Interview with Maxwell Paternoster

December 16, 2013 by Tim Granda

Maxwell Paternoster creates some of the most unique artwork you’ll find in the scene today. Each piece pulsates with a nervous raw energy that can leave you twitching and gasping for alcohol. His world is wrapped in a twisted landscape saturated with toxic waste; a place where shriveled mutants with mile-high pompadours run wild with gun barrel eyes.

The discarded parts that are piled up everywhere are scavenged over by these freaky inhabitants, who cobble together bits of this and that to build incredible machines (which appear to run on either steam or contaminated jet fuel). The skies here are scorched with fire, and the roads are littered with the oozing limbs left behind by psychotic biker gangs patched in Hell.

Paternoster’s world is seriously twisted. You’re just as likely to die from radiation as you are to be run over by a gene-fused man-fly riding one helluva sweet chopper. But as dangerous a place as it is, I’d love to wake up there! Who wouldn’t jump at the chance to shoot lightning bolts from their eyes?

So it’s with great pleasure that I introduce to you the man behind such deviously clever apocalyptic work, one of my favorite artists out there today… Maxwell Paternoster!

Here in the USA, you’re probably best known for your work with Lowbrow Customs. How did that collaboration come about?

Oh yea, that came about thus: a few years back people were not all overFacebook and Instagram like they are now, and it seemed more about forums and blogs. I always used to try posting artwork onto the Jockey Journal forum, and also my buddy Richard Baybutt talked me into starting my blog Corpses From Hell. So from that I had my images seen by the guys at Lowbrow Customs. I can not remember the first image I did for them, but after that I have done loads of pictures for Lowbrow!

The Corpses From Hell site is always a blast to check out. What’s the story behind the inception of CFH?”

I started to draw pictures for some imaginary motorcycle gangs and stuff like that, then I thought Corpses From Hell sounded like a cool name. I initially used it just as the name for my website/blog, but it seemed to become very popular and everybody started to know me as the Corpses From Hell person. So it stuck.

Where were you raised, and what were the factors that led you to become an artist?

I was raised in Rural Suffolk in England; in the countryside. So yea, surrounded by fields, trees, and nature – ha ha! I do not know what the factors were that led me to do art. I seem to remember thinking it would be really cool if I could draw an awesome tractor, and to draw the engine. I think I drew some stuff and liked doing it, then some adults probably said it was really good, so I got it into my mind that I could draw and that I should keep doing it. Now its too late to stop – ha ha ha!

Were there any artists that made an impression on you while you were growing up?

I didn’t have much access to many shops or money to buy comics and stuff as a youngster, but there was a pile of British comics I always looked at. They wereWizzer and Chips, Beano, Dandy, and one called Corr!!, or something like that. Also loads of animation stuff on telly, Tom and Jerry and all those mad cartoons. I also liked an artist called Steven Wiltshire, who was on TV, and he could draw everything from memory.

You have one of the most recognizable styles in the motorcycle scene today. Were there any particular pieces along the way that proved to be significant in defining your style?

Ha ha! Not sure it’s the most recognizable!! Hah, maybe, I dunno. Until a few years back, I did not really do so much motorcycle related artwork. I had been focusing on developing my illustration style for many years in the world of art, comics, and illustration.

I was always a bike fan, and an artist, but did not mix the two things together because bikes were much less popular a few years ago. I drew bikes, but only for myself in my sketchbook. So I think my style was already sort of defined, but I just started to get a lot more motorcycle related jobs and projects.

So when did your interest in motorcycles begin?

I think I must have just been born with that or something. I saw some on TV and stuff, or in comics, or something, and I always wanted one. I wanted a dirt bike. But yea, actually, as a kid I had a two-stroke Suzuki 70cc step-through – ha ha! Then an MZ TS125 two-stroke, which father painted Mad Max on the fuel tank – ha ha!

Haha, too cool! Are there any artists out there today that you really dig?

Yea, loads – ha ha! Maybe too many to mention!! If you want to see something rad, look at Will Sweeney, for example. Also, look at the Koyama Press website; there’s a stack of rad artists on there!

I see that you’re participating in the “Live for Myself, Answer to Nobody” Steve McQueen exhibit, which is happening right now in London. What were the circumstances that led you to become involved in the show?

Oh yea, the Steve McQueen show came about through being involved in the bike scene here in London. We have been asked to participate in a few things now that bikes are in vogue – ha ha ha! For example, they opened a Belstaff store in London, and they wanted a bunch of bikes to ride about in front of the shop on opening night – ha ha ha! It was hilarious for us. I have no clue how I was selected for that, but yea, the Steve McQueen one was through my buddy, the photographerSam Christmas, who was in the show and opened the door for me and some other art people.

What are you working on next, Maxwell? Do you have anything in the pipeline that you’d like to share?

There is a bunch of stuff in the pipeline, a few tanks, and some preparation for a show in France (details TBC). Also t-shirts etc; a bunch of things. I want to do more CFH t-shirts and things too.

Lastly, if you could travel through time, where would you go?

Cool! Depends on how many trips I’m allowed, ay? Maybe if it’s many goes I’d go back to check out some dinosaurs, then go into the future a bit at a time to make sure I didn’t land when the earth was destroyed. But if I only have one go I might just stay here, actually – ha ha!

Haha! Thanks a ton, Maxwell, for setting aside some time for this interview. It’s been a blast speaking with the dude behind so many iconic images, and I can’t wait to see what you come up with next!

Interview with Matt Kerley

December 14, 2013 by Tim Granda

Matt Kerley hates you.

No, really. Matt Kerley hates you. It said so right on the pins and shirts that he’s had in his store. Personally, I found the man who creates such undeniably powerful artwork to be one really cool dude, and not once did he ever say he hated me (not within ear shot).

His illustration work is so… so god-damn bizarre! Kerley conjures up clean hard-hitting images, with such purpose and precise line work that they immediately grab hold of your brain and squeeze. And then, out of the corner of your eye, you notice some writing scrawled off on the side. After you read it, the text and image begin to meld, and what initially seemed to be just a bunch of random words suddenly makes sense. Almost immediately you get this rising feeling in your gut, like the floor has just dropped out from under you. Powerful stuff, from a super talented artist.

Kerley’s work in tattoos is just as astounding; go on and check out some of the examples below. In fact, why don’t we all head down there right now and get this interview started. Matt Kerley might hate you, but I bet when you get to the end of this interview you’ll come to the same conclusion that I did: Matt Kerley’s one really cool dude.

I’ve heard you recently moved from Brooklyn back to North Carolina, the state you grew up in. What prompted the change?

Actually, I moved back to North Carolina from Chicago. I lived in Brooklyn before Chicago though. I’ve bounced around and traveled for the last few years after leaving North Carolina initially. I lived in Philadelphia, Brooklyn, and then Chicago. I wanted to move to the Asheville, NC because its quiet. I was just tired of the people and commotion of major cities. Also, I wanted to concentrate more on painting and drawing again. So I travel and tattoo on weekends to cities that are close to where I live.

While growing up, what was it about “art” that grabbed your attention? Were you aware at the time that this was something you would pursue for the rest of your life?

I’ve drawn ever since I can remember, really. My older brother was sick my whole life. So while we were in and out of hospitals I would always be given a pad of paper and pencils to draw to keep me occupied.

Drawing was the only thing that really got me any attention as an introverted weirdo kid. As a young kid I got into comic books and skateboard art. So my attention quickly became centered in the art of comic books. My earliest memories as a kid was sitting around my grandparents houses drawing Spider-Man, Daredevil, Hulk, etc. The first art book I was ever given was “How To Draw Comics the Marvel Way”. That’s where I first learned proportions and foreshortening which I still use today. That and underground comics and cartoons at a very young age subconsciously honed my gnarly way of looking at art.

What steered you towards tattooing, and when did you start down that path?

In high school I use to go to the local newsstands when my mom went to the grocery store. Back then they had all the tattoo magazines in the porn section which was terrible. But luckily a good friend of mine got a job there. I was able to sit and look at all the tattoo magazines that I wanted.

In high school I would draw comics and tattoo inspired flash. All of it was pretty terrible really. When I graduated high school I still wanted to draw comics. So I got into the Joe Kubert school of Graphic Art in Dover, NJ. But last minute I changed my mind and went to East Carolina University to get a BFA in painting. I ended up getting a double BFA in Painting and Sculpture.

When I was in the art program, one of my instructors named Bill Dermody was apprenticing to be a tattooer. I had always wanted to get tattooed since I was 18 but was too intimidated by the shops in my area. So I never got one before I met Bill. Bill ended up doing my first few tattoos. Then I got tattooed at a few conventions and would enter tattoo flash into contest and won first place at the first few I entered. The owner of the shop offered me an apprenticeship while I was still in school. So by the time I was out of college I was tattooing full time.

I was pretty much at the right place at the right time really.

At times, your tattoo work brings to mind one of my favorite artists, Basil Wolverton, so I’m curious as to who some of your favorite artists were during your formative years.

That’s one of the biggest compliments you could ever give me. I love everything that Wolverton ever touched. He was way ahead of his time in every aspect.

Growing up I was inspired by old Jim Philips graphics, underground comics like Robert Crumb, and old cartoons like “The Brothers Grunt”. In college I was more inspired by contemporary sculptors and painters such as Basquiat, Henry Moore, David Smith, Rauschemberg, Bernini, Bosch, etc. But at the same time, I was reading Charles Burns and Daniel Clowes books, and listening to punk rock when Raymond Pettibon was on everything I’ve ever held dear.

When I graduated college and was studying the art of tattooing, I was introduced to artists such as Ed Hardy, Daniel Higgs, Dave Lum, and Jeff Rassier. All of which, on top of a fine art and punk rock background, have helped me develop the style I have now.

Your first book, “Cone, Sphere, Cube” was created while on the road when you toured the USA from one city to the next. How did your new book “Further, Farther, Further” come together?

Well I started “Cone, Sphere, Cube” when I was living in Philadelphia. I wasn’t able to paint tattoo flash where I was staying but I wanted to keep up with ideas I had. So I kept a moleskin of ink drawings that I could do in coffee shops and stuff. Eventually that became what is known as “Cone, Sphere, Cube”. ”Further, Farther Further” was made after I left Philadelphia, traveled a bit more around the US, and then completed when I lived in Brooklyn, NY.

These were more refined illustrations in the same Clowes/Pettibon style of ink and brush drawings.

I started to jot down little one liners of songs or quotes I could hear while I was drawing. To me, it was to solidify my environment I was in at that exact moment. To hopefully put the viewer in that moment that I was in when I drew that page.

I drew, laid out, and published both books on my own. I try to be as DIY as possible. I personally ship out every book, flash set, t-shirt etc that I sell. Both books are 100 pages of black and white illustrations. I’ve revisited some ideas in both books for paintings and tattoos.

Your work in pen and ink utilizes very powerful color choices, and you’ve mentioned using snippets of lyrics and quotes within each piece. To me, they function as a sort of narration over the piece itself; to be interpreted by each viewer in completely different ways. Do the drawings always come first, or have there been times where you had a phrase or description in your head before you even got started?

After I did both of the books I really liked how the wording seemed to help with the power of the image. I think it relates directly to my comic book background. A lot of times the phrases are very vague and ambiguous. I think it helps the viewer narrate the image in different ways depending on how they see the image and read the words.

Almost every time the illustration comes first. Then, while drawing, the phrase comes to mind while I’m thinking about whatever the image evokes in my head. Although, lately I’ve been doing the reverse: jotting down single sentences or ideas for phrases on scraps of paper, and then later adapting them to images in my head.

For me, I think of everything when I work on a piece. I think about the wording, the overall image layout, and the color theory. Everything is thought out while I’m working.

Are there any new artists out there today that you’re really digging?

In the last 10 years I have completely surrounded myself with artists of different kinds, and I’m lucky to take away pieces of each of them in some way. I’m part of the art collective Swamp Wizards and we encourage each other to develop each others work with critiques and gallery shows. And we’re just getting started! Its going to be a good year for the Swamp Wizards.

As far as tattooing goes I can see a very strong influence in a surreal or “Weirdo” art movement. My favorite tattooers are Daniel Higgs, Jeff Rassier, Josh Howard, Robert Ryan, Danny Reed, just to name a few. Each one, I feel like, comes from a similar background as me.

Every day I look at tattooers, illustrators, sculptors, comic artists, poets etc. Everything inspires or sparks a thought that can be used for something eventually.

I recently interviewed the artist Gorgeous George, and it sounded to me like you two are good friends. How did you guys get introduced?

George is one of my oldest and dearest friends. We first met at art school in early 2000s. We were both in the painting program together. I switched to concentrate on sculpture but we always stayed friends. In addition to art, we built Frankenstein rat rod bicycles together, and terrorized that small town we lived in. We were in bands together as well. He played bass and I played guitar in a honkytonk band and a couple of short lived punk bands.

He’s one of the best dudes I’ve ever known, and one of the most driven artists I’ve ever had the pleasure of calling a friend.

You just teamed up with Shirts and Destroy to release a line of your designs. How did this collaboration come together?

I’ve always been a huge fan of the label. When I was in school I was really into Doomriders and would buy their merch from Shirts & Destroy. And then when I was into tattoos I respected every artist that made shirts through that company.

When I lived in Brooklyn I would try and stop by the store front, but for whatever reason, it never worked out. I was either there too early or they were closed for whatever reason. So I was never able to meet Ryan and the other folks face to face. It wasn’t until a year or so later that I met Ryan via the interwebz. When Ryan sent me an email about doing shirts with them, I was extremely excited. In the last year or so I’ve been very lucky to be able to work with several companies that I’ve looked up to for a long time.

So what’s next in the pipeline? Are there any new products or appearances we should watch out for?

Yeah, there’s a lot of really great things in the works for the near future. There’s only a few things I can talk about right now though. I was just asked to draw the next pro deck for Peter Ramondetta. Hopefully that will be the gateway for other work with Deluxe in SF. I just got done doing some design work for Affliction clothing, Holy Mountain Printing, and True Black Clothing.

I’m going to be releasing my own line of shirts tentatively called Heart Drops Clothing Co.

I’m working on a third book. This one will be all of the color series I’ve been doing. The book will be called “The Damned” and it should be out early 2014. Hopefully I’ll be able to find a publisher this time around; it’s too much work for me at the moment to layout and publish everything on my own these days.

As far as tattooing, I’ll be doing a few conventions and traveling around the east coast mainly. I’ll probably be doing a month long westcoast trip too. Keep an eye out for tour dates everybody!

On Doom Cycle, every interview to date has ended with this question, so let’s keep the tradition going: If you could travel through time, where would you go?

That’s a tricky question. I want to say the ’50s so I could pick the brains of some very rad artists that I admire, or I’d say New York in the ’80s, so I could eat trash can burgers with Basquiat, see Danzig sing with the Misfits, and punch Rollins in the dick, all in the same day. I’ll go with option B: the ’80s.

Haha!

If I could, I’d like to do a quick list of thank yous.

Absolutely, Matt. Go right on ahead.

I’d like to thank anyone and everyone that purchases a book, painting, print, or t-shirt from me. Also, anyone that gets tattooed by me. Without you, I wouldn’t be able to travel and live my life as I do, and I am forever grateful.

Everyone at every tattoo shop that has ever let me do a guest spot, or bought me dinner, took me into their homes, or gave me a bed to sleep on while I was traveling. The overwhelming human kindness made me realize that not everyone is a bag of shit.

I’d like to thank Danny at Holy Mountain Printing for always being a good dude. Everyone at Seventh Dagger for helping me get started on design work.

Lastly, Thanks to the Swamp Wizards for being my brothers.

Thanks a bunch, Matt, for taking the time out of your schedule to speak with me here on Doom Cycle. Most of us only know an artist through their work, so when an opportunity comes along to hear from the artist themselves, it’s really damn cool! Thanks again, Matt! You rock!

Interview with Gorgeous George

December 13, 2013 by Tim Granda

Born and raised in Wendell, North Carolina, artist Gorgeous George has gone on to produce some of the most recognizable images in the chopper scene today. He produced the very first cover for Show Class Magazine, and has teamed up with the likes of Death Science, Loser Machine, Old School Helmets, and countless others to create works of art for a wide range of stuff that’s cool. When he’s not drawing or painting, GG can often be found skating, shooting, fishing, or tearing it up on his XL.

When I caught up with George a few weeks back, I had a fistful of questions at the ready. For a dude that keeps so busy, I really lucked out when he agreed to sit down for this piece, and here’s how it went…

First off, for those who don’t know, you recently restored a beautiful old Airstream to live in, and she’s resting on a nice piece of wooded land. What led to your decision to “get away from it all”?

Honestly, it was a matter of money. My wife and I were living in a super expensive apartment and we were tired of paying money each month for something we didn’t own. Also, living in the Airstream has given me the opportunity to focus on my artwork. I no longer have to teach. I loved teaching, but working all day with the kids, then coming home and spending all night in the studio was wearing me out! It’s been a huge change but definitely worth it, and an awesome adventure too.

So where did you grow up, George, and what were the motivating factors that led you to become an artist?

I grew up in a small country town outside of Raleigh, NC named Wendell. The reason I became an artist is because my brother was a handful as a kid. He is 6 years older than me and my mom was always chasing him around, trying to keep him out of trouble. While my mom was doing that she would put me at the kitchen table with a huge box of crayons and some dot matrix printer paper. I would draw and color for hours at a time. I loved to draw Ninja Turtles, X-Men, WWF wrestlers, skateboarders, and small airplanes because my mom worked part-time keeping the books at a flight school at the local airport.

Who were some of your favorite artists growing up, and how have they influenced your work?

As a kid I had that thick “How to Draw Comics the Marvel Way” book so I would draw comic characters all of the time. I would practice my foreshortening and things like that to try to make it look like the comics, even though I wasn’t that great. As I got older and began to be exposed to artists in school, I took a liking to the Mannerist painter, El Greco. I know it seems like a big difference going from comics to El Greco but I saw a lot of parallels in the work. El Greco used the human figure in a modern way even though he was painting in the 1500’s and 1600’s. The way he used the figure to show drama and emotion— I was absolutely blown away when I first saw it. Hell, His work still blows my mind! His works are loose yet precise, chaotic but intentional, exaggerated and realistic. I can’t fucking explain it. I just wish I could paint that way. I think, subconsciously, El Greco does influence my illustration more than my painting. I find myself twisting the human figure. Even the way I draw hands and eyes is heavily influenced by his paintings.

Your work in pen and ink is highly recognizable. Just like someone can spot a piece by Maxwell Paternoster from across the room, your work just screams “George” the minute one sees it. Was there a point where you had one of those “a-ha!” moments, and from then on, stylistically, everything just came together?

I guess as far as my pen and ink work goes, it has been a very recent development. If you had asked me 8 or 10 years ago when I was in art school if I would be doing illustration based work, I would have said, “Hell no! I am a fine art painter. Illustration is for communication arts majors!” Fast forward a few more years, I did some work for east coast chopper events like Ride to Skate and was approached by Adrian Lopez and the guys from Loser Machine. They appreciated that my work had both choppers and skateboarding represented equally. Being a skate rat and having the opportunity to work with an awesome skater-owned company was a once in a lifetime opportunity. Working with Loser Machine has helped me to continue to develop and expand my style as an illustrator. They continually give me the opportunity to push myself into areas of illustration that I have yet to venture. It has helped me grow exponentially as an illustrator and a painter.

By the way, I really love the stuff you’ve done with paint. Do you find a greater satisfaction these days working in pen and ink, or sketching on the computer?

I’m still deeply rooted in my fine art background and I consider myself a painter more than an illustrator. If someone asks me what I do for a living I tend to tell them, “I am an artist. A painter, but I also do some freelance illustration work.” The only issue is people see more of my illustrations than my paintings. Haha. Thank God Paul, the art director at Loser Machine, is good at computer stuff and can take my drawings and make them work for screen printing, posters, window displays, and things like that. I am slowly teaching myself the basics of Illustrator and Photoshop but I respond more to the the human aspect of art. I guess that ties into my fine art mindset and my need to feel the artists hand in their works. I still take every opportunity that I can to paint. If there is an art show and I have enough time to prepare, 9 out of 10 times, I do a painting.

So how did you get involved with the motorcycle scene?

I pretty much found motorcycles on my own. My dad isn’t a biker so it’s not like I grew up around them. When I was in art school the chopper shows were on T.V. but I wasn’t really turned on by those bikes. Then I saw some of my favorite skaters riding bitchin’ old choppers and was like “Fuck! That’s it right there!!!” While in school I dreamed of having a motorcycle, but I didn’t have anywhere close to the amount of money necessary to buy one. I had a Huffy beach cruiser bicycle with a tall sissy bar, apes, and a banana seat. I would “rescue” rusty, forgotten beach cruisers from the bike racks on campus and take them into my apartment. I’d take them all apart, clean them up, paint them, swap out handlebars and forks and create rad chopper bicycles. When I got out of art school and landed a job teaching, I bought an old Suzuki off of Craigslist. My dad and I built a cool little chopper. I eventually got hooked up with the Death Science dudes and ended up building the Ironhead that I have now.

Can you tell us about any particular pieces you’re most proud of? Were they for a shop, magazine, band, etc.?

I guess right now the work that sticks out in my mind is the Born Free 5 Builder Invite Poster. Everything on that poster was hand drawn. As I mentioned earlier I take a lot of pride in doing my work by hand. And even if it’s not obvious to the majority of people looking at the poster, I dig the intricate nuances of each little portrait and frame. Also, I had the opportunity to draw my favorite bike builders whose craft and attention to detail has inspired me to continue to push myself as an artist.

Are there any new artists that inform your work, inspire you to try new things, or that just motivate you to start drawing?

One of my favorite contemporary artists is Matt Kerley. Not only is he an awesome artist, he is an excellent friend! We were in art school together and have known each other for years and years. His work, along with my other Swamp Wizards brethren, continue to push me to the next level as I am in awe of all their talent. The cool thing about the Swamp Wizards is that we have such a diverse group of artists. Sculptors, painters, illustrators, tattooers, engravers, and the list goes on and on. We are on a mission to push each other to new artistic heights and it’s working.

Also my brother, Billy Childress, is another native North Carolina artist. His photographs are by far some of the most top notch images to ever be captured. The way he sees the world is to be envied. The awesome thing about his work is that he approaches photography with a fine art eye. One thing I notice is that a lot of motorcycle and skateboard photographers are all about documenting the object or action in a very sterile way. As for Billy, I’m not sure what goes on in his brain, but I like it. Oh, and I love riding bikes with Billy. We both like to ride in a super tight pack. Nothing beats it.

What are you working on next? Any upcoming prints or shows to look out for?

Lots of stuff! I still have a few prints that I have been meaning to put out for a while. Maybe I’ll get them released before the holidays. I have been working with Cary Brobeck, the editor of Wrench Magazine, to do some illustrations and things like that for the magazine, so look out for those coming out soon. There is a group show at the Pretty Pretty Collective in San Francisco that I am a part of December 7th, and a Krampus-themed show coming up on December 21st at the new Throne Room gallery that Chris Yvon is opening. Other than that just a lot more work coming out from Loser Machine and trying to get ready for Born Free 6.

If you could travel through time, where would you go?

Damn, that’s a hard question. Honestly I think I would stay right here. Things are going well. My life is great. I am living comfortably with my awesome wife in our Airstream. I have great friends and family close by. There is a killer concrete skatepark about 20 minutes away. My bike is running good. But if I had to go somewhere, I guess it would be pretty rad to ride a Triceratops, haha.

If you don’t mind I’d like to add a few thank you’s.

Sure thing, man. Fire away!

First and foremost, thank you for the interview and all you do for the chopper artist community. As you know it’s a small community and without all of us sticking together we stand no chance.

A huge thanks to my wife who puts up with my craziness. Thank you to my parents for raising me up good. Big thanks to Adrian, Paul, Chris and all the folks at Loser Machine/ Dark Seas for the continued support.

Thank you to my Swamp Wizards brothers for continually pushing the art game to a higher level. Thank you to my brother Billy Childress for being a rad mother fucker. Thanks to Kyle, Murphy, Phil and all of the other Baltimore folks for always showing me a good time and taking care of me when I’m up there.

Thank you to Clarke and all the other Freak Out the Squares dudes for always being positive and awesome as shit! A big thanks to my friends in Winston-Salem Wesley, Brannon, Nathan, Erik, and Johnny. Thanks to the Hooked MC boys, the Peanut City Geeks, and the Motoscum boys for being rad and always partying. Thanks to my homies at Back Door Skateshop and Skatepark, and Benji and Jay! You guys are the best!!!

Finally, I would love to thank each and every person who has ever clicked on my website, checked me out on Instagram, told someone about my art, or even purchased art from me. Y’all know who you are and are all heroes! Thanks for the continued love and support, friends!

And thank you, Gorgeous George, for putting aside some time for this interview! It’s been an awesome time getting to know more about the man behind such iconic pieces of art, and I believe I can speak for everybody when I say we’re all dying to seeing what you come up with next.

Interview with Burney

December 13, 2013 by Tim Granda

Do I dig Burney‘s stuff? You kidding me? I’m a HUGE fan! If I happened to live anywhere near him, I’d be peeking in his windows right now, hiding behind the bushes with my face pressed up against the glass, just to watch this man draw. And DAMN can he draw! Check out these pieces he sent over! Holy fuck!

I’ve been looking forward to this interview for almost a year now, but the dude never stops drawing; I’ve heard he even has a silo full of ink in his backyard so his pen never leaves the page. So it was with great surprise that I received a note from the man himself, letting me know that the interview was going to happen. I couldn’t have been more stoked!

So without further adieu, or some shit like that, here we go…

Hey man! Where you living these days?

I reside in the beautiful and hungover city of Austin, Texas.

Where’d you grow up, and what got you into art?

I’ve been in the Pecos area for ten years, but my parents raised me in a few different spots in California. I lived in Boise, Idaho off and on for years as well. Got into tons of trouble up there, but met a lot of life long friends.

I always drew pictures of comic book characters I was stoked on when I was a kid. I still do! Such killer work in those little books. I think that’s what pushed me to draw more.

Can you tell me who some of your favorite artists were back then, and how they’ve influenced your work?

Specifically, In my teens, my dad had an old friend named Jim Damron (JD, rest in peace) who would come down from San Jose and we’d all get high and party together.

One time, he brought me a shoe box of all original underground sixties and seventies comics like Zap, Yellow Dog, Skull, Fantagor, Fever Dreams… all full of some of the raddest, X-rated artwork I had (and still have) ever seen. That introduced me to the likes of Greg Irons, R. Crumb, Richard Corben, Frazetta, and all those bad asses.

They also reminded me of one of my favorite movies when I was growing up, and I later found out some of these same artists actually worked on it: Ralph Bakshi’sWizards!

It all started to make sense!

Like most of us, I hate them rules and regulations, and these dudes broke every one of ‘em!

I wanted to be able to draw T and A and have it be appreciated. I found my niche!

Crumb, Shelton, Wilson, Griffith… all those sixties comixs blew the doors wide open. Corben, Frazetta… Man, I freaking LOVE Bakshi!

It’s always been about comics and cartoons. These days, Instagram has been key to inspiring my stuff. So many rad artists on there that I never knew about.

Meeting Phil Guy (on Instagram: @burritobreath) was a life changer (as corny as that sounds). All his shit is eye candy. He’s a machine, and super supportive. And nothing but positive shit has happened since.

I hadn’t been drawing anything for years. I was just drinking, snorting, and riding motorcycles. I still love my whiskey and bikes, but art comes first!

Phil is just about as cool as it gets. So what’s your favorite medium to work in?

Pen and ink, for sure, but I’m starting to get back into painting with acrylics.

You mentioned being into bikes. When did you start riding?

I’ve had friends riding for years and always wanted a scoot. I wasn’t raised as a kid around anyone who rode them, but was always infatuated with the freedom package they portrayed. And that’s what they are. Freedom machines! I just said “fuck it” one day, bought a used ‘03 Sportster and started pulling it apart and chopping the fuck out of it with friends. It’s been one of the best things that ever happened to me.

Your cover for Show Class #12 is killer! Can you tell me how that came together?

Thanks, dude!

I saw that they had different artists designing covers for them and just got stoked on doing one up. I contacted Tim about it, and he said he was doing a “southern specific” issue if I was interested. I said “BET!”

Whatcha working on next? Any cool projects or product for us to look out for?

Tons of work!

I just finished a fun-ass design for Municipal Waste. That was a super honor.

I’m about to start a big acrylic on canvas in the vein of Frazetta for my dudes inEternal Champion, and I couldn’t be more stoked (or nervous) .

It’ll be my first big painting in at least ten years. I stopped painting years ago from constant disappointment with color. You can say I forcibly “regressed” back to pen and ink. I feel like illustrating with just black and white has taught me a lot about values and contrast, so I’m ready to put my paintin’ pants back on.

For me, every project is a huge learning experience, and they’re all important for the next one.

That Frazetta-esque piece you posted to Instagram was kick ass! I’m really looking forward to seeing your return to paint. We’ve talked about the artists from the past who inspired you, so who you digging today?

The twelve other Swamp Wizards* keep my gears turning constantly. These dudes kill it, and I’m proud to be a Swamp Wizard myself!

There are countless artists out there that I love, but Geof Darrow has always been an big inspiration. Not sure how many hundreds of times I’ve read Hard Boiled,Big Guy and Rusty or the Shaolin Cowboy series, but that man kills it. His work always reminds me to be patient, appreciate details, and make it fun.

I’ve been really stoked on the oversized “artist series” IDW has been publishing. Incredible fucking books. Oversized scans of all the original ink of some of the best comics. Mark Schultz‘s Xenozoic Tales has been my jam lately.

* Swamp Wizards include: Jessy: Sketchytank , Dresden: Dresdenthebarbarian, George: thegorgeousgeorge , Mike Giant: giantrebel8 , Phil Guy: burritobreath, Matt: mattitude, Nick: thebadweather, Chris: tallboy666, Chris Y.: mastersofdeath, Chris C.: chris_dogt, Ron: kingron315, myself: batdog, and last but certainly not least Honkey Kong: honkeykong.

Check em out!

Where can we see more of your work, and how do we get a hold of your stuff?

Instagram seems to be my staple these days as far as seeing current stuff. (Instagram: @BATDOG and also @SWAMPWIZARDS for the official IG page). I post prints , original art, shirts, and all the good stuff there.

Burney Art is my site, and you can always email me at burney1981@gmail.com

Also, Jim “dirtbag” has some designs on shirts I’ve done for him on 100% Dirt Bag as well as Steven at Orcus Brand. Both live in Texas, and are a couple of stand-up dudes who support a handful of other incredible artists.

If you could travel through time, where would you go?

I’d go to the garage that Slayer started in, have a beer with ‘em, and tell them that “Show No Mercy” still kills it in 2013. I’d also ride a chopper to Woodstock and party with the muddy babes. Might even try that brown acid.

Haha! Thanks Burney!

I’d like to say thank you, Tim, and the highest fives to you, good sir. Your support is so greatly appreciated. What you’re doing for us bum (hardworking) artists is humbling, honorable, and actually so damn cool it’s a little creepy.

It’s difficult to find good folks on this planet sometimes, especially those that will do something thoughtful for others without demanding money or a blowjob (or something else gnarly that I wouldn’t like to do to you).

And so what, maybe I’m over enthusiastic about a guy I’ve never met, who wants to share my drawings and what inspires me with the rest of the world. To some it’s just a stinkin’ interview, but you give a shit. It shows, and that fuckin’ rules. You’re one of the good ones, my friend.

Thank you.

Geez, thanks man! I really appreciate the kind words. Hopefully Doom Cycle will turn more people onto all the cool artists in the scene, and inspire them to become more passionate about the stuff they dig in their own lives.

And thanks a ton for setting some time aside for this interview; it’s been a real thrill!

Interview with Phil Guy

December 8, 2013 by Tim Granda

Today I’m really stoked to present to you my interview with the awesome Phil Guy! He’s one of the most prolific artists working in the scene today, and even if you aren’t familiar with his name, you no doubt have been rocked by his work for quite some time now.

He’s the dude behind Show Class Magazine’s People’s Champ posters for Born Free 5, as well as countless other Show Class logos, covers, and iconic design work. He’s also teamed up many times with Death Science and Heavy Clothing, most recently with their joint “DS Lab” limited edition poster, and the Death Science“Trike Bride” t-shirt.

Have you’ve seen that Butcher Chop “Chopper Wars” poster? Phil Guy. The“Revenge Run” 4 or 3 poster? Phil Guy. The 76 Cycle logo? Yea, Phil Guy. He’s one hard-working man, and a helluva good dude too. So you know his work, right? Whadda ya say we learn a bit about the man?

Where are you based, Phil, and what’s the name of your art studio?

I have been living in San Francisco, California for four years now. The name I use for my freelance work is someguy design. I also work a regular 9-5 as a production manager/designer for a local print shop.

Where did you grow up, and what lead you to become an artist?

I was born in a small town called Uhrichsville, Ohio. It’s a different world from San Francisco, but I still like going back. It was a decent place to grow up, but I never wanted to live there longer than I had to. The art stuff came from being a quiet little kid, I liked cartoons more than other kids and way more than sports…once I started drawing something clicked…I’ve been hooked ever since.

Who were some of your favorite artists growing up, and how have they influenced your work (if at all)?

I’d say one of my favorite artists growing up was Derek Riggs, the guy who created Eddie for Iron Maiden and all of that amazing Maiden album art. I used to try and redraw all of the Iron Maiden album covers my uncle would give me. I can’t tell you how many times I’ve drawn the album cover for “Piece of Mind”…its such a good cover. I was also a huge fan of Rick Parker. He did the art for the Marvel comic’s Beavis and Butthead comic books. Those comics are filled with really killer line work and little gross details… I’m a sucker for anything funny…those things are fuckin’ hilarious, to say the least.

Where do you draw your inspiration from?

I get a lot of inspiration from old comics and magazines. I also collect old matchbooks and decals. I’ve been told before that some of my work looks like it might have been done a while back which I think is a huge compliment. I’d take a rough edged imperfect drawing over a clean Adobe Illustrator graphic any day.

Do you have a favorite medium to work in?

I recently got the chance to paint a gas tank, and I fell in love with One Shot sign painters enamel. There’s somethin’ different about a paint brush loaded up with paint. Right now that’s my favorite, but my go to would be pen & ink.

How did you get involved with the motorcycle scene?

I’ve loved motorcycles since I was a little kid. My dad always had a bike, and the first one I can remember was a brown ironhead Sportster. The thing was so loud when he would ride into our driveway it would shake the cable loose on the TV and fuck up the reception…it was so cool to me. I fell in love with motorcycles at an early age. Got my first dirtbike around 12 and it was on. I wasn’t really involved with the current chopper culture until I was reading Death Science blog one day and they were looking for shirt art. I’ve always wanted to draw rad Easyridersmag type shit, and that gave me a chance to do just what I wanted. Tim was really stoked on the ideas I sent him, and from that first drawing on we’ve become good friends. I owe a lot to Tim, Death Science, and Show Class. They gave me a chance to make drawings I wanted to make, and really grow my skills.

Are there any new artists that inform your work, or inspire you to work harder?

There are a lot of talented artists out there, and recently I’ve been finding more and more inspiration from guys who are making work I wish I could call my own. There are a few guys who I check in on daily if I can, they keep me motivated to make more and more work. Off the top of my head a few guys to check out would be Dresden the Barbarian, Burney (batdog) from Austin TX, sketchytank, Johnny Sampson, tallboy, Alexis Ziritt, Matt Kerley, Gorgeous George….way too many to name…sorry to those I left out. There are so many guys out there that I’ve been lucky enough to get a kick in the ass from. I also owe a big debt of gratitude to my friend Mike. Most know him as Mike Giant, that guy has been a huge inspiration to me. He gave me a job when I first moved to the city, and he showed me how much work it takes to be an artist. He’s always encouraged me to draw as much as possible and I haven’t forgotten it.

What are you working on next? Any upcoming projects or shows?

Right now I’m working on as many new projects as I can, it’s all stuff that I’m really happy to be involved with. And I’m always hoping to take on more! Right now I’m inking in a graphic for a Mastodon T-Shirt, which I still can’t believe I got the chance to do. I’ve been a fan of the band for years, and its a dream come true for a heavy metal kid. I’m hoping in the future someone will ask me to do a show. I’d really like to have an opening in a donut shop at some point, but no cops, just apple fritters…I love apple fritters.

If you could travel through time, where would you go?

I once saw a video of Sabbath playing Paris in 1970, that would be the first stop. I’d also like to have met John Candy before he died…Uncle Buck is one of my favorite movies of all time.

I’d like to thank Phil for taking the time to talk with Doom Cycle, and for hand-picking the designs you see here to accompany the interview. If you’re not yet convinced on what a stellar dude he is, I need to point out that he even hand drew the Doom Cycle logo you see on the top of the site! Didn’t mention a word about it – just dropped it in the folder along with his art. How fucking cool is that?! Phil Guy rules!

Make a point to support all the places mentioned here in this article to help keep Phil’s work coming, and if you have a shop, club, business, or event that could use some killer custom art, make sure to get in contact with him. You’ll be really happy that you did.

Keep your eyes peeled to Doom Cycle for more Phil Guy news in the future, and don’t forget to scroll down the page for even more Phil Guy art!