aerial shot of blue water


I grew up in Belle Plaine, Iowa — Hi, Sandy! — where I’m sitting now. There’s Mr. Hoske. And I live in Los Angeles. Steve Mangler. I’m an master. It was just always a innovative environment. My mom was really good about pushing artistry works on me. Sit down and use these watercolors because it’s raining outside or here’s some petroleum cover to play around with. All of my family members went to Iowa, so that was kind of an easy select. But I hadn’t really thought about being an artist as a professing, it wasn’t definitely something I had experienced first-hand or knew any manipulating artist. Place of the pursuit is finding ways to buy yourself season. That’s a real thing. If I can make a little money here, buy myself some time in the studio, that’s part of the productivity. The cool thing about being in a small town is your imagination has no restrictions. You can travel your motorcycle to the other side of city, out of town. The experience of openness like that, imaginative flexibility is crucial, it’s just a huge part of my life.

As an craftsman you have to have some degree of trust to try certain things , not be in a solace area. Flourishing up in a region where you can explore, stray, adventure, that was maybe good preparation for that sort of mentality. The show is called Eatchewalive, or dine you alive. It’s kind of a play on messages. John and I started talking probably 2 years ago. He said his paints were 7×7 and I vanished, 7×7 inches? He starts no, 7 paws by 7 hoofs. Then I recognized “weve had to” do some remembering on how we were going to make this work.

And he said, I’m talking about something on a bigger scale than what you guys commonly do. So I said, we’re funded. This slog extremely is genuinely best to be seen in person. It’s fun to like frame yourself in front of a painting that’s 7 paws towering. The reactions have been really cool. I imply , nothing has thrown up or passed out or started shaking or anything. So it’s a little disappointing. As an artist it’s my job to try to stop and stay where you are and learn what can I use in my exchange, in my language that can talk about what I detect. Pixilation is a huge part of my language. Our telephones, our TVs, our computer screens, formerly you go in so deep it’s just these little, you are familiar with, boxes. And oddly enough the find parts become brushstrokes. There’s this great connection between the two, this like digital representation but also this classic project of paint stroke.

We want teenagers truly to see that growing up in a small town is not a limitation. Coming back to Iowa in different contexts of being an artist and depicting work is a dream, it’s awesome. It’s a great escape from one feature of the sword of being an artist is market value and nonsense I personally can’t really assure. It was just all about appearance, like here’s a body of work and chew on it.( typewriter ding ).

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