I grew up with the idea of the cyborg and the robot, but at the same time I felt this intense disconnection between the things I was engaged with and inspired by in terms of fun and play. It seemed like paintings and drawings were so static.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
I am obsessed with the painter Jonas Wood, but I don't think I'll ever be able to afford one of his paintings. He's an L.A.-based painter; his stuff is incredible.
I didn't go to school for illustration. I did larger pieces, mostly drawings and paintings, and minored in video, but when I moved to N.Y.C., I didn't have a studio space anymore and downsized to my desk and started illustrating. I started a greeting card company and sold cards all over the city.
I really want to continue doing art. I would love to go back to doing paintings one day.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
My paintings capture the humor, zaniness, and depth of the Batman villains as well as the Freudian motivations of Batman as an all-too-human, venerable, and funny vigilante superhero.
Pictures of Amazons on vase paintings always show them as beautiful, active, spirited, courageous, and brave.
Indeed, many ancient Greek writers do treat Amazons as a tribe of men and women. They credit the tribe with innovations such as ironworking and domestication of horses. Some early vase paintings show men fighting alongside Amazons.
The people I feel inspired around draw pictures, they make paintings.