Artist Dominic Brown!

So here I am again introducing another fantastic artist, Illustrator Dominic Brown, a cool young artist whose also a fantastic photographer. Creating mixed media projects in which he uses mechanical pencils, colored markers, pictures, a scanner, printer, computer software & sometimes paint, the artist says his work can best be described as being digital pop art... much more of his work can be seen at mayluna.com

Dominic apologized for what he called his "Sometimes chaotic English..." But I told him not to worry, it's perfectly fine and charming:) I'm sure you'll agree ....

1. Where did you grow up and, how, if at all, has your environment influenced your work?

I grew up in a city called Rijswijk, which is a small city in between The Hague and Delft - The Netherlands. It's a sweet town with a lot of nature space to play outside & so I did...

I liked to play with all kinds of different kids, from Moroccan to Iraqi, French to Asian.

This and the fact that my parents showed me a lot of places around the world made me discover the color of skin doesn't matter in any case, it's always about the person - this influences me still daily and keeps me interested in different cultures.

2. What did you really, really want to be as a child?

I always wanted to become an archeologist or paleontologist, that was until I saw Jurassic Park...

3. Who are your mentors? Your influences?

Haha this will be funny .. since i got influenced a lot by cartoons like Transformers, Mask, Thundercats, Jace and The Wheeled Warriors ... and computer games like mario... I often feel very blessed to have grown up together with computer games, starting with a Nintendo 8 bit and am sure this influenced me a lot. Besides that I got very much influenced by my first visit to Egypt with my parents at the age of twelve, especially the museum of Cairo, holding the artifacts of Tutankhamen... this I already knew then, would be the greatest, most beautiful art I'd ever see...

My grandfather has always been painting natural environments quite professionally I must admit.. it always stayed his hobby but you can see his enthusiasm in his eyes when he shows off some of his work - he is very interested in what I make and this brings me joy very much :) My grandfather too is very much interested in ancient Egypt, so this we share also.

4. How, if at all, does your work engage social history or commentary? Do you worry about making a "statement"?

I am always thinking about making one, even if there's a tiny symbol in an image you wont even be able to see... there's almost always one in my work...

A good example of a big statement in my work: Learn To Love Our World

5. Do you have a "day" job?

Yes, I work at a telecompany, selling contracts.

It's the perfect job for me, since I have my hands free and am able to draw all day.

6. Do you experience boredom or "blocks"? How do you deal with them?

I don't experience this too much luckily... that would be because I have a fulltime job I guess...and besides that I have a fulltime girlfriend & a fulltime hobby :)

7. Do you have a favorite scripture, quote or motto, piece of advice you received and live by?

I am super interested in space and enjoy thinking about measuring eternity.
This too very much inspires me every day.

My own motto would be:"You are what you think."

8. When you're not working or creating you are....?

I have a very sweet social life where I like putting time and energy in.
Also I like to travel and go out...I don't watch a lot of TV.

9. Five words to describe you would be?

Pooh.. hard to say about myself without being arrogant!

but if you'd ask people who know me, they'd answer

• Creative

• Careful

• A bit chaotic / crazy ( I like sarcasm )
• Friendly
• One of a kind

10. One thing you have yet to accomplish or try and really,really want to? (ie, sky diving or getting a tattoo....)

An ultimate dream would be to DJ at a tech-houseparty on the 21st of June @ Stonehenge, England. A realizable thing to accomplish is to expose my art in Tokyo.

Portfolio of DOminic BrOwn

Interview with Painter Noah A. Kinigstein

I was introduced to the work of Noah A. Kinigstein through author, banker, businessman extraordinaire and mutual friend Patrick A. Howell. I met with Noah in his downtown law office in New York. The office and the man were not what I expected. The office is a large loft space divided by partial walls covered in socially conscious and stimulating art and lit with track lighting. The art is that of Noah's, his father, Jonah Kinigstein and other favorites. Noah himself was wearing jeans and a baseball cap, very earthy, energetic and youthful. What did I expect? Safe paintings of flowers on the walls and a suit, I suppose. Much like the law offices I've worked in. This was an exciting change and I certainly enjoyed our conversation. Mr. Kinigstein is as passionate about his art as his law practice as you'll see. (My apologies in advance for the glare on the photos)




How long have you been painting?

I’ve basically been painting my whole life. My father is a painter and my mother was a painter. I grew up in an artistic household.

Work by the Senior Kinigstien

So it came natural to you?

I wouldn’t say natural, because there’s a lot of work involved. What is natural is my love of creating and painting, that I’ve always loved to do. That comes from watching my parents enjoy it. I don’t consider myself naturally gifted in a sense, but I’ve had the natural inclination to want to draw.



Other than your parents, who are your artistic influences?

I’ve had different influences over the years, but I’m very influenced by the master painters who challenged themselves to a rendering of life from an aesthetic point of view. I’m a figurative painter not an abstract painter. I really look at the renaissance painters who knew how to use paint, how to apply paint. A lot of the American painters I love too, William Merritt Chase, Robert Henri, I love the Ashcan school, really they’re powerful; I love The Hudson River school and I’ve painted a lot of pieces over the years to honor those people.




How long have you been practicing law?

I’ve been practicing law about 27 years, even while I was in law school I was always trying to take a class or paint a little bit.



So you’re passionate about law and your passionate about painting, how do you think they compliment each other?

Well, my wife says that it’s really the same thing. That the passion for the law, the type of law I practice which is justice, civil law, anti-discrimination, constitutional rights and things like that is one side of my creativeness because I practice a kind creative law, trying to push the law but frankly it’s a different thing really. I just want to paint pictures; it’s not exactly the same thing. In very broad strokes there’s a creative aspect to both obviously, but you use your mind in totally different ways when you practice law than when you paint. Law is following rules and procedures and trying to figure out how to fit in to that; while painting, hopefully, is another side of the brain which is a n expansive notion of how things look and feel.

But it definitely influences your subject matter, the things you see in your practice…


Oh definitely. It’s like a diary. Picasso and other painters as well have said they have to paint everyday because every day they’re feeling something and they’re paintings are a reflection of what they were experiencing.





Are you formally trained?

I took classes occasionally; I took a basic watercolor class at Pratt, a few basic oil painting classes at The Figurative Institute over on Franklin Street. I took a few sketch classes and things like that but I never enrolled in a formal training program. And I haven’t taken classes in a log time now, I feel I have the basics that I need to move foreword.

Noah and I talked a bit about how formal training can change an artist and not always for the better and this is what he went on to say...

I’ve had the experience of seeing people who I felt were very good artist who went and trained with people and I think its ruined them, ruined the beauty of their own expression. What can happen is a teacher who has an ax to grind or a particular vision of how things should be done can give you technique but can also supersede your spirit and I don’t like that. I’d rather see mistakes made by a painter than see them trying to reproduce someone else’s vision.





How often do you get to paint?

Everyday, even if it’s a little bit. Sometimes I’m very tired at the end of a day but I try to schedule either very early in the morning or at the end of the day. Now watercolor is a little bit easier for me to paint everyday, because its water, it’s easier to deal with. But oil paints are more complicated; you’re dealing with chemicals that dry so you can’t leave them out. If you squeeze paint or you’re mixing it’s a more involved process.

What mediums do you work in?

Watercolor, oil, pastel, pen and ink, mostly everything. I don’t do sculpture, not yet, I’d like to do sculpture.






Do you have a favorite medium?

No, but over the years I’ve explored a lot of expression in watercolor. It depends on what I‘m working on, the image that’s in my head. Right now I’m working on a very large black crayon drawing, it’s almost full size. It’s a study of the Civil War, I’ve done a lot of drawings of the Civil War; battle fields, people that were involved, just exploring that time and all that was entailed.

I paint for the joy of painting; I love the act of painting I can get lost in it. I sort of have to do it. I’m compelled to do it. Sometimes things work, sometimes they don’t. Sometimes you have to put things away for months.




Does your wife paint?

No, she’s a mid-wife. She has her own artistic interest but she doesn’t paint. My daughter paints, quite a lot actually, she’s in college now but she was involved with mural painting for a while.

Many people who paint are also musicians, play instruments or write literature, is that you?

No I don’t play any instruments, I used to. I write a lot as a lawyer, briefs and what have you. I have started, at various times, plays that I haven’t finished. I would like to finish those, I haven’t had the time.

I can imagine, you have a lot on your plate….

Yeah, I do have a lot on my plate. I got two kids….. trying to get them through college.

How do you deal with blocks or boredom?

Since I don’t do it all the time, all day, everyday; I’m not invested in it in the sense that I don’t do it as an ego identification. So I haven’t had that problem. It’s such a joy to be able to paint and to have the space and time to do it. I always have eight to ten paintings going at one time. If I have a problem with one I just move to the next, I keep moving.




Noah says: "Never be critical of your work, put it aside. Never destroy anything that you’ve done. That’s not useful. Because years from now you’ll look at it and see something and there is something there. Don’t be too critical, it’s very hard to paint and it’s a growth experience. Just have fun, have a good time."



Contact Mr. Kinigstein at
212.567.3813 or
tanelman@aol.com

Assemblage Artist Miriam West

I met the creative soul of Miriam West and her partner Tony Chisholm (of whom she says "He’s the best too. I couldn’t be doing this without him") at Union Square Park in New York City, where a great many artist gather to display and sell their creations. The space is undergoing reconstruction to include an expanded playground and rehabilitated pavilion, among other things and is also home to a year-round, open-air farmers market about four times a week. With all the activity there are complications that often arise. While learning about Miriam's craftsmanship, she also gave me a little education about the drama that can go on with the Park Officials. She told me some things I didn't know, check this out....


They see us as pest. We’re in the way of them making a lot of money. You know like up at Central Park, the hot dog guys pay a lot of money to stand in that space with their little cart. People bid on that space. I don’t know how much the hot dog stands cost but a phenomenal amount of money is paid. And the T-shirt stands, it’s the same thing. And of course if you don’t have the money you can’t bid on it. If you have a concession in the park they can tell you what you can sell, what you can’t sell, how much you can sell it for, they have control, plus they get rent. That’s worth millions of millions of dollars for them. They would love to do that here (Union Square)

There’s backstabbing, it’s like a soap opera. It’s so bad I can’t even tell you, you just want to go move across the country but it’s probably the same there. The thing is that we don’t want to lose our first amendment rights, that’s the basic thing, so if it’s a lottery system that means we don’t have any first amendment rights. If it’s ‘well can allocate this space for you’, we’ve lost our rights. The right to free speech doesn’t hinge on is there a space in there today? You should be able to set up any time, and this is my way of speaking. But in the park if there’s a permit, if there’s a concession, they take precedence over us even with the first amendment because they’ve paid money, they’ve been allocated a certain amount of space so we can’t go in and say ‘Well I’m gonna set up wherever I want in your concession, it’s my first amendment right!’ You can’t do that; they can arrest you, give you a ticket and confiscate your stuff.



Have you had to learn the hard way?

They haven’t taken our stuff; we have gotten a ticket a few times. When we first came out we only had these, they’re double sided prints. We call them miniature framed art. Yes, you can wear it because it’s tiny, but the guy was like that ‘looks like pins to me! No jewelry, no jewelry; write you a ticket! $250 dollars. So we went to court, the judge decided against us, so we had to pay in order to appeal. I paid the $250 dollars, it took two years for the decision and we lost the appeal also. When you get a ticket from the parks officer it goes to the ECB court, not the New York system. ECB stands for Environmental Control Board, it’s like this little Mickey Mouse court, they aren’t real judges, you go into this tiny little office, like a room, they hit the tape recorder and they could be friends of friends who got hired, they don’t even know the law.

So your profession and expression is in their hands?

Yeah and it depends on their mood, not necessarily the law, if they think you’re a smart-ass they say ‘uh denied’. People will say I have a letter from the court saying that I can be here. And yet it’s a t-shirt with a flower on it, because the judge said well the lotus flower represents a symbol of peace and peace is a political statement so this is allowed. I’m not putting anyone down; I’m just saying how unfair that system is. One day I could go and I’ll be approved and then a month later I could go and get a judge saying denied.

So it varies and it all depends on personality?

Yes, not really the law, because we’ve brought them letters saying how we have some political ones. These are actually tiny, miniature prints; it’s my own work, my photography. This is my artwork, the law doesn’t say how big or small my art has to be, this is what I said to the judge, '...so you see the law says prints are allowed...' but the answer we got back was ‘...yes prints are allowed and I’ve seen your miniature framed art but there’s a little thing on the top so you probably put it on a chain, so it’s jewelry. (The law is that you can't sell anything you haven't made yourself. ) So in my appeal I said in every museum you go to and you see a work of art it’s on a hanger. You could put it on the wall, on a doorknob, just because its tiny doesn’t mean it’s not art. So we got denied, but we kept coming out anyway and we were adding prints and my assemblage boxes. That's what I really love to do. That’s my heart.



How long have you been making them?

The boxes I’ve been making for a long time, they’ve obviously evolved and come more sophisticated. I’ve always loved boxes and painting, must be a psychological thing of taking a moment of my life and put it in a box and keeping it safe.

What did you really, really want to be as a child? Was it an artist?

The first thing I remember wanting to be was a nurse. I think it was because my mother was always sick – always in and out of hospitals, lots of operations. I always wanted to help people. But in grade school we did dioramas and I did always like art but my family liked being safe.

And art is not safe…

Yes, ‘It’s not a steady job. Where’s your insurance going to come from? Blah, blah, blah. So I don’t think I ever allowed myself to dream that I could actually ever be an artist, but I really loved those dioramas! I made like a little television with two rolling things and I put a long roll of paper with a little story on it like a movie…

Awww, I want to see that today!

I know I wish I had it still, it was so cool and I always loved making things but I didn’t dare dream to be an artist. I grew up in Seattle Washington and my mother always said when you grow up you’re going to have to marry a nice Japanese boy and get a good job at Boeing so you have good insurance and then buy a nice house and I’m going to come live with you and…

So it was all planned?!

Yeah and after she said it about 500 times I knew what I was not going to do!

Who are your mentors? Your artistic influences?

It may sound strange, but my mentor is my therapist, Peggy. She’s seen me through so much and has been teaching me to be true to myself which translates into: “what do I really want to do with my life?” My artistic influences are definitely Joseph Cornell, Kurt Schwitters, he’s a Dada artist and there’s also Donald Evans (he created hand painted postage stamps of fictional countries).

Does your work engage social history or commentary at all?

I think my work is more commentary on life in general – about feelings and thoughts I have about things that have happened in the past and present. I know I’m not alone in these thoughts and I hope it reaches people to let them know they aren’t alone in those thoughts or feelings.


How much time do you spend creating? Do you do it everyday?

I try to spend as much time as I can creating, but it’s pretty hard since a lot of my time is spent at Union Square Park selling. I’m not able to spend as much time creating as I’d like. I can’t do it everyday but I do have to say that even when I’m not physically creating, I’m always thinking of ideas for my next assemblage box or if I’m working on a box, I’m thinking of things I already have that represent the feelings I want to put in the box.

Do you experience boredom or "blocks"? How do you deal with them?

Yes, I experience blocks all the time – never boredom, though. Sometimes I’ll just “walk away” from my work – just leave it be for a few days and sometimes I’ll make myself do something very small – take a tiny step, just to keep myself “in the work” like paint a box or clean an item that I want to put in a box or look through my stuff and gather up a bunch of things that I like and that inspire me. Just taking a tiny step even though I don’t feel an ounce of creativity helps to keep me involved.

What advice would you give to a developing artist?

I don’t know if I’m qualified to give any advice! I still consider myself a developing artist – but I also think it’s a good thing to always be developing...to always challenge yourself. Otherwise you get stuck in your comfort zone and the work gets safe and boring.

What's the best advice you've ever gotten as an artist?

I think the best advice I’ve ever gotten is to keep pushing yourself – don’t get comfortable...stay out of your comfort zone. I think it makes one’s work more interesting and exciting. The work I do is definitely not “safe” – a lot of people want to hang a picture of a pretty scene on their wall but I challenge them to look inside themselves and think...a lot of people don’t want to do that, though.

They don’t want to feel, they just want to go to work and make a lot of money and be happy. And really, who wants to look inside, it’s scary and it’s a lot of work but if you don’t do that you can't grow as a human being and learn and you’re just like everybody else. Like a robot.

I think when I question myself (for example) “is this idea too strong” I’m also pushing myself, challenging myself and stepping out of my comfort zone. There’s definitely a lot of childhood trauma in my life that I deal with in my boxes and that scares a lot of people. Fill Me With Lies is about abuse as a child, because things that happened to me made me confused and they were lies, what I believed were lies. So the head is a funnel, you can easily pour the lies right in. That's the last box I worked on and it's about incest but I think it’s subtle enough that it doesn’t slap you in the face (Fill Me With Lies). But someone who has gone through a similar experience will probably pick up on it right away and hopefully it will touch them in a good way.

How long does it take you to complete one of your boxes?

It varies a lot. sometimes it takes two weeks and other times it takes a month or two months...I actually have one box that I started two or three years ago that I keep putting aside but still think about and will definitely finish someday.

Where do your ideas come from?

Most of my ideas come from my own experiences. It’s like a therapy session! I know that there are a lot of people out in the world who have had the same or similar experiences and usually those are the people that really understand my work. I also have a pretty good sense of humor and that does show up in some of my work sometimes. I made one box with a chicken in it – I put rhinestones all over her body and a silver lame turban with fruit in it and called it “chicken Miranda always had flair.”

"This one is called 'Yes I Can See' and when I made that one I made it about people who manipulate and use you and they think you don’t know what they’re doing, but you can see exactly what they’re doing."




We were talking about how people define and categorize art, your expression is very unique, tell me a little about the reactions you get to your style.


Some days its discouraging because people come up and say is this about the movie Saw because they see dismemberment. And I think you’re an idiot, not everything is about a movie. I put a lot of my heart and soul into these boxes so it hurts me when people say things like that, a few people don’t get it and they think it’s a puzzle and you have to put it together but as I start explaining a few do understand, but most say ‘it looks weird to me’ and they just walk off so it’s really hard some days.

Because it’s different, it’s not on a canvas so then what is it? A broken bottle on the floor can be art. But people are very narrow-minded. In fact my neighbor Scott said to me today “...it’s up to the good artist to educate the people.” And I think, well...uhm...yeah okay. Some days people say stupid things and I let it roll off my back but other days I go home with my tail between my legs and I think why am I doing this? Nobody gets it, uhg….but I have to.

But there was that one guy you had that great experience with. Can you tell about that again...

Yes, a guy came by and said 'you had a piece that had a doll with a skull head on it...' and I said how weird is it, we just sold it yesterday. I don’t sell a lot of boxes and I don’t sell one every time I come out, so it’s a big celebration when we do. So it was odd that we sold that box the day before he came. I gave him my card and told him I’d be doing more in that genre with the skull heads. Months went by and a lot of people say I’m going to buy something off the internet and they never do, which is fine, but one day out of the blue I got an email saying you got a sale on esty and I went on thinking it’d be another print but he’d actually bought one of the boxes, I recognized his name.

I contacted him and he told me I’m buying it for my sister because she has a lot of inner demons that she tries to hide and this box reminded me of her. The box on the outside is really pretty with flowers and a little pretty doll with a skull head inside and it’s called I Feel Dead Inside. He said I want her to know I’m there for her whether she’s fighting, not fighting, whatever, he’s there for her no matter what. I thought that was beautiful. That sale made me so happy. I thought 'this is why I make the boxes, somebody understood it, somebody wanted to buy it. It was the best feeling. That really keeps me going. Even if they don’t buy, when someone gets it, their words keep me going.



Contact Miriam at mkwest3@verizon.net or visit:www.loopyludesigns.com


"keep pushing yourself – don’t get comfortable...stay out of your comfort zone. I think it makes one’s work more interesting and exciting."

Artist Ririe Ranggasari

ririe's art

Ririe Ranggasari is an imaginative, contemporary, young woman expressing herself in a combination of both traditional and digital techniques. Based out of Jakarta, Indonesia, Ririe was kind enough to share her thoughts with me on her artistic motivations and goals. Take a look:


1. Where did you grow up and, how, if at all, has your environment influenced your work?

I was born and raised in Jakarta, Indonesia's capital. I went to an Islamic private school – elementary and junior high, where I felt my ideas were somewhat restricted. My teachers all said that I had talents, but I wasn’t allowed to be “creative”. I remember once in art class when I was 12 I drew a girl with a pig’s face and my teacher told me that it was not allowed. Another teacher also told me, when I was 9 or 10, that in Islam it is discouraged (or forbidden, I don’t really remember) to put living beings in to drawings because we as humans do not have the “right” to create living things. I do not remember having an argument with my teacher about it or not, but I do remember that it made a big impact on how I see religions. And I remember that as a young kid I was very critical on how women – in Islam, are not allowed to show most part of her body. I became rebellious towards my religion especially after entering high school (in which I attended a public HS) and started working with the female form (nudes) a lot as a way of showing my disagreement in Islamic rules. I suppose those were influences in my work, then.

I would also say that Japanese comic books played a major role in my drawing techniques and style.

2. What did you really, really want to be as a child? Was it an artist?

I wanted to be a lot of things when I was a child. But the first occupation that I ever wanted to be WAS an artist. And even that I kept switching, it was always something that has something to do with art, like an architect, a piano player, a songwriter, a poet, a comic book writer, etc.

3. Who are your mentors? Your artistic influences?

Wow, I don’t think I ever had mentors. Maybe just the art teachers from my schools. My artistic influences vary and never were a person in particular. Sometimes it’s a comic book artist, other times it’s my own feelings or experiences. But I can say that Affandi (Indonesia’s famous artist) was someone that I idolized in terms of art works.

4. How, if at all, does your work engage social history or commentary?

I’m not pretty sure. As I mentioned, they are more about how I interpret my feelings about different things.



5. How much do you paint? Everyday? How many hours?

It depends on my mood really. When I’m inspired I cannot wait, I have to draw it right away. And I tend to not stop until I finish unless for meals and bathroom. So it can be many, many hours. But so far, the longest time I ever spent on a painting (which was oil) was more than 28 hours. But when I’m not inspired I could go on not working on anything for weeks too.

6. Do you experience boredom or "blocks"? How do you deal with them?
I do, especially after I see other people’s work that I found impressive, I would feel small and stupid, and could never, never be as good. It used to make me feel so discouraged that I couldn’t work for days, maybe weeks. But as I grew up, I put in mind that when I draw I do it for myself and not to impress anybody. And I always say to myself that I love myself when I’m drawing and I shouldn’t let anything stop me from doing something I love most.

7. Do you consider yourself self-taught or have you been schooled? What advice would you give to a developing artist?

I’m self-taught. Never had proper learning, that’s why I think, I know, that I lack in techniques and knowledge of art.
I don’t know any good advice, although I can say that it is good that there are more and more young people who are passionate in art than ever. All I can say is that nowadays there are plenty of opportunities and facilitations to develop oneself as an artist, so, never hesitate to show other people your work!!!

8. What's the best advice you've ever gotten as an artist?

I was told not to hold back. “Just let your heart guide you”, a friend, who was not an artist and not really in to art, told me when I was in college. He also added, “don’t think about whether people are gonna like it or not, or whether it is good or not, just be yourself, be sincere, and do what you want to do, go crazy!”

9. How do you categorize your art?

That’s kind of hard. I do traditional and digital, and sometimes both. I like surreal things but I mostly draw people. I was hoping someone could categorize my work for me.



10. What do you want to say or how do you want to be remembered as an artist?
I just want to say that I wish I had realized how much I want to be an artist sooner/earlier. It was always somewhere deep in me - the passion, but I never realize how much I want to take it seriously until after I was 24. Had I been more insisting I would’ve gone to art school or majored in design instead of getting a degree in Mass Communication, and I probably would’ve enjoyed my life more.

But I believe it’s never too late to start something that you are truly passionate about, even if you have little time because you have to work and have bills to pay.

Contact Ririe at ririeranggasari@gmail.com

“don’t think about whether people are gonna like it or not, or whether it is good or not, just be yourself, be sincere, and do what you want to do, go crazy!”

Artist Andrew Cotton

I met Artist Andrew Cotton on a beautiful, sunny day as I was off to carry out some task I can't even remember now. He had his art displayed on the streets of Brooklyn's Dumbo and I had to stop and talk before continuing on my errands. Our chat was not as long or as in depth as much of my other dialogs but it was just as cool hearing, if only briefly, an artist theorizing about his craft. I'm sorry you all don't get to hear the accent this native Englishman delivered his answers in, but you do get to look at his energetic, funky, urban work!

How long have you been doing this?

I’ve been making and selling art since I been in America. When I came here I set up in Soho and expensive neighborhoods like that where people were paying like 5, 10, 15 grand on rent. I was doing well and it just grew to where I was doing that for three years on the weekend. Now I’m trying to step away from Manhattan and keep it more local working in a new space. The 303 Gallery at 135 Plymouth St. in Dumbo. It’s me, Cam (Craig Anthony Miller) One9, Rob Hines & several other artist.



Who do you like?

You mean art wise? I like everyone. I love expressionism. 19th century paintings to comic books, modern abstract art, architecture, everything around me is an inspiration.



Where’d you grow up?

North London.



What advice would you give someone who wanted to follow your path?

Follow my path? (he ask with humor) Don’t smoke weed.


Did you want to be an artist as a little kid?

I found out you can do what you want, and you can make something that someone’s willing to pay a lot for and you can live this kind of life and make money. I always knew I wanted to work for myself. I don’t like taking orders. That whole nostalgic idea about the starving artist thing; I don’t think there’s anything cool about that.... I’m not trying to represent that. I’m trying to get paid.

Andrew says: "That whole nostalgic idea about the starving artist; I don’t think there’s anything cool about that. I’m not trying to represent that. I’m trying to get paid."