Things That Go Bump in the Night

The Art of Annie Owens
by Stephanie Chefas

Stunning artist and irrepressible horror fan Annie Owens has a flair for the macabre that dates all the way back to early childhood. Finding her muse in things that “go bump in the night” along with the classic horror films that captured her imagination as early as age five, Annie’s figurative paintings most often depict other-wordly characters of ink and watercolor whose dark backstories lurk just beneath the surface of tattoos, gas-masks and blood-spattered uniforms. The threatening (and sometimes nearly hollow) gaze of her subjects, who inhabit an eerie cinematic world of foggy forests and crooked houses, packs the same bone-chilling punch as some of her favorite films like Night of the Living Dead. It’s these deeply compelling and unique images that have seduced her audience and made us fall in love with not only the artwork but the equally compelling and unique Annie Owens herself. To quote her partner in crime at Hi-Fructose Magazine and fellow artist, Attaboy, “There are a lot of people who like my work, but there are a lot, and I mean A LOT of people who LOVE Annie’s work.”

As she continues to evolve in one medium, Annie has her sites on another, and she’s now exploring the possibilities of a film project that’s been on the back burner for years. Inspired by the likes of Edgar Allen Poe, Kubrick and Terry Gilliam, the chilling tales of psychological terror milling about in Annie’s mind would undoubtedly entice myself and many others to the front of the line with money in hand. Here Annie expands on her love for horror, the still budding inspiration that started Hi-Fructose and why we should be psyched for an Annie Owens film.

Stephanie Chefas (SC): For starters, what's your favorite Horror film and why?

Annie Owens (AO): I have about 10 top favorites but the one that comes to mind first is The Shining. It’s as fundamentally scary to me to watch it is as it is for the characters experiencing it. Jack becomes his own worst enemy and he has nowhere to run from himself. The combination of psychological deviance, isolation and a good ghost story to bolster it all, creates an internal gothic horror inside the characters. [Yes I am a goober you should see my Netflix reviews.] Rather than them reacting to something external like monsters or deranged killers on the loose – the fear is created by things that are less able to be demystified, like fear of the dark or empty spaces, or buried personal deviances for example. Not that deranged-killer movies can’t be good too but generally blood and gore to me are not scary and very boring unless you make it fun like Texas Chainsaw II did, a classic! Violence in horror is also annoying to me unless it’s integral to the story like in Martyrs – the most disturbing movie I have ever watched.

SC: What was the first Horror film you saw?

AO: Beyond the Door. I was 6. It scared me so badly I cried. But the real gateway horror movie was my second one, Night of the Living Dead which is still in my top 5.

SC: Were you a lover of horror movies growing up?

AO: Absolutely. As really little kids my brother Barry and I got to camp out in the living room and watch Creature Features from our little blanket tents on weekend nights. Awesomeness!

SC: With a degree in film, have you ever considered making a movie?

AO: Totally. After getting my degree [I think a degree in film is kind of silly unless you want to be an exec.,] I was still pretty wayward and a single mom too so for a long time I wasn’t sure what to do with myself. Anyway, I shelved the idea of making movies and decided I would revisit it when my daughter was grown. So she’s grown now and the ideas are a-spinning.

SC: What do you imagine an Annie Owens film would look like?

AO: It will be atmospherically scary in the way Lovecraft used to spin his written tales. Moments in movies like Psycho, [not the shower scene but the scene on the stairs], The Sentinel [dead dad in his underwear] The Other [not The Others] and Let’s Scare Jessica to Death really inspire me.

SC: Could you tell us about your process?

AO: Usually it starts by flipping through my sketchbooks and doodles until something grabs me enough to want to elaborate on it as a finished thing. Then I’ll scan it, print it out to whatever size I want it, stick it on a light-box it to transfer to the final piece of paper and begin painting.

SC: What message do you carry as an artist?

AO: I don’t have a message. Everything I paint is for myself. I’m selfish that way - it’s my therapy. That I’m asked to show it now and then is an honor. If a piece of work does connect with someone else I would imagine that it’s because what goes on in my head isn’t much different from what goes on with a lot of people internally. That’s awesome for me. If someone doesn’t connect with it or doesn’t like it, that’s fine too. You gotta roll with it!

SC: The majority (if not all) of your work seems reminiscent of childhood memories and experiences. How much of a personal narrative is at play?

AO: Well, my output so far is terribly slow so most of what’s been seen of mine is rather old except for a few like that Samara piece I did for Horrorwood. There will probably always be a lot of personal meanderings in my work since I tend to live in my head but thank Tarzan I’ve evolved from the childhood stuff! [I think.]

SC: Many people may know you co-founded the contemporary art publication Hi-Fructose along with Attaboy. How did starting Hi-Fructose come about and did you envision it evolving into one of the most highly respected art magazines today?

AO: Thanks for saying that last part. I dunno, I think Attaboy and I were both searching for something that wasn’t really out there for us at the time so we decided to create it for ourselves. Anyway, we didn’t know really what to expect or how it would all pan out. We just knew people responded to what and how we chose to publish and over time, we began to put more thought into what we were doing. We are still a young publication so it’s still evolving… which means it can only get better.

SC: Was anyone else in your family an artist and did they encourage your artistic talent?

AO: Several people in my family are artistic and musical. When I was very young my mom and grandmother encouraged me to get work as a secretary. I understand the reasoning since they both came from incredibly difficult means. When I got older my mom seemed to understand me better and put me through film school. That’s part of the reason I feel like I have to make at least one movie! I owe it to her.

SC: Which contemporary artists do you most admire and/or are inspired by?

AO: Funny, the first people who come to mind are all photographers. Sally Mann, Joel-Peter Witkin, Diane Arbus and Eugene Atget though his days were back around the turn of the 20th Century. More currently I’m still obsessing over Al Columbia’s work, James Jean, Korin Faught, Michael Page, James Marshall, Chris Mars, Barry McGee... There are quite a few. It’s not necessarily always the art itself, but the approach and why and how they do what they do is also what I admire.

SC: If I were to spend the day with Annie, what could I expect?

AO: You’d be bored. It’s like this: a.m., drop and roll out of bed into office chair followed by 3-4 hours of administrative HF stuff with a break to walk the dog, take shower, eat, draw, t.v., draw, go to bed. I leave the house once or twice a week.

SC: What's the one thing you can't live without?

AO: Daniel [Attaboy]

SC: The one thing you can't live with?

AO: unchecked ignorance

SC: What's next for Annie?

AO: A new haircut to fix the self inflicted damage.
Solo show at Copro Gallery in April 2011.
Carrying on with Hi-Fructose, it’s growing like a beast!
Oh and that movie we talked about...

Thanks Annie! To learn more about Annie Owens and her artwork, visit OuchClub.com. To view her artwork in HORRORWOOD, visit WWAgallery.com.

Takin' It Back

The Art of Tommii Lim

by Stephanie Chefas

Tommii on a LA rooftop


Make no mistake about it, Tommii Lim knows how to party like an art star. Creating art by day, DJ'ing at night, and going on adventures in between, Tommii is living life to the fullest. Drawing upon his experiences and finding inspiration from daily interactions with you and me, Tommii captures today's society in graphic abstract patterns and employs his unique style to highlight the complexities of our technologically driven world.

As one of the participating artists in Industrial Squid's upcoming group show Off the Strip at WWA gallery, I wanted to take the opportunity to learn more about Tommii and what makes him 'tick'.


Stephanie Chefas (SC): When hearing about the theme for Off the Strip, what was your initial reaction?


Tommii Lim (TL): Vegas and bacon.



Bus Ride by Tommii Lim

SC: Which comic strip character do you relate to and love the most?


TL: Don't have a specific character but i think i can relate most to villains and antagonist characters. They always try to question authority and cause ruckuses but always get foiled by the 'hero'. In reality, good and bad is not as clear cut as is in fictional worlds so i guess those characters make me wonder who the true villains and heroes are in real life and which side I'm on.

LOL by Tommii Lim



SC: What's the naughtiest thing you've ever done?

TL: I've been a DJ for the last 10 years and have had gigs ranging from the Porn industry to Playboy parties, that's all i will say...

SC: Did you get caught?

TL:Yes

SC: Would you do it again?

TL: Yessss

Partying like an art star!

SC: What was the inspiration when creating your piece for the show, Hobbes Ride (Takin' It Back)?


TL: As a kid, I grew up every Sunday morning eating fresh doughnuts and getting the Sunday comics from my dad. Calvin and Hobbes was one of my favorites. The perfect friend was the one he would go on adventures with. For me, my piece is about that moment in your childhood that goes by in a blink of an eye and becomes a flickering thought in the back of your memories. The piece is made like a random frame in a comic, forever frozen in time, as a reminder of the past.

Hobbes' Ride (Takin' It Back) by Tommii Lim


SC: The majority of your art in 2010 are powerfully strong graphic black & white images and a departure from the vibrant color palette that you're known for using. Is there anything specific inspiring this change?


TL: Not sure exactly what triggered the change, but i guess I'm going back to basics. My early work started off very monochromatic and then i started noticing everything around me was very wild with color and vibrant, so i intensified the colors to portray that. I've always wanted to reflect my world and thoughts in my paintings and that was what i was feeling at the time. I moved to downtown L.A. earlier this year, in the middle of all the buildings and smog and i think that has effected my color palette and work in many ways. I also came across some old Asian comic books, which are all in black and white and that has had a big influence in my art. I am not departing from color but feel like a limited palette is strong for me right now. I have always been drawn to simple graphic work. My work has evolved into more simpler graphic imagery and i can imagine it will keep simplifying and changing.

Phat Ride by Tommii Lim


SC: Where do you find inspiration and influence on a daily basis?


TL: From you, from him, from her, everywhere. Things i see on the streets, conversations i have or overhear, the shit the media feeds us on tv and internet, pop culture, music, riding bikes, the demons in my head.

Tommii working on a Hurley Mural


SC: As an artist, what message do you carry?


TL: I used to make social and political art but now my work acts more of a diary than anything. I try to keep my paintings as ambiguous as i can. Each piece is a frozen moment in time from some part of my world. They have messages, but that's between the viewer and the piece.

SC: What do you think of the current climate of the art scene?

TL: Cloudy with a chance of....naw, i don't know. i don't go out to too many art shows or read too many magazines. I try to keep it fresh so i try to stay away from the 'art scene'. In the age of the internet, it is 'virtually' impossible to be original but there is dope home grown art out there and of course, a lot of xerox art.

Livevil by Tommii Lim

SC: Where do you see the art scene going in 10 years?

TL: Not sure, but ill be on my hover board watching you suckas!


SC: Which contemporary artists do you most admire and/or are inspired by?

TL: Artists i meet and/or collaborate with, artists who are true to themselves and artists that do it for the love of it. Also get inspiration from gimmicky cheese balls out there that make a fortune portraying an artist, these people inspire me to keep it real.


SC: If I were to spend the day with Tommii, what could I expect?

TL: Depends on what day of the week. On a really good summer day, we would make some art and /or music at my studio in downtown, take pictures of people from my patio, get some coffee, eat dollar tacos, smoke some of God's greens, go for a bike ride to the beach, take a dip then a nap, get some Korean food in Korea Town, ride back to downtown, get some $2.50 beers, if I'm DJing somewhere, go there, dance, drink, smoke, eat and be merry.

SC: What's the one thing you can't live without?

TL: It's a tie. Music and women.


SC: The one thing you can't live with?

TL: Another tie. Black Licorice and dog piss.


SC: What are you creating at the moment?

TL: I started a series involving my surroundings that will connect to create a mega landscape, pretty excited to make it. I am also doing some commercial work with some major surf, skate, snow board and urban brands. I'm always making music on a daily basis as well.


SC: What's on the horizon for Tommii?

TL: New friends, more traveling, making art and just living! I will also be working with a legendary art consultant for some upcoming projects including some big museum exhibtions (that's all i can say for now). I will also be making an art book with my paintings and design work as well as creating art under a new alias in the not to distant future (check my site for details later). I also started Djing and playing keyboard with guitarist Dave Burch under the name 'Legal Aliens' mixing live funk with electronic music, we will be playing more gigs soon. Check out my site www.uglyfresh.com for updates in my world, thank you and peace out!

Thanks Tommii!

To learn more about Tommii and his art, visit http://www.uglyfresh.com/.

Storybook Magic

The Art of Tiffany Liu
by Stephanie Chefas


The Celebration of the Money Tree



Sugar and Spice and everything nice, that's what Tiffany Liu's art is made of. Or is it? As a self professed exemplar of the 'peter pan syndrome', Tiffany Liu instantly seduces with her vision of a lolipop world filled with candy colored hues, precocious nymphs, and enchanted forests. Look beyond the surface of her paintings and you'll soon realize there's deeper meaning delicately woven into the storybook magic. Tiffany weaves a fairytale tapestry where everything isn't quite as it seems and classic myths and fables are given a modern twist. Though child-like at first glance, her work is never childish, ensuring that there's a sense of balance and order in her worlds where the sweet wouldn't be as sweet without the sour.

As one of the participating artists in Industrial Squid's upcoming group show I Believe in Unicorns at WWA gallery, I wanted to take the opportunity to learn more about Tiffany and her artwork and what makes her 'tick'.




Stephanie Chefas (SC): When hearing about the theme for I Believe in Unicorns, what was your initial reaction?

Tiffany Liu (TL): My initial reaction was of great enthusiasm. Yes, a show about magic, right up my alley! At a time like this where the world is focused on so many unpleasant topics, its really refreshing to have the opportunity to escape reality for a little while.

SC: Do you believe in unicorns?

TL: I believe in what they stand for. I don't think I will see one walking down the street any time soon, but I see them when I dream.

The Taming of Genetically Altered Magic


SC: Your paintings project a storybook quality with precocious child nymphs and adorable little forest creatures. Were there any children's books you read as a young girl that influenced your style?

TL: I am greatly influenced by Alice in Wonderland. I think the core idea of the story, rather than any specific scene was my biggest influence. For me, the idea was just that there was this girl that had a second life and a second chance to interpret her reality for whatever rules or lack of them there were. I have always been a big dreamer. Even before I knew of Alice and Wonderland my head was in the clouds day dreaming and night dreaming of places, stories and creatures I'd meet and have adventures with. So meeting Alice for the first time in story books was like meeting another me. As I progressed as an artist, I tried many things, but the one thing that stuck out, that really felt like me, was being able to create with the freedom that I have through the voice of a child. Children are probably some of the most imaginative beings on earth. I would be honored to look through any child's eyes and see what they see. It must be an amazing experience to be able to be the first to define what a thing is before the thing is given a name or definition by another.

Lewis Carroll's Alice in Wonderland


SC: Amidst the candy color palette and fairy tale landscapes danger is always near, whether it's an axe used to sever a head as with 'The Unicorn's New Head' or a ride with death as in 'You Can Take it with You'. Is this an homage to The Brother's Grimm- telling a moral that not everything is as it seems?

TL: I love Brother's Grimm stories and they probably have had an influence on me, but I don't think I'm necessarily trying to consciously pay homage to them in my work. Things aren't what they seem in my paintings not because I have a set of rules of what is right or wrong in the world, but more so that things just happen and sometimes they are "good" and sometimes they are "bad". I actually like the idea that there may not be a very good explanation for anything. Though childlike at times, my work is really a reflection of life and the questions and ideas that I have about it, which often draws parallels between the good and bad. I often use color to skew the viewers initial perception of the piece.


You Can Take It With You


SC: What's the moral for 'The Unicorn's New Head'? Is there a moral or message at play?

TL: The closest moral or message I have as an explanation is that no matter what happens to magic, it will always grow and flourish.

The Unicorn's New Head

SC: For 'A Song for the Siren' there's a bit of a role reversal at play. According to Legend, Sirens or Mermaids used their majestic voices to lure in sailors to their untimely dooms. However, in your painting it seems a human female is engaging the seduciton, to a Merman no less. Does this scenario entail any of your personal beliefs on modern day gender roles?

TL: Yes, I like the idea of switched gender roles. In many legends of the past, women were often the objects of great tales and mystical mysteries. My explanation on that account would be that in the old days men were often the ones that were adventurers and also the ones that told the stories. Especially now that gender roles have changed, I see it only fit that legends would also follow that trend.



A Song for the Siren


SC: In looking at your work, one can't help but notice the repeated use of ghosts or spirits that often emerge from or around trees. Chinese folklore call these supernatural beings Guǐ Shù and are believed to confuse travellers by appearing in random locations, especially in forests. Is this an homage to Chinese folklore or is this an invention unique to the world you've created?

TL: I actually didn't know that folklore! Thanks for letting me know! The ghosts in my paintings often don't know what they are doing in my paintings. They appear and reappear as an element that I feel is always around us as either a real ghost or just a memory of what once was.

SC: Was anyone else in your family an artist and did they encourage your artistic talent?

TL: My mom and dad are artists. My mom studied at a reputable art college in Taiwan and my dad was self taught. When they came to America they opened art galleries and art schools in which I spent most of my life in. So their was no question of what I would be when I grew up. It was just a natural thing that happened. They encouraged me to be an artist, but they were also very critical of what kind of artist I was.



Sewing Up My Little Pony


SC: Which contemporary artists do you most admire and/or are inspired by?

TL: I am inspired by many many artists more so in their passion as artists than anything. I love the Clayton Brothers, Todd Schorr, James Jean, etc.. I can't really pick a contemporary that I love the most. One of my greatest influences in art was actually Rene Magritte. When I saw his work it really hit me! At the time I was thinking, wow here is an artist that makes art work that not only makes me remember the asthetic, but also the idea.

SC: If I were to spend the day with Tiffany, what could I expect?

TL: Complete and utter randomness. You'd probably be confused a lot. I would probably talk your head off too.

SC: What's the one thing you can't live without?

TL: Well thats a hard one to answer cause I am greedy as sin! I would have to say I would have a really hard time living without being able to be creative. It makes me happy and without it I feel empty. If I could name another it would be sugar, but thats for another interview.

Drawing for 100 Artists See Satan Charity Auction


SC: The one thing you can't live with?

TL: I can't live in a world where I'm not allowed to think outloud.

SC: What are you creating at the moment?

TL: I have fallen in love again with drawing and sketching. I am currently working on a piece for an upcoming Group Show called Sweet Streets II.

SC: What's on the horizon for Tiffany?

TL: Well, I do have a show in London in 2012 and an avalanche of other group shows. Also, I am working on ideas for a children's book I want to make. Followed by toys that I'd love to produce from the story.

Together in Heaven

Thanks Tiffany!

To learn more about Tiffany and her art, visit http://www.tiffanyliu.com/.

Fantasically Surreal

The Art of Tracy Tomko
by Stephanie Chefas


Triston and the Id

When I first laid eyes upon Tracy Tomko's artwork, I was immediately engaged by its homage to the surreal with her depiction of Daliesque backgrounds, the irradescent color palette, and how much her spare yet otherworldly approach reminded me of the animated sci-fi cult classic Fantastic Planet. Needless to say, it was love at first sight. After further exploration of her paintings I realized that beneath the radiant hues and minimal landscapes there was a deliciously twisted intellect at play uniquely her own. Take for instance Tracy's painting Jibbly Vink Lorp?: a translucent blue child sits atop a lavendar mountain goat while gripping her Rainbow Bright toy against a desolate blue background. At first one might describe the piece as innocent or even cute, but a closer look instilled me with a sense of mistrust and even fear. Something wasn't right. Then it hit me: it was a trap! These seemingly harmless objects were being used to bait mindless travellers into a world of sin and darkness--the devil at work.


Jibbly Vink Lorp?

As one of the participating artists in Industrial Squid's upcoming group show I Believe in Unicorns at WWA gallery, I wanted to take the opportunity to learn more about Tracy and her artwork and what makes her 'tick'.



Stephanie Chefas (SC): When hearing about the theme for I Believe in Unicorns, what was your initial reaction?

Tracy Tomko (TT): Spontaneous happy-dancing.


SC: Do you believe in unicorns?

TT: Yes. My knowledge of unicorns before being invited to participate in this show was all silly, girly, sparkly stuff. When I started talking about the show, in Denver, I was invited to visit Dana Cain's unicorn tapestry library. It turns out that she is somewhat of an expert on the subject. I was indisputably convinced of their existence through reference materials passed on by her. They seem to have been carved into things and written about extensively since the beginning of time. Unicorns are even in the bible.





SC: Tell me about your childhood. Were you the kind of kid who created private little worlds? What made you happiest as a girl?

TT: I was the oldest of seven kids. I had imaginary friends, kept and still carry too many lucky, little things in my pockets, made a lot of forts, and would dig little ravines with cave dwellings in the walls for my friend and brothers to play with Star Wars figures in. The lucky, little things made me happiest. I loved little bottles. My aunt would save medicine bottles for me, and my Grandpa would bring home those little, plastic garbage cans, that had candy in them, from the factory he worked at. I would fill them with pretty colored paper that I ripped into confetti and keep some in my pockets. I hated pants without pockets.


SC: Was anyone else in your family an artist and did they encouraged your artistic talent?

TT: My mom painted while I was growing up and let me paint my first oil painting when I was very young. She sewed and crocheted, as well. My dad worked with wood a lot, can fix anything, and worked as a precision machinist professionally. He once built us a playhouse that was bigger than some apartments I've lived in. They were always making something. I have a lot of creative aunts and uncles, and my Grandma would work all year making gifts for her many grandchildren. Handmade by Grandma Kline was always special, and I admired her greatly.

I have always been a bit of a nerd, so I think the family may have hoped that I would pursue my academics more seriously to become a scientist or something, but they supported my art. They kept me in supplies and bought me comics and art books for inspiration.



Attack of the Innocents


SC: Your paintings often portray floating images with a Daliesque background, what do you think sparked your fascination with the surreal?


TT: I do a lot of research and love to read. I'm really interested in how things grow, stages of metamorphosis, and evolution. One of the most interesting things to me is the theory of the missing link suggesting that out of a need or desire for something, it just became that. A grand and magical manifestation happened. I like to think that the next wondrous evolution is in process and growing from the collective thoughts of our time. That my contribution to that will be the intention and concentration that happen while I'm creating. The paintings and sculptures are the physical sharing with the now, but that the greater manifestation is still to come in another form. The surreal feel to my work might be these thoughts. I paint things that exist in nature with a twist toward a new, beautiful place.



Hybrid Grow Land

SC: I love the use of color in your work. The luminous quality of greens, blues, and purples help translate the surreal fantasy world depicted in your paintings. How do you choose your color palette?

TT: I like to try to reflect the feeling of my subjects through color. I'm amazed at the colors that exist in nature and enjoy exploiting them on the canvas. For Unicorns, it was all about the pink.

Tracy working on 'Tickle My Fancy' for I Believe in Unicorns


SC: I see a lot of similarities with your art and the 1973 animated film, 'Fantastic Planet' based on the french novel LA Planete Sauvage by Stefan Wul: the color palette, minimal landscapes, and the symbolist artifice of the surrealists placed in two-dimensional space. I love this movie and I know you do as well. How much of it has influenced your work?

TT: I'm a big believer in synchronicity. Things seem to find me when I need them. Fantastic Planet "found me". The Cell is one of my favorite movies for concept and costume design. Jennifer Lopez's character is watching Fantastic Planet, in this film, as she relaxes after a long day. I thought it was interesting looking, but had no idea it was a feature length film or that it was the masterpiece that it is. I never even looked to the credits to find out its name. Then, later I was in a video store and just saw the spine of the DVD with the little, blue face on it. I knew it was J Lo's cartoon and made the purchase. It came into my life at a time when my fascination with plants was really developing and I"m super grateful for it. I'd love to do my own plant art film someday.



Fantastic Planet


SC: Are there any films that have inspired your work over the years?

TT: So many! To name a few: The Cell, The Dark Crystal, Aeon Flux (animated version), The Happening, Alien, Dark City, The Nightmare Before Christmas, and The Corpse Bride.


SC: I've read that you created a series of paintings based upon the book, 'The Secret Life of Plants' by Peter Tompkins and Christopher Bird. This book examines the symbiotic relationship between plants and humans and suggests plants are sentient. Has living in Colorado, a state rife with lush foliage and natural beauty, inspired you to explore this idea through painting?

TT: My family is rich with gypsy blood and moved frequently. Colorado is just one of the many beautiful places that have inspired my love of nature. I think that with age I've started to notice the little things and marvel at them more. I took beauty for granted when I was younger.

Gunther's Dance


SC: What other themes would you like to explore through your artwork?

TT: I plan to continue to incorporate the plants into works with dream imagery and memories. Growth will be a strong element in my upcoming work. I'd like to explore the triumph of embracing ones uniqueness.


SC: Which contemporary artists do you most admire and/or are inspired by?

TT: Lori Earley, Jessica Joslin, Daniel Sprick, H.R. Giger, Greg Simkins, Scott Radke, Naoto Hatori, Lola Gil, Scott Musgrove...this list could go on forever. There is a ton of exciting work being done right now. My immediate art group is the most influential in my daily inspiration/admiration - Erin Asmussen, Stephanie Riekena, Anthony Clarkson. These guys are invaluable for feedback and support.


Stephanie Riekena, Anthony Clarkson, Erin Asmussen, and Tracy Tomko


SC: If I were to spend the day with Tracy, what could I expect?

TT: I'm pretty chill. Stimulating conversation, fresh air, and good food. I'm always up for music, art, or some kind of adventure.

SC: What's the one thing you can't live without?
TT: Good friends and my awesome daughter - we'll count that as one thing. :)

SC: The one thing you can't live with?
TT: Negativity.

SC: What are you creating at the moment?
TT: Paintings with iconic design elements of our time worked into scenery for childhood memories.

SC: What's on the horizon for Tracy?
TT: I plan to be a little hermit-like while I focus to create a kind of magic show effect for my new body of work. Then, I'll reappear with wand in hand. Destination unknown.

Thanks Tracy!

The Intrepid Explorer

The Art of Julian Callos
by Stephanie Chefas


Inner Space by Julian Callos

Haven't heard of Julian Callos? Don't worry, you will soon. This relative newcomer is turning heads with each new painting, and forging a style uniquely his own onto the Los Angeles art scene. I met up with Julian to learn more about the inspiration behind the latest works for his upcoming show at WWA gallery this Friday. Here he gives us a little insight into his artwork and what makes him 'tick'.


Stephanie Chefas (SC): What's the concept behind your upcoming show 'Into the Unknown'?


Julian Callos (JC): I wanted to focus on one character going through a journey and exploring the strange and mysterious, represented by outer-space. He eventually travels through an environment reminiscent of viscera, so his adventure also becomes a metaphor for self-discovery. The entire journey represents an attempt to figure out the answers to life's questions by venturing through uncharted territory as well as looking inward and trying to discover how one fits into the larger scheme of the universe. It sounds like pretty heavy stuff, but really I want it to be fun at the same time. Exploration and discovery can be really exciting, so I wanted to have that sense of excitement alongside the general tone of contemplation and introspection.


The set of pieces that I'm showing in May is fairly small, so I'm considering eventually expanding the series even further, especially since the search for such answers to such weighty questions is never-ending. This set is open-ended anyway, with the explorer returning home without the answers he was looking for; instead, he has more questions than when he ventured out in the first place. That's another thing I wanted the series to address: the idea that even if you don't find the answers to whatever questions you have, you're all the better for having taken the journey to find them in the first place.



More Questions than Ever by Julian Callos


SC: What questions does the intrepid explorer have?




JC: He doesn't really have any specific questions...I wanted the paintings to be open enough so the viewer can interpret them in his or her own way. I think the journey of self-discovery, or even just a search for answers to one's issues — whatever they are — is a universal thing. Outer-space represents looking outward and maybe venturing outside one's comfort zone to find answers, and inner-space represents a more introspective approach.
Actually, I'm sure the intrepid explorer would like to know what's in the hatch (he's only mid-way through the first season of LOST).





SC: Would you tell me a little bit about your background?



JC: I was born in the Philippines in 1987 and moved to Los Angeles at the age of three; I've lived in or around L.A. ever since. I'd been drawing even before I moved here, and I was inspired to keep drawing by the attention I got from family, friends, and teachers, who believed I had talent and encouraged me at an early age to nurture it.

I just recently graduated from Otis College of Art & Design as an Illustration major, and I was lucky enough to have been there with an amazing mix of fellow students and professors before an over-haul of the department. I'm continually inspired by the people I met there, as well as by a wide variety of art forms that range from fine art to to cartoons to comics.




SC: Tell me about your creative process.



JC: I start off by sketching and sketching and sketching until I come up with an idea and composition that I like. The sketching stage is actually the longest part of my entire process. Once I have a final sketch down and it's transferred to paper, the actual painting usually doesn't take too long to finish compared to how long all the sketching takes. I work with acrylic inks and washes of acrylic, using watercolor sable brushes for the line-work as well as the washes.





SC: Your artwork has transitioned through the years from animal skulls and forest creatures to drawing inspiration from ocean and space imagery. Is there anything specific inspiring this change?



JC: Sometimes the change simply comes from a desire to paint and explore different subject matter; other times the change is sparked by some specific personal events. Recently I've been drawn to both ocean and outer-space imagery; there's especially a great sense of danger, romance, and adventure about the sea that I love. I think I started exploring those vast, mysterious territories through my work as a sort of allegory for new relationships and for my own venture from art student to artist working in the real world.


Self /Reflection by Julian Callos


SC: Have you tried or ever wanted to create sculptures?



JC: I created a sculpture/mixed-media piece for my senior project at Otis. It was really fun, so I'm trying to explore that medium more. I'm hoping I'll have enough time to make a tiny sculpture for the "Into the Unknown" show, so we'll see.





SC: When you find yourself with 'artist block', what do you do to find inspiration?



JC: I usually go out for a walk and try to think about other things. A lot of times, inspiration hits when you least expect it, so setting your thoughts on something else for a little while helps.


SC: A recurring subject I see in many of your works is birds (Adrift, Afloat, Mine, High Spirits), what is the significance of the birds?



JC: I love incorporating symbolism into my work, and birds can symbolize so many different things depending on the species.

Swallows are often associated with sailors as a mark of bravery and luck. They were also believed to protect the souls of sailors who had died at sea. So in my piece "Adrift," the symbolic meaning of the swallow is twisted around; the dead swallows on the ends of fishing lines represent a sort of "giving up" of the sailor character, who is left vulnerable because the swallows can no longer protect him. But at the same time, the swallows are being used as bait, in hopes of winning back what the sailor once lost.



Adrift by Julian Callos


Its companion piece, "Afloat," is more positive; the sailor and his companion are together rising above a sea of uncertainty, with the swallows guiding and protecting them.



Afloat by Julian Callos


In some legends, kingfishers are associated with calm seas. In "High Spirits," they're keeping the main character happy and tempered as he remains drunkenly oblivious in the flood of alcohol.



High Spirits by Julian Callos


Finally, canaries were used by miners as an early-detection system for harmful gases down in the mines. I just love the juxtaposition of something delicate and beautiful like the canary with rugged and worn-down miners and the fact that they're already closely associated with each other, so they're the main characters of my piece "Mine." Someone has interpreted the piece and noted that the escape of the canaries from their cage was a metaphor for the miner's soul leaving his body.

Mine by Julian Callos

SC: If I were to spend the day with Julian, what could I expect?

JC: A low-key hang-out or a fun-filled adventure. I'm always down for either.

SC: What's the one thing you can not live without?

JC: I hate to say it, but: the internet. It has consumed me. I should try going without it for a week... I'd probably spontaneously combust.

SC: The one thing you can't live with?

JC: People with bad attitudes.

SC: Which artist, living or dead, has influenced you and your work the most?

JC: I would say the cartoons I used to watch as a kid, especially the Looney Tunes under Chuck Jones, have had the biggest impact on me as an artist. They inspired me to keep drawing throughout my childhood and have definitely influenced my sense of humor and my love of puns!

While in college I was looking at a lot of contemporary illustrators for inspiration, and have admittedly been a little too influenced by them. I've been trying to veer away from being overly-influenced so my work shines in its own way. I've been experimenting with styles and in many ways I'm still trying to find my own voice. I'm constantly building upon all that I've learned in the past and trying to consolidate all my loves and inspirations into something uniquely my own.

SC: What's on the horizon for Julian?

JC: I'm working on a couple groups shows with Gallery 1988 in L.A., and I've got a semi-regular visual column in LA Weekly called "LA-LA Land," which explores the eccentricities of Los Angeles and its characters. I'm hoping to participate in more gallery shows and find more illustration work, so if you keep up with my blog, I'll keep you updated about any exciting news!

Thanks Julian! To receive an advance online preview of 'Into the Unknown', visit WWA gallery. To learn more about Julian and his artwork, visit http://juliancallos.com/.

Eye Heart stenSOUL

The Art of Peat Wollaeger

by Stephanie Chefas

Eye Diver Hollywood 3010 by Peat Wollaeger

'Suburban dad by day and stencil graffiti artist by night' is how one of L.A. 3010's stand out artists, Peat Wollaeger describes himself. This St.Louis based artist has been making his mark on the streets for years with his raw, brightly colored stencil characters. Fortunately for us, he agreed to taking a little time out to create Eye Diver Hollywood 3010 for the Squids 2nd group show. We were so blown away by his contribution- the EYE burning hues of gold and orange and his haunting commentary of Los Angeles sliding into the Pacific in the not too distant future- we just had to know more about this soulful artist. Here Peat shares some insight into his artwork and what makes him 'tick'.

Stephanie Chefas (SC): What was your initial reaction upon hearing the theme for 'L.A. 3010'?


Peat Wollaeger (PW): I guess what LA might look like in one hundred years and sad to say Global Warming was the first thing that popped in my mind. Immediately thought of the Hollywood hills turning into Coastal Property.


SC: How do you see Los Angeles today?

PW: Smoggy...Grimey...California Dreamin'! A lot of really sick work and galleries coming out of that town.


SC: Would you tell me a little bit about your background?

PW: I started doing Graphic Design for the godfathers of Guerilla Marketing in the early 90’s for clients like Camel Cigarettes, Salem and Coca-cola. Once I saw how underhanded this world was....I left it behind and started doing my own “Guerilla art” with stencils and spray-paint.

Conan O'Brien and Peat Wollaeger

SC: Tell me about your creative process.

PW: I create images that come deep from with-in my SOUL... I create them, digitally in Photoshop/Illustrator, CUT-them out and then Spray them on many different surfaces on and off the Street. I am also a video artist and create numerous stencil videos where I show my process or become the charater that I am painting. Peep some videos here --http://vimeo.com/peat/videos

Peat in his studio

SC: What's the significance of the "eye"?

PW: The Eye represents the window to my “SOUL” and IS at the very heart of every stenSOUL piece that I spray! The eye has always been at the center of my art. One of the first paintings I created was of an eye, and is the first thing that stands out when you look at my work.



SC: As a graffiti artist, have you ever found it difficult to find the right representation?

PW: I do not consider myself a Graffiti Artist, because I feel I do not vandalize. I have respect for the places that I put up my art, and with not paint over raw brick or a property that has been taken care of. I guess I would consider my self more of a Street Artist and I always try to make my canvas look better than when I arrived.




SC: If I were to spend a day with Peat, what could I expect the day to be like?

PW: Non-stop action!


SC: What's the one thing you can not live without?

PW: My Family.


SC: The one thing you can't live with?

PW: Haters.


SC: Which artist, living or dead, has influenced you and your work the most?

PW: Undoubtedly it would be Keith Haring.
He was the first artist I saw doing street art in the 80’s and his colors and energy completely spoke to me. I did a Massive tribute to Keith at Art Basel in Miami for Primary Flight a few years back, I even dressed up like him and painted his portrait in character. ( http://vimeo.com/2280517 ) While I was in Melbourne, I notice a building that he painted was Badly faded and was up for sale and was possibly going to be torn down....so I left a message on the front gate that said “Never Forget Keith” http://www.flickr.com/photos/stensoul/2796251261/

Peat's tribute to Keith Haring

SC: What's on the horizon for Peat?

PW: This summer I am doing a massive Mural project in Beacon NY called Electric Windows with pieces by Logan Hicks, Ron English, Chris Stain, Bigfoot and more... http://www.electricwindowsbeacon.com I also have a show at Brooklyn's Mighty Tanaka Gallery with Robots will Kill and Choice Royce in September. Keep and EYE out for more stuff at stenSOUL.com

Thanks Peat! Be sure to check out Peat's art at the L.A. 3010 group show. Show runs until May 1st.

For more information and to view Peat's available artwork from the "L.A. 3010" group show, visit WWA gallery. To learn more about Peat and his art, visit http://www.stensoul.com/.

Elephant in the Room

The Art of David M. Ball
by Stephanie Chefas


photo by Shaun Roberts

I was first introduced to David M. Ball's art in April 2009 on a trip to San Francisco at the Cigar, Bar & Grill. On a quest for the perfect happy hour, my boyfriend and I popped into the bar on a whim and were immediately captivated by a series of collage compositions of surreal, twisted dreams on exhibit. These works never left my mind; I was infatuated and entranced. Six months later when the Squids created the theme for our first curated show, “The Devil Made Me Do It”, artist David M. Ball was, without a doubt, at the top of the list. To our delight he happily agreed and submitted two outstanding pieces, 'Third' and 'Dependency'. Here David shares some insight into his artwork and what makes him "tick".

Stephanie Chefas (SC): When hearing about the theme for "The Devil Made Me Do It", what was your initial reaction?

David M. Ball (DB): Sincerely, the thought that there is no devil or external force to make me do anything but I was glad that that the theme left room for work addressing moralizing, guilt, fetish, and introspection.


photo by Megan Wolfe

SC: What are some things in your life that the devil made you do?

DB: For that answer, we would have to go back to the days of my Catholic upbringing. I suppose in my moments of iffy lingering faith when I was in my early teens I may have perceived the devil tempted me away. I would say that with 25 years between myself and that decision now, I am in the clear.


SC: What was your most memorable dream or nightmare?

DB: I rarely remember my dreams. I try to manufacture them on canvas instead.


SC: Can you tell me about your process?

DB: It goes through changes but most recently, it starts completely abstract with aggressive paint application with no attempt at representation. Once I have a base (or as I have been working lately, multiple bases) I dig through my collage files which are also organized abstractly by palette. When I cut material, I generally just trim away to abstract shapes for texture or form. These files are extensive and are all pre-cut and in drawers classified by palette alone. Once I have a palette base of paint down, I look through the material files and pull out shapes and test them out on the surface. Once an image begins to suggest itself, I let things grow from there. The first phase takes a very long time. This is why I work on multiples- so I won't get bored. Once those elements are done, the rest is painting and drawing, building up in layers until complete.

photos by Megan Wolfe

SC: Is the process different with your illustrative works?

DB: As mentioned above, with fine art, I don't like to plan. As an illustrator, I am used to planning and there are benefits to it but I find that when I let things evolve of their own accord, I create works that I would never make if I was allowed to remain fully conscious of the objective. My work when I was younger involved a ridiculous amount of planning. Now I just let it go and see where it takes me. I tend to learn a lot about myself in the process-sometimes good and bad. I think these growing pains are part of the process.

photos by Shaun Roberts

SC: Is there any particular mythology at play in the two pieces you submitted for the Devil show, 'Dependency' and 'Third', or in your artwork as a whole?

DB: No, It is a strangely veiled, cryptic form of self examination or sometimes social commentary. I think that the few who know me best can see right through them.


SC: Many figures in your works feel isolated (even if surrounded by others). Is this a self-examination or a social commentary?


DB: This was self examination on some level but also I notice this in urban living. Many people living within the same areas, repeating the same patterns yet never seeming to cross the threshold into connection- in some sort of strange state of isolated coexistence. People unravel alone, right in the midst of others.


SC: Both pieces (and many of your works in general) have a very mechanical feel to them, with certain body parts like their eyes resembling solid objects or even small machine parts. Is this in any way a commentary on man or nature?

DB: All of it is a commentary on various human behaviors but the parts are almost always chosen as shapes that seem to make sense and look cool to me, no so much what they are. The reason why I have my files pre-cut is that I don't want to be conscious of why I am choosing them. That said, I am sure there is some unconscious drive at work but if so, I have done an excellent job of hiding it from myself. Mainly I am just fascinated how our primitive nature will seek what we already identify with, ourselves, in everything we see no matter how unrelated logically.


SC: In 'Third', I see a female figure who's physical appearance has a cold exterior and is some-what grotesque looking upon a small girl with an almost angelic aura. I wonder if the chained mechanical female is viewing herself in a hand mirror which shows what she believes is her true self; kind, gentle and perhaps meek or innocent. How do you see this piece?

DB: It seems that everyone is compelled to look past that corncob. It is the "elephant in the room". She seems to me more an anima as I believe both embody me on some level. The figure in back is a purer youthful self. I have my opinions on what I was addressing here about myself butl an element of mystery is best retained as, the beauty of surreal work is its capacity to unleash the unconscious of the artist and the viewer equally. Like each individual, its relationship to each person can be distinctly different, unique and unrelated. There is no one correct read for others. I think that at times, the artist knows as little of their intention as the outside observer. In such circumstances where i am inclined to express the meaning for me, I beat the narrator in me into submission and keep him out of people's way.



SC: 'Dependency' has a twisted, dark, yet candid view on motherhood. What was your influence when creating it?

DB: Although there are breasts, the figure could male or female- just a persona. It is more about them having something to provide and the false masks that other's will don to get access to it. For me though, I suppose it addresses some relationships with the opposite sex, maternal or otherwise. At its root, it is about how we treat each other, relationships in any form, addiction, and dependency.


photo by Shaun Roberts

SC: What is the most notable compliment, comment or critique about your work you've ever received?

DB: A stranger at a show once said my work was "like a deep wound bleeding out onto the canvas". A bit melodramatic but for the darker works, I can see it. I have a light side too although whenever I show it, I am told it is nearly as dark but I disagree. These days I find myself in a very good place taking on a direction that makes use of a more full range of emotion, exploring high key colors. Basically, I'm having fun.

For more information and to view David's available artwork from "The Devil Made Me Do It" group show, visit WWA gallery. To learn more about David and his art, visit http://www.david.ball.net/.