Art ZOne Archives - ZO Magazine https://zomagazine.com/category/art-zone/ Mon, 26 Dec 2022 22:16:43 +0000 en-US hourly 1 https://wordpress.org/?v=6.1.3 https://i0.wp.com/zomagazine.com/wp-content/uploads/2019/01/Separator-circle-w.jpg?fit=32%2C32&ssl=1 Art ZOne Archives - ZO Magazine https://zomagazine.com/category/art-zone/ 32 32 65979187 Art and Social Therapy | Underground Interview with TIFFANY TALAVERA https://zomagazine.com/es-tiffany-talavera/ Mon, 03 Jan 2022 21:52:53 +0000 http://zomagazine.com/?p=22476 The post Art and Social Therapy | Underground Interview with TIFFANY TALAVERA appeared first on ZO Magazine.

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ERICCO STUDIO

. . . Creativity and LIFEstyle

Sol Poniente – Dugo

ERICCO STUDIOS has started a podcast series on art, life and the unique and invisible ties we all have through the “6 Degrees of Separation” syndrome we’ve been expounding on in this series as well as throughout the ZO community. This month’s podcast with Tiffany Talavera is one of those synchronous links that actually ties into one his clients that we featured in a previous design article . . .

Ericco:  Not long ago I was invited to stop by a local Art Exhibit in Thousand Oaks, California by an active and respected community arts leader, Len Linton, who is also on the board of the California Museum of Art Thousand Oaks.  Len and Judy Linton have been long time clients and we’ve grown close on a personal level.  So upon Len’s suggestion, I went to the CMATO Exhibit, and absolutely, wasn’t disappointed!

Ericco Studio mural at the Linton home

Len’s suggested exhibit was held in an intimate space.  The walls were filled with captivating works by accomplished visionary artists —  curated by Museum Director, Tish Greenwood.

For anyone who’s been to various art exhibits, you probably know, there must be something to engage and link you once you’re in the imaginary worlds that artists create; and for this event that link became Tiffany. She was in attendance with respect to her working affiliation at the Getty.  Her friendly, soft-spoken demeanor, effervescent personality, and comprehensive knowledge of art and the art world was quite fascinating and made it easy for me to stay awhile, comfortably hang out and talk. Upon leaving she and I exchanged info, and remained in touch, mostly through everyone’s new gathering place — social media.

Gudetama, Day at the Getty — © Tiffany Talavera

The Gudetama piece above really delighted everyone at the magazine! Now they all want one – lol

Tiffany: “Gudetama, Day at the Getty” is about a fictional character visiting the Getty for the first time, but behind the scenes as a staff member. I started this in November 2019 roaming with the figure until Co-vid shutdown. So I was only able to visit a third of the places I wanted to go.  I am hoping to explore more next year and complete this project. I wanted to make it a book, but it has turned into a storyboard for now.

I love Sanrio since my childhood, so this latest little character is just a way to celebrate where I work with a personal love of collecting a narrative of small things. It is done with respect for Sanrio and exploration.

Gude gets a cookie
We get some yummy snacks

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Everybody has fun at the Party!

Ericco:  After our initial meeting at the Exhibit, I became more acquainted with Tiffany’s many talents as we shared our creative exploits. So, when I needed a  formal written introduction to accompany a few of my art pieces to a client in Puerto Rico, I didn’t hesitate to ask her.

The Puerto Rico connection was through another 6-degree relationship, and it seems to continually guide and open the most wonderful doors.  Even in the midst of everything now going on in this “NOT business as usual world scene” – I’ve still been able to move forward, and even find new meaning in things I’ve often overlooked. The complex connections and intricate relationships that sometimes seem random have now taken on a deeper twist and more than ever, the role art can play in connecting us all is so very apparent.

Ericco Studio Puerto Rico Project

Tiffany: I started Needle felt (below) in April and this is my 4th creation started in July. It’s called “Yes Miss Potter” – Inspired by a conversation in my head between Beatrix Potter and Peter Rabbit.

Podcast with Tiffany Talavera, Getty Associate – Getty Museum Virtual Tour

Enjoy More from ERICCO STUDIO on ZO

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]]> 22476 ERICCO STUDIO — ON ZO https://zomagazine.com/ericcostudio/ Mon, 31 Aug 2020 23:24:03 +0000 http://zomagazine.com/?p=14497 The post ERICCO STUDIO — ON ZO appeared first on ZO Magazine.

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. . . Creativity and LIFEstyle

Sol Poniente – Dugo

ERICCO STUDIO has worked with ZO since before its current incarnation and curated our first Art Soirée. We’ve been supportive partners and avid fans of each other’s work from the beginning . . .

ERICCO STUDIO ARTICLES on ZO

ERICCO STUDIO developed a 17,000 sq. ft. artists’ building near the Los Angeles International Airport — CAb — for several years and sponsored ZO Magazine’s creative space there. In addition to supporting our ongoing film project and collaborating on a project for young artists, we were privileged to be a part of the unique artists’ gatherings featuring fashion, food, and the friendliest people we’ve ever met. We learned so much through that experience.

Starting in 2020, ZO collaborated with Ericco Studio to craft a private gallery and event space. The space is magical and has been growing steadily even amid the incredible circumstances now facing all of us as a result of the worldwide pandemic.

The Skin You're In © Ericco

CREATIVITY CAN CHANGE THE WORLD!

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ERICCO STUDIO: Developer — Art Spaces: CAb (Crenshaw Artists Building)

ERICCO STUDIO on VIMEO

ERICCO STUDIO: Stylist — Art Direction: THE NARROWCAST/Music Video

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]]> 14497 Ericco Studio — 6° degrees of separation: Including an Interview with SHY CARTER https://zomagazine.com/shy-carter/ Sun, 21 Jun 2020 13:50:47 +0000 http://zomagazine.com/?p=11391 The post Ericco Studio — 6° degrees of separation: Including an Interview with SHY CARTER appeared first on ZO Magazine.

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Above: Shy Carter | Photo by Greg Noire

ERICCO STUDIO

. . . the intersections of ART always have a 6 Degree Ripple Effect

One of the greatest  gifts in my life has been my work as an artist. When I can successfully  mirror to a client, the God given talents I’ve received . . . the creative journey’s end product is as fulfilling for me as it is for my clients; and if I’m lucky, I get a chance to see the benefit of what’s been created overflow into their lifestyles — and even further — to those around them and beyond.

Ericco Studio — illustration featuring Shy Carter

Shy Carter — “Good Love” out now — Warner Music Nashville

Kane Brown — “Worldwide Beautiful” — Warner Music Nashville
(music collaboration with Shy Carter)

While  doing a faux finishing project  in Studio City, at the home of award-winning music writer and artist, Lauren Christy (another design story :-)), I crossed paths with Shy Carter. He was collaborating with Lauren on some of her music projects.  She introduced us, and it was an immediate click!

Every  client has a recognizable gift or talent. Its cliche ” ish” . . . but they love what they do, as do I — and this is where I start the creative ideas and bond. I can’t help but to view them as both Artist and “Life Architects” of their homes, careers and businesses. The stories and journeys they share are always the backdrop and inspiration for the designs that flow into my art for them, which in turn touches their life architecture.

These connections and developments are something I’ve pondered for years, and this article with Shy is a beginning way to share my thoughts on our artistic “6 degrees of separation.” The way we live always ripples into other lives, especially on a creative level . . .

After my initial introduction to Shy, and as we connected on a more personal level, I was truly inspired and blessed to be creatively drawn into the impromptu wedding arrangements for he and his soon to be wife, Jennifer. Lauren’s home became the destination and we had only one week to pull it all together between Christmas and January 1, with the wedding to be held on New Year’s Day!

Everyone pitched in and helped one another. It was a unique artistic gathering and one of the most beautiful weddings I’ve ever seen.

So much division is going on right now.  A strong common thread that links me and the client’s I work with has become increasingly evident to me.  These thoughts are very much connected to the work I did with the wedding and is something I think we can all relate too . . .  namely, the shared experiences of LOVE . . . right!

We are all affected and surrounded by the relationships in our lives. Those relationships create common emotions and experiences, be they friends or family.

  • Baby Shower Announcement - Original Art

  • Original Chairs - custom created for Impromptu Wedding

  • Finished Chairs - custom created for Impromptu Wedding

I did a quick sketch that was used for a cover invitation announcing the arrival of Jen &  Shy’s first born – baby boy!!!  It wasn’t much, just a quick little sketch, but made for a lasting precious moment. These moments are those we can all relate to.  With family and client relationships, often my smallest efforts have meant the most.

Another very strong observation I had when thinking about the shared common passions Shy and I have in common is – that of helping others.

Around this same time as the wedding, I was finishing up a faux finishing design project in a 7,500 sq. ft. luxury home in Granada Hills, CA. On my completion in showcasing the home, I was able to combine a fundraiser organized by Shy’s wife Jennifer, that focused on raising money to mentor young girls and also inner city youth.  The program mentored and instilled positive affirmations through a summer camp retreat. We all brought a widely diverse group together for a common cause. It was awesome and beautiful, and certainly rippled through all of our lives, including the youth it benefited.

CREATIVITY CAN CHANGE THE WORLD!

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The “Party With a Purpose” was an opportunity to extend my creativity outside of the home and into LIFEstyles and helping others.

Noted artists from vastly different backgrounds came together to give of themselves and help others. Again, this is an example of the client relationship going deeper and extending out and deeply touching others.  Six degrees of Separation turning into a effective force to channel our common mindset of helping others.

Photo: Party With A Purpose collage. Shy Carter bottom right. What a cool afternoon! There’s nothing better than having fun and helping people at the same time.

The realities of living through a global pandemic, are causing most to stayclose to home. Small gatherings abound and so many businesses have simply had to stop. We’re all communicating more on social media, and talking more on our phones, rather than the quick texts we once relied on since we were so pressed for time.

It was just such a case recently, while I was doing a custom blue finish on a bedroom wall. Shy and I were catching up by phone and found that we were both working while social distancing, etc.  He was finishing up his new release in Nashville and I was working on a project in Hermosa Beach.  I showed him some of the project and commented that it would be a dope look on his new release and it was just that – an instant ripple reality!

Ericco Studio – Hermosa Beach Project

Here’s a photo of one of the walls I was working on.

Though this unique transitional time, I’ve realized how inter-connected and inter-affected we really are.

What happens to one populated group will have a ripple effect . . . which may come sooner or later to other groups, but it will have an effect. I can only do my part, and believe that enhancing the surroundings of others through creativity has a distinct effect all its own.  Art always creates a ripple because it is creation; and bringing imagination into reality is a force.

Many are still feeling the impact of being quarantined.  Everyone needs a little escape from that.

I found the song Shy did with Kane Brown recently did just that for me.  Shy and Kane, both from bi-racial parents, found commonality in their backgrounds, which resulted in a new song released under the Warner Bros. label.  Check it out above. It so strongly speaks to the times we’re living in.

We all enter our zone by doing what we love. Shy Carter’s zone is doing what he does best . . . Entertaining!

Custom T-Shirt for Shy Carter by Ericco Studio

Interview with Shy Carter

ERICCO STUDIO ON ZO

SkyeChristy the Band — Interview with Ericco Studio
SkyeChristy the Band — Interview with Ericco Studio
SkyeChristy the Band . . . catching up with SkyeChristy at my Hermosa project — a fun day at the [...]
ERICCO STUDIO — ARTFUL Lifestyle
ERICCO STUDIO — ARTFUL Lifestyle
ERICCO STUDIO . . . ARTFUL LIFEstyle — My Hermosa Beach Project http://zomagazine.com/wp-content/uploads/2020/05/Kenneth-Hope-Blue-Planet.mp3 Blue Planet — Kenneth Hope Creating ambiance [...]

ERICCO STUDIO: Developer — Art Spaces: CAb (Crenshaw Artists Building)

ERICCO STUDIO on VIMEO

ERICCO STUDIO: Stylist — Art Direction: THE NARROWCAST/MUSIC ViDEO

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]]> 11391 ERICCO STUDIO — ARTFUL Lifestyle https://zomagazine.com/ericcostudio-hermosa-beach/ Tue, 26 May 2020 21:48:50 +0000 http://zomagazine.com/?p=10549 The post ERICCO STUDIO — ARTFUL Lifestyle appeared first on ZO Magazine.

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ERICCO STUDIO

. . . ARTFUL LIFEstyle — My Hermosa Beach Project

Blue Planet — Kenneth Hope

Creating ambiance through artistic interior – exterior space and custom wall-finish treatments, is a defining hallmark of my career. Visual enhancement is one goal, but the true uniqueness comes in creating an extension of a client’s distinct and exclusive lifestyle.

… art for LIFEstyles is not only my work, but my passion.

The intersection of art, fashion, music and social interaction is trending like never before. Our circle of social gatherings is becoming smaller, and we stay in our homes – or the homes of those close to us more often. This offers a unique opportunity for us to step up our game in finding new ways to entertain our friends and family, and to reflect and share our LIFEstyles on a more personal and broader level.

That’s what I set out to accomplish in this Southern California, tri-level – 3,500 sq.ft. ($6M) Hermosa Beach home on the Strand.

The Calmness of the ocean, Serenity of the blue sky, the Sense of stability evoked by stone and marble, were all elements that, combined with the Client’s entrepreneurial spirit and passion for the arts, allowed me to successfully create a one-of-a-kind space that is a reflection of the heart of his unique LIFEstyle.

______________________________
Ericco

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THE STRAND — HERMOSA BEACH, CA

In addition to one of the most spectacular views in southern California, the house is now becoming an artwork in and of itself. The interior walls have become a flowing canvas, blending sea, clouds, sand, marble and textures that could possibly fool a few geologists 🙂

Ericco had to point out that one of the walls he had painted in the 1st floor bath was not stone.

Being the ZO investigators that we are, we then had to feel everything, and even then it was difficult to tell what was art and what was natural stone!

We’re going to start this tour on the main floor central core spiral staircase, and get Ericco to give us some insight to the process.  One word comes to mind, as the tour progresses and that’s . . . “Lit!”

Thanks also to Juli, currently working with Ericco Studio, for being our model.

____________________________
______________________
________________

ZO: So, it looks like the whole house has literally become your canvas.  How in the world do you plan for that?  Did the concept come all at once or do you start and see what develops?

ERICCO: First we decide on a Color Scheme . . .
each wall and room application, it’s color and the consideration of what is surrounding it, what furniture is surrounding it, and how it looks and coordinates with the whole environment.

ZO: The transformations that we see in these rooms are all as dramatic as night and day . . . Which room or wall did you start on and how do you make that choice, toss a coin 🙂 ?

ERICCO:  My client’s  take these decisions very seriously, as do I. The results of my art finishes, are not generally paint . . but materials, that unlike a painted wall that needs a fresh coat of paint every two years — in 10 years my finishes will look the same — or better.  Clients are generally making choices  that they plan on being as permanent as their LIFEstyles  — so it’s well planned.

ZO: Tell us about the living room and central stair transformation.

ERICCO: The client and I decided  to have the wall finish extend up the entire  stairway and wrap around  the upstairs as well, giving it overall a more expansive feel and immersive tranquility.

ZO: This open floor plan has become more than a great room. The transition from the beach to the living room, through the kitchen, and then into another front room entertainment – kind of begs the question, when is the party?

ERICCO:  lol . . . I’m working and looking forward to that too!! Actually, that’s something I did in the homeowner’s previous home — its 10 years later, and it’s still being talked about. LOL

ZO: Yeah, we were there — like we said, hope our invitation to this one is coming soon!  🙂

The old sliding doors. Wow, such drama now!

ZO: We really love the way the blue and white theme transcends through the entire house. It’s kind of like a continuation of the clouds.  This photo of the moon from the balcony is breathtaking.  Give us some of your thoughts on the cloud themes that seem to be such a part of your work.

Upstairs Cloud Room

ERICCO: This is basically a weekend  getaway  for my clent . . .  shades of blue have a calming effect. It also brings the extraordinary view in and extends and connects the interiors to the exterior panorama.

  • Ericco Studio - Hermosa Beach Project

Upstairs Powder Room (left)

ZO: We’ve seen variations of these interior murals in a few homes you’ve done.  The whimsy of this certainly adds a timeless feel to the bath. Renaissance architecture and styles were filled with this. What a thought provoking space.  Where does this inspiration come from?

ERICCO: I think this is an unexpected  surprise, and a source of uniqueness for visitors. Again, I like the guest to be entertained by the unexpected, and somehow inspired while in the home — but on a personal note. This was a personal request  by the homeowner. I did this same design (this time in blue) as a reminder of when the client made enough money to purchase his first mansion. I did this very same design in it, and he fell in love with it. Its a beautiful  reminder.

First Level Entertainment Room

ZO: Actually, this is my favorite room. What fun! I LOVE the depth . . . it takes me into the wall, kind of like a time portal – LOL

ERICCO: I especially enjoyed creating this wall finish in the entertainment room. The dimensional motif is hand-drawn and the painted design is intentionally meant to entertain visually, even when the TV is off and everyone is just chilling!

First Level Bathroom

ZO: You’ve done several large scale homes like this and projects in Puerto Rico since our last interview. We’re also very excited about the private gallery in NoHo we’re all working on to house some of your art collection and custom projects.  With all that’s affected the whole world this year, where do you see art going?

ERICCO: Art has always been a “personal thing” for me. Given our social environment and new realities, our creative NoHo space will cater to smaller groups and extend a more one-on-one experience — a more intimate, personal approach to an art encounter.

Don’t worry about a thing, ’cause every little thing gonna be all right. — Bob Marley

Ericco Studio has been a partner and advisor to ZO since its inception. We always enjoy the adventure of exploring the many creative spaces he creates magic for! We’re looking forward to updating this page as the work is completed. 

Thanks Ericco for treating us to a breathtakingly beautiful afternoon at the beach and for the pictures.  What a lovely day its been — ZO

ERICCO STUDIO: Developer — Art Spaces: CAb (Crenshaw Artists Building)

ERICCO STUDIO on VIMEO

ERICCO STUDIO: Stylist — Art Direction: THE NARROWCAST/MUSIC ViDEO

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]]> 10549 13 Moons of International Art https://zomagazine.com/13-moons-of-international-art/ Thu, 23 Jan 2020 22:01:54 +0000 http://zomagazine.com/?p=8586 The post 13 Moons of International Art appeared first on ZO Magazine.

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Theresa Durant

USA

“I am that I am.” Theresa

2022 Full Moons

January 17, 2022 – Wolf Moon

HIKARU HIRATA-MIYAKAWA


Labyrinth — © Hikaru Hirata-Miyakawa

May 16, 2022

JOHN W. DAVIS IV


© John W. Davis IV – Time Travel

September 10, 2022

ROOK FLORO

February 16, 2022

ANA ANA ART STUDIO

June 14, 2022

VERONICA GARRIDO CORDOVA

October 9, 2022

CAROLE RODRIGUE

March 18, 2022

YEACHIN TSAI

July 13, 2022

OLUSEGUN ADEJUMO

November 8, 2022

KARMYM
– Markus Meier –

April 16, 2022

JAEDA DeWALT ARTOGRAPHY


The Whisper Kiss – © Jaeda DeWalt

August 12, 2022

SHAN OGDEMLI

December 8, 2022

THERESA DURANT

2023 Full Moon Feature

13th Moon in this Series

January 6, 2023

RHYSSA SCOTT- SMITH

2021 Full Moon Features

We are very much in love with all of these Artists!

December 29-January 27, 2021 | Bitter Moon
TARAK MAHADI
Bangladesh

January 28 | Holiday Moon
ЕЛЕНА ЖЕЛЕЗНЯК
Ukraine

February 27 | BUDDING MOON
ANDREA GIORGI
Italy

March 28 | Worm Moon
AOF SMITH
Thailand

April 26 | Pink Moon
DAVID CASPAR
Germany


May 26 | Flower Moon
BEN HEINE
Belgium

June 24 | Moon of Horses
LUIS JOSÉ ESTREMADOYRO
Peru

Eileen Burgess
July 23 | Moon of Claiming
EILEEN BURGESS
USA


August 22 | Sturgeon Moon
MARIA BARBARA DE MARCO
Italy


September 20 | Harvest Moon
GORO ENDOW
Japan


October 20 | Travel Moon
KADHIM NWIR
Iraq

November 19 | Snow Moon
ZORAN TAIROVIC
Serbia

December 18 | Cold Moon
LIZZIE SHARP
Australia

“Nice Meeting You”
Werner Hornung Art – Gif by George Redhawk

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]]> 8586 Marion de Lauzun: Art Travels https://zomagazine.com/marion-de-lauzun-interview/ Mon, 09 Dec 2019 17:24:36 +0000 http://zomagazine.com/?p=8362 When Marion de Lauzun she realized she only had a year left to do the one thing that scared her […]

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]]> When Marion de Lauzun she realized she only had a year left to do the one thing that scared her – move and live in another country for a year. In France, young people can apply for a “Working Holiday Visa” before they’re 31. So when push came to shove, Marion de Lauzun applied and after she got her acceptance notice she said, “I knew that I had to leave.”

She had spent her 20’s studying business and eventually working a typical job. Sooner than later she realized it wasn’t a perfect match. When she thought about her next step, her travels through Asia continued to come back to mind. So when she “had to leave” she packed her bags and headed to Japan.

It wasn’t the last stop, but it was the one that geared her life in a whole new direction, one that included bringing our beloved pets to life in beautiful digital portraits. We talked about art, the moves, and more!


Kendra: In between then and now you lived and worked around the world, but it seems as if your time in Japan got you back on track with art. What about that place, and all the other places you called home briefly, inspired you to create more?

Marion de Lauzun: After spending years being afraid of going to live in Japan. When I arrived, I realized that it was actually not so difficult. It was more painful when I was in Paris and incapable to make the decision to leave. So I realized it was possible for me to make big decisions for my life like changing my career path.

Also, the exhilarating thing about my year living in Japan was that I arrived with absolutely no plan. Being in a completely new environment, in a country that is so different from France gave me a new perspective on things and this his how I started to create again.

Kendra: You’ve mentioned you were self-taught. So has it always been animals that have inspired your hand?

Marion de Lauzun: No, I tried a lot of things, like typographic designs, comics, photography, pottery, etc. I’m studying Japanese calligraphy at the moment, so it’s very eclectic.

Kendra: When someone orders a pet portrait from you, you offer unlimited revisions – has that ever been a regretful decision?

Marion de Lauzun: Absolutely not! If someone purchases a portrait of their pet, it’s something that is very personal and has a lot of meaning for them. I feel blessed to be able to create something so personal and of course, I want to make sure that people will like the portrait!

Art is very subjective, especially if it’s a portrait of your pet that you see every day. And if you want to hang it in your home, you want it to match the furniture, etc. So it’s essential to take suggestions and comments from my customers. Since I create everything digitally, I can make changes very quickly so it’s not a problem.

Kendra: As we look ahead, where’s the business heading and are you packing up again anytime soon for a new adventure?

Marion de Lauzun: I have too many ideas and not enough time. For my business, I’m planning to create funny illustrations of dogs and cats to sell on my website. I also would like to start new projects like creating small video games or writing short novels. But it takes time! Also, I’m planning to maybe travel a few months next year. But for now, I’m focusing on the Christmas season that is going to be super busy like always.

 

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]]> 8362 Jerrod Maruyama: The Art of Freelancing https://zomagazine.com/jerrod-maruyama-interview/ Mon, 02 Dec 2019 17:12:42 +0000 http://zomagazine.com/?p=8284 Whatever the screen held, Jerrod Maruyama drew. From Kermit and the gang to a cat who hated Mondays to a […]

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]]> Whatever the screen held, Jerrod Maruyama drew. From Kermit and the gang to a cat who hated Mondays to a gaggle of droids, they were all fair game for the bright-eyed youth who just took to drawing as a sort of hobby. That is until a redheaded mermaid swam in and became a part of his world in the late ‘80s. “That changed everything for me. I knew I wanted to be a part of this type of storytelling. That’s when I decided to pursue a career in the visual arts.”

And that’s where we pick up with this freelance illustrator who definitely visualized and made his goals a reality. From art school to working with some of the biggest companies in the world, this is Jerrod Maruyama.

Kendra: One of the oldest stereotypes about art school graduates is that they won’t work in art but you’re far from that. However, were you ever worried that your degree would lead you far from where you wanted to be?

Jerrod Maruyama: I knew what I wanted to do – what I wanted to draw for a living- but never had a clear image of what that actual job was. This was in the time before the internet – which makes me sound incredibly old. But it was truly a different time then. Information was difficult to come by. You really had to pursue and explore and apply and ask questions by mail. Other than animation, I didn’t know what else was out there for a character artist. My education was a very traditional Illustration program and some animation. I was just worried about finding a job and less concerned about being fulfilled as an artist.

Kendra: While you did land a job at an art director for an educational software company, did you ever feel creatively restricted in that field?

Jerrod Maruyama: It was a job. It was a good job – benefits, stability, set schedule, time off and all that. Those factors are very seductive and it’s easy to get stuck. It was close enough to what I wanted to do that I probably would have settled had that been an option. Fortunately, it wasn’t. I was let go and found myself in a position where I was forced to seek freelance work merely as survival. It was not some adventurous trek into the unknown. I wasn’t that brave. I had to make money.

Kendra: Deciding to freelance in any realm is tough. I know. So what made you decide the time was right, and how long until you started to feel it was the best decision you could have made for yourself?

Jerrod Maruyama: I went full-time freelance when it was obvious to me that I was making more money going down that route. It was a long, laborious, painful process to get there but eventually freelance made the most sense.

Kendra: In terms of being a freelance artist, do you have any advice for those thinking about it?

Jerrod Maruyama: In my opinion, it is strictly a financial decision. When you are actually losing money because your day job is taking up your valuable time – then it’s time to consider full-time freelance. I would not recommend doing it unless that’s the case. There are so many factors to consider – are you married, is there a second income, do you have benefits, do you have children, is the work steady, what are your annual expenses – the list goes on and on. It’s an extremely personal decision and one only you can make. Freelance has some fantastic perks – but it’s not for everyone. Best advice – be honest with yourself about your abilities, your work ethic, and your motivation. Only you can answer that question.

Kendra: When it comes to your clients as a freelance artist, how do you go about blending your style with their requests?

Jerrod Maruyama: At this point, usually they are coming to me for a very specific reason. Clients usually point to something that I’ve done in the past and say “we want something like that…”. But it’s not always an easy path. Decisions are usually made by a committee and that’s when things start getting difficult. It’s always a balance and in the end, the client makes the call – not me. I give them my best shot and we revise from there. I’m not always thrilled with the final product, but it’s not my product. It’s theirs. They have to do what they feel is right for their brand or property. I merely fulfill an order. And then it’s on to the next job.

Kendra: Many of your clients have been staples in the childhoods of people for decades now. Do you feel that sort of work keeps you young at heart?

Jerrod Maruyama: I suppose early on that was the case. But after a while, the nostalgia fades away and it’s all work. To get too sentimental about my client work is dangerous. I reserve that for my personal work. I am thrilled to work with characters I have loved since I was a child. In many ways, these very characters are the reason I am doing what I am doing. But at the end of the day, it’s work and there are so many other factors than my affection for these properties. So, I try not to get too sentimental about the work I do. I think in the end, that leads to frustration. I’m sort of young at heart by nature and I hope that informs my work more so than the other way around.

Kendra: With that, you’re often working with characters that are not only fan favorites but also have followings so huge that the fans can be a bit rabid. Do you ever feel any pressure working on a character that does have such a dedicated fanbase? Like, you don’t want them to be upset by your reimagining of said character?

Jerrod Maruyama: For sure. But nothing ventured, nothing gained. I have come to the realization that you have to be sincere. You have to do what you love – what you feel is right for that character. To try and read public opinion or predict the tastes of the masses is impossible. And it certainly doesn’t inspire the best work. In the end, it is you and your specific, original voice that will shine through. I think my best pieces aren’t beloved by all. You want to inspire passion and that goes both ways. I think that’s the sign of something special. It’s always a mix so you just hope more people love it than hate it.

Kendra: What’s going on with you and your art as we head into 2020?

Jerrod Maruyama: Honestly, it’s more of the same. I just hope I can find new and original ways to present my take on these characters. I feel fortunate in the opportunities that I have been presented and I love what I do. I just want to keep getting better at it. I want to be able to refine what I do and find new ways to surprise and delight. I just hope I continue to have that opportunity. So, nothing groundbreaking currently planned for 2020. I just hope the cute gets cuter.

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]]> 8284 Steve Casino: The Art of Going Nuts https://zomagazine.com/steve-casino-peanut-artist-interview/ Mon, 25 Nov 2019 18:10:43 +0000 http://zomagazine.com/?p=8272 Just like with Dancakes, we’re pretty sure the work of Steve Casino is unlike anything you’ve ever seen before today. […]

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]]> Just like with Dancakes, we’re pretty sure the work of Steve Casino is unlike anything you’ve ever seen before today. Artistic creations utilizing…peanuts? Yes, peanuts. By day he works hard to invent toys, and by night he’s recreating the biggest names in music, movies, and beyond on the shells of everyday peanuts. Of course, we had to get into the why but rest assured we covered a heck of a lot more with this one of a kind artist!

Kendra: So I can assume you knew you could draw for some time before deciding to put your work on peanuts…but…how and when did that thought come to mind?

Steve Casino: Rating myself against other people I know who can draw I’m about a 7 out of 10. But I make up for my artistic shortcomings with an insane work ethic and creativity.

By trade, I am a toy inventor at a company called Bang Zoom Design in Cincinnati. And we always have snacks in the office. Peanuts are often amongst those snacks. One day while eating some I noticed they were shaped like the head and torso of little people. I drew myself on a peanut-shaped like me with a marker and it made a coworker laugh. So I found corresponding ones shaped like ALL of my coworkers and drew on them. Their reactions told me I was onto something. Switched from markers to acrylic paint and things really began to take off. I didn’t really know how to paint, so I learned more with each one.

Kendra: Have you always been the type to stray away from the expected in terms of your work?

Steve Casino: As I said, I’m an inventor so my job is to constantly come up with new stuff. It’s a real job where you develop new ideas for major toy companies like Mattel and Hasbro. So with art, I’m essentially inventing new formats to apply my skills to. I’m not someone who can just sit down and draw something without it being a means to an end. For example, I can do elaborate paintings but only when they’re on wooden toys. I have no interest in just doing a painting on its own. Have to essentially trick myself into doing it.

Kendra: Is there a particular brand of nuts you utilize in your work or is it just about finding the right shape? Because I noticed in like your Nirvana piece, you have to get the shape just right for it to come together.

Steve Casino: I use unsalted peanuts because paint and clay don’t stick to the salt. The ones from my local Kroger store work well. A few peanut companies have reached out in the past and sent me samples of their products. Hey, free peanuts! I have a giant vat of them and sift through to find the right one. For example, someone just ordered a Jimi Hendrix peanut piece. To make it I try and find one slightly bent to the right like his pose was when he played.

Kendra: Growing up I was (still am) a huge Backstreet Boys fan and I did have a little peanut that was a “BSB Nut” but it just had basic googly eyes. Nothing as intricate as you put out. With that, do you feel like you’re offering a fan something that will put their collection above the rest?

Steve Casino: I should hope so. That has actually happened quite a bit. The world’s foremost collector of everything from The Shining has some of my work for his collection. Ultimate fans of The Who, Phish, Wilco, Nirvana, AC/DC, The Beatles, Pink Floyd, The Grateful Dead, and many others have commissioned their heroes from me. And in some cases, the actual famous person owns the work because they, a friend, or loved one commissioned it from me. Since he’s a public servant I can reveal Donald Trump owns one.

Kendra: How do your clients come to find you? Peanut art doesn’t seem to be something people typically hit up Google for – or perhaps they do?

Steve Casino: They find me through my social media accounts where I post regularly. The novelty of painting on a peanut doesn’t really translate to Instagram. People respond more to my skills so I post a lot of “making of” videos. It warms my heart when viewers get inspired by them and tell me they’re making art because I influenced them. It reminds me of all the artists whose worked tickled my brain into being more creative. And oddly enough, certain companies have found me by googling “nut artist.” Last year I worked on three ad campaigns; one for an almond milk company and two for peanut companies.

Kendra: With each piece taking some 20 hours to do, how long did you work on that epic Game of Thrones set?

Steve Casino: That one was crazy because MTV hired me to do it with a two-week deadline. I had to work 18-20 hour days to get it done. In the end, they used my pieces as puppets to reenact scenes from the weekly episodes. It was so fun to see their creativity combined with mine to make something new.

Kendra: Earlier this year I interviewed a pancake artist. And it’s just as it sounds. Do you feel like there are more and more people shifting towards less traditional mediums nowadays?

Steve Casino: Yes. Probably because (when done well) it gets a lot of attention in the media. The term “Pancake Artist” alone piques my interest without actually seeing the art. “Artist who draws on paper” just doesn’t have the same ring to it.

Kendra: Will you be showing in any galleries in the new year? Let us know what you have going on!

Steve Casino: I’ve been asked by The Hive Gallery in downtown LA to do a show in 2020. Not sure of the date yet. My wooden toys are for sale at The Compound Gallery in Oakland, CA. Gallery 1988 has some of my sculptures for sale.

It’s very weird that most of the galleries I work with are west coast since I grew up on the east coast. MF Gallery in Brooklyn is the exception. They have a great Christmas Toy art show that I love making things for. Lastly, I’ve illustrated the book Vintage Geek by Marshall Julius coming out in the US in December.

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]]> 8272 Larry F. Houston: Animation Superhero https://zomagazine.com/larry-f-houston-interview/ Mon, 18 Nov 2019 16:13:48 +0000 http://zomagazine.com/?p=8031 Some people live for their culture and are so proud of it and that is 100% awesome but for a […]

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]]> Some people live for their culture and are so proud of it and that is 100% awesome but for a mixed-latchkey kid, mine has always been of the pop culture variety. From after school cartoons to MTV, the small screen raised my brother and me and in turn, we have to thank Larry F. Houston for part of that.

We lived for G.I. Joe, Teenage Mutant Ninja Turtles, and my personal favorite Captain Planet and the Planeteers. All of which Houston played a part in, especially the forever iconic X-Men: The Animated Series for which he was the first Black Saturday Morning Storyboard Artist.

It was an honor to share a piece of my existence with a man as accomplished as Houston as we talked about everything from the struggle of the Blerd to animated toy aisles to what’s coming up for the always working legend.

Kendra: It’s apparent when you attend conventions that fans aren’t only passionate about this and that because it’s cool, but because they often connect to it on a personal level. For you, what was the first personal connection you made to pop culture that made you not only a fan of what you do today but made you want to pursue it as a full-fledged career?

​​​​Larry F. Houston​​​: I first became aware of comic book pop culture way back in elementary school in the ‘60s when I read some comic books at a local barbershop; Donald Duck, Batman, Superman, Fantastic Four, Casper, Hot Stuff, and Richie Rich. The top third of most of these books were removed but the rest was intact and readable.

It took me a while to discover what the indicia was and what the actual title of the books were. The artwork and the colors, as well as the challenging new vocabulary, fascinated me. Those books and the anime TV cartoon show Astro Boy led me to try and draw those characters at home and school.

As I grew older, I would create my own versions of the Marvel and DC superhero comic books I was reading, just for my own entertainment. It wasn’t until high school in the ‘70s that I ran into like-minded Black nerds like myself, who enjoyed drawing and writing fantasy escapism like I did. I also discovered a national network of similar fans that created and sold their creations in and through fanzine magazines like The Comic Reader, The Comics Journal, and the Comics Buyer’s Guide. We did all our communication by mail and letters and attending comic book shops and comic book conventions.

Kendra: Today being a Black nerd, or rather Blerd is easier than it was even when I was a kid in the ’90s. So what was it like for you growing up interested in comics and whatnot?

​​​​Larry F. Houston​​​: Growing up as a Blerd in the ‘60s and ‘70s in South-Central Los Angeles was not at all embraced by my peers. Nor was speaking proper English. But I had a few I could relate to. And my Mom supported all my crazy interests in reading Popular Science magazines and buying me sketchbooks for my cartoon ideas, giving me a small allowance to buy various comic books to read at my local thrift stores, and ordering how-to-draw Famous Artists art books to learn from. Pretty much, I self-taught myself art and storytelling by immersing myself in my comic books and TV show interests. Quinn Martin shows like The Fugitive and The Invaders unconsciously taught me story structure, something you couldn’t find or learn about where I lived.

Kendra: Your name will always be synonymous with animation because of being the first Black storyboard artist of Saturday Morning Cartoons. So when you started to work on X-Men: The Animated Series, a comic that has always been looked at as this allegory for racism, did you feel like your career had come full circle a bit? Being able to bring these characters that have been classified as “the other” to people around the world as a leading Black storyboard artist?

​​​​Larry F. Houston​​​: I hadn’t thought of it that way but, yeah, being the first black Saturday Morning Storyboard Artist who guided the X-Men mythos to TV is a bit full-circle. X-Men was always my favorite comic book at Marvel, with the Silver Age ‘60s DC Superman books a very close second. While working at Stan Lee’s Marvel Productions in Sherman Oaks, CA, I would scour the incoming scripts for Spiderman & His Amazing Friends for anything X-Men related and would request that I wanted to storyboard that section.

I did write one episode, “Swarm,” for Amazing Friends. I got paid for it but I didn’t get the credit. I kept the receipts though, as proof. I worked at Marvel for a decade, trying to get the networks interested in the X-Men. We did a half-hour pilot called “Pryde Of the X-Men”, co-directed and co-storyboarded by Will Meugniot, Rick Hoberg, and myself. None of the networks were interested in it, though. They didn’t get it.

Only shows like Scooby-Doo or Super-Friends were the successful template they wanted to see. Fast-forward six years and Margaret Loesch, my other boss at Marvel Productions, now the new CEO of the Fox Kids Network, called me, Will, Rick, and others, telling us she was green-lighting the series for Fox Kids. Woo-hoo! The best call ever!

Kendra: I’ve seen you talk at LA Comic Con about X-Men and I’m sure those questions will come your way years down the line, but I want to move on to TMNT because as someone who has a brother OBSESSED with it, a seven-year-old nephew who loves it, and has a husband whose only childhood memories he kept are several TMNT toys, I had to put a question about them in here. On the surface, the story of TMNT is out there but for some reason, it has been able to resonate much in part to the series’ you’ve worked on. Why do you think this crazy story about mutant turtles has continued to find fans with every new generation?

​​​​Larry F. Houston​​​: One aspect I found attractive to me was that is was about four young “kids” having fun, eating pizza, partying, and fighting goofy villains using ninja skills. As a kid, you could project yourself as one of them and having fun with them. You wanted to be a part of that world where it was only “fun danger” you had to deal with. It was perfect escapism for a certain kid demographic, between eight and twelve-years-old. And the intro music! That catchy and cool music gave you the feeling something fun and exciting was about to begin and that expectation kept you glued to the set.

As a storyboard artist, the TMNT studio, Murakami-Wolf Studios, and their directors Bill Wolf, Tony Love, and Eliot Daro let me create and enhance and modify scenes without a lot of micro-management so that my sections of the show were as exciting as I could make them. I drew 118 episodes freelance at night while working at Marvel Productions in the day. That’s youth for you. I could not do that today.

Kendra: Really quick, do you think Captain Planet would be able to handle the current state of the world or would just look at Earth while a single tear ran down his cheek?

​​​​Larry F. Houston​​​: I think a single tear would be it. Otherwise, in order to save the world, he’d have to become the villain of the world to do so. That might be a compelling story, actually.

Kendra: So it’s apparent you’ve helped shape the lives of so many millennials thanks to your work that spans back to the ’80s. Which, with Netflix’s Toys That Made Us, we’re learning how shows then and in the ’90s were sometimes just made to push toys, but nowadays toy stores and aisles are kind of like ghost towns. And it does seem like we have less animated series for kids then we used to. Do you feel the lack of interest in toys has put any sort of damper on studios wanting to make animated series since they can’t push as many products as they used to?

​​​​Larry F. Houston​​​: Actually, almost all animated shows on streaming or cable still depend on the ancillary income from toys and other products to stay on the air. There is no way to recoup the millions of investment in creating a cartoon series from just the commercial ad revenue it generates. And since there is no longer a Saturday Morning that aggregated kid viewership and ratings (10-23%), niche cartoon channels have to deal with a fraction of the same ratings (0.5 – 3%) we had enjoyed.

So toys and ancillaries are still very much needed. New action-adventure shows like the X-Men are not being pursued by the studios as much, like before, though. Pixar-type comedy-adventure hybrids are what studios want since they can maximize their ancillary toy and apparel revenue with that certain family demographic.

Kendra: As someone who has worked on some of the most iconic series, when you look at the current landscape of animation, what series stand out as potential candidates to live on forever like X-Men and TMNT?

​​​​Larry F. Houston​​​: WB’s Young Justice, which just got picked up and Static Shock, which definitely should get a pickup. I worked on Static, it had great ratings, the kids loved it, but WB could not get a toy deal, so they kept moving its time-slot around, hoping to “kill” it but the kids kept finding it, keeping its ratings high. But it was ultimately canceled.

Kendra: With that, can you let the people know what you have going on right now? Series you’re working on, conventions they can come fan out over you at?

​​​​Larry F. Houston​​​: I am currently working on and developing my childhood superhero series The Enforcers and The Vanguards, adapting them for re-publication and pursuing TV development deals (fingers crossed). I’m updating my website, with any and all updates on these projects, but it is still a work-in-process so bear with me. I’m not the best tech guy. I’m also touring with the voice actors of The X-Men at different conventions, coast-to-coast, signing prints and having great conversations with the fans. As the dates become finalized, I will post them for all to see.

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]]> 8031 The Relics of Stephanie Buer https://zomagazine.com/stephanie-buer-interview/ Mon, 04 Nov 2019 16:56:38 +0000 http://zomagazine.com/?p=8060 Every day it seems like more and more cities are erasing their past in order to put up something new […]

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]]> Every day it seems like more and more cities are erasing their past in order to put up something new that lacks not only personality, but heart. For artists like Stephanie Buer, capturing the relics that once were is a way to express not only her insane talents but to allow people to truly see the beauty of their home’s past. We talked with this incredible artist about her start in art school, her time at GM, and what she’s up to now!

Kendra: Heading off to school for art, it’s clear you had some sort of idea of what you wanted to do or did you? I know we all often change majors and plans once we’re in the thick of classes. What was the case for you?

Stephanie Buer: I actually had a much different idea of what I wanted to do when I started college. I had an awful art teacher in high school. She told me I was too slow, too much of a perfectionist to ever make a career as an artist, and that I should go to school for art restoration. I was young and gullible and still thought adults inherently knew what they were talking about, so I believed her.

So, I started out in community college, studying art restoration. Luckily I had the most amazing studio practices instructor there, who believed in my abilities as an artist, he was very encouraging and supportive. He taught me how to draw and paint and helped me build up a portfolio so that I could get into a more serious art school. That experience was life-changing.

After two years studying with him, I went to Detroit, and it was while taking a landscape drawing class at CCS, that I fell in love with urban landscapes. I was a Junior at the time and in my fourth year of studies, so it took a while.

Kendra: You finished school in ’06 and then did your first show four years later. Were you working in art up until that point?

Stephanie Buer: That’s kind of a messy story. I was making art during that time but very busy doing other things as well. While in art school, on top of drawing and painting, I was obsessed with stone carving and because I was pretty decent at sculpting I was offered summer internships working at General Motors in Detroit, sculpting cars at their design center. It paid really well.

After I graduated, they offered me a full-time job which also paid really well. I worked there for about five years, paid off my student loans and saved up enough money to quit and work full time as an artist. I was also dancing in a ballet company full time throughout college and my years working at GM, so that’s why I had no time to show. I don’t dance anymore but I used to dance and perform all the time. I like to stay busy. Sometimes too busy.

Kendra: Let’s get to your work because WOW. To someone who has zero artistic abilities, your paintings amaze me and are some of the best I’ve come across in recent years. Have you always been drawn to realism in art?

Stephanie Buer: Thank you so much! I have! I couldn’t say why either. I love representational work. I do love a lot of abstract work though, I just intuitively, don’t feel drawn to make it. My heart and soul are happiest in a realm of realism.

Kendra: You’ve noted how you are inspired more by these so-called modern relics, places people have abandoned. You found a lot in Detroit, but have you been able to get the find the same inspo where you are now in a city like Portland?
Stephanie Buer: I do not find it as much in Portland and when I do find inspiration it’s very different. I like it though. I like the challenge of finding things to work with here, it’s much more difficult. The palette is different too, it’s wetter, grayer, rustier, the graffiti quality is pretty poor. It’s gotten much better in the past few years though. Luckily my entire family still lives in Michigan so I go back there often and continue to explore.

Kendra: What is it about these forgotten parts of our everyday life speak to you more so than say, a lively downtown area full of life?

Stephanie Buer: I’m not sure, maybe it’s just intuitive. I do like the practice of finding beauty in places that society tells you, are not beautiful. Or maybe it’s that I generally don’t like people or crowds. I wish there were less people in the world and it was just left alone to do its own thing, without us messing everything up. These places, to me, feel like that. Like we all finally disappeared and the earth, in that particular spot, breathes a big sigh of relief and then is like, okay, where do I begin.

Kendra: On top of painting, you also offer these incredible drawings as well. Do you prefer one style over the other? And do you have plans to add even more mediums to your talented resume?

Stephanie Buer: I honestly prefer drawing, painting is much more difficult but I think I’m getting better. Lately, paintings have been selling much better than drawings though, so I haven’t had the time to draw as much as I’d like. I don’t have plans to add anything at the moment but I’d love to carve stone again someday.

Kendra: What do you have going on as we head out of 2019 and into 2020? Any gallery shows coming up you can share?

Stephanie Buer: I don’t have too much going on at the moment, just lots of group shows all over the place. I had a piece at Moniker in London and will be sending a piece to Australia next month, both new places for my work. I like when the work travels. I’ve been working on grad school applications lately too so that’s pretty exciting but also incredibly scary and intimidating. It’s good to challenge the work from time to time though.

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