Interview with Nathaniel Russell (February 2010)
1.) How do you know Laura Shaffer and/or how did you become involved with Home gallery? Do you prefer to show your work in more intimate spaces?
I met Laura through our mutual friend Casey Roberts. He’s a great artist from Indianapolis and he was showing with Laura. I think he told Laura about my artwork.
2.) Which pieces did you create specifically for showing in Home gallery?
3.) In a video interview with Laura you mention artists Ben Shahn and Antonio Frasconi as influences. Are there other sources you draw from for inspiration?
Edition 10. 14 x 28-1/2 inches.
Woodcut. 8-1/2 x 13 inches.
Yeah, I got into those guys in college and they sort of stuck. I’m still in awe of their lives and work. Visually, I love the work of a lot of California painters and designers that seem to come from the same interest in skateboarding and music that I had as a kid. People like Kyle Field and Chris Johanson to name two of many. I also get an equal amount of inspiration from reading. I love Richard Brautigan, David Berman, Denis Johnson and Kurt Vonnegut. I love words and the images they create in my mind.
4.) You mention on your blog, Crooked Arm, that a large part of your income comes from record covers/ reissues (over 200?!). A real, live, working artist! How did you get into selling work for posters and record covers, and actually making a good living from your artwork?
Well, it’s a mix of things. I make original art for records and bands and I also do a lot of work on reissues of old records: making new packaging and designing CD booklets and such. It’s about half and half. I sort of fell into it naturally. I’ve always been very interested in music and I’ve worked in record stores for years and years. Through that you end up with lots of friends with bands who need posters, record sleeves, and shirts. After a while you end up doing it for people you don’t know and getting paid for it. I really love it and I feel very lucky to be a part of such amazing music and art. I’m really proud of working with all the musicians and very flattered that they seem to like my work.
5.) Can you talk a little bit about your movements between drawing, collage, printmaking, painting, and sculpture? What medium do you tend to work in the most? Do you print your own posters? Are you always thinking of how to make work that can be translated to print/ poster/ silkscreen?
I got my BFA in printmaking [Ball State University, BFA 1999], focusing a lot on woodcut. I was in some bands and I got into doing silkscreen stuff at home. I think I just sort of think in a graphic way: flat color, big lines, and layers. It’s just very pleasing to me.
Basically, it’s all about drawing for me. Drawing is the most important thing. Prints are a way to reproduce those drawings and bring out different qualities through the different print mediums. Even the sculpture and collage I do is about drawing: drawing the letters, cutting lines with the knife or saw.
I printed all my own posters for a long time, simply out of financial considerations but also because I love the process. I also lived in a warehouse that had a big print room in it, which made it that much easier. Now that I live in a more traditional apartment, I have somebody print my posters for me. It’s great. I know it will turn out amazing and it saves me the time and frustration. I love printing but I never really considered myself a Printer. It’s a craft that I admire a lot, but sometimes I’d rather just be drawing.
I moved back to the Midwest to be closer to my family for a while. It seemed like I could be a big help here and it was also a great chance to lay low for a while and get some work done. I miss California and my friends a lot, but I grew up in Indiana so it’s not like I was surprised or anything. Your life is what you make it, it doesn’t have to matter where you are.
I try to stay in touch with people out in California as much as possible, and it would be totally unworkable if I didn’t have such supportive friends out there. The shops and companies I work for make it easy for me to still feel a part of things. I’m sure I’m missing out on a lot of stuff, but I’m where I need to be right now. Plus there’s the internet: my blog is a way for me to feel connected to people from all over.
7.) A lot of your work has to do with naming, organizing, or grouping ideas into grids or collections. It reminds me of comic art in a way, and I like how raw and organic it feels too, as if I happened to flip through your journal/ sketchbook and saw what you were thinking about one afternoon. How do you arrive at the end-point of these collections?
It’s pretty much like you describe: I write down a lot of things in my notebooks: words, phrases, names, drawings and the work comes from there. Each art show is a pretty honest representation of my thoughts and concerns from the previous year or so. I feel like lately the themes are beginning to become more and more long lasting and worthy of more exploration for a long time to come.
8.) I like the work you are doing with books and book covers and blocks of wood painted to look like books. Do you have an interest in contemporary book cover graphic design, or are book covers just a convenient place to collect thought-provoking or silly phrases?
I don’t know a lot about contemporary book design, other than what I see at the book store: which is mostly sort of boring and looks like they were designed by marketing departments, except for the random exceptions from smaller presses and the penguin special editions. but I’m a big fan of book design from the 60s and 70s, especially the old pelican paperbacks. I buy those up whenever I see them. I’d love to do book design, but I don’t really know as many authors as I do guitar players.
There did seem to be an openness and a lack of concern for the differences between high and low art back then. There’s an honesty and simplicity in there. For sure there was a willingness to use drawing and simple shapes to experiment with more supernatural and psychedelic themes. I’m sure I’m romanticizing things, I just love the way some of that stuff looks. I also know there was just as much crap back then as now.
10.) In your poster section on the Mollusk website, the question is asked, “Is Nat Russell Mollusk’s R. Crumb?”. I really like that connection, but it doesn’t quite fit in a number of ways—your work is not as overtly sexual or bodily-oriented, and your lines are simpler and cleaner than his. Did you make that comparison yourself (and if so, why?), or has it just been tossed out into the ether unbeknownst to you?
I’m pretty sure that was just written in there by the dudes at mollusk. They might have been making fun of me or just saying that I make a lot of stuff. They also used to call me “the party” and “snoopy” so you might have to take that comparison with a grain of salt.
I don’t really see it myself but Crumb was a big influence on me in college. I used to watch that movie about him to get hyped up to draw. There’s a bunch of great quotes in there that I really identify with in regards to why I love making art and looking at things.
11.) According to your blog, Chicago is listed in your New Years resolutions… besides the Home gallery (and perhaps future Op-Shops?), what are some future plans for Chicago?