Date of Birth: Summer 1971

Single/Married/Partner/Family: Married

Siblings: Two

Pets: None

Can you talk about your upbringing and where you come from?
I grew up in the countryside of Norfolk, England in a small village. It was very different to the city I find myself in now. I hung around with a small gang of kids in the village generally getting into mischief. I have lots of memories of outside adventures, exploring and having a great time. I still go back to visit whenever I can.

Where do you now call home?
I now live in Brighton, England and have been here since 2000. I moved here after a long time living and working in London, and a year in Australia. I loved the open space and city life by the sea whist in Sydney, so Brighton seemed an obvious move when I came back. The climate isn't quite the same, but there's a great vibrancy and creativity. It's a lovely place to work and bring up a family.

At what point did you begin artmaking?
As early as I can remember. I always got a huge huge buzz drawing and painting and I was always well known at school for my drawing skills. I made some mighty fine artworks on bags and tshirts for friends. I really became interested in art as a career when I was in my teens. I visited an exhibition of paintings by Lucien Freud on a school trip and was amazed by the power and scale of the paintings and the galleries. Coming from Norfolk I'd never seen anything like it; a huge city, big canvases and huge galleries. I was hooked from then on. I graduated from school and studied hard to get into art school as soon as I could. I was lucky enough to get in Central Saint Martins and the heart of London, I haven't looked back since then.



As a father of 2 and full time Design Director of a big agency where do you magically find all the time to create so much work?
It all happens at night, normally after after 8 o'clock. I dedicate as many evenings a week as I can, but try not to overdo it. Occasionally I'll get into the studio during the day on the weekend if I have a lot to get done or a deadline for a show. I think working quickly has really helped me to focus these short, intense bursts of work. Once I'm into creating a work and in 'the flow' it's pretty intense and very quick. I have to structure my time very carefully and I think this is an advantage as I have little time for procrastination, which can lead to fear and doubt. I'm a doer, not a talker.



How do you relax?
By spending time with my family, especially at the weekends. I don't watch much TV at all, I have no time for it now. Making art relaxes me too.

How has having children affected the way you look at your life and your path?
It changed everything and made me really think about what I love most and how little time there is to do it. My family give me a huge sense of purpose and unconditional love. They are my biggest fans and they know how much all this means to me. I owe everything you see to an understanding wife and beautiful kids.

What has been your driving force to get back into creating art work and exhibiting?
I just wanted to get so many ideas out in the open and for other people to see my work. Sometimes my head just bursts with new things and I can't stand not producing or creating something visual for long. I never really know if an idea or a piece will work until it starts and I'm very brutal with my work, most of it never gets seen and there are a lot of casualties along the way as I'm learning more. The best work advice I was ever given was to 'never fall in love with something too soon'. If I become too precious about something I find it difficult to take risks and push my work further, this usually disappoints me quickly, even if the piece is well executed, if it didn't excite or surprise me I'll reject it.

You have only recently started screen printing, what made you try out this medium and how has it affected your working method?
A lot of people mentioned that my work would translate well to screen printing and I really wanted to try the process. I've seen some incredible results from it and wanted to find a way to have more control over collage and push it to much larger pieces, integrating it with my painting and drawing. It was tough at the beginning, I made so many mistakes and really had to respect the process and craft of it. It has changed everything for me, works can be large scale and printed on anything. I'm now confident enough to replicate the accidents and continue to experiment with mixed media.



Can you talk about the North Start Printmakers Cooperative? How did you get involved with them?
I found out about them through a friend and visited the studio last summer. It's a lovely old converted pub with etching, lithography, photography and screenprinting over 3 floors. There are 26 artists in the co-operative and the rent is incredibly low. I think it's Brighton's best kept secret; all that kit, loads of space and often left alone to work and experiment.

Your finished artworks are full of printmaking, drawing, painting, collage and more, how do they usually begin?
They always begin with sketchbooks. I have lots of keywords that i write down or short ideas to trigger visual images and concepts. I'm really comfortable with drawing and find it a great way to try out ideas and compositions very quickly. I have a large collection of vintage books and paper and am always on a hunt for unusual and unique source material. I find themes and ideas can come from anywhere; life, overheard conversations or just general doodling and note making. I really love to work within a theme, creating lots of pieces in sketchbooks then and picking the best and pushing them into final works. I also have a lot of left over prints that I will remix and cut up to keep pushing new ideas and sketchbooks. The final works right now are on paper, canvas and board. I was hoping to do an interior with murals and artwork running from the walls onto fabric and over furniture. That could be incredible if it comes together…



What is the difference between reappropriating found imagery versus drawing your own? Do you prefer one method over the other?
I don't prefer one or the other, but I love trying to combine the two, sometimes it works, sometimes not. I'm most relaxed whilst drawing, it's always been my first love, but I also love the power and impact that found imagery and collage can create. The juxtaposition between the two can be incredible, and I'm still working through these ideas right now. I think I sit somewhere between collage, drawing, painting and printmaking so not quite sure where to position myself. Whatever I do, I think it's important to make something 'my own' to render, draw and distort it in some way and pull it into my work.



Do you know what you are trying to achieve with your work? Where does it come from?
I'm interested in the journey of all this and playing with new techniques and ideas. I don't want to be political or use recognisable imagery or characters. I'm interested in the normal, mundane and ordinary when it is brought to the surface and made beautiful. I want to keep producing and creating, to keep learning and take on new influences.

Does working as a design director influence your personal artwork, if so, how?
It doesn't influence my artwork at all, but it does influence how I work. It makes me very disciplined and understand how to work with others very well. I manage a lot of designers and love to see how people develop and enjoy the creative process. I guess it also influences how I think and the way I structure my time. My life is always very, very busy and I have learnt to work in short, manic bursts. I'm also used to working under a lot of pressure in very tight deadlines, as I've grown older I've also learnt how to relax and be more confident talking to others about my work. It takes a lot to intimidate me these days.



You've done a lot of commercial design work for various arts and public services organizations (MoMA New York, Channel 4, BBC, etc). Do you find this line of work different than doing design for more commercial products/companies?
It couldn't be more different and deliberately so. This is all about switching off and going to a new place outside of my commercial work. I wanted to work in a physical, tangible way and play as much as possible. I love technology, but at the right place and the right time.



You recently did an album cover for Ous Mal. Was this an easy process? What are your thoughts on commissioned-based artwork, where you are lending your personal aesthetic to someone else's project?
It was so, so beautiful. I was given complete freedom and a blank canvas by the label. I worked hard to listen to the music and visualise tracks whilst drawing and collaging. I did eight large pieces and selected two. I was given final say and really respected them for that. This is very, very rare and I hope to do more work with them. I think it takes incredible bravery, knowledge and respect for a commercial label to work with artists in this way.

If you could browse through one artist's lifetime of sketchbooks, who would it be?
It would have to be Robert Rauschenberg. I've seen his work in the flesh and there are so many incredible ideas and documents in there, he really captured 'his time'. I can't imaging how much reference he had and how many ideas or smaller works he produced. Manic and beautiful.

A lot of us go through ups and downs with our art production, but you never seem to stop… What keeps you inspired these days?

The thing that keeps me inspired is my family and being a father. I love the fact that my kids see me creating and as they grow up they can see my work on the walls and be inspired by this too. My favourite painting is a huge canvas by me and my daughter, it hangs on my bedroom wall and is filled with joy and innocence.

Also, I did stop, for 10 years. I did nothing, didn't put pen to paper, draw, paint, but did look on and admire the artists around me. I have a lot of ground to cover and a lot of new ideas. I worry that if I stop now, I may never start again.



See more of Jenkins' work here:
www.seesomework.co.uk/


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Anthony Zinonos




Date of Birth: 18 / 11 / 1981

Single/Married/Partner/Family: Living with Partner, Miss Gemma Correll.

Siblings: One older sister, Alexia. She got the academic brain and is just about to start a PhD in sociological studies, I’m going to have to call her doctor soon.

Pets: One little wiggly, snorting Pug pup called Mr Norman Pickles.

You were born in South Africa, raised in Cyprus, now you live in Norwich, England. That's rather eclectic. Can you tell us about your growing up years and about your family? 
The first 11 years of life were spent in South Africa, I have some really fond memories growing up there, our house was on a fairly big piece of land so I was always outside playing in the garden with the dogs. There were loads of trees and bushes to make up imaginary things and games with, I was a big MacGyver fan and had a fascination with climbing up on the roof of the house, to this day I’m still surprised that I never fell off.
Just before we left, more like the reason we left was because my mom and I got hi-jacked at gunpoint one afternoon after dropping my friend off at home after school. 6 months before that my father and his business partner also got hi-jacked out side the screen-printing factory they owned in downtown Johannesburg. Stuff was starting to get a bit bad then I remember it was no longer safe for us to play in the street and we used to do drills at school ‘what to do if the school was being attacked’ a lot of my parents male friends started carrying around hand guns as protection. It was always strange having guests around and they would take their guns out and leave them on the table, so wrong! So after what happened to my mom and I my parents decided that we should move to Cyprus where my sister and I could grow up in a safer environment and get a ‘European standard’ education, my grandparents were Cypriot so we had duel nationality. It was pretty mad I had never been to Cyprus, all I’d seen was some travel program about the place which made it look like a tropical island paradise, my dreams of living in Hawaii were finally answered hahaha…. We packed up and shipped out within 6 months, it was strange we went from living in a big suburban house with a swimming pool and 3 big shiny cars to living with my great aunt in some old house built in 1916 with a massive orchid of citrus and olives trees.
Cyprus was a bit tricky to get used to, my sister and I went to an English speaking school, full of kids from all over the world, which was really interesting. We got some hassle off the Cypriot kids like “you’re from Africa why arent you black?” but it beat having a gun pointed at your head and the freedom and safety to roam free in the street was priceless.
My high school years were spent in Cyprus, the school was quite academic which my art brain didn’t do too well at but I got by. My teen years were spent listening obsessively to the Smashing Pumpkins and rollerblading, I formed a tight nit group of friends through skating which at the time was my creative outlet, I was getting free stuff from an Italian company and got the chance to travel to Germany to compete which when your 16 is heaven. There is a 2 year compulsory military service in Cyprus, as soon as you graduate from high school you get called up. I’m not a fighting/war type of person so had no intension of doing the service, my parents fully supported me and I managed to skip the county and move to Norwich to start my art studies, the only thing at the time which made sense to me however has left me black-listed from Cyprus, a tricky situation which I’m still trying to sort out.

How has this journey influenced your work?
It’s made me the person I am today so that must seep into my artwork. The experience of moving around and fitting into or not fitting into different societies has definitely influences my work.



Can you tell us a bit about the process and inspiration for creating?
I think its always been there, my dad is very creative -- he studied architecture and packaging design and has worked in the design industry ever since. Hanging out in his screen-printing factory in South Africa definitely triggered something in my mind. He is always photographing too with rubbed off on me. I just get that feeling that I need to create things, it’s that voice inside which needs an outlet.

There is a childlike innocence and humor to your work.  When did you start using collage to express this and why collage?
I really got into collage before I left Cyprus, it has all that rebellious, DIY history which I love. Its cheap and quick and I love how you can take an image out of it’s original context and give it a whole new meaning. As for the childlike innocence I guess that’s just what I tap into, there is that freedom of being a child and making things with no preconceptions, no theory, no bullshit story just an imaginative stream coming out of their heads. There is enough shit and misery in this world that I’d rather not focus on im my work, art should be enjoyed, if I can make someone laugh or smile with something that I made then that makes me happy.



What was your academic experience like?  What are your feelings about art and academia?
I have a love hate relationship with art school, when I first moved to Norwich I did a foundation course, which is just a year. I then went to Athens, Greece where I attended an amazing photography school for a year. There was such a contrast between the two it kind of left my head spinning. I moved back to Norwich and started a fine art degree then dropped out after a term. I was looking around at the work, which was being produced, and the bucketfuls of bullshit served up next to it and thinking ‘do I really want to be apart of this?’ I finally went back a year later and served my three years leaving with a piece of paper with my name and a number on it. One day I’d like to do some teaching, just be a bit more honest with students and prepare them for what happens after they leave the little art school cocoon.

A lot of times, artists work best when they have limitations and constraints. Do you ever decide ahead of time to limit yourself to some kind of specific rule before starting a project?
Most of the time I’ll just start making stuff and see where it takes me, in general I try to limit how many elements I use in a collage, less is definitely more for me.

You describe yourself as a 'Paper Collector', are there regular places you visit, and any finds that have pride of place in your studio?
Car boot sales make my world go round, that is where I get most of my treasures. There is something special about walking around a field in the sun rummaging through old peoples junk. There are always loads of dogs about and you have little chats with the sellers, I love it!
My studio is full of bits from the car boot, my most recent treasure is a needle point alpine scene which I’ve proudly hung above my new desk.



You recently moved to a larger house with a new studio, how's that going?
Really well, its great having a separate room as a studio. In the apartment we were living in before my studio was in the living area, which was a bit of a nightmare, there were was work and bits everywhere, it was such a mess! We have moved into a much nicer neighborhood too, no more screaming and fighting neighbors, playing crappy dance music all day cause they are unemployed and on benefits, it was no place to bring up a pup.



You represent half of the most amazing illustrator couple-monster of our time.  How do things work with two artists in the household, and how have you helped each other?
‘illustrator couple- monster’ hahaha.. It’s more like Gemma is the super hero illustrator and I’m the side kick that does the cooking and cleaning. Having two artist working and living in the same house can get a bit tricky at times, its been better in the new house having separate studios and extra space. It’s great having someone who you can bounce ideas off, get an honest opinion from and who understands what you’re doing and why. We help each other loads, Gemma has definitely helped me come to terms with the internet and how to use it to show and promote my work.



Your new Pug puppy Mr. Norman Pickles - it's clear from your bio and your recent flickr feed that this recent addition to your family has been a landmark event. Please discuss the cuteness. 
Mr P is the fucking best guy! It’s great having him around, he is constant entertainment always makes us smile and laugh. Except at 7 in the morning when he wants to play and chews our ears with his little piranha, puppy teeth, neither of us are morning people so he’s not too popular then. We have wanted a pet for so long so its been amazing to finally have one that’s ours instead of just perving over other peoples pets.

Where / when did your love of pugs begin?
Gemma has been obsessed with pugs for as long as I’ve known her, I have never been that fussy I love all breeds of dogs but now that we have Mr P I’m convinced that they are the best dogs ever. It’s strange Pug owners seem to get a bit obsessed with the breed, maybe they have brainwashing capabilities and one day will take over the world hahaha….



Can you talk about your typical week and your day-job if you have one? 
As of January 2010 I no longer have a ‘day job’, I used to work part time as a cake baker but decided to pack it in and jump into the deep end of the illustration pool so I now no longer have to try to juggle everything around. I can now stay at home and make stuff all the time, which I love. Pretty much 7 days a week I’m in my studio. I’ll try get to my favorite coffee shop 3-4 times a week, Wednesdays I’m at the car boot sale getting my paper fix. Truthfully I don’t go out much, but I’m not all that fussed I prefer to save my money and go traveling, that’s what I really enjoy.



Your initials are A and Z. How do you feel about being represented by the first and last letters of the alphabet?
I’ve pretty much got the whole alphabet covered hahahaha….

You do a lot of editorial & commissioned illustration work. How do you feel about using your personal artistic style to execute someone else's specific idea? 
I really enjoy it, it’s a bit like a problem solving puzzle, someone sends me a riddle and I have to work it out in my own visual language. Sometimes it can be a nice break from my personal work because I’m not challenging my own ideas or aesthetic. It’s also great getting paid to do something you love.

Both you and Gemma are constantly working and selling your work. What are your thoughts on the commercial side of the art world? 
It’s always a compliment when someone is willing to empty their pockets for something that you have made. It’s a dog eat dog world though so you have to have your wits about you and make sure you have your ass covered because there is always someone out to screw you. That’s just business though no matter what industry your in whenever money is involved someone always get fucked just make sure its not you.



How has the idea of collaborative art-making affected your work and the way you look at your own process?
It’s a great way of letting go of your work and not being too precious about it, its always interesting to see how someone else reacts to something you’ve made and how they change or alter it. I love the community feel of working in a collective and sharing something that we all love to do, create.

What have you been working on outside of WAFA lately? Are there new themes/ideas that you are interested in exploring in your work in the near future?
I’ve got a few ideas floating about in my head will have to see what comes up to the surface first. I’ve been working on a new short film, made from footage of found super 8 home movies, it a long process but is a nice change to be working in a different medium. I’ve just gone through a bit of a horse phase with my collage stuff, most of the time I produce the work first then think about the themes/ ideas. I’ve also been looking at loads of photography latterly, which is something I’d like to do more off, I’ve got some Polaroid and medium format films that I’ll hopefully get through soon, time will tell.

You’ve done a fair amount of traveling in your time on this earth. What's your favorite city? Where do you feel most at home?
I love traveling, you learn so much when you are in a foreign place not just about the place or society your visiting but about yourself and where your coming from. Traveling always clears my mind and puts everything into perspective.
Favorite city would have to be San Francisco, it such an amazing place, the houses make me go weak at the knees and I love the buzz that the place has. Athens would be next best, its always amazed me how Athens is such a big city yet still managed to have a laid back feel, it’s that infamous Greek attitude, you can’t beat it! I guess home would be where I’m living now, Norwich.

Where do you imagine yourself in five years?
Hopefully living in a warmer and dryer climate like Athens or San Francisco. I just want to live somewhere nice and quiet where I can have a cactus garden and sit out on a balcony in the evening that all I ask for in life.



See more of Anthony's work here:
www.anthonyzinonos.com


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Mudchicken AKA Vinny Pacheco



Date of birth: 01/18/1981

Single, Married, partner: Married to Carlene Pacheco.

Siblings: Two brothers, James and Chris Pacheco.

Pets: Two dogs, Sammy and Abbey.

On your website you say you are a "descendant of outlaws and revolutionaries". Can you tell us about your family history and where you grew up?
This is a hard place to begin and a long story to tell. My great-great grandfather was a revolutinary soldier who fought alongside Pancho Villa in Mexico. He was eventually caught and then exported by the Mexican Government into the United States. This is how my family came to be in San Francisco, CA. But we don't know much of him or his personal story. I think the best place to start would be with my grandfather, James Pacheco. They called him the Crazy Mexican with the Gun. He was the largest drug dealer in the Mission District of San Francisco in the 60's and 70's, until his arrest in 1976. He served a 17 year sentence at Folsom State Prison in California, where he was a Captain in the Mexican Mafia, and also a drug runner. After his release from prison, he was assanited in his home in front of his family. Before his death and incarceration, my father remembers being a part of the drug trade as a young kid. He was his Dad's right hand man. 10 years old and cutting heroine. Carrying a gun. Learning the ins and outs of the drug trade. They called him Apache. He was there when the DEA raided (and looted) their house.
My Dad escaped that life in his early twenties, after the murder, and after meeting my mom. They were such a good team back then. They saw what was laid before them and wanted out. So they left the Mission and started a family. We eventually ended up in sunny Concord, California, a San Francisco suburb, and me and my brothers were allowed to be kids. But the rest of the family stayed in the Mission, and has been there ever since, living what my grandfather put into place. It has been a hard life filled with drugs and violence. My Dad's sister lost her two sons to gang violence. My cousin John is serving a double-life sentence for murder at Corcoran State Prison in California, where the Yokut Native Americans once settled. My other cousin, Salva Jesus is living in a brain-trauma ward after being shot in the head. I spend a lot of time thinking about the path my Dad took, and the path his sister took. They both had kids at the same time. His kids thrived in the suburbs, and hers were forced to fight for their lives in the ghetto.

How has your unique family background affected you, your path, and your art?
My father has given me so much strength. He made sure that we knew our family history, and that we were aware of our unique and unpromised opportunity at life. He told us everything. So my ultimate goal is to do right by him and the family, and to pursue my path with grace. This has made a huge impact on the work I produce. My work is about finding my sense of place, and not wasting my time here, while I have it. I study the concept of family, and choice, and displacement. Sometimes it shows up in my work.

When did you realize art making was what you wanted to do in life?
While living in East Los Angeles. My need to create work there came suddenly, almost out of nowhere, and soon took over my life. A lot happened out there, and I began creating work to help me process it. Before then, art making had been a hobby of mine, something I did for fun. But in Los Angeles, I began using it as a tool to find my path, and to communicate with the Universe. I found this power in art making and realized that I had to pursue this at all costs.

You quit a high paying corporate job in LA to move to Seattle. Why? 
LA proved too much for me. I was working as a graphic designer in Corporate America, and it just wasn't resonating with me anymore. But I was also excelling at it, which was interesting. My pay kept getting higher and higher. I was getting pats on the back, and promotions. It was all there for me. At the same time, I was finding real truth in my artwork at home. I remember spending my entire 2-week paid vacations doing art. Just collaging for two weeks straight. And then id go back to work, and there was such a stark contrast between what was real and what wasn't. Working within Corporate America was not applicable to my life anymore, so I quit and decided to leave that town. Carly and I decided on Seattle because we had always loved it up there, and we needed a change. Plus our good friend Johnny (Sundry Sullen) lived there. He was making a go at art-making fulltime and we had talked about teaming up and forming a collective of some sort. So that seemed really promising and exciting, and was better than any job prospect. Plus there seemed to be so much room to make change there, it really is the Wild West.

How has this change affected you and your art?
Moving to Seattle gave me so much strength. Stength I didnt know I had. Since i've been here, I have realized that I have the ability and power to make real change in my life. That I have the capacity to take ownership of my path. I dont really know how my work has been affected, except for the fact that I am doing a lot more of it. It will be interesting looking back on this period later on down the road.

Are you happy with your decision and how are you enjoying being a ‘struggling artist’?
I have never been more happy, or poor. Its a strange mix, but I am thriving.

You still do graphic design as well as art. What is the difference between the mediums in your eyes? How do you balance the two?
Design is the intersection of art and commerce. Where the two meet. Art is neither here nor there. It is about existence, and it is existence.
Working as a graphic designer has been difficult for me, especially as a designer/artist combination. I am always unsure how much of myself I should give to commercial projects, for fear of selling out. I am always unsure how much design knowledge & sensibility should inform my art. I have not found the balance.
I've had an ongoing dialogue with many of my artist and designer friends about finding the balance between the two mediums. It has been a huge challenge for me, thats for sure. Especially with the way the current design climate is in the States. From my experience in the design world, corporations are no longer seeking experienced, seasoned designers to handle their branding work. These craftsmen are being passed over for young and fresh artists, who can quickly and easily slap their style onto the product.  This is how I was originally brought into that world, as I had a fresh voice that could be used. I willingly went along with it (as the money was good) but I soon was left feeling used, frustrated, and over-worked. Corporations demand your all. They want your authentic voice (as it is more likely to resonate with consumers), and so they ask it of you. But it is up to you to draw a line in the sand. This is something I realized in my 5th year. And this is when I quit my job. I felt that this decision would benefit my overall well-being, and would allow me to get back to my personal work.  To focus and devote time & effort to that for a change.
It was only until i took this sabbatical and dove into my personal work that i began to understand that graphic design could be just as rewarding as art making, which was a revelation for me. Throughout  this time off, I have been experimenting with new methods, and initiated many independent design projects along with my art-- including the branding campaign for WAFA. It has helped me understand that graphic design can be done for the common good (not just to package some product) and that it can bring joy to my life. I've been thinking that self-initiated work, in any form, is where I will find the balance.

A lot of your work has elements of past eras in America's history, specifically 60's and 70's. What draws you to those eras?
This is when my parents grew up, and thats where their stories are from. So thats one part of it. But there is also this spirit that was in the 60s and early 70s that I have been drawn to. The world had a collective awakening during that era, and it is something worth studying.

What do you think of the way things are currently in the USA?
There is an under-current happening, and Im excited about it. Im noticing that all my friends seem interested in community and farming and getting back to the land. Putting their hands in the soil again. I feel the same way. There is this shift in thinking happening, and this feeling that we need to go back to what was good. To quit our jobs and get back to nature and spirituality. The image of the USA that you see in the media is not really what is happening here. There is a shift happening, I can feel it.

What keeps you awake at night?
Being so POOR. Its hard times out there.

Your favorite city, why?
San Francisco, although it is a love/hate thing. I still get butterflies everytime I cross the bay bridge. I feel deeply rooted there even though Its not where I grew up.

Do you see a direct relationship with your art and the events that happen in your personal life?
Ive come to notice that all my work is reflexive and represent an exact moment. Its all a series of journal entries.

How has the idea of collaborative art-making affected your work and the way you look at your own process?
With WAFA I am allowing myself to be influenced by others, which has been something I have fought over the years. I have always aimed to be as authentic as possible, and I felt that if i were to allow my work to be influenced by someone's else's, It wouldnt be an authentic account. But working collectively like this has helped me realize that we are all connected and share a common story that is worth telling.

Tell us a bit about your working methods/process. How do you feel when you are creating and working on a new series or piece?
Each session feels different. I never really know what to expect, but I am always eager to stumble on any truths or aphiphanies. But working comes in waves. Usually when I go to work, its because i have this need to do work. And from then on, im frantic and fast and messy. And i do a lot of work all at once, sometimes 50 collages in a session. Never spending more than 5 minutes on a piece, unless its a painting or installation.

There is a sense of freedom and beauty that is abstracted from aged and used materials in your work. 
Where is your favorite place to find these materials and what draws you to them?
I love antique stores and old construction sites. I live in an industrial area of Seattle, so you can find a lot of free material lying around. There really isnt any criteria or anything for choosing material, whatever speaks to me.

You work in lots of different mediums, from street art to collage to super 8 to photography and painting.  Do you find there is a difference in your work between all of these outputs?
There really is no difference. I am just experimenting with new ways of telling my story. Certain mediums tell it better than others. I tend to work in phases though, sometimes I will spend months focussing only on one medium, then I'll grow tired of it and move onto another form.

When was the last time you let go?
These last two years in Seattle have been a profound experience for me. I have been taken to my depths and have had no choice but to let go and to absorb these moments.

See more of mudchicken's work here:
www.mudchickenart.com



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Brandon Wilson


Date of Birth:
December 9, 1982.

Single, married, partner?
Happily married.

Do you have any pets?
Nope. The last pet I had was given away by my parents when I was in 6th grade. That was a difficult time in my life, no doubt. Nowadays we move around too much to have one. One day though I hope to have a dog again.

You're a Texas native. Can you tell us what it was like growing up in the Southwest?
I was actually born in the deep south in Mississippi, survived a hurricane there as a baby, then moved to Louisiana where I was an outdoors kid in the extreme (but not in a hunting-deer kind of way, just climbing trees and riding bikes and stuff), then moved to Texas in the 3rd grade. Texas has it's own thing going on down there in the south. It's kind of a bridge between the true southwest of New Mexico and the true deep south in Louisiana. The town in Texas that I lived in while I was growing up was named Sugarland, a suburb to the southwest of Houston. It was a fairly typical suburb, except that my neighborhood was built right next to low security prison property which consisted mostly of acres and acres of farmland. This made for fun trespassing opportunities and the occasional excitement when a prisoner would escape and try and hide in the neighborhood. There was a good mix in Sugarland, ethnically speaking. The winters are easy there and the summers are hot as hell with lots of mosquitos and roaches. I liked growing up there. We lived near the Brazos river on the edge of town so there was a lot of wilderness to explore as a kid. I found a shipwreck on the riverbottom once when it hadn't rained in a long time and the water receded. I loved being outside (still do). West Texas is one of my favorite places on earth. My family would take vacations to the Big Bend area once a year and it's captivated me ever since. Somehow I avoided the southern accent altogether. I was recently talking to a woman in Seattle who thought I was from California. She said I have a west coast accent. I like that.



You recently packed up and left Austin to go on a semi-permanent cross-country road trip. Can you tell us about your travels and why you decided to pack up and leave your home?
We decided to travel for the challenge and adventure as well as the opportunity to work on WWOOF farms and to explore new directions. At the time I also felt a strong need to simplify and traveling seemed to be a good way to nurture that kind of mindset. So we planned for a few months leading up to it, sold most of our stuff in garage sales in Austin, and hit the road. We decided to camp a lot, both to save money and because we enjoy camping. The original inspiration for the whole trip was a camping trip we took to California the year before. We camped at Lake Tahoe and Big Sur and had an amazing time. During our big trip we worked on a few farms, spent a month and a half in Brooklyn, saw a lot of the country, met some wonderful people. We had our ups and downs but it was all a worthwhile experience. We were shooting for one year but we ended up settling down in Portland after 6 months.

Can you talk about what WWOOF is, and why you were drawn to that organization and the farming lifestyle?
WWOOF stands for World Wide Opportunities on Organic Farms. It's an organization that exists to pair up volunteers with organic farms that want the help. You become a member for a small yearly fee, they give you access to their farm database, you contact a farm that looks interesting and work out the details from there. Most places will give you room and board for several hours of work per day, not all though. Both of our experiences were great: we WWOOFed in Orlando and in Pittsburgh and I wish we would have done more of it but it didn't work out. Most farms' volunteer capacity would fill up long in advance and it was hard for us to plan that far ahead. We were drawn to this because one day we'd like to grow our own food, and so were interested to experience a little slice of life on a small organic farm and learn a little bit in the process. We definitely have a ton more to learn, but it was a good feet wetting experience.

Were you able to create any work while on the road?
I created some pieces in Brooklyn and I was able to take photos throughout the trip. Other than that, no; not so much because I couldn't - although it was more difficult on the road due to supply issues and space in my car - but I just think my thoughts were elsewhere at the time. I was kind of stepping back and evaluating things, not worrying about output.



What is your opinion of the people and places of the USA, now that you've had a broad exposure?
There's a lot out there. We were driving across northern Vermont on little back roads and I was struck by that little pocket of the country that I'd never thought about, yet there are people doing their thing in these classic looking little towns and there have been for years. I imagine there are unique pockets like that all throughout the country that are out of the way and have their own traditions and history. I saw a lot of homogenous stuff too. You have Starbucks, Target, McDonalds, Wal-Mart etc. almost everywhere. But there's a lot more underneath all of that. And it's not too hard to get away from that stuff, if you want to, by getting off the main interstate system.

In general I have to say I prefer the western parts of the country to the eastern parts. Once you hit the Dakotas things start to open up and get wild and beautiful. And I think it carries over into the attitude of the people. There is an atmosphere of possibility and ruggedness. The east coast is also very densely populated and I prefer some wide open space.

Why did you settle on Portland, OR? How do you like it living in the Pacific Northwest?
We'd heard good things about Portland so we wanted to try it out and see for ourselves. All in all it's a great city. And I love the northwest in general. This winter was hard, I kind of shut down there for a bit, but when the sun comes out my batterries quickly recharge.

Do you think you will stay there, or do you have plans to keep traveling?
We really have no idea. We've toyed around with traveling overseas as well as with staying put.. not sure.. even if we do stay in the USA we might move to a different city at some point in the near future.



How do you feel about the concept of "home"?
I feel like I don't really have one right now in the classic sense. My parents moved away from where they lived when I grew up and Kayla and I have moved around quite a bit. But it doesn't bother me. I'm happy to be where I am. I hope to recreate that sense of home again one day though.

You do graphic design as well as art. Is there a difference between the mediums in your eyes? How do you balance the two?
It doesn't always manifest itself in this way, but I like to think of graphic design as being a craft with a foundation in tradition that uses methods, typefaces and images to convey information with style and effectiveness. Like a craftsman making a piece of furniture, the end product has to function in certain understood ways. I view my art as a personal and emotional expression.. a pursuit of something mysterious inside me. Like there's a lost language inside me and I'm trying to get it out and record it. Maybe it's the graphic design of my subconscious. Anyway, I enjoy both practices, although I have found that graphic design/illustration is often used to sell things with derivitive, meaningless imagery. I don't get excited about being a part of that but I am willing to do it for the cash.

Does graphic design inform your art-making process?
Yes, concepts and tools like grid layouts, typography, the use of white space, and the balance of graphic design are inspiring to me and I bring that into my art sometimes.



How do you feel about selling your art work and entering the commercial side of the art world?
I'm happy to sell my work, but I'm not at a point right now where I'm actively pursuing that in any way. I'm not really at a point where I'm trying to get my work seen / marketing myself right now either. I can definitely see myself wanting to show my work more in the future though. But I don't see art making as a business or a way for me to make a living. I'd rather not have money tied to my personal creative output too intimately.

Talk about your motivation for creating work over the years. Has it changed as of late?
Like I mentioned earlier, I feel like I have this mysterious thing inside me that I'm trying to get out and document. I don't always know where my ideas come from or why, however certain things like wood, trees, the desert, and natural light are very inspiring to me.

Is there anything new projects you are working on, or new areas that you are considering exploring in the future?
I've been working a lot with thread and embroidery lately. I'd like to expand those ideas and do them on a larger scale with thicker threads, possibly yarn or something like that, maybe work in three dimensions with it. I'd like to continue embroidering on top of found images, but would also like to explore creating stand alone images from the ground up. I've been really interested in working with fabric as well and have been inspired by Yo Fukui's work. I've also been recently inspired to do some street installations of printed images.. Vinny and I have been talking about that for this summer.

How has the idea of collaborative art-making affected your work and the way you look at your own process?
It's opened things up for me and had a big influence. It's prompted me to try new things that I can then take into my own work. For example, I worked with embroidery for the first time on a Mail Art postcard that Brandi sent me and it really clicked for me. I might not have discovered that otherwise.


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Pedro Ramos


Date of birth:
08.10.1982

Single, Married, partner:
It’s complicated.

Pets:
I love dogs, but my lifestyle hasn’t allowed me to have one yet.

What was your experience like growing up on the island of Madeira? Tell us a bit about your family?
Growing up there was really fun! We would play outside all day and would only come back home for dinner. It was great to be so close to the ocean from an early age. I think that’s why I still find it almost impossible to live away from it right now. It’s pretty amazing there, you can go swimming in quiet waters in the morning, go surfing in not so quiet waters afterwards and go see a sunset in the mountains, above the clouds all in one day. The more I travel, the luckier I feel to have my home in such a unique place.
I have a great family and they always backed me up, whatever my decisions were. I can’t really complain about that.

You're currently living and working in Sydney Australia, what made you choose Australia and how long do you think you will be there for?
During the course of last year I contacted photographers whose work I like, hoping to assist them. I got very positive answers from some big names in New York. At first I was pretty much sure that I would move there.
I guess I came to Sydney because I could blend work and a bit of the lifestyle that I had back home all in the same place. I’m glad that I don’t have to cope with a New York winter at the moment… but I still think about moving there a lot.

Do you miss home?
Yes, I miss my family and friends, the surf and the perks of island life.

Any reasons for leaving?
If I wanted a 9 to 5 job and a really steady life I would’ve stayed there. The problem is, like in most small places, there’s not much you can do, especially in creative fields. That can be really frustrating because it’s hard to get yourself out there, few people get what you’re trying to do and you don’t meet too many like-minded people.

Has it been worth it?
Yes.

You recently spent some time in Japan tell us a bit about your trip?
Japan was a place that I wanted to visit for a long time and now that I’m living closer to Asia seemed like the appropriate time to do it.
I flew in to Tokyo and on the same night I jumped on an overnight bus to Shikoku Island in the South where I met with Leki, a friend I made in Australia in 2008. He runs a guesthouse in Shishikui, one of the most beautiful places I’ve ever seen. I had a lot of fun with him, his friends and his family.
On the way back to Tokyo I visited Kyoto, which was very nice but a bit too touristy. I was expecting to be taken back in time amidst the temples and shrines in the woods but it didn’t really happen… way too many tourists like myself, and the collective noise of hundreds of digital cameras didn’t really help.
I had an amazing time in Tokyo. That city is incredible. It’s at the top of my list for sure! I made great friends over there, especially Sachie at Cosmic Wonder that told me where to go, showed me the best places to get food, bookshops, galleries, places not to be missed, etc. I also met Peter Sutherland who was having an exhibition there at the time. It was pretty good to hear some of what he had to say about the art world and photographers back in New York as well as his process and projects.
Japanese people were really friendly and willing to help at all times despite the language barrier. I want to go back there soon.

Has assisting for photographer Ben Sullivan had an affect on your own work?
Ben is an amazing photographer. He knows a lot about the technical side of photography, has his artistic vision well laid out and knows how to deliver on his jobs. He’s also very forgiving of my mishaps and never really got mad at me for that…
Through assisting I think you learn things without knowing. I guess you realize that when you pick up your camera afterwards or look at new work and see improvement.
Apart from that, I think I’m learning a lot of stuff that will help me on future jobs like finding and choosing the best locations, the best light, directing the models, working with the whole team at the shoot, getting the studio/office work done, etc.

Good or bad?
Pretty good.

What's your first memory of using a camera & what's the first camera you owned?
I got a 110 film camera from my best friend as a birthday present, I must have been around 6 years old at the time. I don’t even remember seeing photos taken with it but there’s this photo of a very young me with that camera in my hands. I don’t even know what happened to it.
I used to try and take a few photos with a Konica SLR my father had, but he was afraid I would break it so he didn’t give me a lot of freedom to mess around with it. Anyway, whenever I shot with it my photos would look way better than his and he still tried to get credit for those! Sorry Dad!

What equipment are you currently using?
Mostly 35mm rangefinders and the occasional point & shoot. I’m going through a personal dilemma ($$$) at the moment about whether or not I should start shooting with medium format cameras.

What are your views on the war between digital and analog?
It’s not a war. It’s a matter of personal preference. It also depends on what results you’re aiming for. I’m actually more bothered by the fact that some people think that shooting on film will make their pictures into instant works of art.

How do you feel about photographing strangers? How about Friends/Family/Loved-Ones?
Strangers are harder to photograph, whether or not you’re supposed to be taking their picture. Normally, you don’t have much time on your side and you don’t want to be intrusive at first, which is not a good combination… I’m still trying to overcome that.
With friends and family, you spend more time with them, and their guard is down… even if they’re aware of the camera and don’t really like it, you always get your break.

What do you think about Lady Gaga being appointed creative director of Polaroid?
I know she’s a pop star but that’s pretty much all I know about her. It’s probably just a way for Polaroid to reach out to a broader audience.

Most of your work seems to be a part of an ongoing narrative. Is this accurate?
I guess it is a bit diaristic. Even when I have projects on my mind, I start them by taking my camera along with me wherever I go and if I see something interesting, I try to capture it in a relevant way for that specific project.
I never really felt a connection with formal and academic bodies of work. Like when someone makes a book or an exhibition of photos of the same thing over and over again, like roundabouts, you know? There are some exceptions but generally I think these projects are quite boring.
I guess I’d rather look at work that is done more spontaneously. Everyone has a different vision and I think that’s what’s interesting about it. It can depict something real, but it can also be something fictitious, or just the way a person wishes the world were.

When was the last time you let go?
I’ve been living like that for a while and I’m pleased with the outcome so far.

As your work is highly personal, do you find it difficult to have your images altered and added to by another? Does that derail your vision?
I think it’s pretty hard to see that happen. It obviously alters your original vision and why you did things that way in the first place.
In the end, when you alter it, it becomes something totally different and new. I guess it is kind of like a collage. There’s a bit of you in there but it doesn’t mean that it is somehow connected to your way of thinking or style of making things.

How has the idea of collaborative art-making affected your work and the way you look at your own process?
I don’t know if it affected my work directly yet. What I like more about working with people who use other mediums is absorbing ideas and inspiration from their work. I love seeing stuff other than photography. That is actually refreshing, because you tend to see so much photography work on a daily basis and it can get a bit overwhelming.
I’m pretty interested in seeing the results of the upcoming WAFA photo book though.

Any new years resolution?
Keeping on keeping on.

See more of Pedro's work here:
www.pedroramos.org



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Brandi Strickland



Date of birth:
October 8, 1985

Single, Married, partner:
I have a partner, Robert. We've been together almost 4 years and he's the best.

Pets:
I don't have one but I (really) want one. It'll probably be a few years though.

What was your experience like growing up in North Carolina? Tell us a bit about your family?
I lived with my dad in eastern NC until I was 12. It's a rural place with lots of land and farming and people who've lived in the same place for a long time. I had family all around: grandparents, aunts, uncles, cousins.... I spent lots of one-on-one time with my grandpa, our house was just across a field from his. He was a huge influence; always reading to me and going along with my make believe.

I had an (almost) pre-technology childhood; we didn't own video games, our TV only had a few stations, and I didn't hear about the internet until I was almost a teenager. No Wal-mart, no mall, no neighborhoods, no cul-de-sacs. We shopped at Piggly Wiggly, and had a big summer garden every year. Everyone spent time doing seasonal activities, lives were still tied with the land. I'm lucky to have grown up the way that I did, in the country & surrounded by family. I was an only child, so I spent lots of time by myself or with adults. I loved being outside, riding my bike, collecting rocks and small treasures, making mud pies and (really sophisticated) 'fake food'. I read a lot and soaked up lame TV and made artwork here and there. I think I missed being around other kids, but I became really good at entertaining myself.

While I lived with my dad I visited my mom every other weekend in Charlotte and we stayed really close. She's into art and worked with me a lot, which built my creative confidence. Around age 12 I moved to Charlotte to live with my mom, in a suburban area, totally different from what I was used to. And I've been here in Charlotte 12 years now, half my life. I visit my dad a lot back home and I have an awesome 9 year old little brother.

You went to Queens University of Charlotte. How do you feel about art & academia?
I don't know, that's tough. I liked school, always enjoyed being a student. Getting my BA was generally good, I had some great teachers and certainly learned a lot (about art and everything else). Those four years gave me time to work intensively on my art and figure out what I wanted to do with myself. I think I just did it one way, not the way, or the best way. I totally disagree that people need degrees to be taken seriously, to show in galleries or get teaching gigs. I don't appreciate elitism and academic society naturally tends to set that up. Sometimes I wish I could get the learned art speak out of my head, turn off the critique in my brain.

You're thinking about moving to Chicago, why did you choose Chicago and when do you expect to move?
We just visited to check out neighborhoods and get a feel for the place, I'd never been before. It's Robert's favorite stateside city, so I was pretty sure I'd like it. I've known for a long time that I wanted to leave Charlotte, it was just a matter of finding a good fit. Chicago is a big city, no doubt, but I was really surprised by its friendliness and general good attitude. It has a great public transportation system and there's more opportunity for education, employment and exhibiting. It's the third largest city in the US, and the most affordable of all the big ones. Plus, I can take a break from the NC summer hell heat and experience real winter for the first time. I don't want to jinx anything, but we hope to move sometime during 2010.

Do you have a favorite book or author?
Kurt Vonnegut, easy.

Can you talk about "Art as Magic"?
Images and words are powerful things, people have always recognized that. I believe all the arts have roots in magic and that shamanism is part of the creative inclination. Creating/manipulating images as art isn't all about entertainment or fun or having something to match your home decor. I really believe that it has a primal and important role in the life of the artist, the viewer and society. But words and explanations aren't my strong suit, I better shut up about this one.

How does music relate to your artwork?
I listen to music all the time and definitely think it facilitates creativity.

You recently did a record cover is this something you'd like to do more of?
Yes! It's a really interesting challenge to create visuals that compliment or represent music. Since the Bird & Flower cover I've been working on another album art project that I'm excited about. I don't want to be a full-time commercial illustrator or anything, but projects like these pay the bills and keep me in the studio. Assignments give a little structure and focus to studio practice as well as being good exercises.

What have you been working on lately, outside of WAFA? Are there new areas you are interested in exploring?
I've been keeping some work in book form lately, I haven't done that in a long time. I feel like 2010 is going to be a big, good year. I feel ready to explore lots of things.

There is a sense of nostalgia, mystery, and the Universe represented in your work. Is this an accurate representation? Can you talk on this?
I think that's accurate, I like to get caught up in wonder. When you're a kid everything blows your mind, all is mysterious, unexplained and possible. It's important to get back to that place once in awhile, to try and stay there as much as possible. I use pictures of stars and space because they're powerful, I think humanity actually seeing pictures of outer space changed us fundamentally. It's crazy to see our little blue-green island floating in so much space. Art is a good place for keeping mystery, make-believe hope and aspirations alive. I think my work is definitely about big ideas, I'm just no good at all talking about them.

Can you tell us about your "dark crystals" series and where you are pulling from?
Dark Crystals was about energies and supernatural happenings within nature. All those works seem to hinge on a pivotal moment, something big happening. I didn't think about it that way while I was working, but it's been about a year and that's how I read them now. It was also a pretty big shift in my work, I started using lots of black.

Do you have a power animal?
I've never thought about it until you asked. A deer, maybe. My boyfriend said squirrel, that's probably more accurate.

What keeps you inspired?
New ideas, good talks, taking breaks, cappuccino, flickr + tumblr, music, photography, non-fiction, metaphysical/spiritual/religious books, Kurt Vonnegut, Bill Hicks, cute animals.

Do you have days when you doubt your work, how do you deal with them?
Oh yes, often. It's usually when ideas aren't coming and there are 100 unfinished pieces lying around with no conclusions in sight. Often I'll paint over unfinished or failed work on those bad days, it makes me feel much better. This general frustration is evident in the finished works, most of them have lots of layers and unfinished thoughts underneath.

Sometimes I just have to walk away and avoid the studio for a few days. Soak up some new ideas and return with a fresh perspective. I'll work on something that's not intimidating, a doodle on white printer paper or a collage in a notebook. There's also plenty of work to do that's not studio related, so I catch up on that when I'm low on inspiration.

What are the materials/tools that you go to the most?
Old books, magazines, found paper, board, scissors, x-acto knife, UHU glue stick, gel medium, gouache, acrylic paint, pencil, colored pencil, pen...

Why is UHU the best glue?
I've tried all sorts of adhesives and UHU is my favorite for simple paper to paper gluing. Sometime in high school I settled on UHU glue sticks and haven't looked back. It has a good texture--spreadable, not too thick or thin. I like the purple tinted kind, it dries clear but is easier to see while you're applying it. And of course, UHU has all the archival/acid free/non-toxic and washable specifications. If there's anything better out there I'd like to know about it.

For my mixed media works on board I always use gel medium. It's a love/hate with that stuff. I know it's toxic and the feel of it on my fingers sets off some kind of OCD.

What has your experience been like selling/promoting/showing your work? Has this had an effect on your work in any way, good or bad?
It's been good. I feel fortunate to have had a lot of good opportunities. Selling/promoting/showing has allowed me to get direct positive feedback, constructive criticism, encouragement. The prints are an economical way to share my work with lots of people, and likewise it's a way for people to show support for what I do.

Has collaborating with other artists had an effect on the personal work you do on your own?
For sure! Working with other artists and getting to know them has been so validating and reinforcing. It reminds me of why I'm doing what I'm doing. I think the collaborations have given me a 'playground' type area. I don't feel any stylistic obligations, there are no dollar signs attached, and no strict goals. That release definitely helps when I get back to my solo work.

Any artist you'd love to work with or collaborate on a project with?
There's a lot of people I'd like to work with. I'm excited to continue current WAFA projects, and there are some great new ones in the works. I'm really interested in mail art, I want to keep that up forever. Specific people though, I'll keep that one open.

Tell us something we don't know about you
I recently got an espresso maker, so I'm practicing daily to make the perfect cappuccino.

See more of Brandi's work here:
www.brandistrickland.com
www.paperwhistle.com