoulders holding an All City spray can (who was one of the events sponsors) was painted by local artist, Gamma, who according to sources, has only been painting for 5 years. Included in the background of the production; a helicopter outlined by Path One

Art! The Magazine | 21

| SPOTLIGHT |

22 | Art! The Magazine

| SPOTLIGHT |

Art! The Magazine | 23

| SPOTLIGHT | and finished by Dread ICR KD. Bees, flowers and other city elements are also incorporated into the piece. To the side of the “Hello My Name Is” production is an entire wall that was canvas to a diverse group of graffiti artists; Masivo, Culpa Pfe, Jero, Taste, Hoacs and Sebs who collectively showcased their own West Coast, East Coast styles. Each style was painted and stacked, one on top of the other and three rows down making a 6 man aerosol collaboration.

In addition to the main feature wall, is a long alley with a comprehensive array of graffiti art presented by dozens of artists. Taking you through a visual tour of this urban gallery and beginning on one side of the alley, is a beautiful, luscious and bold piece painted by Crayone, a graffiti artist from San Francisco.

This piece by Crayone is a real looker and is of 2 robots with no gender fighting one another, painted only in pink and red pink. This piece’s true definition is within the careful and methodical lines that the artist cut and faded using his aerosol. Next to this, Vogey and Jher, came in with the flames creating two burners that per-

fectly complimented one another and joined together smoothly with Crayone’s piece. Graffiti runs like fluid all the way down the alley and alongside an additional bonus wall with pieces painted and showcased by Kools, Thrives, Reps, Reks, Kite, Path, Nspire, Nice, Koze, Swek, Beazt, Pulp, Jolt, Omni, Bimmer, Taste, Suave, Zeb, Pistoe and more. Various techniques, styles, colors and vision intertwine with one another and form a wall of urban expression which expands across an entire block and for the public to enjoy.

Colorado Crush will be in full force again with another release of brand new art the weekend of September 7th, 2013. Although this year’s artists have not been revealed, expect some new surprises. It has been announced that workshops and more wall space are just of the few additions to this year’s Colorado Crush.

Please note, all are welcome to attend and to engage in the creation process as the artists create live during the Colorado Crush live painting event 2013. Definitely an experience —Luna George you wouldn’t want to miss.

For more info please visit: www.coloradocrush.org Photos by Luna George and Aldona Vaitekunas

24 | Art! The Magazine

| SPOTLIGHT |

Magick Eye 2

M

agick Eye 2 was London’s Orbital Comics’ second annual Halloween art show to be held at their in-store gallery.

Curated by the inimitable Jason Atomic and Eisner Award winner Garry Leach, it more than lived up to its billing as ‘A salacious slice of Halloween cheesecake and horror’ by delivered eye candy overload beyond the max.

The informal private view was packed with a motley mix of artists and comic-book industry professionals, the odd member of the public, and one bona fide celebrity – hey, every opening needs at least one. So there I

London’s Orbital Comics’ 2nd Annual Halloween Art Show

was, deep in meaningful conversation about life, death and the afterlife (yeah, right!) with fellow revelers, when I overheard someone say, “Is that the dude off The Walking Dead?”

So I took a look, and sure enough, browsing through the back-issues on the store floor was none other that Norman Reedus, the show’s crossbow-wielding, zombie-slaying, quasi-nutjob. As everyone who could see Reedus was overcome by geek-fright and glued to the spot, I strolled over and asked him if he’d like to check-out the art and partake in a couple of cold ones. He did just that – and what a friendly appreciator of the arts — Billy Chainsaw he turned out to be.

Above: BILLY CHAINSAW (pic to his left is his art) and THE WALKING DEAD’s NORMAN REEDUS

Art! The Magazine | 25

| SPOTLIGHT | Left: The Magick Eye 2 crew(left to right): MATT VALENTINE, GARRY LEACH, RUFUS DAYGLO, GAYE BLACK, JASON ATOMIC, GRAHAM HUMPHREYS, BILLY CHAINSAW, STEVE COOK

Right: STEVE COOK (both pics are his art)

Left: BILLY CHAINSAW, SUSAN DIAMOND (CHARLES OF LONDON/ GOB$AU$AGE), JOE MELOTTE (BLACK LODGE PRODUCTIONS).

MARK CHARLES (CHARLES OF LONDON/GOB$AU$AGE), and MANKO

26 | Art! The Magazine

| SPOTLIGHT | Left: RUFUS DAYGLO (top 4 pics are his art), GAYE BLACK (3 pics to her right is her art) Below: GRAHAM HUMPHREYS (top 2 pics either side of his head are his)

Above: RUFUS DAYGLO (top 4 pics are his art), GAYE BLACK (3 pics to her right is her art) Right: MATT VALENTINE (bottom pic to his right is his)

Photos by Manko attemptedmurderstudio@gmail.com

Art! The Magazine | 27

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — hen— — Gilbert ‘Magu’ Luján humans, so I make the— — car a human being…

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — died on July 24 2011, the making them cartoon characters is a subter — — — — — — — — — — —lost — — — — — — — — — — — — — — — — — — — — — art world a true maefuge for something else.

This way I [can] deal — — — — — — — — — — — — — — — — — — — — — — — — stro— — of his — — craft. A— — pioneer with racism in a— — different way, to counter a — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — of the Chicano art move- lot of anti-Mexican feelings by hiding behind — — — — — — — — — — — — — — — — — — —color, — —innocence, — — — — — — — — — ment which first took root whimsy, folky… it’s— — a tactic — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — in the social and cultural upheavals of the that I use to get around the hardline about — — — — — — — — — — — — — — — — — — — — — — — — 1960s and— — ’70s, — — ‘Magu’— — was a — — member of the lowriders.”

— — — — — — — — — — — — — — — — — — — — — — — — — — — — legendary art collective Los Four, who— — along— — ‘Magu’s outspoken way was embraced by — — — — — — — — — — — — — — — — — — — — — — — — — — with Carlos Almaraz, Frank Romero all those privileged to spend time in — — — — — — — — — — — — — — — — — — — — — — — and Beto de la Roca, were the his company, which was many — — — — — — — — — — — — — — — — — — — — — — — first Chicanos to exhibit at the during the last four decades — — — — — — — — — — — — — — — — — — — — — — Los Angeles County Museof his life. Artists in the So — — — — — — — — — — — — — — — — — — — — um of Art; ‘Magu’ was also Cal region were always wel — — — — — — — — — “Gilbert ‘Magu’ Luján’s whole — — — — — — — — — — — one of the first American come at his studio to par-— — — — — — — — — — — — — — — — — — — — life was about Chicano art – in artists of Mexican descent ticipate in what he lovingly — — — — — — — — — — — — — — — — — — — — my opinion he was Chicano art.” to forge an international referred to as his mental— — — — — — — — — — — — — — — — — — — — — Mario Trillo, Artist. art career.

Operating as a menudos – during which,— — — — — — — — — — — — — — — — — — — — painter, and muralall attendees were— — posed — — — — —sculptor — — — — — — — — — — — — — ist, his art is a vibrant blending the question ‘what is Chica — — — — — — — — — — — — — — — — — — — — — — of — — mythical and— —— — contemporary no art?’

It was ‘Magu’s way of — — — — — — — — — — — — — — — — — Mexican-American life and symgetting them to think outside the — — — — — — — — — — — — — — — — — — — — — — — — bolism, in which brightly colored, curproverbial box, and— — spark— — discussion — — — — — — — — — — — — — — — — — — — — — — — vaceous lowriders driven by Aztec warriors or about the— — direction of their art.— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — sunglasses-wearing dogs are — — the norm; it apIn — — order to realize how— — ‘Magu’ rose— — to such — — — — — — — — — — — — — — — — — — — — — — — — peared everywhere from galleries, museums, an— — influential and legendary need — — — — — — — — — — — — — — — — — — — — — — —status, — — we — — — — — and— — public— — places such — — as the — — Hollywood and to — — time travel to — — 1962 when, on leav — — — — — — — — — — —back — — — — — — — — — Vine Metro station.

But as comical as some ing the Air Force, he began his art educa — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — of the imagery to — — ‘Magu’— — they were the tion at East Los— — Angeles Jr. College.

Within — — — — — — —was, — — — — — — — — — — — — — — — — — — — embodiment of the social-political blood that a couple of years he was well versed in the — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — coursed his veins: he— — once revealed art— — terminology the day, and— — his perception — — — — —through — — — — — — — — — — — —of — — — — — — — — — to — — Latinopia.com: “Everything I do is about — — — — — — — — — — — — — — — — — — —him — — — — — — — of — — everything around started to— — change — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — —Page: — — — — — — — — — Right Opposite GILBERT ‘MAGU’ LUJá N — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Photo— — Courtesy of the Luján family — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — 28 | Art! The Magazine — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Gilbert

W

Magu

Lujan

ALL HAIL THE MIGHTY ‘MAGU’!

W

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — and become very personal.

For — — instance: in — — self fought his art, and — — while — — — — — — — — — — — — — — — — — — back — —through — — — — — — his mind’s the— — graffiti— — that — — emblazoned he played combining cultural and — — — — — — — —eye, — — — — — — — —at— — — —Mexican — — — — — — neighborhood walls became calligraphy, and European traditional styles, his love for his — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Day of the Dead as art in- — — own — — people— — is what inspired informed — — — — — — — —altars — —appeared — — — — — — — — — —and — — — — — — his creative outpourings the most.

Through stallations. created by — — people— — with — — — — — — — —Although — — — — — — — — — — — — — — — — — — — — intense observations of his local community, no formal training, ‘Magu’ recognized them as — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — ‘Magu’ witnessed his— — people expressed being— — on the— — same — — wavelength him –— — indi- — — — — — — — —as — — — — — —how — — — — — — — — viduals that — — had to — — create— — to fuel— — their souls. their love of — — color and form, and — — how they in- — — — — — — — — — — — — — — — — — — — — corporated into— — their everyday existence.

This revelation drove ‘Magu’ to seek out fur- — — — — — — — — — — — — — — — — — — — —this — — — — — — — — — — — — — — — — — — — —So — — — —UC — — — — — — — — — —the — — — — — — He respected the way in which neighbors ther mental stimulation. he joined Ir- — — — — — — — — — — — — — — — — — — — —at— — — — — — transformed everything their disposal into — — vin, where a — — new universe opened— — up with the — — — — — — — —that — — — —was — — — — — — — — — — — — art: such as— — an old— — split tire being turned in- — — realization learning more than— — just — — — — — — — — — — — — — — — — — — — — — — memorizing facts; — — he also learned to — — think — — side-out and— — painted to resemble a giant— — flow- — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — without emotion – which was a particularly er, which was then used as a pot to house a — — — — — — — — — —for — — — — — — — — — — — — use — — small— — fruit tree.

This— — method of making of — — difficult task — — to achieve any — — passionate, — — — — — — — — — —proved — — — — — —most — — — —would — —deem — — — — — — something people useless soulful— — artist.— — This newfound discipline — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — is a traditional Mexican art form known as — — to be what helped hone him as a mentor.

— — — — — — — — — — — — — —of— — — — — — — — — — — — — — ‘rasquache’, one that ‘Magu’ embraced like a — — As a teacher, ‘Magu’ instilled a sense per- — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — sonal history into his students, as well as po- man possessed.

— — — — — — — — — — — — — — In time, the — — fantasy— — world— — that he— — created by — — liticizing their— — situation and— — opening their— — eyes — — — — — — — — — — — —up— — — —— — — — — — — — incorporating such — — elements as fabric, twigs, — — to the— — fact that they— — needed to stand and — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — fight for their rights as Americans. He him- clay and paper were looked on as muse- — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —Below: — —‘MAGU’ — —CARITO — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — 30 | Art! The— — Magazine — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — SUPPER — — — — —LAST — — — — — — — — — — — — — — — — — — — — — — — — — — — Photo Courtesy of Gilbert Ortiz — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — ‘MAGU’— — WORKING ON CAR — — — — — — —— — — — — — — — — — — — — — — — — — — — — — — Photo Courtesy of the Luján Family — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Art! The Magazine 31 — — — — — — — — — — — — — — — — — — — — — — — — — — — — —|— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Image: WATCHING ‘MAGU’ AT WORK Photo Courtesy of Mario Trillo

Image: LOS FOUR Photo Courtesy of Oscar Castillo

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — um quality works, — — and embraced by gallery — — — — — — — — — — — — — — — — — — — — — — — — — — — — — owners spellbound by their colorful, almost — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — child-like nature. impressed ‘Ma- — — — — — — — — — — — — — — — — — — — — — — —Further — — — — — —by— — gu’s — — ability — — to articulate concepts, these — — — — — — — — — — — — — — — — — — — — — his — — — — — — — — — — — — — — — — — — — — — influential individuals started opening their — — — — — — — — — — — — — — — — — — — — — — — — — eyes— — to the — — Chicano experience – and— — form- — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — ing a— — different, more appreciative perspective — — — — — — — — — — — — — of the people and their art. It was the — — major — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — breakthrough that — — ‘Magu’— — had not just dreamt — — — — — — — — — — — — — — — of, but fought incredibly hard for. It was the — — — — — — — — — — — — — — — — — — — — — — — — — dawning of — — the age— — of ‘Magulandia’, an— — expe- — — — — — — — — — — — — — — — — — — — — — — — — — — —using — — rience the maestro developed the— — color — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — palette he’d witnessed in the barrios to create — — — — — — — — — — — — — — — — — — — — — — — — — — — — — characters, animals, and— — non-realistic envi- — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — ronments to convey a comical commentary — — — — — — — — — — — — — — — — — — — — — — — — — — — based on current political— — events, and— — racial — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — attitudes of — — the time.

— — — — — — — — — To his dying day, — — Gilbert— — ‘Magu’ Luján— — con- — — — — — — — — — — — — — — — — — — — — — — —the — — — — — — — — tinually pushed envelope creating and — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — re-creating his art – which is the mark of a — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — — — — — — — — — — — — — — — — true visionary!

—Billy Chainsaw / Angel Guerrero Above: ‘MAGU’ DOG — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Below: CARITO ANTE MAG — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Photo— — Courtesy of Mario Trillo — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — 34 | Art! The— — Magazine — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Drawing From Life The

Jason Atomic Story

G G

entlemanly eccentric Jason Atomic creates work that buzzes with an intoxicating vibrancy and strangeness. Born and based in England, the self-taught artist uses a mix of clean lines and messy colors to vigorously dissect pop and sub-cultures, and, as he puts it, “externalize a dreaming reality”. While Atomic’s demon, alien, and sexy siren populated art is undeniably bizarre, it also reveals him to be a maestro of portraiture and the human form. I met up with him in the silent and clinical confines of London’s British Library to drool over Jack Kerouac’s original manuscript scroll of On the Road. Naturally, the awe generated by this literary experience meant we needed to relocate to a nearby bar for a beer; where we chatted about Atomic’s life and art, which I soon discovered were one and the same.

DID THE WAY YOU WERE RAISED HAVE AN INFLUENCE ON YOUR BECOMING AN ARTIST? Yes, my family moved a lot when I was a kid, so being an artist was the one constant that I had. I don’t remember the first time I found a pen, but it was very early – my mom has pictures from when I was one-and a-half-years-old. I was obsessed with drawing animals. I also got into history: ancient Egyptians and Native Americans, particularly, and from there I went into horror, and then comics.

HOW OLD WERE YOU WHEN YOU GOT INTO COMICS? My first ever collage was made from Tarzan comics around 1972, when I was five-years-old.

Then I started collecting comics about 1976: reprints of American ones that were full of strips Opposite Left Page: ROCKING JELLYBEAN PICTURES BY MANKO attemptedmurderstudio@gmail.com

by legendary comic book artists Jack Kirby and Steve Ditko. I really loved cave paintings too – it’s the kind of art I most relate to.

I THINK CAVE PAINTINGS AND EGYPTIAN HIEROGLYPHICS ARE LIKE EARLY VERSIONS OF COMIC BOOKS… They’re comic strips, they’re history, they’re magick.

EXACTLY. I’VE ALWAYS REGARDED COMIC BOOKS AS MAGICK – SPELT WITH THE ‘K’, OF COURSE, À LA OCCULTIST ALEISTER CROWLEY. I’m fascinated by the concept that making a line on paper can be a magickal act. Making graven images is banned by the fucking Taliban; it’s banned in the Ten Commandments, because it’s aping God. I do think about that a lot when I draw people’s portraits. I feel I’m getting closer to discovering their secret name [the true name that reveals the nature of a person’s soul, according to ancient beliefs]. A lot of people regard being an artist as just a job, but I think it’s quite a dangerous thing: it’s quite seditious. It’s a compulsion. Recently, it’s been said that being an artist is analogous with certain mental disorders – I always felt that my brain was made differently to everyone else.

YOU DO A LOT OF PAINTING IN YOUR WORK. HAS THAT ALWAYS BEEN THE CASE? As a child, I was instinctively drawn to the idea of painting, but the shitty hog-hair brushes they give you at school really frustrated me and put me off it. I couldn’t get the detail I wanted. I remember one instance when I was about six or seven-years-old: I couldn’t get Dracula’s fangs pointy enough, so I scrubbed out his face and left it on my desk, intending to finish it off after the weekend. But when I went to the school library later it was on the wall – so my first public

Art! The Magazine | 37

exhibition was an unfinished piece that I was really unhappy with. So I gave up on painting, and decided I was gonna draw comics, and wrestled with that through the ’80s. But in 1994, a bad experience with a publisher made me call it a day with comics too, and I decided to move to Japan [for four years].

Around that time, I had a dream that changed everything: I was in an old farmhouse at night, sat at an old school desk full of sketchbooks from when I was a kid, looking out over a graveyard.

Suddenly, I became aware that someone was with me. I looked around and there was the face of Salvador Dali floating over my left shoulder, and he said, “It’s time, we’ve gotta go”. I had to go downstairs for this big press launch, because Dali and his fellow dead art legends Joan Miró and Pablo Picasso had chosen me to represent them in the 21st century. While Dali was a floating face, Miró had manifested as a small, white, talking kitten, and Picasso had come back as an enlarged newspaper cut-out. There was a sculpture that I had to unveil on their behalf, which basically turned out to be a triplicate phallic symbol.

This dream visitation by the three ghosts made me realize that I shouldn’t be trying to conform to this idea of making a popular thing for people to consume [such as a comic book]. Instead, I should do as they did, and get away from everything and start looking at life and drawing it: if someone puts your dinner on the table, draw your dinner; if you go for a walk and see a tree, draw that tree. So that’s all I did for my first year in Japan, I just got in touch with that idea of interpreting reality through my own consciousness.

BUT YOU STILL DREW PEOPLE, DIDN’T YOU? I did, but I knew I could draw people. I tried drawing the things that I didn’t know how to draw. I don’t look at the paper when I’m drawing, because I’m trying to take the ego out of the process: my hand just follows my eye in an almost mechanical way, so my brain doesn’t choose what it draws. I’m trying to make my process authentic, so that the line has a kind of existential nature. And the color, which I add afterwards, is more like an expressive playing: how the paint hits the canvas, how it rolls, how it coagulates.

HOW DID YOU EVENTUALLY UNITE ALL

38 | Art! The Magazine

decided to speed up things by putting it in the blender – along with my [drawing] hand, which saw me spend two months bandaged up in a sling! [During my incapacitation], I got to thinking that I’d slipped back into doing art to suit people’s briefs, and I decided it had to stop. So I made a mental note to myself that once my hand had healed, the next painting I would do would be something that I’d want to hang on my wall – something just for me.

WHICH WAS? It turned out to be my rendition of Jack Kirby’s Devil Dinosaur. I’d never traced someone else’s work before, thinking it was lame. But then I thought if I’d ever been asked to do so [as a job], I would have done it. So I approached the picture as if I were a comic book inker/colorist for Kirby.

Once I’d painted it though, I wanted to show it, but couldn’t put it in a solo exhibition because it didn’t go with anything else I’d done.

Above: WANGO BATONGA COMIC Opposite Left Page: GIVE ME BACK MY HAT

YOUR DIFFERENT THEMES AND STYLES? I’d always wanted to be investigative with my work, and being interested in sub-cultures and different scenes, I started hanging out with [for instance] punks and drawing them in their environment.

Eventually, this led to me performing with a band called Fist Fuck Deluxe in London. It was great fun, but very different from my painting. So from the late ’90s/early Noughties I was fighting to pull together these two halves of my life: where one side’s interested in dressing up in weird clothes and performing, and the other side’s very observant and involved in drawing from life, and painting.

Meeting my muse Manko [in the early Noughties] was like an act of God. She made me realize that my life needed to go in a new direction, and helped me resolve my interests in street fashion, comics, and life drawing, to a point where it all started making sense as a cohesive whole.

SO WHAT DID YOU DO? Well, I saw an amazing painting of Doctor Doom

by Feroze Alam, in which he’d taken Kirby’s lines and then just colored it himself in oils. He agreed to be in a themed group show I wanted to do called Hail to the King [Kirby is generally referred to as ‘King Kirby’], so I asked around and put together a bunch of other artists. We launched it in London at the Resistance Gallery first, and then approached Orbital Comics about continuing it at their in-store gallery. When I told their organizer [Karl Asaa] I wanted to do something that would draw attention to Jack Kirby and highBelow: SPIDER MANKO

SO WHAT FOLLOWED? I decided it was time to get comics back into my work. There’s a funny story that led up to it happening: one day I was very drunk and angry and chopping up parsley at home, when I

Art! The Magazine | 39

Image By HELEN OLDS www.helenolds.com

Above: JASON ATOMIC Opposite Left Page: STAR WARS GALAXY ARTIST

SKETCH CARD

light how respected he is as a serious artist, he waived the normal hire fee because he said the concept was “too important”.

The exhibition’s opening night is what really re-established my connection with the comic scene, through meeting people who knew my comics from the ’80s, and some of my favorite artists of the moment.

WHO WERE SAID ARTISTS? The Bulletproof Coffin artist Shaky Kane in particular, because he’s another person like me, who was evidently affected by seeing Jack Kirby’s work; and Garry Leach – I love the work he did for [UK comic] 2000AD [he was one of the many Judge Dredd artists], as well as the very detailed ‘good girl’ art he does now. Gary liked the fact that Hail to the King was a group show that blurred the line by showing fine artists doing comics, and comic artists doing paintings so much that he suggested that we do a show for Halloween 2011 [Magick Eye]. It was so successful, we did another one the following year.

TELL ME ABOUT YOUR INVOLVEMENT WITH THE MARS ATTACKS TRADING CARDS. I have this long running project doing portraits of my favorite artists, which started in the ’90s when I was in Japan, with one of Devilman artist/creator Nagai Go. A few years ago, I went to New York with the intention of meeting and painting Rammellzee and Sucklord, two of my favorite artists. Sucklord makes bootleg Star Wars action figures as art. Rather than suing him out of existence, Lucasfilm kinda liked what he was doing because it gave them a bit of cult street cred, so they left him alone. Through that, he was approached by Topps trading cards to curate a sub-set of sketch cards for their Star Wars Galaxy series, so he recruited me for #4 – which ended up with me doing four years of Star Wars trading cards. When Topps re-released Mars Attacks [the card series that inspired Tim Burton’s same-titled film] to celebrate its 50th anniversary, I was very happy to do sketch cards for them.

To me, the Mars Attacks cards are another one of those magickal things that have influenced my life: EC Comics, Mars Attacks, underground comix, and 2000AD form a [personal] seditious undercurrent I can follow, and now say I am part of.

Doing so made me reinvestigate underground comix, which have inspired my next big thing –Satanic Mojo: I am producing an imaginary, late ‘60s-style, satanic underground comic, with contributions by Garry Leach and Shaky Kane.

While comix-based, it’s quite a departure for me – my first step into conceptual art.

WHAT IS THE IDEA BEHIND SATANIC MOJO? It’s a secret history of my own lifetime – 1967 to the present – depicted through pop culture, inspired by Satanism and the occult. I’m going to make facsimile artworks to represent each period of my life: vinyl records, flocked blacklight posters, underground comix and T-shirtts. I see it as me tying up the loose ends of where my influences come from – maybe I’ll find out why, as —Billy Chainsaw I’m doing it.

Website: www.jasonatomic.co.uk Blog: http://jasonatomic.blogspot.co.uk/ Satanic Mojo start-up campaign: http://www.indiegogo.com/satanicmojo Atomic sketches Sucklord: http://www.youtube.com/watch?v=nE8uAW_OdW8 Atomic sketches Rammellzee: http://www.youtube.com/watch?v=5zRSDU_CEM4

Art! The Magazine | 41

The

Art

of

Rebellion...

Graduate Student Tackles the Paintbrush and Social Issues

T T

he opening reception of “The Art of Rebellion: Social Justice and Chicana/o Visual Arts,” located at the Chicana/o house, last Friday exhibited artwork from Jake Prendez, 36, a Chicana/o studies graduate student at CSUN. Prendez, who marked the end of his graduate program by presenting this gallery, talked about his inspirations. “I’m driven by the underdog, the downtrodden and the oppressed,” he said. “I’m driven by what I see culturally and politically. Things like immigration, workers’ rights and the oppression of women.”

A few of Prendez’s models, that he painted in his work, were present; among them, Sonia Salazar, 25, a marriage and family therapist. “(Prendez’s) art represents hope for future generations through the concept of educating the youth and paying it forward to them,” Salazar said.

Prendez uses styles derived from Chicana/o culture, political campaign art and street art. In one of his favorite works titled “Genetic Memory,” he said that the cultural symbols of seeds that the ancestors held, have grown so that the seventh generation may reap the benefits, which are represented by the flower symbol.

Yreina Cervantez, a full-time professor for the

department of Chicana/o studies at CSUN, said, “He’s made a contribution and expressed his ideas in the ways strongest for him.” “His art reflects social justice and cultural issues,” she said.

Prendez has faced many obstacles in his academic career, one of those being his dyslexia and another when he had been told by a teacher that he would be shot and killed before leaving high school. Yet despite these obstacles his art exhibition is in fulfillment of the creative project and written thesis to complete his masters in Chicana/o studies at CSUN. The exhibition is free and open Tuesdays from 2:30 p.m. to 4:30 p.m. and Thursdays from 2:30 p.m. to 4 p.m. and 5 p.m. to 7 p.m until March 22.

A closing reception will take place March 21, from 5 — John Saringo-Rodriguez p.m. to 6 p.m.

Information: The Art of Rebellion: Social Justice and Chicana/o Visual Arts Art exhibition in fullfillment of the creative project and written thesis for Chicana/o studies student, Jake Prendez’s M.A. Located at the Chicana/o house Opening Reception: March 1, 5:30 p.m.

Gallery Hours: Tuesday 2:30-4 p.m. and Thursday 2:30-4 p.m. and 5-7 p.m, March 1-22 Closing Reception: March 21, 5:30 p.m.

Stephanie Moreno (left), 30, an art therapy and marriage and family therapy graduate student, stand in front of one of Jake Prendez's (right) favorite works titled "Genetic Memory." In the painting, Prendez said that the cultural symbols of seeds that the ancestors held, have grown so that the seventh generation may reap the benefits, which are represented by the flower symbol. Moreno was Prendez's model for this painting.

42 | Art! The Magazine

$5 prints of Jake Prendez's work are being sold at the exhibit.

Jake Prendez, 36, a graduate student in the Chicana/o studies program at CSUN, hosts "The Art of Rebellion: Social Justice and Chicana/o Visual Arts," which will be open from March 1 to 22 at the Chicana/o house at CSUN.

A few of Prendez’s models came to the opening reception, among them was Sonia Salazar, 25, a marriage and family therapist. “(Prendez’s) art represents hope for future generations through the concept of educating the youth and paying it forward to them,” she said.

Jake Prendez, a graduate student in the Chicana/o studies program at CSUN, hosts "The Art of Rebellion: Social Justice and Chicana/o Visual Arts," which will be open from March 1 to 22 at the Chicana/o house at CSUN. "I'm driven by the underdog, the downtrodden and the oppressed," he said. "I'm driven by what I see culturally and politically. Things like immigration, workers' rights and the oppression of women," Prendez said.

Photos by John Saringo-Rodriguez

Art! The Magazine | 43

| MUSIC |

WHAT IS THE NAME OF YOUR BAND? Florence Joelle, my two first names. I noticed Ray Charles (Robinson) and Gene Vincent (Craddock) had done the same, and if it was good enough for them, it was good enough for me. Previously Florence Joelle’s Kiss Of Fire (as per the Louis Armstrong song).

HOW WOULD YOU DESCRIBE YOUR MUSIC? It’s music that pays tribute to the mid-20th Century while also dealing with the present. I love the ‘reality’ and the warmth of pre-digital era records.

Performances had to be done live in studios, and although the equipment didn’t leave much room for mistakes, the interaction between the musicians is priceless. Everything in today’s world is altered, auto-tuned – airbrushed. As much as I like listening to very old records, there is no point reproducing them now, so it is important to bring something different, either in combining different styles (Gypsy jazz & rockabilly for example) or by telling new stories.

44 | Art! The Magazine

WHEN DID YOU GET INTERESTED IN MUSIC AND DID YOU KNOW BACK THEN IT WOULD BE YOUR CALLING IN LIFE? As far as I can remember, I have always loved music. One of my earliest memories is dancing in my parents’ living room to The Aristocats [movie] soundtrack. I have always liked making some kind of noise. In the past I have played blues harmonica and sung with other people’s bands, but it was only when I felt the urge to write songs ten years ago that I knew this was what I wanted to do for the rest of my life.

WHAT/WHO WERE YOUR EARLIEST MUSICAL INFLUENCES? In my early teens it was rock ‘n’ roll in its original incarnation (Elvis, Gene Vincent, Wanda Jackson, Eddie Cochran), along with rhythm and blues (Ray Charles was my king way back then), and the Latin music I heard in the American black and white films I watched on TV. I must have been a strange

| MUSIC |

child. Musically I moved to the 1950s when I was about 13. Later I learned to appreciate most styles of music, although I always lean towards jazz, Latin and blues. It was only when I started writing songs that I realised how much the music that was around me growing up in Paris had influenced me, from the jazz I heard at home, to the music of the street: Django Reinhardt to Edith Piaf, beguine (French West Indies answer to calypso) and rai. As a harmonica player, I was influenced by Slim Harpo, Sonny Boy Williamson and Little Walter, and also by cornet and trumpet players. These were the instruments I wanted to play but I could not afford them at the time, so I chose the blues harp instead.

WHAT INFLUENCES YOU NOW? Singers who can articulate deep emotions like Little Jimmy Scott and Nina Simone; and songwriters who tell stories, the grittier the better, like Bobbie Gentry, Dolly Parton and Jacques Brel. World music too, especially flamenco and Latin.

WHAT IS YOUR GREATEST DRIVING FORCE? I like to tell stories, and I am driven by the urge to write about what is happening around me, mostly.

In the last few years I have written protest songs like ‘How Many Chickens Are You Missing Today’ (on behalf of the thousands of Roma who were brutally and illegally expelled from France and other

EC countries), which I have performed for Amnesty on several occasions, and is now included in their Roma CD compilation; as well as ‘29 Bus Blues’ (about an assault I witnessed on a London night bus), and ‘The God Of Things’ (written during the en masse looting of the London riots of Summer 2011).

WHAT DO YOU THINK YOUR MUSIC CONVEYS TO PEOPLE WHO HEAR IT? I hope they can hear it is something different, and that they are touched by the stories I tell.

WHAT ARE YOUR PLANS FOR 2013?

A second album called ‘Stealing Flowers’, distributed by Ace Records, out this Spring, that pays tribute to my Parisian influences and upbringing. Analog and recorded straight to 2” reel to reel tape, featuring as on the first album, percussionist and drummer Arthur Lager (cinema auteur of notoriety and a former member of Gallon Drunk and the Scientists), bassist Chris Campion (also a film director and producer). The new line-up now includes guitarist Paul Seacroft (The Specials / Selecter / Tiger Lillies), and Matt Jackson on snare drum (also a blues guitarist —Billy Chainsaw the rest of the time). website: www.florencejoelleskissoffire.com email: kissoffire@hotmail.co.uk

Art! The Magazine | 45

FOLK | MUSIC |

GRINDER WHAT IS THE NAME OF YOUR BAND: FOLK GRINDER: which is I, KOOZIE JOHNS (vocals/ guitar) and MIRO SNEJDR (accordion/piano/backing vocals).

HOW WOULD YOU DESCRIBE YOUR MUSIC? Sea shanty ‘n’ rock ‘n’ folk ‘n’ roll.

WHEN DID YOU GET INTERESTED IN MUSIC AND DID YOU KNOW BACK THEN IT WOULD BE YOUR CALLING IN LIFE? My mother was very musical and sang and played piano – she loved rock ‘n’ roll and passed that on.

She would sing Elvis songs to me as a child and get me to join in with her. She taught me some basics on the piano and then she bought me my first guitar when I was 7-years-old. I joined my school’s folk guitar class where I learnt how to play chords, but it wasn’t until when I was in my teens that I

46 | Art! The Magazine

knew I wanted to write and play music.

WHAT/WHO WERE YOUR EARLIEST MUSICAL INFLUENCES? My mothers rock ‘n’ roll records and my fathers swing Jazz and folk records had a huge impact on me as a kid. I would play their records for hours on end along with various glam rock records I’d started to get with my pocket money.

Then in 1977, I heard music that would change my life forever. It was lunchtime, and blasting through the walls from our neighbor’s was a sound I’d not heard before, so I ventured round to their house and banged on the window till my neighbor saw me. He had been playing along to a certain record with a black Les Paul ‘Satellite’ copy electric guitar through an ‘Orange’ amp and ‘Hiwatt’ cab). I asked him what the record was and he replied, ‘’White Riot by The

| MUSIC |

Clash.’’ I was completely blown away by what I’d heard and asked to hear it again. He then wrote the chords down, taught me how to play a bar chord, and then lent me The Clash’s first album along with Never mind the Bollocks by the Sex Pistols. This was Punk rock music, and it spoke to me like no other music had done before – I was in heaven. I would sit there in my bedroom with an old Spanish nylon strung classical guitar my mother had bought me years earlier, playing along to these two records.

Years later I would play in bands with former Clash mk2 guitarists Nick Sheppard and Vince White, and I played guitar with Glen Matlock and The Philistines [Matlock was the Sex Pistols’ original bass player]. Whilst touring California in 2005 with The Philistines we were joined on stage by [Sex pistols guitarist] Steve Jones, and some kid in the audience starts yelling in front of me ‘’Oh my God! Two Pistols! Two Pistols!’’ – yes I was on stage in Hollywood with half the Sex Pistols playing Pretty Vacant and my mind was immediately sent back to when I was in my bedroom playing along to Never mind the Bollocks and the Clash’s first album.

Good times, good memories.

WHAT INFLUENCES YOU NOW? The same [overall] influences I’ve always had with

regards to writing and it’s called LIFE. Music Influences and inspirations though are wide and many, from Tom Waits to Cat Stevens, The Clash to 56 Elvis, London music hall greats to traditional shanties and skiffle acts of the 1950s.

WHAT IS YOUR GREATEST DRIVING FORCE? I remain hungry and I’m compelled to write and make good music. It’s the one addiction I hope I never need rehab for.

WHAT DO YOU THINK YOUR MUSIC CONVEYS TO PEOPLE WHO HEAR IT? Honesty and passion. Our debut album Any old trollop, same old port [produced by Kirk Brandon of Theatre of Hate and Spear of Destiny fame] is an adventure, a journey of sorts, and we invite you on board for the voyage, hoping it’ll provoke an emotion.

WHAT ARE YOUR PLANS FOR 2013?

Lots and lots of Folk Grinder shows – we’ve got an album to promote and we want the world to hear it. —Billy Chainsaw website: www.folkgrinder.com www.facebook.com/folkgrinder

Art! The Magazine | 47

| EATS |

Ha’s Corner

F F

Creative Flavors in an Artistic Neighborhood

or the past 10 years Jason Ha has seen this side of Downtown L.A. come up from the Al Bar days to Crazy Gideon’s patrons lining up during sales. Jason had a vision and has definitely seen this creative neighborhood come up from once being a homeless hang out to the hipster over priced lofts it has now become. Jason came to the U.S. when he was 18, earned a degree, and in 2002, was given the “mover and shaker” title from his peers in Downtown. He started out with a small sushi spot on the corner of 3rd and Traction and within 10 years has

Photography by Joanne DeCaro

48 | Art! The Magazine

| EATS |

expanded to not only Zip Fusion but has also opened up an art gallery called DISTRICT for local artist to display and show there creativity. Next door he has opened up DISTRICT B.B.Q. & Lounge where various artist are able to display art work and express with photography once a month.

It is curated by student and photographer Michael Angelo, who gives an outlook for other student photographers to be able to show and display visions through their lenses. Last but not least, we walk over to Nola’s (a taste of New Orleans) a restaurant with live jazz and also, Nola’s after Dark, where well known DJ’s from all over L.A. have blessed this place on certain nights. Jason Ha had a vision to bring not only artists together but make it a home for locals and an outlet for artist to come and express a creative nitch of who and what it is to be an Angelino. Jason had a vision

and opened his doors to the community and will continue to welcome artist from all over to be part of his dream. Ha’s Corner, located on 3rd & Traction in downtown Los Angeles, is definitely a corner you want to be seen standing on.

— MA www.nolasla.com www.districtbbq.com

Art! The Magazine | 49

| READS |

SAY HELLO TO HEAVEN

H

H

e had the best clothes.. and the best the dealers willing to give you if you play the cards drugs. He used to do lines in front of right, or in my case, thighs and tits. Keep friends me wearing Calvin Klein briefs as I close and drug dealers closer. But even with all would wait patiently for what I came that bullshit, he was a friend. He was down for me. for. He was easy on the eyes and his He wanted to be there for me. He would get high mouth would curl when he thought he was being out of his mind and stare at me into the early hours sexy, like learned swagger from old Clint East- of the night as the fear crept up into his spine. He wood movies. I would let my eyes wander from his would cling to me and tell me I was an angel sent toes to the outline of his cock, to the tiniest bead of from heaven to look out for him. I would make him sweat above his lips. Those lips. Where had they tell me stories about his tats, his childhood, the been? Are they salty or sweet? He was neither. He crazy shit he saw on the hustle. was tan, delicious and broken. Something I could He was genuinely worried about my growing pill affection. How I would mix opiates with alcohol, have, nothing I needed, everything I wanted.

Chop chop, sniff. God, how are you so beautiful. smoke weed and cigarettes like a chimney. It alWant a bump? Sniff. C’mon baby, I won’t hurt ya.. ways surprised him how fucked up I was. I’d chase He would let out a howl with each line and suck Valium with champagne, Somas with whiskey, Pergravel back into his brain as the drips started. More cosets and Xanax and stilettos and mini skirts. Sex lines, eager chatter. He always called me “kiddo”, in a package, dead inside. Dead on arrival. I never like “Damn, you can’t wear clothes like that around told him about my past except he knew my here, kiddo. Someone’s gonna getcha.” He’d grab parents his cock when he stood up and I would inch my skirt up higher on my thighs. My soft white coke thighs. I’d beg a light, lean over so my tits showed and I would purr my thank yous.

Sometimes he would brush a finger over my cheekbone to push hair back from my face, but he just wanted to touch me.

It made me sad sometimes. My coke days were over. We would never fall in love on my terms, but it wouldn’t have been hard to just fall. If only I would have licked the sweat off the dip of his lip..

This is drug culture in Los Angeles. Kiss kiss, love ya babe, call me soon, see you at the party! Tata! fe...”

We’re so Hollywood. Anyone who rous. I felt sa e g n a d s a w utiful. He does it differently loses the perks “He was bea

50 | Art! The Magazine

| READS |

were dead. That in itself was deemed a tragedy to anybody who knew, and I was okay with it. The real tragedy wasn’t the details. It was the product, me.

“I’m a lone wolf baby.”, I told him the day we met.

His hand fell to the curve above my ass, and when he leaned in I’d tilt my head back so my scent would burst open in his face like a blooming flower in the night. He pulled me closer, and like an old black and white movie starlett I collapsed onto him. “What is that smell? It’s driving me crazy”, he growled onto my neck. “Bvlgari”, I whispered. “Do you like it?”

I was never good at faking it for long, just long enough. You spend enough time with someone with enough toys and cash and they think they can get anything. Not me. He wanted me bad, he wanted a taste. My intellect surprised him and my body teased him, but I wouldn’t put out. I didn’t trust nobody. I felt like he would break my heart, it was like that. Some people are so beautiful they just aren’t good for you. Maybe I just knew it was a matter of time before he caught a case or a coffin. I didn’t need prison letters or funerals, I had enough of that shit. Cement and dirt. Don’t you think it’s crazy that’s all we get reduced to?

But after knowing all this, deep down inside just knowing I had to say goodbye one day, it kept me around. The clock was ticking louder and louder, and some days when the sunlight peeped through the shades, smoke twirling between us, I could see his heart thumping through his chest.

The last time I saw him he was thin and pale. He was in the coke game, deep. He stopped shaving his head and the curls that grew up in should have been thick and gorgeous, but they lay flat and thin.

He spent most of our time together peeking out the windows, rambling about money and shady fools. A loaded glock on the coffee table, shiny and heavy, just like his eyes.

He begged me to run away with him. Anywhere.

He has suitcases full of cash and different suitcases full of drugs. “We could start over”, he sobbed.

“We can get the fuck out of this town.” Los Angeles was hurting him. The arms length I kept him at was hurting him. Nobody loves a drug dealer, they love the drugs. My solid source was dark under circles and red nostrils like inflamed sea shells. Fragile.

Rotting. Worn down by the dust, worn down by lust. Our unrequited love was nothing but a chemical attraction. His in the cavity of his nose, mine in the depths of my loins. “Why don’t you love me!”,

he yelled with wide eyed panic. I wanted to run away so bad, I was so scared. But I didn’t want him to know he was freaking me out, so I crawled into his lap and made him smoke a joint with me. He fell asleep with his face in my neck and I let myself out without a word. He must have been up for days at that point. No goodbyes, just a kiss on his cold, sunken cheek. His drying tears stung my lips and his face, his sad face peaceful like a sleeping child.

If I knew I would never see him again or be able to call him, I would have stayed. I would have let him have me, just to be able to remember how he looked on top of me, inside of me, just to be able to say that a man actually made love to me, once. I would have told him I loved him. I did. I did love him in my own fucked up way.

His death devastated me. I felt responsible. I cried cleaning up his apartment. Broken light bulb crack pipes. Razors and rocks everywhere. The glock with one bullet missing from the magazine.

I searched his dresser and held the Calvin Kleins to my cheek. I was really looking for the money though. Instead I found a bottle of my perfume and a crumpled picture of me at a party in a red dress.

I was smiling big, teeth and dimples. He had drawn a simple heart on the back. I didn’t know he took the picture and only then did I realise this is who I was to him. Angel. This is when the tears came.

I buried my face into the briefs and quietly wept, sprawled out on his bed and dug my fingernails into the mattress. I was all out of pills, I had the deal with real feelings. Te amo guapo. Repeated over and over until the white cotton was stained with wet mascara.

We were close as criminals could be. There was a large hole ripped open inside of me. All the hours I spent in his apartment in the barrios, chihuahaus barking and children crying, gunshots in the distance. All the times I had sunken into the leather couch, he told me his secrets and thought I was listening. I should have really listened to what he was saying, maybe I would have heard what he was trying to tell me.

Those wild sparkling brown eyes. I could have left whenever I wanted, but he excited me. He was beautiful. He was dangerous. I felt safe. He would have killed a man for me.. and he did. Himself.

—Siren O Brien

More on Siren O Brien: shefelltoearth.org and cailfornoir.tumblr.com

Art! The Magazine | 51

| READS |

Excerpt from “The Fight for Peace” Words By “B RyaN”

Brought into a world where we fight for our lives Fight for our rights Fight not to Die So much beauty and we would rather Cry? i ask God Why he said try to smile Given tools to carve out our life when we see our enemy we’d rather use it to slice them up Get distracted by the scent of blood get caught up to get revenge to see them cut i don’t understand why we kill people who kill people to teach people that Killing is WRONG can’t we all just get a long?

WHYYYYYYYYYYYYYY DO WE FIGHT FOR PEACE Can’t we love one another ?

Treat each other like a brother?

See a smile on our mother?

We were not born to Suffer I don’t wanna fight i wanna live my life I don’t wanna fight i wanna live my life I don’t wanna fight i wanna live my life lets love this life lets live it right Forget the strife One Love More on “B RyaN”: beverlyhillsgangsta.com and facebook.com/bryanleighsmith

52 | Art! The Magazine

| READS |

Cartoon by Jose Lozano

Art! The Magazine | 53

A peek into Art! The Magazine’s artist community

T

CaspAr Williams

he art of artist Caspar Williams is the epitome of fuss-free: think conceptual cartoons done with a painterly quality and a sense of design – and you’ll get the picture. Raised in the English village of Alfriston, Williams knew from a very young age that his calling in life was to be an artist, drawing being his way of escaping the Sleepy Hollow-esque isolation of his surroundings. Well, that and Marvel comics of the 1960s and ’70s, which he says were like “a supercharged psychotropic drug for the eyes. I think that the visual thrill I got from them

is something I’ve been trying to emulate in all the art I’ve made ever since.” Such inspiration is evident in his work: a collision of text and images that embraces such diverse subject matter as transgressive author William Burroughs, rock ’n’ roll, and dogs – mutts being something he’s become passionate about in recent years thanks to his four-legged friend Django. It’s a style that oozes the kind of normal meets retro-futurist mash-up prevalent in advertising campaigns throughout the 1950s and ’60s, although that’s not to say it doesn’t have a contemporary edge to it. Whereas, spinning-off his

54 | Art! The Magazine

earliest influences, Williams admits that whereas he was once content to obsessively draw comics (he has an unfinished graphic novel of mammoth proportions in storage somewhere) over the years he’s became less interested in storytelling, and focusses instead on developing a simpler, more standalone illustrative style.

Gone too is the necessity to ink his linework with a brush thanks to computer technology, which Williams uses to enhance his art in ways that would have seemed unimaginable when he was younger. That said, he still holds a flame for such classic comic book-related ink ’n’ paint slingers as Vampirella’s José Beà and Idyl’s Jeffrey Catherine Jones, and “inestimable” sci-fi artist Richard Powers; although they now reside happily alongside an-

Art by Casper Williams

ime artists – such as Mushi Productions’ creative team behind the feature film Belladonna of Sadness. Although in person Williams is something of a reserved character, he’s forever forthright about his aspirations and what drives him. Regarding the former, he wants to excite people’s eyes and minds, and have them see in his art exactly what he did when he was creating it – “something that in its own way is compellingly beautiful”. As for the latter, while he doesn’t profess to understand the compulsion that keeps him constantly hunched over his drawing board, he’s glad he does it, because without that urge he feels he would be only living half a life. —Billy Chainsaw www.casparwilliams.com

56 | Art! The Magazine

M

MISO

elbourne, although widely known as one of the world’s most liveable cities, is certainly not among the most beautiful. Huge, wide straight thoroughfares carve a massive grid among largely homogenous suburbs, through a mostly flat and featureless terrain. Elegant architecture exists aplenty, but the ugly new-builds dominate, and next to London, Paris, Vienna, Rome, Stockholm, Budapest or Prague, Melbourne is, at best, bland.

In such an aesthetically desolate environment, art takes on a new significance. With little competition from architecture, art does more than embellish – it transforms, challenges and bewilders with a power beyond that of decoration. Miso (real name Stanislava Pinchuk), a 24 year old street artist, originally from Kharkov in the Ukraine, now living and practising in Melbourne, has taken full advantage of this. Throughout the grimy city centre, she has scattered intrigue with fairy tale figures, draping large, mysterious women over crumbling walls, and framing battered old doors with baboushkas and princesses, their huge and intricate

Art! The Magazine | 57

skirts billowing out with the satisfying symmetry of Art Nouveau. An everyday act of walking through a doorway thus becomes an event full of personal meaning, given by the always uniquely individual interpretation (Baba Yaga or fairy godmother?) of the symbol. And place is as much a part of the experience as the image.

For the street artist, place is inevitably public, meaning art has a primarily social function. With this in mind, Miso cites the early 20th century philosophical and artistic movement of the Russian Constructivists as a major influence in her work (she has also studied philosophy), fully intending her art to be embedded in the everyday. The more decorative echoes of Art Nouveau artists Alphonse Mucha, Egon Schiele and Gustav Klimt also shine through her work, together with more mysterious undercurrents of eastern European folk tales, and the possible influence of artists like Arthur Szyk. Among her more contemporary influences are Danish street artist Armsrock, and US artists Swoon, and Elbow-Toe, although Miso’s images carry a much stronger feminine aspect.

Miso became aware of Melbourne’s street art when she was around 14, and at a very young age began sketching, undertaking little projects and having small shows of her work. This later morphed into larger scale endeavours, and by the age of 21 she had established herself as a vital force in the city’s thriving art culture, working in studios with her partner, fellow artist Ghostpatrol, originally from Hobart, Tasmania. Together, Miso

and Ghostpatrol have published two art books, Street/Studio: The Place of Street Art in Melbourne (with Alison Young and Timba Smits, published

by Thames and Hudson) and Book Format (published by Metro Gallery Publishing), and in 2011, Miso illustrated the whimsical Mr Wilkinson’s Favourite Vegetables, a cookbook authored by acclaimed Australian chef, Matt Wilkinson. She has also exhibited throughout Australia, in Milan, London, San Francisco and Atlanta, won a string of awards, and has her work in private collections. She has also taught wheatpasting at a women’s university in Saudi Arabia, has collaborated with Melbourne-based fashion designer Warren Harrison on a beautiful dress, and likes to tattoo friends at home, with delicate, linear designs.

Personally, Miso remains something of a mystery, despite her friendly persona so apparent on her blog. In 2009, at Melbourne’s Gorker Gallery, she recreated her life in Khartov within one room, including buildings, street signs, clotheslines, portraits of strangers on the streets, friends, family and folk tales. The exhibition was called Tchusse, which is German for goodbye. A clever, enigmatic mix of the autobiographical with the cultural, but with none of the Tracey Emin type confessional, Tschusse offered a personal experience from within the collective. Miso lets her work speak for itself, and, while strikingly individual, it says no more about her than she wishes it to. —Liz Evans www.m-i-s-o.com/

Art! The Magazine | 59