FALL 2020 REAL CREATIVE MAGAZINE

Issue #5 2020

reall

BRIGITTE PERRAULT

SOCIAL ENTREPRENEUR & HUMAN RIGHTS ADVOCATE

TYLER PAGE

WRITER/CARTOONIST OF “RAISED ON RITALIN”

NATCHA MORROW RISING STAR AT PLG ESTATES

ANDY BLOCH

MUSIC PRODUCER/CREATIVE ENTREPENEUR

DANA KOTLER POPULAR MIXED MEDIA PAINTER

Sina

...and contributing Writer/Animator Heather Leary tells us how to stay creative and busy during the Pandemic

YouTube Musical Sensation

Publisher

Lon Levin Editor/Contributing Writer

Jade Dressler

Contributing Writer

Jodi Levine

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TOO OLD? The Editor expresses his feelings about working as a senior in today’s world BRIGITTE PERRAULT Social entrepreneur, human rights advocate & dynamic producer gives us some brilliant Insight DANA KOTLER The popular mixed-media painter is open and candid about her life and work

TYLER PAGE “Raised on Ritalin” artist and writer turns his own history into brilliant books and art and let’s us in on his thinking

NATCHA MORROW Real Estate agent and businss owner with Corcoran Global Living talks frankly about herself ANDY BLOCH Entrepeneur and Music Producer with a revolutionary new guitar design HEATHER LEARY Our contributing writer/editor tells us how to stay productive during the Pandemic ZEPHYR The legendary graffitti artist/bike racer opens up with guest writer Jodi Levine about his career JADE DRESSLER Contributing editor/writer Jade tells us “Why I Love My Bic Round Pens”

It is not the beauty of a building you should look at; its the construction of the foundation that will stand the test of time.

Photography by Lon Levin

Just My Opinion

Too

OLD?

old[ ohld ] /kä(l)m/ adjective

by Lon Levin

adjective, old·er, old·est or eld·er, eld·est. far advanced in the years of one’s or its life: an old man; an old horse; an old tree. of or relating to the latter part of the life or term of existence of a person or thing:

Am I too old to become an artist? Can I make money being an artist?

I like these questions because I have asked this question of myself quite a few times over the years.

First of all, it’s never too late. I trained to become an illustrator and couldn’t find enough work to continue down that path. Back then I thought I may not be good enough so I turned to art direction which I thought suited me better.

After 23 years of successfully working in the entertainment industry as an art director, creative director and an art department head, I still had the desire to be an illustrator. So, I prepared myself and my finances after a long stint at Warner Bros to depart when my pension became activated. However not everything goes as planned and my department was disbanded few months before that was set to happen. I was out of job before I wanted to be. I had a very thin portfolio of 7 pieces but I had passion, a little money and a burning desire to succeed.

I soon found out that I was an older artist amongst younger upcoming and established pros. My wife at the time discouraged me and said I was wasting my time and I should find another position in the industry.

I didn’t care I was determined to find out if I had had the chops to be a working illustator. I chose to focus on the

children’s book area as I had a lot of experience with children’s products and TV shows. I traveled to trade shows in New York, Chicago, Washington and Bologna for the Children’s Book Fair. I aggressively made connections and in some cases friends. After a few months I landed projects. The pay was low or non-existent but it gave me a chance to work on projects and spread my artistic wings.

For most of you there are many artists who are much older than you are, and there are also artists who found success at twice your age. That being said there are a few qualities you need to possess in order to start a career in art after a prior career or in midlife. First of all you need to have some degree of talent. That means you need to be brutally honest with yourself. If you don’t feel you can judge yourself then ask art teachers, gallery directors or creative directors. If you don’t know any contact those whose work you admire. I find most pros will talk with you especially via social media.

Next know the area of the market you’re interested in well. If it’s children’s books then read as many books as you can that are contemporary. Study what the subject matter is and the styles that are being used now. Classic older books may be great but they may be seriously outdated in style and substance.

Be patient. It takes a while to establish yourself, find your own style and voice and to be consistently great at what you do. Remember this, the industry doesn’t need you… it doesn’t need any of us. There is no shortage of capable artsts and illustrators. Strive to be skillful and unique and you’ll rise in the ranks of artists.

You’ll never know when success might happen if at all, so you must be passionate. The true test of that is would you keep creating if you never made any money or never got recognized for your work. If that discourages you then find something else to do.

If that energizes you and challenges you then forge ahead regardless of how old you are. The fact is your experiences as an adult have enriched your perspective, your discipline and your knowledge and in the end that is all that matters.

“Age is a case of mind over matter.

If you don’t mind, it don’t matter.”

— Satchel Paige, baseball player

Photography by Lon Levin Photo: Lon Levin

SinaSinaSina Sina Doering is a YouTube sensation. Every time she drops a video it get’s massive response...into the millions of views.

When did you first think about music as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

She was born in Marburg, Germany, back in 1999. Her mother is an amateur Piano player and she sings all the time. Her dad is a professional Live & Studio musician.

He started touring Europe with a Beatles Tribute Show some 20 years ago which he continued doing for the next 10 years before he concentrated on his studio work.

When I first started my YouTube channel in 2013 I had no idea that this might become a profession for me. When I finished school in 2016, the channel was really taking off and I realized there was an option to keep doing this for a living. I wasn’t sure though if I actually wanted to do this, so I decided to keep going for a while and see where this would take me. My family has always been very encouraging and supportive and of course it didn’t hurt that my dad is a professional musician.

When Sina was 2 years old she joined him for the first time on tour. The rest is as you can guess... history.

What kind of kid were you? Where did you grow up?

What were your influences?

I grew up in a small village. I was more like the introverted, shy kid that didn’t get noticed by anyone. My sister and I were heavily influenced by the music that my dad was playing for a living, mainly Beatles. As a child, I loved listening to Abba. A few years later, I became a huge Toto and Michael Jackson fan.

“Sensational”

How has the background you got at Krefeld Drumming school and your dad’s influence helped you achieve the level of development you have now?

Those experiences taught me that hard work and practice made me a better drummer. Before that, I never practiced for several hours a day. Playing drums every day, even if it’s only for 20 minutes, helped a lot feeling confident at the drumkit.

How do you decide which songs you cover? Has your taste evolved from when you started?

First, I tried to cover technically difficult songs in order to make my videos interesting and impressive. I later realised that it’s more about the quality and popularity of the songs, not so much about technical difficulties. Today, I try to provide a mix of different degrees of technical difficulties and genres and I also mix drum covers with collaborations, which means that I team up with other players to record a song from scratch, both covers and originals. The most important thing for me is that I enjoy the music I play.

“I grew up in a small village. I was more like the introverted, shy kid that didn’t get noticed by anyone.”

Continued/ Is it hard to work so closely with your dad on the music and the video productions?

No, my dad is the most affable person I know. It’s impossible to argue with him. We don’t always have the same opinion about everything, but no matter what I decide, he tries to support me to the best of his abilities.

I know that “Sultans of Swing” is one of your most followed videos. Have you very been contacted by any of the band members or gotten comments from them?

Below the video you can find a very nice comment

of Terry Williams, who was Dire Straits’ drummer through the 80s and who created that kind of high energy Live drum part that I covered. I was told that Pick Withers, the original drummer, also approved my version but I can’t really tell if it’s true.

What do you recommend to younger aspiring musicians and music producers who are just developing?

Just go for it, don’t be afraid of trial and error. If you enjoy what you do, shift gears, otherwise find something else!

I watched your 15 minutes on Ringo and it was fascinating. I love the Beatles and always wondered what was so great about Ringo? Now I know. Do you plan on doing more videos like that. Say Ginger Baker, Keith Moon, Charlie Watts, Dave Clark?

It takes a lot of time to do a video like that properly. I was allowed to use backing tracks of a Beatles Tribute Band

my dad was involved in. It would have been very hard for me to achieve this under different circumstances. So I don’t think I will have a chance to do another tribute video to any other drummer anytime soon. .

Can you explain what the experience of working with Gas onstage is all about? Do you plan to formalize your band and start touring?

The Gäs is not ‘my band’. I was asked some years ago by our lead guitarist and main songwriter if I was interested in joining the band. I joined after I turned 18, otherwise it would have been impossible for me to get to the gigs and rehearsals. We have recorded an original album since and we played plenty of gigs which came to a sharp stop due to Covid-19. Playing live with The Gäs is very different to recording in a studio and it was an important experience for me to play in front of different crowds.

We played in front of thousands and we played gigs in front of only a dozen people. Without that experience I wouldn’t have dared to play live with Donovan in front of TV cameras. Who if anyone influences your work?

Your video of One Girl band is incredible. Was it complicated to put that together? Do you plan to do more of that type of video? I love the cowbell solo and the orange tennis shoes!

Thanks a lot!! Those kind of songs take a lot more time to get right than a regular drum cover of course. I can’t come up with something like that every week (without repeating myself). But hopefully, I can launch another multi-instrument piece later this summer.

Who if anyone influences your work?

That keeps changing. If the music that I listen to at the moment inspires me, so do the musicians who created that music. Currently, I love listening to Vulfpeck, they just float my boat!

What do you do to promote yourself, Gas and your music outside of YouTube?

Very little. I never aimed for fame or attention, so I kinda picked the wrong job, I know. However, I try to handle all that YouTube madness in a professional way, but I don’t strive for additional attention by contacting magazines, radio or TV promotors.

What’s the future hold for you? Any ultimate goal?

I think it’s a good thing that we can’t foresee our own future. I’m going to study music in Arnhem, Netherlands, in September and hopefully I’ll be a better drummer in a future that allows musicians to perform in front of real people again!

If you could meet anyone in the field you’re in who would it be and why?

I would love to meet ALL my musician heroes in a way but at the same time I would be far too shy, so most likely it wouldn’t happen, no matter who!

What’s going on in your head when you start playing one of these classic tunes like In-a-gadda-da-Vida?

I approach every drum cover in a different way. In the case of In-a-Gadda-da-Vida I was aware that this is an iconic solo. I knew I had to get every hit right. So I transcribed the solo note-by-note (which is also a good exercise) and then learned it by heart. There are other covers that I do less exact, more like ‘in-the-style-of.’ An example for this are my Keith Moon (The Who) covers.

It’s just impossible to recreate everything Keith Moon did, so I don’t even try.

“I team up with other players to record a song from scratch,

both covers and originals. The most important thing for me is that I enjoy the music I play.”

Brigitte

Perrault

a bright Light Interview with

Lon Levin

Brigitte Perreault is a social entrepreneur, a human rights advocate and environmental activist. She is the founder, publisher and editor-in-chief of Perreault Magazine, a global digital publication launched in 2014.

Inspired by her vision to actively participate in making a difference, her cause-driven publication rapidly became a platform for education, advocacy and activism. The magazine covers humanitarian causes and global campaigns, educating readers on environmental issues, wildlife and ocean conservancy, as well as global health.

When did you first think about helping others as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

My father was a collector of the National Geographic magazine. I remember two huge walls of yellow magazine spines, where I would frequently grab one and start looking at the incredibly beautiful photography and read articles about other cultures and our Earth. In addition, having lived in a cosmopolitan city such as Montreal, I was exposed to many cultures and new philosophies. It sparked my curiosity and my parents always supported my relentless desire to travel. So I did, and so did my vision of the world expand.

Fast forward to a relaxing Sunday afternoon at my house

in Los Angeles, I stumbled upon an article about the life of refugees in refugee camps, and their lives once they are resettled. That article moved me to my core. The families, friends, activities, as well as how heart-wrenching – albeit joyful – it is when they are being resettled to other countries. They leave everyone behind, with the certainty that they will never see each other again.

At the end of the article, the author indicated that 10,400 Somalia refugees were coming to the US. And I HAD to do something. I wanted to get involved. The first thing I did that Monday morning was to call the Washington State Department and ask ‘how can I help?’ I was then referred to a resettlement agency in Los Angeles where I reside and began a lifelong engagement. Volunteering changed my life. I wanted to be there – at the bottom of the escalator at the airport. I wanted them to know they were expected. I wanted to give them hope and security. In return, throughout the years, they all taught me so much about resilience, humanity, courage, love, and hope. Without hope, there’s nothing. They are my family and I am theirs.

What kind of kid were you? Where did you grow up?

What were your influences?

When I tell childhood stories to my friends, they say I should make a short film. I was born and grew up on the South Shore of the St-Lawrence River, in Matane, Quebec.

50 Ways to Help the Planet

We just launched our crowdfunding campaign for ‘50 Ways to Help the Planet.’ a global and educational initiative to produce 50 educational videos (definitions, facts, powerful visuals), 50 online interactive microlearning classes, and an animated storybook for children 4-9, we are in need of sponsors.

Please help us deliver it to the world! www.50-ways-to-help-the-planet

a lovely area where the river meets the Atlantic Ocean.

Cold and salty water. Beachfront house, with forest in the back, a beautiful field on the right, and lots of space, lots of friends. I have two older brothers, and my parents hosted a lot of great parties, so the house was often full.

My father’s hobbies were salmon fishing and gardening.

He made his own flies and was awarded gardening prizes.

We had a ‘permanent telescope’ in the veranda, for whale watching! We skied and skated all winter (long winters) and played on the beach all summer (short summers). At the age of ten, my father was transferred to Montreal.

How has your background working in the humanitarian world help you now with your publication and your video work?

I decided to use the ever-growing digital world to create platforms, spaces, where people could easily go to and find ways to engage. Whether for a cause, a non-profit, an initiative, my intention was to inspire people to engage. I first launched my digital magazine, which quickly became popular, then built a web channel (a type of Huffington Post for causes). I still have a magazine – www.ignyte.world – and now I have a streaming TV platform about sustainability – www.ignyte.tv.

You’ve worked in a couple different areas of Global concern. How did that evolve and is that an asset for you?

More often than not, when I shared some of the causes I was involved with, people would say to me: “that’s fantastic!

I want to help as well, but I really don’t know where to look and what to do.” That just stuck with me (painfully so). Being a complete and utter geek,

We only have one planet. We all know that. And we continue to deplete it. And unfortunately, the current politics and leadership doesn’t help. So I decided to take on a new initiative called ’50 Ways to Help the Planet’. We are creating 50 short educational videos for global citizenship, for schools, businesses and employees. Those videos will be converted into online classes, and finally, an animated book for children. Please visit: www.50WAYS.world

Having been raised respecting, protecting and loving nature and wildlife, I became a voice and an advocate for several global issues.

“Join groups, ask questions, form alliances and partnerships. Very important.”

How do you stay up to date on issues/processes outside of your own projects? What do you recommend to younger aspiring environmentalists who are just developing?

As for the streaming tv channel, it was launched in January 2020 and the pandemic has unfortunately stalled many projects.

More than ever, it is about expanding our circle with mission-driven and like-minded people and enterprises. We share our initiatives and find ways to join our efforts. That’s always exciting. It allows me to stay informed on new technologies and global issues.

My advice to aspiring environmentalists is to join groups, ask questions, form alliances and partnerships. Very important.

What went on in your head when you decided to jump into this business? Your fears, anticipation, confidence, etc. How did you know this was going to work for you?

What is your favorite area of the business to work in?

Who if anyone influences your work?

A large part of my business model is about partnerships. And that’s not necessarily financial. It is about support for each other and cross-promoting our efforts to create larger impacts.

Several people have inspired me by their determination and OTT courage! But in general, I walk my own path.

Can you explain what the experience of working with so many brilliant people on hot button topics is like?

Meeting great ‘brains’ is always exciting. Having conversations with those who have built a path, and with those who are building their own is empowering. I have met and interviewed so many remarkable people over the years, compassionate, evolved, and driven. Some have changed the face of human trafficking in parts of the world, some have protected millions of acres of land, some have helped banned plastic straws and bags.

You have a magazine and a TV channel. How do you plan to expand your reach and where do you stand now as far as distribution?

My publication is now well established, and our audience is always healthily expanding.

For some strange reason, I never have any fears in business. I have started three businesses from scratch and the process is always so exciting to me. I have learned to be self-sufficient in terms of being able to learn, create, execute. Only then do I think of delegating.

What do you do to promote your businesses and causes?

I build partnerships.

I find that in business, and more so in my world, it is extremely important to join forces. Not to be so spread out. I am very good at forming mission-driven collaborations and partnerships. After all, we all have the same goal: helping. Those partnerships always include cross-promotion. We help each other by promoting initiatives, seminars, events. I also love speaking to groups on “how to be human in the digital world.”

What’s the future hold for you? Any ultimate goal?

I always create and build something. I can’t help myself!

And in the end, it’s all a wonderful circular platform.

Everything is interconnected. Now until the end of the year, it is all about the ’50 Ways to Help the Planet’ initiative.

Once that is completed, I will move on to another one. My ultimate goal? To become an “Impact Philanthropist”.

I know which organizations and causes need the most help.

DANA

KOTLER

Interview by

Lon Levin

"I first paint or make the parts I sense most vividly, and then listen to what I just made and figure out how to proceed and where it can take me."

"Figuring out for what I find significant in art, and changing my mind about prior convictions got me a lot closer to sensing what I truly want from my work."

When did you first think about art as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

I first discovered drawing after a single class in 10th grade. The teacher gave each of us a black and white photograph, told us to flip it upside down and draw what we see. As I began drawing, time vanished, I entirely forgot what the photograph was of, it disintegrated into abstract shapes and the most beautiful transitions of lights and darks. Something clicked in my mind. It was a way of seeing that I was oddly familiar with.

At that point I never met an artist and honestly thought that they were all dead, since the museums I’ve been to always listed a birth and death year by each painting.

I found myself drawing more and more, however it wasn’t until my freshman year in college that I met my painting Professor, and later dear friend George Dugan. I never meant to be an artist. I was a molecular biology major and imagined I’ll be a scientist, but as I kept painting, I realized there was no turning back. George spoke thought,

I was a molecular biology major and imagined I’ll be a scientist, but as I kept painting, I realized there was no turning back. George spoke differently than anyone I’ve known, he worked, thought, saw and consequently spoke as an artist. He made me realize that the way we see is significant, and that spending time on my work is serious matter, not a guilty indulgence.

As I spent more time in the studio, my biology grades dwindled, although I did manage to get the degree for some reason. George was the one person who I am fully obliged to for not only discovering art but being able

"I think that staying the summers with my grandparents has had the most influence on what I do now, they shared with me their natural curiosity and the value of making things."

(Continued) to hold on to it. Initially my parents were understandably concerned about my decisions, but are absolutely supportive now What kind of kid were you?

Where did you grow up? What were your influences?

I was born in Odessa, Ukraine, and grew up in Israel, Ukraine and Moldova, relocating to the US to complete my last two years of high school. I found the frequent moves more stimulating than stressful. My parents loved spending a lot of time at work, and since I was the only child I got plenty of alone time, which I absolutely did not mind, in fact, I feel it was crucial for me (and still is). I’ve never been bored.

I am forever grateful to my grandparents. Both of my grandfathers are makers, they build things around the house, and would talk to me about science, show me how to make electrical circuits, carve things, and burn stuff with magnifying glasses. One of my grandmothers was the kind of person who managed to hold on to her childhood, so she was able to partake in my imaginings fully.

I think that staying the summers with my grandparents has had the most influence on what I do now, they shared with me their natural curiosity and the value of making things.

How has the background you got at New York Academy of Art played a part in your career?

The Academy was an incredibly valuable turning point in my career.

I met some amazing artists who were fellow students, got to know a couple of great professors, loved hearing the visiting speakers, went to China on a residency, and gained quite a bit of technical proficiency which I am very thankful for. The school triggered a major transition in my work. At some point I found myself disagreeing with some of the priorities of the school, which have attracted me there in the first place. Figuring out for what I find significant in art, and changing my mind about prior convictions got me a lot closer to sensing what I truly want from my work, and sticking with it.

Throughout my last semester at the academy my work began undergoing a major transition, which really made itself felt throughout the following year when I was able to work in peace and privacy for a while after receiving the Elizabeth Greenshields Foundation Grant. In the end however, most of the learning takes place after school, when there are no opinions, and you are forced to figure out what is good and worthwhile on your own.

Your work seems to have evolved from detailed and realistic drapery and objects to more flattened visceral imagery with hints of Romaire Bearden in the collaged nature of the pieces. How did that evolve and was that an asset for you or a problem that affected your salability as a fine artist?

Thanks for bringing up Bearden! I love his play of spaces, textures and the way his shapes line up and fit with each other in almost humor like, is simply because building

the piece in fragments allows me to discover it, rather than to plan it. The major reason I enjoy painting fabrics is the fascinating abstraction that they create with their ever changing folds and shadows. At some point I tried to legitimize my excitement with this abstraction, and made whimsical still lifes, overloaded with folding fabrics. The fabrics turned out to be an opportunity for me to show off my painting skills, and I tried making them interesting by using them as stand ins for figures, trees, waves etc. However, I acutely felt the hollowness of the work I was making, and at some point reached a breaking point with it.

I decided to try to make something that feels truly meaningful to me, so I abandoned any kind of planning, and dived in armed mainly with intuition. I wanted to abandon the objective of making a “good painting”, and just do what felt important in the moment.

This process was most liberating. Currently, I first paint or make the parts I sense most vividly, and then listen to what I just made and figure out how to proceed and where it can take me, so I am not working towards a goal, but rather figuring out the direction as I move forward. I am intrigued by all the dimensionalities inherent in painting and sculpture and love to explore their different juxtapositions, so flatness, illusion and bulging sculptural elements are incredibly exciting to play with.

I don’t think that the collaged feeling of the works has affected my salability, but I am aware that the flip flopping of space, and the ambiguity of my subject and content can make for a confusing experience for the viewer.

I suppose I ask the viewer to do

some work when looking at the piece, which probably shrinks my audience, but I certainly don’t mind that.

How do you stay up to date on styles/process outside of your projects? What do you recommend to younger artists who are just developing their portfolios?

I usually go to see a lot of exhibitions at galleries and museums and try to see what I think I’ll like, what I think I’ll hate, and stuff I don’t know anything about. I think it is quite important to see what is being made, exhibited and discussed, and most importantly try to figure out my own opinion about it.

Seeing art is wonderful - outside. HOWEVER when I come in the studio I feel the need to tightly shut the door to all of that, and just do the work. Of course it is not possible to fully get rid of the influences, things I see affect me, so I do have to be careful, but apart from when I’m intentionally stealing, I strongly prefer to try to shut everything away, especially my favorite artists. Otherwise my work will be no fun. I never keep images of anyone’s work, or any art books in my studio, it would drive me crazy Can you explain what the experience of working on large scale projects vs smaller pieces is all about?

That’s a great question. I love making large work, it absolutely comes most easily to me, and constitutes the bulk of what I do. I wish it wasn’t such a hassle to lug around, but it is what it is. There is all this space in which to play, to think and feel your way through.

Nothing is too much of a mistake, nothing is too important, since there is still so much space to

breath. Also, I feel a strong need to paint things life sized, so whenever I have an anthropomorphic type of character, or a few of them, the painting has to be human sized. The smaller paintings are usually very hard for me, and take forever to click.

Every decision feels too important and hard to make. They’re usually fragments, a part of a body. I usually have a few small paintings sitting in very unsatisfactory states, waiting to be figured out. Sometimes something snaps a year later, I change it and it works out, sometimes it gets chopped up into a larger painting, and sometimes it sits there indefinitely waiting for either of these two fates Your mixed media look of artwork is great. Love the “The Courage To Hold Three Small Perishables” piece. How did that style end up as something you do a lot of ?

Over the past five years or so, I first got very interested in incorporating various languages of painting and textures within one work. I felt that every part of the piece has to have its own kind of language and/ or material, which is intertwined with the content itself. One day, a very old tube of, I think, Alizarin paint I found somewhere fell apart as I tried to open it, the paint solidified and came out of the tube like a whole tube shaped chunk. I stuck the paint chunk to one painting and made it into a tongue, and removed the metal tip of the tube and made it into a nipple in another painting.

That simple experience was something of a revelation to me. Gradually I began to glue pieces of failed paintings into the work, experiment with thick sculptural paint, and with sticking other objects into it. I love sneaking in unexpected materials that you wouldn’t notice unless you really look, and also include some

(Continued from previous page) objects that carry personal significance in such a way that you are unlikely to find it unless you know to look for it. It’s a bit like an inside joke or a whisper between me and my painting. I love making materials do things they’re not used to doing, and explore where I can push them.

Also, since I’ve been painting for a while, I get thrilled with using new mediums which provide an exciting sense of resistance, allowing me to make something that is not like what I imagined, more like what the material itself wants to do - a kind of cooperation What’s going on in your head when you work on a piece/campaign? Your fears, anticipation, confidence , etc. How do you know something is finished?

Way too many things run through my head. I alternate between overthinking and not thinking at all. My best work happens when I am not thinking much. My biggest fear happens when I see my own finished work - each piece is done intuitively and seems to be a result of its own internal logic and accidents that I found meaning or beauty in as I worked. I’m always thinking - how can I ever make something like this again?

There is just no path or system to fall back on, each time a completely new venture and I’m afraid I won’t be able to make something as good. But then I just work on the new piece and keep hitting at the thing until it finds itself. Almost everything eventually does, it just needs enough time.

My other biggest fear is dishonest work. It is hard to make something honest, and can be hard to catch yourself when you're

dishonest. A dishonest decision in the work is what I would consider a “mistake”.

I suppose my only confidence in the process is that I will have a blast with it - discovering, playing, inventing, stealing, absorbing, transmitting, no matter what, no matter how frustrating, complicated, melancholy, or mistake laden. I it will always be fun.

How do I know I’m finished? I wish I had a clear answer. I suppose I’m finished when nothing is bothering me about the work, when it feels pulled together.

Once I decide I’m finished I feel a sense of detachment from the work, it becomes a separate creature, as though I’m not even sure I actually made the thing, even though I clearly remember making it.

Who if anyone influences your work?

It is hard to filter out the major influences, but here are some that have stayed with me over time, and some that have added recently in no particular order: Dostoyevsky, Edwin Dickinson (I try not to look at him), Comte de Lautreamont (!), Simone de Beauvoir, Nietzsche (can’t get away), lately Marisol Escobar, and always Rothko. It’s hard to select visual artists, there is just too many influences, including drawings by kids, and ads on billboards. Everything is food.

I’m curious about how you choose what to work on. Is there a certain type of project or client you gravitate towards?

It is simple. I choose to work on whatever is on my mind consistently. Whether it is a theological crisis

a celebration, or a struggle with the facts of existence, there are plenty of things on my mind, so I’m never out of subject matter.

Every now and then it spontaneously distills into some kind of a very loose vision or sense, and then I have something to grab onto when starting a painting.

What do you do to promote yourself and get work?

I suppose the major thing I do is meet people and make friends with the people I like.

What’s the future hold for you?

Any ultimate goal?

I am naturally skeptical about any form of certainty. I see the future in general as a form of hope. If I were to take the liberty to imagine a future, I would imagine that I manage to make work that is truly mine, where I can play out my life. I’m learning to do that.

Also, again, despite my skepticism, I have some very ambitious hopes for humanity. I wish art, would be a bigger part of our culture, and I wish we took more time to figure out what is important in life, and nurture it, rather than let time slip away in absorbing someone else’s meaningless pursuits, in a distracted existence. Although it may sound naïve, I am confident that every single one of us is capable of it.

If you could meet anyone in the field you’re in who would it be and why?

Slava Polunin. This winter I went to see his show in New York, and he brought me to tears (of joy).

I came down to the stage and we had the most wonderful hug.

His clown makeup was smearing and he smelled of sweat. I would love to be his friend.

“You’ve gotta dance like there’s nobody watching, Love like you’ll never be hurt, Sing like there’s nobody listening, And live like it’s heaven on earth.”

-William -William W. W. Purkey Purkey

TYLERPAGE Interview with Lon Levin

When

did you first think about art as something you

wanted to do?

Were you encouraged or discouraged by

family, friends, teachers, mentors?

I’ve been drawing since I was a little kid, for as long as I can remember. As a kid it was mostly something I did for fun. My parents encouraged my talents as they both had creative hobbies. I didn’t think about it much as a job or career when I was little, but I did realize that other people considered me talented or ‘good’ at drawing so when asked if I wanted to be an artist when I grew up I sometimes said yes. I got more interested in science when I got older so I thought I would end up doing something more along those lines. But I was always making art and felt like it was something I wanted to continue doing but I also understood how hard it was to make a living as an artist.

What kind of kid were you? Where What were your influences?

did you grow up?

I grew up in Minneapolis, where I still live. I was active.

I played with toys (Legos, He-Man, GIJoe, Transformers, etc.) and my little brother quite a lot. We played

outside a lot too, biking to the parks and creek by our house a lot. I didn’t read many comics as a kid beside newspaper strips. I loved Garfield early on. My parents bought me those book collections. My parents were both big readers and my mom took us to the library frequently. We always did those summer reading challenges, to see how many books we could read. So I credit my mom with fostering a love of reading. I liked the Far Side and Calvin and Hobbes - both strips aligned with my sense of humor. I would buy random license comics at our corner store - Transformers, the Smurfs, GIJoe as a kid, but knew comic characters like Superman or Spider-Man better from cartoons

(Continued from previous page) How has the background you got at Minneapolis College of Art & Design played a part in your career?

This is always a little confusing to explain. I started working at MCAD before I did my MFA there (and I still work there). I started working at MCAD as they were developing some new areas, namely their digital print center (called the MCAD Service Bureau). I had previously worked at a commercial printer doing pre-press, design, and occasional illustration work. At MCAD I built up the Service Bureau to offer all kinds of digital output that is now a core component of the curriculum. So I’ve learned a lot on the technical side of the print world, and that obviously informs how I approach my own art.

I’d been working at MCAD for about a year when I was accepted into their MFA program. I’d been thinking about grad school previously but once I was at MCAD I saw that I could continue to work there and also do my MFA. MCAD is also one of the few art colleges that has a comics art program. Even though they had a good undergrad comics program, I was the first person to do comics for an MFA. So a lot of what I ended up learning during that program was how to communicate and talk about comics and my work with non-comics people. I had to experiment with what were the best ways of presenting work for critique and so forth. Aside from any technical concerns, grad school helped me see where my work fit in with the larger world of comics and get comfortable talking about what I was doing. The MFA program also helped put me in touch with many people in the comics community, and push my work forward in ways I might not have done on my own.

Your work is kinetic and energetic. How did that

evolve and was that an asset for you or was it hard to learn how to do it?

I think this is because I approach drawings with a feeling in mind, almost like I’m acting, but putting my performance down on paper. When I started to take art a little more seriously in Junior High and High School I had a habit of overworking my drawings, of getting frustrated, drawing things over and over. At some point I learned to just push past that, because I knew I wouldn’t ever finish anything if I kept re-drawing things. Then in college I had a drawing teacher who taught me about knowing when to stop a drawing. For a few weeks she would walk over and tell me a drawing was ‘done’ until I figured it out for myself. Focusing more on comics and cartooning then, I’ve always felt the art should have a loose or energetic quality, because it’s made fast and consumed fast. I’m more in line with the disposable

nature of comics and cartoons than those who approach it more like illustration.

You seem to work in various styles. Do you stay up to date on styles/process outside of your projects? Does that influence you?

This goes back to my previous answer about approaching things with a feeling in mind. In school I never liked the idea of developing a ‘style’ because it felt limiting. I’ve always liked looking at and learning from all types of artists and taking the things I like and incorporating them into my own. So when I start working on a new project, a big part of that is figuring out the feeling I want to be inherent in the drawing and that plays into the style I move toward. For instance, with Raised on Ritalin, I wanted something simple and approachable that wouldn’t get in the way of the information being presented.

What do you recommend to younger cartoonist who are just developing their portfolios?

The main thing is to just draw a lot. I started making comics just to give myself something to draw. As a kid I drew all the time but started finding myself getting bored so I came up with stories as a way of always having something to draw. People are always asking, “How do I break into comics?” or something like that.

The most important thing is to just draw, develop comfort with your abilities and also look at lots of other art and be critical of what you like or don’t like about that art and try and incorporate those things into your own work, full of clumsy, cute animals, and having enough time to enhance it as much as it’s necessary.

Do you write and do all the artwork for your projects?

Do you collaborate with anyone else? Perhaps with your extremely talented wife?

The biggest chunk of my work I’ve done all on my own.

I started with self-publishing and kind of spread out from there. I like having control of everything. Once my name was out there, once I had these books as portfolio pieces, then I started getting approached for freelance gigs and would take those on occasionally as I needed for extra money. The Chicagoland Detective Agency I did with Trina Robbins for Graphic Universe was fun because it was the first time I drew someone else’s story. It was refreshing to sit down and have something to draw without having to come up with the story. And then after that my wife and I cooked up the Cici - A Fairy’s Tale series for GU. That was the first, and so far only time, we’ve collaborated directly. We definitely had a lot to learn there. My wife did the writing and character design, and I penciled the pages before handing

them back to her for coloring. We quickly learned the best approach was to just let each other do what we do best on our own. By the third book we were having a really good time with that process Your “Raised on Ritalin” is a very personal piece that I can relate to having undiagnosed ADD as a younger person and now dealing with ADHD. It’s brilliant. How long did it take you to do that. Was it hard to be humorous about such a difficult condition?

The whole process for that book was about 5 years.

As I recount in the book I’d found copies of my old medical records after I’d graduated from college. At the time I knew they were important but I wasn’t sure for what. Over the years I’d make little joke drawings in my sketchbook about ADD, thinking it would be timely to make a comic on the subject. Things finally clicked when my daughter was maybe 2 years old and I found myself doing casual research online late into the night.

Once I got serious about the concept I spent about a year just doing research - reading books and magazine and research articles. The odd thing about the humor is that I don’t like when people joke about the ADD itself. So a lot of what you see in the book was just me entertaining myself as the creator - little dumb jokes or stupid drawings that made me laugh while working on something so serious, but I see that it has carried over to the readers as well. And more importantly, even when you are dealing with something serious, I think you always have to be willing to laugh at yourself and not be too serious. Laughter is also a great way at helping people learn new things too!

What’s going on in your head when you work on a book or cartoon? Your fears, anticipation, confidence , etc.

How do you know something is finished?

Once I get to the drawing part, I’m not thinking about much. As I mentioned earlier, it’s a little bit like acting.

I’m usually going through the scenarios in my head and “seeing” how it all plays out as I put it on paper. The writing part is where most of the thinking and organization takes place, the more deliberative thought. For the bigger projects of my own I’ve worked on, by the time I get to drawing them I’m pretty confident in what I’m doing.

At that point I’ve done enough ideation to see there’s an interesting future to the projects. As far as finishing a project, from an art perspective, it’s when I feel like I’ve accomplished what I wanted to communicate. As I’ve gotten older I feel like I’ve become more utilitarian in my art - does it convey the mood, emotions, and story beats? That’s all it needs. If it does those things I move on and don’t worry about. Comics are read so fast there’s no point in dwelling on the art for too long.

Who if anyone influences your work?

As a kid, Jim Davis and Bill Watterson were big influences. I was super into Transformers, He-Man, and other sci-fi type stuff as well. Once I got really into comics in high school it was Neil Adams and other classic superhero artists. In college I discovered Crumb and Harvey Pekar, Dave Sim, Alex Robinson, Terry Moore, and Garth Ennis. I’ve always been one of those people who will read or watch things for research. My college had a pretty impressive collection of comics for a liberal arts college. That’s where I found American Splendor and Corto Maltese and Stuck Rubber Baby. I basically read everything I could get my hands on. Sometimes it was the story that engaged me, sometimes it was the art.

Lately I’ve found myself reading a lot of biographies or autobiographies as I often find individuals’ true stories more interesting than a traditionally structured novel.

I’m

curious about how you choose what to work on. Is

there a certain type of project or client you gravitate towards?

Since I mostly only do my own work, it’s what holds my attention. I got a reasonable day job not long after college so I wasn’t scrounging for freelance work like a lot of my peers. It just wasn’t a game I was interested in playing. I’ve had a great ability to work on whatever I find interesting. Right out of school it was a series of graphic novels called Stylish Vittles that was autobiographical. When I found autobiography too confining I started a new series called Nothing Better that I mostly did online, releasing four print collections over about a 10 year period. Doing and promoting that work got my name out there so most of the freelance work I’ve taken on over the years was from people seeking me out. And I’ll be honest that most of the reason I’d decide to take on a project was for the extra money. But it did also have to be something I was at least a little interested in or I wouldn’t care. For example, when Lerner/Graphic Universe approached me about doing the art for Chicagoland, I said ‘yes’ because I knew it would be fun to work with Trina Robbins (and I was right!). Nothing Better is a good example of a ‘perfect’ project for me. It was about kids in college and drew heavily from my own experiences without being straight autobiography so there was always the possibility for narrative invention. And it was a relatively open world - that was something that has always concerned me: not limiting myself too tightly in a story. I was always interested in writing about “everything.” Raised on Ritalin ended up being something like that as well - it was autobiographical, narrative, educational, and allowed me to do research into many different areas. In many ways it was a perfect project from fulfilling all my desires going into a project.

What do you do to promote yourself and get work?

When I was first self-publishing 20 years ago I went to every convention I could and figured out which were the good ones. Then I’d do like 4 or 5 a year, send out mailers to retailers, engage with people on forums, etc.

Now it’s mostly social media - having a basic website and social media accounts I post work to frequently.

What’s the future hold for you? Any ultimate goal?

I’m in the midst of wrapping up BUTTON PUSHER, which will be out from First Second in 2021. Getting an agent and publishing with one of the ‘big guys’ was one of my main goals for a long time. So I’m just at the beginning of that journey and am hoping it continues.

Natcha Morrow an “artful” realtor to the disagreement to her rules and views of life. I am a free spirit kid and I want to live my life with flow and no restrictions. I want to do what I want to do without restrictions from social norm or social expectation. I do respect rules and have sense of what is right or wrong. However, I am not always following the norm.

What’s your background and how does it relate to what you’re doing now?

The most intense experience or background that changes my life and my personality to be who I am right now is the tragic of my baby girl in 2014. The lose of her has transformed me in an unimaginable way. I am grateful for what I have and who I become. It taught me to dig deep into my core of being and searching what is really matter in life. Life is short and what we choose to do in life is critical. I am focusing on doing what I love and enjoy doing.

When did you first think about what you wanted to do as an adult? Were you encouraged or discouraged by family, friends, teachers, mentors?

How did you end up becoming a real estate agent?

How did that evolve into working at PLG and with the Campbell Group?

Ever since I was a little girl, I always interested in art in all forms. I love drawing and my first career I would want to be is a fashion designer. Growing up poor, we did not have a lot of money for toys. I will draw and color paper dolls and accessories myself. My parents were incredibly supportive and encouraged me to do better. My friends loved my paper dolls, and some asked me to make some for them.

My art teachers had helped me improve my skills and I usually get good grade in arts subjects. Now that I am a real Estate Agent working with John Campbell who is also a highly creative person, he really encourages me to put my creativities to work. He allows me to decorate our office in Los Feliz and our listing properties when needed. He assigned me to create the wall decorations for our office and other marketing materials. I am incredibly pleased with the opportunity and enjoy working on them.

I was interested in becoming a real estate agent because the nature of the jobs that align to who I am. It requires high level of customer service, professionalism and knowledge to be a great agent. I knew PLG Estates through my first mentor who introduced me to Peter Lorimer. I was working with my first mentor for awhile until I met John Campbell at one of his listing properties, I did an open house for. We share so many things in common, so decided to join his team. It has been a great experience so far.

What kind of kid were you? Where did you grow up?

What were your influences?

I was a stubborn kid! I have my own opinion on everything, and I stand by them…LOL. I fought with my mom often due

How do you keep your perspective fresh about selling and buying homes? How do you approach your work?

Everything that I do, I do it out of love. I enjoy everything that I do. I applied my creativity on everything and every step to keep it enjoyable. I can only do my best and the rest will follow. I see every opportunity with fresh eyes. Every selling and buying transactions are unique and separate from

one another. So I focus on each client’s need and inquiries and do my best to accommodate them.

However, we all know that there are limitations on everything. That is why the 3 elements: strong customer service skill, professionalism and knowledge come in handy.

doing it, it’s the right thing for us to do. Whenever I feel uncomfortable or in doubt of what I am doing, I will step back and observe it and rethink about it before I move forward.

What is your favorite area of real estate to work in?

I learn different things from different people. Everyone is my teachers. I open my heart and mind to learn from everyone and every experience I have even from kids.

I love house hunting the most! I love taking my clients to see houses and discuss with them of what works and what does not. I am excited for them through out the process. It is rewarding when they finally found the one!

Can you explain the business you were in before with your husband??

My husband and I have a sightseeing tour business called Legends Of Hollywood Tours. We have 5 stars reviews across the board! He is an amazing tour guide and I oversee everything else other than being a tour guide. We are successful with awards from TripAdvisor 8 years in a row. Before COVID-19, we were providing tours twice a day 7 days a week.

Now we are suspended and hopefully we can get back on the road soon.

What’s going on in your head when you work on a project? Your fears, anticipation, confidence, etc.

How do you know something is right?

I am a heart center person. I listen to my heart. I believe that if we do everything with love and enjoy

Who if anyone influences your work?

I’m curious about how you divide up your daily efforts? (Working with clients, lead generating, etc)

I do not have fixed schedule and I prioritize what need to be done first. Then the rest is planning and working on promoting my name out there, I have list of things I need to do and pick out the one I enjoy doing the most first.

What do you do to promote yourself?

I am working on website, Facebook, Instagram, direct mail, etc. There are a lot more to do but I am working on it. Rome was not built in a day!

What’s the future hold for you? Any ultimate goal?

Everything I do and every choice I made are out of love. I cannot tell what the future hold for me, but I know that I am happy in my present.

" I learn different things from different people. Everyone is a teacher. I open my heart and mind to learn from everyone."

My Ultimate Goal would be seeing my kids grow up to be a decent citizen and able to take care of themselves and be happy or able to cope with hardship with healthy choices.

Andy BLOCH Engineer and businessman, Andy is an accomplished and creative executive with wide experience in music, having worked for numerous artists from Little Feat to Peter Frampton. He contributes hugely to the design and production techniques of EP guitars, and his passion for great sound and sheer beauty is clearly reflected in the instruments.

My system hardly fit my dorm room or later, my apartment.

“What most people do not understand is that business management is an art as well.”

When did you first think about music as something you wanted to do? Were you encouraged or discouraged by family, friends, teachers, mentors?

I’ve been a music lover since elementary school. I collected 45s and albums, had a couple of loud stereo systems, and sold 4 track tapes (mix tapes) to friends early on. When I got my first job at a recording studio, I was about 22. In college I had the biggest and baddest stereo system.

When I got my first job in the music business, my dad thought I was crazy and would never make a living in music. Couldn’t argue with him as I was being paid $75 per week and working my tail off in studios and on the road.

At the time I didn’t know anyone in the biz but made what few connections I had work.

What kind of kid were you? Where did you grow up?

What were your influences?

I was a bit of a goofball as a kid. Didn’t have a girl friend, was not an athlete, and basically couldn’t get arrested let alone get “in” with the in crowd. I think that growing up in Beverly Hills in a family where my father did well in the entertainment business, I had a certain confidence that I could try a few things before I ended up on the street. That was extremely important to my success.

How has the background you got producing music and working in the music tech world help you now with this break out product?

When I think back about my background in the music and technology business, coupled with my geeky attraction to the first computers, most everything I’ve done has been additive to my profile and success. For example, I started in college studying computer science. Very early on.

At the time Bill Gates was in Albuquerque, New Mexico building the first personal computers (pcs), I was building my own computers and creating elaborate software programs. I got a night job at a recording studio while I was in college. That put me over the moon and I realized that if I had computer/electronic skills, and music engineering skills I would be happy and would attract enough attention to get my foot in the door. It did.

You’ve worked in a couple different areas of the music world. How did that evolve and is that an asset for you?

I have worked in several different areas of music. Again, it evolved that way because I felt it would be where the world was going and I’d be there competing with the best. I still believe that what skills I have or acquire (still), make me broader and more interesting.

How do you stay up to date on styles/process outside of your own projects? What do you recommend to younger aspiring musicians and music producers who are just developing?

There’s really only one way to stay up to date and that’s to immerse yourself in that world, taking chances, and trying new stuff. Could be electronic designs, speaker designs, recording techniques and much

more. Many times I was in over my head recording someone or leading a business. It can be scary stuff but if you don’t hurt yourself, you gain knowledge and experience that is priceless.

I am often asked what I recommend to aspiring musicians, producers and consultants. My response is, practice, find a role model and work for them, work your ass off, watch, network and importantly, invest in yourself. For example, I used to go into the studio at midnight and work all night because my bosses gave me studio time. I was exhausted but it advanced my skills immeasurably and gave me the opportunity to network with artists of all stripes. I also tell younger people not to worry about money. It will come when and if you’re good at what you do. You should not make career decisions based on money, if possible.

What is your favorite area of the business to work in?

My heart says production but my head says management. I’ve ended up in management more times than not. What most people do not understand is that business management is an art as well. It doesn’t correlate with suits and ties necessarily.

“I got a night job at a recording studio while I was in college.

That put me over the moon!”

Can you explain what the experience of working with Joe and Jan is all about? Who does what?

“ I like being out front

and on the bleeding edge at bit. ...”

We’ve built a great team at EP Guitars. Each of us has a specialty but each has many other secondary skills.

Together 1 + 1 + 1 is much greater than the sum. It is particularly evident when we are designing new products and building prototypes. Each of us contributes massively while respecting and listening to others. Designing anything can be socially stressful.

Look for the beauty in every idea.

The guitar looks are great. Love the “Easy Rider V-Twin”.

How do you decide on design and what the guitar and it’s assets can do?

It’s all about imagination for us. This extends to loudness, audio blending, colors and finishes. All are as important as the playability and sound quality. None of what we do would be any good unless every aspect spoke to our customers. All the senses need to be stimulated including touch, hearing, seeing and more.

What’s going on in your head when you decided to jump into this business? Your fears, anticipation, confidence, etc.? How do you know this was going to work for you?

It was with serious trepidations that I decided to start one more business. What attracted me was the uniqueness or the product and vision, and the fact that it was an evolution of an instrument that has not changed in more than 50 years. I like being out front and on the bleeding edge at bit. That adrenaline energizes me and allows one to do things you’d never be able to do normally. Again, there is stress too and you have to be able to manage that if you’re to be a designer or entrepreneur.

Who if anyone influences your work?

So many people in so many ways. I also have negative influences as well. I look at some artists and executives that I’ve worked with who I hated and thought that they were totally off track but successful. A lot was learned from these guys too.

What “not to do you might say.” On the positive side I’ve looked many influencers from Picasso, to Santana, to Larry David. All have made me richer and improved my work.

What do you do to promote the guitars?

Anything and everything we can afford. Our marketing program for the first few years was simple. Get as many guitars out into the wild for people to play (and talk about), and get professionals to use our guitars giving us cred. Now that we have some money we can do ads and other brand-enhancing strategies. For non-fiction, I think that Tom Wolfe had no peer.

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What’s the future hold for you? Any ultimate goal?

Stay healthy and keep busy doing what I love. Music, music and music. I would love to work closer with many other artists inspiring them to create new music.

If you could meet anyone in the field you’re in who would it be and why?

Love to meet Jimi. (Deceased Uber-guitarist Jimi Hendrix). But more accessible might be Mark Knofler. His sound is exquisite.

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Our premier instrument, the Model One EP, is just the beginning of a new generation of electric guitars.

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Heather Leary Staying Productive During Quarantine

This pandemic has brought much tragedy, fear, and frustration. It is hard to look on your phone or computer without being remined of what is happening and feeling a sense of dread. I too have days where my irritations come to a boiling point and I just want everything to go back to normal.

Hope is not lost though; the day will come when the quarantine is lifted. Until that day comes look at this as an opportunity to work on tasks you usually would not have time to do. With so many artists staying home this could be a great time to get some much-needed work done.

I myself have already created a list of goals I want to accomplish while under quarantine. Having a list has really helped me to keep myself busy and achieve many tasks I only had a limited time for before the lockdown in Los Angeles. I have my list, what is next? Figure out a time management schedule. It is so important

for any artist to have a time management schedule.

It helps to see how productive you are along with figuring out how long certain tasks or projects take.

The biggest goal I have on my list is to refresh my portfolio. Portfolios require much time and effort and with this lockdown limiting my normal routine this gives me a chance to really focus on my portfolio and not get distracted. If your happy with your portfolio perhaps you could try learning a new skill.

Illustration has never been my strong suit. Now with so much time I can sit down and take the time to practice, learn techniques, and get back to the basics of color study. Taking the time to learn a new art skill could not just enhance your portfolio, but it could add some flair to your social media. Working with little interruptions or distractions is great, but you must remember the importance of staying healthy

and taking necessary breaks. When inspiration strikes you do not want to be so over worked that the thought of drawing exhausts you. Create a schedule to balance out your work and get the rest you need.

Not being able to go to work, run errands, or go outside causes a sense of restlessness and can disrupt your sleep. A good night sleep in imperative to your healthy and keep your drawing mojo going. Make sure to do

activities that keep you active. Indoor exercise, new hobbies, chores, or rearranging furniture to spruce up your living space are great ways to stay active.

Quarantine can be a frightening thing, but during this time it is important to stay positive, take care of yourself, and stay productive. Our sense of normal may be gone, but we can take control and create a new normal. One that benefits us and inspires us to work hard and spread a hopeful message. Stay healthy and stay safe.

Street The legendary “Zepyhr” talks with Jodi Mitchell

Andrew Witten, known as Zephyr, is an artist, lecturer, author, the Zephyr of Suzanne Vega’s song, “Zephyr and I” and now an avid cyclist and father.

As a tagger and the head of a famous street art collective, the Rolling Thunder Writers, he was a key component in graffiti artists making the jump from NY City subway cars to galleries such as NY’s FUN gallery and 51X and a show in Japan with fellow artists Futura 2000, Dondi White, Fab Five Freddy and Dominque Philbert; to collectors and commercial work. He, along with his fellow artists, invented styles and standards that prevail today.

His work was featured in the documentary “Style Wars” and Charlie Ahearn tapped him to create the title sequence for his landmark film, “Wild Style” in which Zephyr also appeared. He is a serious artist who continues to be a central figure in the street art scene.

When did you start creating art?

Like probably 99% of all kids throughout the history of the

“Art is art

whether it’s in

a gallery or in the streets ”

Legend

planet I began making art in the earliest years of my life.

The only difference between me and some other kids is that I never stopped drawing and painting. Unfortunately, modern western society encourages capitalism over creativity so a lot of kids don’t stick with it, as they get older. I still have some of my drawings from age six.

What compelled you to paint in subways?

The history of graffiti being presented as fine art first

occurred in 1972, when a man named Hugo Martinez exhibited the top New York City subway painters under the banner “United Graffiti Artists” (U.G.A.).

Despite a well-received Soho exhibit in 1973, the world didn’t appear quite ready to accept graffiti as high art yet. When it was attempted again in the early 80s by Patti Astor at her Fun Gallery in New York, the reception was very positive, and her tiny ramshackle gallery launched the art careers of Basquiat, Haring and many other greats. Patti was the first gallery owner to give graffiti artists solo exhibitions and it was through her faith in me that

I made the leap from subway yards to the so-called “white walled world.”

Recently part of Chicago was up in arms as a beloved piece of building art was mistakenly removed in a graffiti “cleanse” This was part of a plan to lure Jeff Bezos and Amazon to bring jobs. Any comment?

The image was clearly art - the canvas seems immaterial.

I wasn’t familiar with this situation. I had to look it up on the Internet. As far as the piece on the wall that all the controversy was about, it was done by an “old school” French street artist named “Blek Le Rat”. I confess that

street art is not where my attention generally goes. However, I do have a special place in my heart for this artist because he is a real grandfather of the international street art movement.

In fact, Banksy has borrowed heavily from him, stylistically.

That said this whole situation is a bit of a paradox wrapped in a conundrum. It can get quite complex very quickly if analyzed with any depth. I can’t even begin to express my opinion about it in any real way because doing so would require pages of potentially circular narrative. In a nutshell, the situation is replete with

“We used subway cars as our medium for artistic self-promotion”.

and skateboards.

Diego Rivera, were not aligned ironies and contradictions that of surfboards his mostinpopular piecwithof“society” the same way we include subjective standards, who Many by simply were.been The done difference is huge. As – if anyone – really owns space es have his trademark name subway painters, we exploited— (i.e. “public” vs. “private” space); redesigning “Zephyr”. loophole in or or created—a the legal “rights” of anyone to “Zeph” “property”; and even the propriety the system. We used the subNew York way influence cars as on our medium financial aspects of so-called art. Witten’s is exemplified We for self-image artistic self-promotion.

I’ll graciously leave any further City’s Vega’sthis 2007bysong accomplished trespassdiscussion about this for another in Suzanne “Zephyr andstorage I,” which uses ata night ing the yards day. conversation between andtrain to spray our namesVega on the a framing device cars. asNot only was thereto public What’s the difference between Witten what toward Vega describes as this, hostility our doing the commissioned Mexican create a little snapshot of whathigh butofthere was a perpetually Muralist of the 1920’s and the “sort End Avenue (and usedlegal) to berisk likeand level of physical work you and your friend were West in the 70s.” vulnerability involved. The work doing? we did was never condoned. And The Mexican muralists I assume although in some circles subway you’re referring to, most famously graffiti was celebrated, in our time we were considered a blight at best.

Needless to say, the Mexican muralists were a different story entirely. Since the movement was government sponsored their work wasn’t created in a hostile environment like ours was.

You’re a serious bicycle racer.

How did your collaboration with Raleigh to design a bike start?

The Raleigh bicycle gig was a perfect situation. I caught my fever for bike racing from my childhood friend, Nelson Vails, the Olympic Silver Medalist.

Nelson grew up in Manhattan and long before he discovered cycling we were skateboard partners. When he won the Silver Medal in Los Angeles for cycling in ’84 he did it aboard a Raleigh. Decades later Raleigh produced a tribute bike and Nelson thought I’d be the right artist for the job. He’s a great guy and Raleigh makes great bikes, so it’s a win-win.

You provided art for the movie “Wild Style”. Did you enjoy working in an art department?

As for doing the artwork for

the narrative film “Wild Style” (1982), it was an amazing experience and an amazing time for everyone who collaborated with Charlie Ahearn on the film.

The movie captured the birth of Hip-Hop before it was even formally dubbed Hip-Hop. The film was created without any budget to speak of and filmed primarily in the South Bronx after that region burned to the ground. It captures a New York City in the throes of real collapse, although coming of age at that time was extraordinary because the level and intensity of the creative energy that flowed in that period is beyond explanation or even description.

Has fatherhood changed you?

Yes. I choose graffiti opportunities carefully now-thoughtfully weighing risk versus reward might be the best way to put it. I really don’t want my

daughter to see me through plexiglass while I’m in an orange jumpsuit. That’s just not a good look.

Are you painting the walls of your new house with anything special?

The walls are white, but I’m fortunate to have amassed a great art collection over the decades. We try and rotate the art to keep things fresh.

People probably are surprised to see the traditional way I live with regard to the art I display in my home, although I try to throw in a surprise sometimes with a vintage Rick Griffin Grateful Dead or Quicksilver poster. I had a metal smith in California named “Metal Man Ed” buuld me a fake subway car. It’s made from aluminum and it’s in eight foot panels that connect. I

haven’t had the heart to paint it yet. He did such a beautiful job. It seems a shame to slap my crazy graffitti stuff all over his nice silver and blue paint scheme.

Y M E V O L I WHY C I T S D N U O R C I B . . .

S N E P . s n e p y m o t r e t t e A love l

Written by Jade Dressler

Dear, dear my Bic Pens, You are so precise. You are clean. You are lightweight and easy going. You are my go-to pen.

You are my friend.

With an over-active imagination it helps with life’s balance to keep my tools very simple and consistent. Your matte casing feels cool on my skin, I love your transparency, I can see when you are low on ink and ready to be recycled. I have stashes of clone pens that anxiously await like soldiers in a drawer, waiting for their time to be caressing the paper next.

Most of all, I can always rely on you for a consistent line and flow.

The vintage, 8-sided Daher multi-floral tin holding my color pencils was made in England and reps the material culture of the New York metropolitan area. The 8-sides are also in the book illustration behind the goddess, called the Chinese Bagua (Eight Gates) The red book is Ritual and Seduction, a funky 70’s look at how cultures of the world seduce. Handy.

Beloved Bic Pen, I adore you!

Love, Jade https://www.bicworld.com/

I really loved working with you for my coloring book, Immortal Beloved, the World’s First Goddess Perfume + Coloring Book featuring the world’s most mysterious and ancient myths, fairy tales, and legends of 12 sacred and modern goddess traditions from around the globe.

(The goddess in the picture is Kwan Yin of The Far East.)

Jade Dressler

Other Photo Fun Facts: The wood coffee table formally belonged to Dustin Hoffman.

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Art. Design. Style. + Life Lived Well.

Faith is taking the first step even when you don’t see the whole staircase. .

.

The journey starts with the first step.

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