EM: How did you start painting? Did you grow up in a creative environment?

My mom painted when I was a little boy. She would always bring me new tools to work with. I mostly drew as a child. Acrylic was the first paint that was available to me. I grew up with a father that was into restoring old cars (50's and 60's); he always had a garage in the back yard. My mom painted a little bit and had neighborhood art shows with her friends when I was about 8-9 yrs. Drawing was just something I did. I didn't have grand plan when I was a child that I was going to be a painter; although, in the back of my mind I wished I could. My mother enrolled my sister and I in paintings classes when I was 10, I hated it. The instructor demanded that I use a specific color but I wanted to use purple instead of green. I argued with him, with my sister next to me telling me just do as he says. I said no, how could you call this art class if you're going to tell me what colors to use? That was the beginning.

EM: You grew up in Madera, California; how has growing up in a small town influenced your work?

That's a good question. I guess it's kept the work humble, a bit more down to earth. I know it's forced me to push myself; I was so uninspired when I lived there. All I wanted to do was skate with friends, drink, smoke and be a kid. It was really hard because I didn't have the encouragement or inspiration that most people need. I thought for sure I was going to be a mechanic; I took woodshop classes and auto shop classes in high school, and one art class my first year. There wasn't the encouragement that was needed, I was given the opportunity to go to San Francisco for art school and I took it. I was 18 yrs old in summer 1996 when I started. I learned, argued and learned more and met amazing people. I studied illustration but by the end focused on my own paintings.

EM: Now that you are living in Brooklyn, NY, how has that changed?

It has been more of an evolution. I still have all the other things that influence me but New York is full of amazing adventure and opportunity, almost too much; the people I've met and art work I've seen add to my evolution. The move to NY has made me raise my standards.

EM: Where do your inspirations for your painting come from? You often paint animals, especially apes, in your paintings: How do you choose your subjects?

Life interests me, these ape are us; just something that I've always been fascinated with. They like it when I bring them to life. We talk, hang out, and listen to music in the studio. I find apes reference anywhere I can, books, TV, Internet, photos, anywhere. I'm always looking for new stuff to study.

EM: Your paintings are quite moving, almost dark and moody. Where do you think those sensibilities in your paintings come from?

Dark and moody? Yea, that's a good way to put it. I think they come from my life experiences. Life isn't always bright. I don't want to sound dark and distorted but we, as humans, we struggle to stay afloat; we grow together; and die alone. We live in blankness. Some of my apes are in transit. They are moving forward and going out to get to the destination spot, their dream, and their search for whatever. Some don't even know , they feel like they need to get it. I need to thank them for letting me paint them the way I do.

EM: Do you enjoy talking about your work, dissecting and interpreting its meaning, or do you let your viewers interpret as they see and feel it?

I want to paint and that is what I'm doing. I'm not trying to tell a story or even discover anything. I want the viewer to interpret. I really don't have a solid statement about my work because it's always changing although, I do like to talk about it. I feel it gets me closer to finding a meaning; we strive to find ourselves in something we do, take and own. I'm happy that I've found something that I can own, live up to, and really call it mine. We're defined by the choices we make and things we do. I want to create for people and most of all for myself.

EM: You also paint private and public commission art. How do you balance between your client's needs/expectations and your artistic freedom? Have you ever been frustrated with their demands?

Frustrated yes, when I know it shouldn't be as hard as it is to get it right to please them. They keep coming back with changes. I like to work for myself. I need artistic freedom. I would hope that a client would come to you because of your style.

EM: How do you compromise?

I compromise when I have rent to pay. No, really I try to do what needs to get done for each specific job.

EM: What has NY offered you in terms of the art community? Do you think an artist needs to belong to a community, in order to be successful?

Yes. An artist needs community. Everyone's success level must be different so, I would say yes and no. For me, yes because I couldn't do all that I'm doing without my friends and people that I've met. One person can only do so much; I think we need people.

EM: How did you start making those lovely hand painting stenciled hats? Do you have any plan to sell them in the near future besides NY and Tokyo?

Less than a year ago a friend gave me a mesh cap that I wore for a bit, and then had the idea that I should paint on it myself, so I pulled out a can of spray paint and covered the front, letting the paint over spray, tried to keep it as tight as possible without masking, then once the foam was covered with about four coats of green I then took out the tape and created a perfect drip design over the green. From then on people wanted them, so I bought blanks and started painting on them. That was the beginning of a small business that is growing. I'm working on shirts and other stuff. It's helped to feed the painting, to promote the website, the art work, the craft and stuff. I have over 500 hats out now. They sell at Union in NYC. Shine in Hong Kong has a few caps. Kokon Tozai placed an order for their store in Paris. i have 483 hats going to japan with 68 and Brother inc.for their spring/summer collections. I have caps in London and NY in a showroom called mlcorp (Mandi Lennard Corporation) It's a very well respected fashion pr firm. I'm working with both offices; they represent amazing clients like Inner City Raiders vs. Deth Killers of Bushwick, House of Jazz, Eley Kishimoto, Karen Walker, Stussy and others.

EM: What are you working on right now? Tell us about your upcoming/ongoing projects.

Well I'm working on a show for 111 Minna Gallery in San Francisco in June and in the fall, hopefully something in London. I'm working on an Ecko' design for fall 03'. There are all sorts of things gelling.

Copyright © 2003 Evil Monito; Artwork credit © Joel Dugan