FOR IMMEDIATE PRESS RELEASE

Last Rites Gallery Presents Flesh to Canvas 2

Exhibit to Showcase World-Renowned Tattoo Artists’ Canvas Work

May 15, 2010 – May 30, 2010

NewYork, NY March 30, 2010 – Ink transforms into paint and leaps off thebody onto the walls with the opening of Flesh to Canvas 2 on Saturday,May 15th at Manhattan’s Last Rites Gallery. Flesh to Canvas 2 willfeature more than 30 pieces of canvas art work by more than 25world-renowned tattoo artists who create works aside from ink on skin.The exhibition will be on display from May 15th through May 30th.

Ownedby master of the macabre and National Arts Club member Paul Booth, LastRites Gallery will host this diverse and unique exhibition for thesecond year in a row. The show serves as a means to expose the artworld to talented, but often mysterious and underappreciated world oftattoo art, an integral part of the reason Booth established Last RitesGallery.

“We have created a show specifically comprised ofpaintings by tattoo artists to help bring attention to these veryimportant and extremely relevant creators,” said Paul Booth.“Therefore, I proudly present this second annual Flesh to Canvasexhibition.”

Artists participating in Flesh to Canvas 2 include:Paul Acker, Alex Adams, Guy Aitchison, Nick Baxter, Aaron Bell, PaulBooth, Joe Capobianco, Joshua Carlton, Mike DeVries, Chris Dingwell,Little Dragon, Alex Garcia, Goethe, Gunnar, Anil Gupta, Ryan Hadley,Robert Hernandez, Phil Holt, Nikko Hurtado, Brian Murphy, Roman, JuanSalgado, Stefano, Toxyc, Kurt Wiscombe and Phil Young.

For additional information on the exhibit and Last Rites Gallery please visit www.lastritesgallery.com.

General Information

Location: 511 W. 33rd Street, between 10th & 11th Avenues, 3rd floor, New York, NY 10001

Hours: Tues-Fri 2-9 p.m., Sat 2-9 p.m., Sun 2-6 p.m. (Appointments strongly recommended)

Phone: 212.529.0666

Press Contact: Meredith DeSanti/Amanda Early 973.316.1665

About Last Rites Gallery

LastRites Gallery is New York's only gallery of dark art. Established inApril 2008 by legendary painter and tattooist Paul Booth, the galleryhas received high acclaim from both industry and mainstream pressincluding The New York Post, Inked Magazine, Tattoo Society, Juxtapoz,Hi Fructose and “CW 11 Morning News”. Last Rites exhibitions arecurated by Gallery Director Andrew Michael Ford. Ford has beenprofiled, interviewed and/or quoted by The New York Times, WashingtonPost, Philadelphia Inquirer, Village Voice, Timeout NY, Juxtapoz andNational Public Radio's "All Things Considered".

About Paul Booth

Bestknown for his 21 plus years of tattoo experience and dubbed “The NewKing of Rock Tattoos” by Rolling Stone Magazine, Paul Booth has gaineda cult following that includes heavy metal rockers, actors, musiciansand fans, who wait over three years for an appointment. In addition totattooing, Paul has gained acclaim for his dedication to the evolutionof his craft and his efforts to elevate the medium into the realm offine art. This devotion and enthusiasm has given Paul the noteddistinction of being the first tattoo artist ever inducted into TheNational Arts Club (NAC).

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Photo

TItle: La Luz de Jesus

Photo Credit: Caroline Hwang

DON'T CALL IT A COMEBACK
an interview with artist Daniel Hyun Lim (aka Fawn Fruits)

 Daniel Hyun Lim, better known to some by his artist name Fawn Fruits, is back on the scene and rocking harder than ever.  It could also be said, however, that he never left the scene.

When Daniel Hyun Lim was barely out of high school his mother committed suicide.  At that time, while in college, Daniel was already being recognized by some major curators and galleries for his incredible paintings.  For understandable reasons, Lim sort of (but not completely) dropped out of the scene for several years, as he tried to cope with this tragic loss.  Thankfully, Lim was able to fight his way through this very difficult time, with the help of some very important mentors, such as Rob Clayton, Alex Gross, Aaron Smith, Richard Keyes and Nathan Ota.  He began to draw again.  Then he drew more and more.  Then he decided he would attempt to create 1000 drawings (a project he is still working on).  Then, much to the delight of myself and many other artists and curators who love his work, Lim finally began to paint again.  Lim has said that his new work helps him to cope with and express some darker aspects of his nature, yet most people who have seen this work will say the imagery brings them joy, humor and even some small measure of hope.  Upon a closer inspection, however, one will see a small, subtle taste of darkness in many of his creations.  Regardless of what his work looks like, Lim is a much happier and healthier person these days, as evidenced by his incredible work ethic and smiling, peaceful demeanor.  His new found peace may also be what has led him to create incredible new works which have begun to land him in some pretty amazing galleries, including Copro Nason, Mondo Bizzaro, La Luz de Jesus, Giant Robot, Gallery Nucleus, KochxBox, Bold Hype and Dorothy Circus.  With several group and feature shows coming up in the next several years, Lim seems to finally be ready to make his mark.  I have worked with Lim for several years and I am continually impressed with his personally and artistic abilities.  He is an over-comer and a talent who should not be ignored.  I thought it would be a good time to sit down with Lim and ask him a few questions about his life, art and what he has tucked up his sleeve for the foreseeable future.

 AMF: After high school, while still in college, you were doing quite well with your art and were beginning to grab the attention of some curators and galleries.  The loss of your mother, for obvious reasons, pretty much cut off your creative output for a few years.  I am sure there are people out there that can relate to this in one way or another.  Can you talk about this experience and how, eventually, you were able to overcome such adversity and regain control over your life and art making.

DL: I won't go into details about my mother's death but I will say that it traumatized me. For 3 years, I had recurring dreams where I would have encounters with my mother, only to be awakened by the reality of my tears. I held it in for a very long time with no real outlet for the pain. I hid my emotions from everyone, including my family and friends. Although I looked fine on the outside, deep inside I felt like I was being eaten alive.

At the end of my sophomore year in Art Center, I had an emotional breakdown. I was failing my Advance Rendering class and I thought to myself, I don't have what it takes to be an illustrator! The next day, I went into Alex Gross' Intro to Illustration class and basically told him that I was going to give up illustrating. We talked for a very long time and to this day, I thank Alex for slapping me across the face to wake up! I was so engulfed in self pity that I forgot that I had the creative talent within me. That night, I went home and did my first real illustration.

I have since used my storytelling abilities to express my feelings. In the painting, So Much of Nobody, I painted a girl that was in a city that appeared to be crowded. I produced such paintings to cope with my loneliness. Today, the goal in my art is to bring hope to those who are in similar situations that I experienced. 

Photo:

title:So much of Nobody

Year 2002

AMF: I met your fiance and father recently, who you seem to be very close to.  What can you tell us about the importance of friends, family and loved ones, in relation to your life as an artist?

DL: There is nothing more important to me than my friends and family. I day dream about becoming this rock star artist but always come to the conclusion that fame doesn't matter if my priorities are not in the right place. Thats not to say that I don't have some selfish ambitions about my work, but I keep my head straight with what is important. I strongly believe in building friendship first and networking second. There is nothing more annoying than seeing someone with the words, "agenda" written across their face.

I am currently teaching at Otis College of Art and Design and one thing I tell all my students is to open up their hearts to give. This contradicts what the world tells you but eventually all that goodness will find it's way back. A lot of the opportunities given to me were in direct relation to the kindness that I showed. I consider my peers such as curators, art directors, illustrators, graphic designers, etc, my friends. This distinction allows me to always treat my everyone with the utmost respect.

AMF: I mentioned above some mentors you have had over the years and I know from our previous conversations there have been more.  Tell us about the effect these people have, both in your life and art making?

DL: I realized after making this list that there are far more people involved in shaping my life. I have dedicated facebook a photo album, Fawn Fruits Supporters to give credit where its due.

This project took me nearly 4 hours to complete but it was vital for me to sit down and think about how I got here. For the sake of the interview, I guess I'll focus on one person.

After graduating for Art Center, I had been recognized internationally by publishers like, Taschen's Illustration Now, American Illustration, Society of Illustrators etc. My ego was so big that I was waiting on the world to come to me. My pride got in the way of me becoming an artist. When reality hit, it was already too late. Rent was piling up like a mofo and I had no where to go. My paintings stopped because I couldn't support myself with fine art and illustration. While I should've made a plan to reach out to art directors, I was waiting in my little crumbling kingdom. Needless to say, my huge head got the best of me and instead of illustrating and painting like I should've I was working a 9-5 job teaching art to ungrateful pre-k to 8th graders. It's hard being an artist, but even harder when you're a fail artist.

In 2007 I created a total of 7 drawings. I could conjure up an elaborate excuse but in the end, it was my complete lack of confidence that was holding me back. By this time, I had burned all the bridges of art galleries, and art directors. I severed my chances with galleries such as Roq La Rue, Tin Man Ally (Jonathan Levine) and Copro Nason because I just couldn't produce the work they wanted. It was when everyone had given up on me, that you, Andrew, reached out to me. Your support meant the world to me because in my heart, the world had basically given up on me. I give all the credit to you for making me pick up the paintbrush. Eden was the first painting I had done in a very long time. I was so scared to paint that I had to do 80% colorpencil and 20% acrylics.

Photo

Title: Eden

Year: 2007

AMF: I am happy I could help you in some small way find yourself as a painter again.  I pushed you hard because I believed in you.  Ok, enough with the mushy stuff.  Other than the people mentioned above, who else has inspired you along the way?  Be it artist, filmmaker, musician or just someone in your everyday life who you feel had made you a better artist/person having known them or experienced their creative offerings.

DL: Nathan Ota has been my biggest influence. Like you, he has always believed in my work and pushed me not only in the arts but also in education. I have to give him all the credit for bringing me into Otis and Santa Monica College. Honestly, I didn't know that I had the ability to teach but as all great mentors have in common, he saw something in me. After teaching painting in school for two and a half years, I feel it's safe to say that my skills in painting have come full circle. Everyday I wake up, I am thankful for the opportunity to be working with such amazingly talented artists but more importantly, human beings.

Photo:

Title: 27th of May

Date: 2009

Photo

Title: 14th of Feburary

Date: 2009

AMF: I know it was a long, tough road from the loss of your mother to making artwork again to having your work shown in a gallery.  Tell us about that journey and what it was like to finally see your work being exhibited again for public viewing.

DL: Before we talk about exhibition, I feel as though we need to talk about the 1000 drawing project. 1000 drawings for $100 each came about because I wanted to work on something that was , in it's essence, me. I was tired of working on illustrations that did not allow me to explore my personal voice. Eventually I had stopped working freelance and decided to go my own route. I came up with this idea to pay for rent while retaining and to regain my skills as an artist. I had not drawn in such a long time that I felt the need to work on something that will make sure I get me to work hard. I decided that I will go viral with the project because I needed an audience to keep me accountable. I prayed as I posted up my first drawing because I was $300 short of that months rent. I posted 3 drawings on the myspace bulletin boards and in a matter of minutes they were sold! Here is a photo of the first of the series

The name Fawn Fruits was born with these drawings, fawn, being my favorite passive and peaceful animal and fruits, japanese street fashion. In order for me to draw these crazy girly drawings, I needed to hide behind an alias. I've put the 1000 drawings on hold while I am working up a storm for my upcoming gallery shows. It's a great feeling to see my work up on the walls again. 

Photo:

Title: 0001 Kindai

date: 2007

AMF: Your family comes from Korea.  Were you born in Korea and moved here or were you born in the United States?  Have you spent any time in Korea?  What, if any, influence has your Korean heritage had on your artwork?

DL: For a very long time I thought I was from Inchon, South Korea but my dad laid it on my pretty thick and told me that I'm from Seoul. I guess there is big a difference. My korean heritage basically comes from living in Koreatown. I came here when I was 5 and now I'm 30 so I've been here for over 2 decades. My only visit to Korea was in the Summer of 1993 so I don't really have much to say other than, I felt like an outsider when I was there. Because I had no friends, I stayed in my room watching korean drama and korean pop concerts. More than the Korean culture, I always had a fascination with the Japanese lifestyle. They have something that draws me in, especially when it comes to my art. I don't like talking about it too much because of obvious historical controversial issues.

AMF: Along with being an artist, you are also an instructor at Otis College of Design.  Tell us about your experience as a teacher and what you have gained as a person and artist from working with young art students.

DL: I recently went to Art Center at night and visited the Clayton Brothers and asked, "why are you guys still teaching in the continuing education department?" I love Rob Clayton's answer, "because it keeps us on the edge." I take that into my own educational philosophy. I like the environment of the art school. There is creative energy everywhere you go.

Being a fairly young instructor has its pros and cons. Students can easily relate to me but sometimes, need to work my way to get the respect of the other instructors. More than once, I've been treated like a student by the other faculty. I don't really mind because their expression when they realize I'm a teacher is priceless.

One of the greatest feelings you get as an instructor is when you see your students being recognized for their hard work. I make it a point to keep in touch with all my students on facebook. Recently, I created a secret group called the Dead Artists Society, a group page dedicated to my current and former students. 

Class

Photo Credit: Kohshin Finley

AMF: I don't remember where I saw this, but I read once that you said something like...although your artworks live in this world, their ideas and beliefs do not.  If you could, please expound a bit on this subject for us.

DL: This statement came as an idea that came up to me while I was down in the gutter. I wanted to draw and paint scenarios that are full of love, joy and peace. A utopian society where one can just enjoy life as they want to be, without sickness, pain or sorrow. In order for me to cope with my own feelings, I needed to paint my own personal getaway. Some of the best compliments are the ones where people say they can connect with the drawings on a deep personal or spiritual level. There are enough serious paintings in the world that shout and make big statements. I want my work to be more subtle and speak peacefully to the viewer and to bring a moment of tranquility.

photo:

Title: Sweet Love

Date: 2010

photo

Title: Home

Date: 2008

AMF: You have some shows coming up within the next few years which sounds pretty exciting.  Please gives us a run down of your upcoming schedule, so that we know what to be looking forward to!

DL: There are a few galleries that I've been drooling over for the past few years and I got them! This year is jam packed with amazing group shows. I have been invited to be in Ronin Galleries Inaugural show, followed by Giant Robot's Tree show and Gallery Nucleus' Sweet Streets 2 curated by my good friend Caro. Some other galleries to mention are, Bold Hype, KochxBox, Nice/Nice, Mondo Bizzaro, just to name a few. I have a 4 person show at La Luz de Jesus, a 2 person show with Giant Robot and another 2 person show with Dorothy Circus gallery. It really is a dream come true to be showing with these galleries as they played a big part in the development of my art career.

Photo

Title: Giant Robot Tree Show

Date: 2010

AMF: Finally, you have told me before about the things you care about and what you feel truly matters in life...both as a person and artist.  If you wouldn't mind, I would like you to share with all of us the things that matter to you.

DL: I've been really stuck on this question for a long time because I don't want to step on anyone's toes but since this is the most important person in my life. To some of us, Jesus is just a figment in history or an annoying policeman. I am not here to pass judgement on anyone, I keep an open mind about everything, especially being an artist and instructor. Although I didn't mention it in the interview, He has also been one of my greatest supporter. I go into detail about this last part in my facebook fan page.

Photo:

Title: Sweet DJ

date: 2010

Artist Michael Mararian just received a great review in ARTnews of his recent show at Corey Helford Gallery, which was entitled "Youth Parade".  Critic Richard Chang had this to say about Mararian's new body of work, "These works intentionally violate principles of good taste.  The fact that they did not shock...was perhaps the shows most potent indictment of pervasive violence."  Congrats to Mararian on this incredible review.  You can pick up a copy of the May 2010 issue of ARTnews to read the full review.  Way to go Michael!

London based artist Jaeran Won has begun to create quite a buzz with her simple yet profound paintingsof everyday life. She has participated in several group shows and hasalready had one solo exhibition in NYC. She was written up by CITY A.M.newspaper in London and also by VOLUME magazine. She was also picked by the London Underground (the subway system in London) to exhibit herwork in the “Underground” of London. Along with group shows in the pastat Project Gallery LA and Ad Hoc Art, she will contribute one piece to the upcoming Dark Pop 2.0 exhibition at Last Rites Gallery in NYC.

Jaeran Won talks about her work…

“I usually paint the female figure in different situations. While attending university, the subjects of my paintings were prostitutes living in a male dominated world, who possessed certain powers to change men’s lives. These paintings, for me, explored the similarities between the life of a prostitute and that of an average housewife. I tried to decipher the need men have for constant sexual release to the point of being willing to pay for it. Depriving certain men of these things seems to sometimes lead them to madness. Through it all, I continually attempt to express my discontent with a male dominated society.

In the second phase of my work, I describe the emptiness of human lives by painting dolls without thoughts controlled by a master. Men controlled female prostitutes in the previous phase, now the Master controls the dolls. There is always a concern about control and domination and sympathy for the subdued. A simple human figure was created. This character could be anyone or anything and lived in a virtual environment (e.g. the internet) where she could be bought,controlled and disposed of. The ‘Playing Doll’ series describe a kind of ‘online shop’ where human bodies, as well as human thought, can be purchased as easily as buying a pack of gum. Then the buyer can go and play, making different combinations of human-organs, human-thoughts and so on.

Currently my work is in a third phase, which describes the daily life of the character. This daily life is monotonous, ordinary and empty. The character itself has only eyes on her face and legs of different sizes, which can never add up.   She is unable to think because she’s not allowed to do so by the master (which is me). I chose not to paint a beautiful character but a rather ugly and strange one, someone you would ignore or reject. If she were to say something nobody would take her seriously because of her imperfections.

My art is often biographical and is based on my feelings of powerlessness and emptiness in respect to everyday life.”

-Jaeran Won

View more work by Jaeran Won HERE

Louise Chen

Giant Robot NY has an excellentgroup show entitled “Playful Extremities”, which will open on Saturday,January 16th.  Some great artists (Louise Chen, Hellen Jo, SaraAntoinette Martin, Tran Nguyen, and Sylvia Park) will have new work ondisplay and you should really try to check it out!

Below is all the info on the show and some preview images.  Enjoy!

Playful Extremities

January 16, 2010 – February 3, 2010

Reception: Saturday, January 16, 2010 at 6:30 p.m.Giant Robot Gallery

437 East 9th Street Between 1st Ave. & Ave. A, in the East Village

New York, New York 10009

(212) 674-GRNY (4769) | grny.net

Giant Robot is proud to host Playful Extremities, a group show featuring new works by Louise Chen, Hellen Jo, Sara Antoinette Martin, Tran Nguyen, and Sylvia Park.

Although Louise Chen is freshly graduated from UC Santa Cruz’s art program, her work isuncommonly diverse and realized. She transfers the clean, effortlesslines of her etchings and woodcuts to her drawing, seamlessly insertingthem into otherworldly landscapes rendered with equal craft andtremendous atmosphere.

Hellen Jo was born in Starkville, MS in 1983 and livedin Florida and New Mexico, but is firmly entrenched in NorthernCalifornia, where she plays in indie bands and makes indie comics. Herstyle is loose but attentive–as evidenced in her full-color issues ofJin & Jam, which combine the raw humor and honesty of undergroundcomix with the precision of alternative manga.

Brooklyn-based Sara Antoinette Martin takes familiar subjects of cryptozoology, symbols of Freemasonry, andtattoo flash art and presents them in highly graphic and surreal forms.The bold arrangement of commonly-known-but-mysterious imagery forcesviewers to revisit their preconceptions about truth, legend, andaesthetics.

The surreal art of Tran Nguyen has afaded, antique look, but the subjects are timeless.The Savannah,GA-based artist depicts young, beautiful subjects in darksettings–surrounded by melancholy and/or ectoplasm, if not actuallyemitting them from their pores. The effect is strangely hypnotic andhauntingly beautiful.

Sylvia Park is a New York City-based artist whodepicts an imperfect real world with perfect lines. Using onlycontours, she is able to create out hyper real scenes with depth andfeeling. Her precision line work is highly effective for editorialpurposes publications, but wavers just enough to convey subtle emotionand urge closer viewing in a gallery setting.

Giant Robot was born as a Los Angeles-based magazine about Asian,Asian-American, and new hybrid culture in 1994, but has evolved into afull-service pop culture provider with shops and galleries in LosAngeles, San Francisco, and New York City, as well as an onlineequivalent.

A reception featuring many of the artists will be held from 6:30 to10:00 on Saturday, January 16.

For more information about the artists,GRNY, or Giant Robot magazine, please contact:

Eric Nakamura Giant Robot Owner/Publisher

eric@giantrobot.com (310) 479-7311

Tran Nguyen

Louise Chen

Sara Antoinette Martin

Sara Antoinette Martin

AMF Gallery proudly presents a solo exhibition of new works by Lisa Von Enxing.

Lisa Von Enxing has been fascinated by animals since the early days of her life. She loves to create scenes portraying human-animal interactions of compassion, devotion and refuge as well as scenes of their sorrows that tragically many species currently find themselves in.  Enxing believes it is crucial that collectively we all strive and extend a light of wisdom, in order to bridge this inherent destructive gap that exists between us and the living world.  She asks, what are we without the animal, plant, oceanic and micro worlds?  Enxing creates and feels best in the rain, wind and snow.  India and Japan feel like shadows that follow her everywhere she goes and happily, she finds influencing her artwork.  She is obsessed with 14-19th century Indian Miniatures and ancient Japanese culture.  Currently, Enxing lives and paints in Brooklyn.

This exhibition will run from now until the end of January 2010.

artwork by Picasso Dular

SacredGallery (affiliated with Sacred Tattoo) will be having its first annual"Un-Holiday Party" Saturday, December 19th, 2009 @ 9PM. This will be aone day event for NYC tattoo artists to exhibit their finest work.Artwork from well known talent within the tattoo scene, live djs,giveaway door prizes, and beverages will be featured. The party will beopen to anyone who is looking to come out and have a good time. 18 toenter, 21 to drink.

Artist Roster thus far:

Jon Clue

Vincent Castiglia

Paul Booth

Stefano

Little Dragon

Toxyc

Adam Hays

Mike Bellamy

Vinny Romanelli

Picasso Dular

Matthew Adams

Lalo Yunda

Shey

More to follow.....

Thisis a soft launch party for the Sacred Gallery, we encourage everyone tocome out and enjoy the evening. If you would like to look at thegallery space, you may check it out here: http://www.sacredgallerynyc.com

 Sacred Gallery - 424 Broadway 2nd Floor - (between Canal & Howard) - NYC - 212-226-4286

The magnificent collage works of the artist Vahge are now available here at AMF!  CLICK HERE to see all available works and to read a bio about this talented artist.

AMF just got a face lift and we hope you like what you see!  New layout and design, new ability to become a member on the front page and new artwork and interviews on the way very soon.  Feel free to let us know what you think.  Thank you and enjoy!

-Andrew Michael Ford

(above image found on www.illbuzz.com)

Zak Smith is a young, hard-working star of the fine art world, porn actor andpublished author.  It's goes without saying that this is one busy guy. A good friend and talented young artist by the name of Marissa Olneyrecently introduced me to Zak and I found himto be a very funny and genuine person.  So much so, in fact, that Iwanted to learn more about this talented and intriguing individual. Therefore, I asked Marissa if she would be interested in sitting downwith me and Zak for a few questions about hisartwork, porn career, published writings and anything else that mightcome up in such a conversation.  And, with the recent publication ofhis new book, "We Did Porn",I figured it was a good time to find out what else he has been up toand what the future holds for this very unique individual.

A&M:In an interview in one of your previous books, "Pictures of Girls", yousaid art making is 1000 choices per minute.  From reading "We Did Porn"it seems as though porn making is the direct antithesis (look here, cumthere, stop, start, go, etc).  What are your feelings on this dichotomy?

Z: Having sex is always better than making art--or anything else--buthaving sex however you want is usually better than having sex witheight bored people staring at you and a stubbly guy with a steadycamtelling you how that was great but can we get another insert shot?

I feel like maybe this is not something Juxtapoz readers will be surprised to hear.

A&M:You seem to be quite the modern renaissance man in your way; artist,pornstar and now published author.  Has writing always been part ofyour artistic practice?

Z: I've always written things down, I just don't like putting the writing anywhere near the art.

I think it's kind of cheating.  There are a lot of people in the artaudience who don't actually like art, but have some sort of class- orstatus- or based feeling like they SHOULD like art.  So, in order tocater to these jackasses, people who sell art usually prepackage itwith writing which tells them why they should like the art and whatthey should see in it.

You can't pick up a book about LeonardoDa Vinci without a chunk of it being devoted to some academic ramblingon about what the art means or where it came from, and you can't have ashow in a gallery without writing up some press release alleging thatyou "deconstruct normalizing assumptions about the interpenetration ofgender roles" or whatever.  It's like saying, "Here's my art, but, ifyou don't like it, well, here's a bunch of reasons you really should." Can you imagine, say, a chef doing that?  You don't like thosesausages?  But the oven was hand-fired in the desert by Hopi Indiansand the pig won the Iowa State Swine Show three years running!

Which is all to say, I want people to feel like they can just look at the artand look at the writing and decide whether they like both or either orneither, rather than having one provide "context" for the other.

A&M: How did you get into the paint slingin' business?  When, where, how and why did this torrid love affair start?

Z: Everybody makes art when they're a little kid--then at some point they stop.  I just didn't stop.

A&M: Who influenced you as a young artist?

Z: Unicron, mostly--that scene in Transformers the Movie where he shows up and eats that planet full of robots. 

A&M:After already having achieved a successful career in the fine artworld, what lead to the decision to become a porn actor?  Was itconnected in any way to the fact that your girlfriend is Mandy Morbid,a well known porn star?

Z: No, I was in porn before Mandy.  I became a porn actor becausesomebody gave me the opportunity to, basically.  Call me crazy, butwhen someone walks up to my front door and says "Hey, I got all thispussy here, do you want it?"  I'm generally gonna say "Yes". 

A&M: Speaking of Mandy Morbid, you two have been together for awhile now and you seem to make quite a good team.  What impact have youseen her having on your life as an artist?

Z: She isinifinitely inspiring and the work that I've done since I met her isinfused with a quality...a kind of spirit...that I never managed toachieve in anything before.  Actually, no.  I just figured she'd likeit if I said that.  Actually, not even--she's not that stupid. 

A&M:I have heard that you have an amazing comic book collection, fromunderground to mainstream.  What do comic books as an art form mean toyou and how, if at all, have they influenced your work as an artist.

Z: My collection's pretty small, actually--I just buy ones withgood art.  I think, basically, a lot of the best art that's been madesince mid-century has been made by comic book artists.  Thecontemporary art world ignores them because if they admitted that, say,Jack Kirby was a Real Artist,then that would mean that somebody like Roy Lichtenstein was justcopying a fellow Real Artist rather than Cleverly AppropriatingElements of Pop Culture for Alternative (and Higher) Purposes.  Andthey can't admit that because then a lot of rich collectors would havethese Roy Lichtenstein paintings that're just really big Jack Kirbypanels that are suddenly worthless.  So comic book artists are a bunchof guys (and a few girls) making art on tight deadlines and gettingignored and underpaid in order to keep the fiction that they're justAnonymous Agents of Pop culture alive. 

A&M: What artists working today do you love, respect or at least appreciate on some level?

Z:Nicholas DiGenova, Sean McCarthy, Phil Frost, Shawn Cheng, NickWaplington, Tim Hawkinson, Alexandros Vasmoulakis, Gordon Terry,Anthony Lister, Jacob Hashimoto, Ian Miller...you realize we could behere all day, right?

A&M:Have you ever painted or written something and thought, "This might beone of the most important things I will ever create."?  Or do you findwhatever you are working on currently to hold the most value for you?

Z: I am usually trying to make the new thing work, whatever that is. Then it's finished and I forget about it and do the next thing.  Thenmaybe I look at it a year later and go--Hey, look at that, that's notso bad... 

A&M:I've noticed on your online sketchbook some of your drawings havebecome more surreal and accompanied by quotes from the Bible.  Is therea story behind this new stuff that you'd care to share with us?

Z: No, but I will say this: religion is dumb. 

A&M:You must be very excited about the recent publication of your new book,"We Did Porn".  How has the response been thus far?  What do you havecoming up for us next as far as art shows, films, books or anythingelse you would care to reveal about your future creative endeavors?

Z:All the reviews have been good, though most of them--especially theones in art and literary magazines--start with "I expected this book tobe terrible, but...".  So if you think you might like the book, readit, and if you don't think you'll like it, then you should definitely read it.  As far as next?  Well, I've got a lot of paintings to do.  There's some stuff coming up, but nothing I can talk about. 

A&M: Oh...one last thing...what's in your CD player right now?

Samael"Ceremony of Opposites", The Sword "Gods Of The Earth", Neurosis "SoulsAt Zero", Screeching Weasel "Anthem For A New Tomorrow" and anaudiobook of "Brief Interviews With Hideous Men" by David FosterWallace.  On shuffle.