INTERVIEW: PATRICK MARTINEZ

Patrick Martinez was predestined to create art since he was a small child. From his early youth drawing comics, to his stint with graffiti in middle school and high school, to his time at the Art Center College of Design in Pasadena, to his current career as a fine artist, Patrick has been determined to succeed as an artist.
Patrick focuses on the phenomenology of his surroundings, and his work is influenced by graffiti, hip-hop, and pop culture, as well as by everyday people that don’t usually appear in the limelight. We sat down with Patrick to talk about his creative process, fresh off the opening of his first solo show, "You Dont Have to Lie to Kick It," at Upper Playground in Los Angeles
Interview by Andrew Kline




How did you get your start as an artist?
I started drawing at a very young age. I remember copying superman and Robocop comic books in elementary school. I did it often copying Teenage Mutant Ninja Turtles the whole nine. I think drawing is the first medium I picked up because it is the most direct and it’s raw. I mean all you need is a scrap piece of paper a pencil or a pen and you’re in business. Plus your not too worried about that scrap piece of paper, you can just let it flow. I picked up graffiti in late middle school thanks to art class and a book titled: “spray can art”. I was a giant toy, but I would go to the local yards and get my paint on. Characters where my focus but my can control was weak. I kept on doing the graff through high school with some forward progress at the same time I was filing up black books and painting on canvases. My concentration was always spending time at the yards messing with colors and concepts. I did some bombing, rooftops and random walls but I was never interested in people giving me recognition because they saw my name up the thought of receiving recognition because of my concepts or my ideas was more appealing to me. This is what pushed me towards the fine art / gallery scene. I took my ideas and concepts to the panels and canvas, I studied visual art and experimented at my local city college and then took it to the next level and attended Art Center College of Design where I tested my skill and ideas. Please believe Art Center is no cakewalk. I was tested in so many ways and it expanded my thinking. I started showing in galleries during City College and Art Center. I created pieces because I wanted to not because I had a show. I took photos of some of the pieces and took them to galleries I thought the work would fit in. Then from there people see the work as well as artists. Through networking and connecting with different artists I was invited to participate in many group shows and art shows across the United States. This also allowed me to travel a little.



When did you start writing and painting and when did you transition into doing the type of work that you are doing now?
I started doing Graff in 92 and started painting canvases in 96.
I think the work I was creating in my early years is analogous to the kind of work I’m doing now. There is a connection there. The touch, medium and style are a little different. But I don’t see them as being separated I think the earlier work was the foundation and I’m building off of that.

What influences you to do the type of work that you do?
I just like to think, observe and feel. I want my work to reflect that. I’m not really into creating “cool” images. I want the viewer to get something from an image I create…get them thinking or evoke emotion and if that happens then my job is done. When I think about it I love creating a piece from my thoughts and ideas just to see it manifest in visual physical form. I never have the thought of “ man, this would do great in the gallery or the market.” I just create just for the sake of putting something new out there adding to what has already been established at the same time making my mark.

I know you have roots in graffiti, how does that influence your work doing fine art?
I use graffiti or knowledge of graff in my arsenal. They are deep roots and I love seeing the work on billboards, galleries as well as the freeways. I paint about street culture and graffiti is embedded in the landscape of the streets and I’m going to include that in my art no doubt. I know about gangster blocks, tags and the difference between black gang graffiti and Mexican gang graffiti. Details make the difference. Research!



How has your work evolved over the years?
I think that I have been more open in the past years. Nothing is off limits for me. If I have an idea and the best execution is some sort of product vs. a drawing or painting I’m going to create the product. Whatever gets the idea across in the most effective way that’s the route I’m taking. I’ve been messing with different mediums such as: found objects, mixed media, neon signs, toys, polyurethane foam, photography and digital manipulation. I think switching it up keeps it fresh for me as an artist. It gets me excited and gets my ass up in the morning. I use to be kind of closed minded with different media. I thought painting and drawing is where it was at period. That’s not really the case for me now.

I notice that you reference a lot of different elements of pop culture in your work. Whether it’s a portrait of Nas, Jerry Heller, or OJ Simpson, or if it appears as a pair of Nike Cortez, or a reinterpretation of a Pee-Chee folder…
I like using people and objects everyone loves, knows and hates.
It’s ammo you know. It’s remixing visuals, taking something old or familiar to the viewer and adding something to create something new. This way the viewer already has a relationship with the object or the person and they can relate to it some how.




I used to collect Garbage Pail Kids growing up, and I am really drawn to your “Hype Monster Harry” character. How did that character evolve?
I collected them too. I loved collecting them and checking all of the different characters out. Hype Monster Harry was something I came up with as sort of a spoof. Poking fun at street wear and fashion. I asked myself what if I did a garbage pail kid what character would I come up with and what would it look like? Some of these kids are just buying whatever these blogs and “taste makers” tell them to buy and that was my main inspiration. I’m down with fashion but I’m also down with people having their own opinions and taste. So moral of the piece is …do you! Always. Shout out to John Pound!

What is your connection to Mr. Cartoon, Estevan Oriol, and SA Studios?
I work with Estevan and Toons on many projects at SA. That means everything from movie posters to Estevan’s new L.A. Woman book. I am an art director to many of the projects they get. They trust me with the their clients and they enjoy the work that I create. I enjoy their work and respect the images they create. This is why we continue to work together along with everyone at SA Studios that make the projects happen. There are many people involved. I’m lucky I get to work with talented people like my boys LiL Lucky, Rob Abeyta, Mark Suroff, Marco Valadez, Victor Corrillo the homies Kei and Sal…even my bro Chris puts it down for the studio.



What is your process of creating a new piece, from concept to realization?
It always starts with wild abstract thoughts. Driving or walking through Los Angeles is when the ideas start pouring in. Even when I’m in the shower thoughts consume me. I try and draw the concept down on whatever paper I can find or in a sketchbook along with notes before the thought escapes me. I can use this for reference later when I’m starting the piece. Then I take them through my mental filter and throw rocks at it to make sure its solid. In a perfect world I could paint, draw and create all day and not worry about rent, bills and all that other good stuff, but it’s not like that and there isn’t enough time in the day for me to flush out an idea from start to execution so it becomes a process. I always ask myself if I’m creating a drawing or painting from an idea sparked from my mind would it come out the same way or any different if I did it that minute or waited two days? Does the energy and vitality escape me because that spark is gone in a couple of days?? This question haunts me and that’s why I always have a pen or pencil along with paper. I do however on the flipside create mixed media drawings and art that come from the gut that I finish in a couple hours. So at the end of the day some pieces are more involved and heavier on concept than others. The art that I create from the gut is straight to the point where the energy of the piece is the concept. I think using my intellect and intuition on all my pieces is what I do, sometimes its balanced with both, sometimes one of the two is more dominant. There are times I just attack the blank panel with no sketch and start with shapes to develop the composition then refine it as I go. I try to treat the panel or piece I’m working on like a sketch that way it doesn’t become too precious and I don’t get too attached to anything, I can be open to changing the piece at anytime.

I have read that your art reflects reality, and many of your pieces contain some social and political themes…
I sometimes create images in response to what I feel towards a certain issue or situation. It just so happens to be social or political half the time. I have to speak on issues I feel passionate about because it makes me feel like I’m participating in this world, it makes me feel alive. On the flip side sometimes the piece is funny. I want to have a visual dialog or conversation with the viewer. My personality is not to just be serious, I like to crack jokes and talk shit too. So when people see my work as a whole they should get a good idea of who I am and what my personality is like, maybe?



A few of your projects actually include placing you art into public spaces like supermarkets and toy stores. What inspired you to do this, and were you ever able to see people’s reactions when viewing your artwork in this type of environment?
It all starts from a concept. Everything starts from a spark in the mind and I just see how far I can take it. It’s all about getting the idea or point across as clear as possible. Some people stop at a certain point. I try to push it as far as I can. I ask myself…hmmm what if? What if this? What if that? Creating the piece is one thing and if you participate and put the piece in a new context that new backdrop or new surrounding could activate the piece even more. One of my ideas was placing my customized army set equipped with anti war images in the toy section of department stores. They actually have a war / army section in most toy sections. I painted the face and hands of little olive green army men many flesh tones. Black, brown, white, everything. Made in the U.S.A then sent to Iraq is in small print on the back. It also comes with one limited edition “Gold Solider”. I think it also acts not only as an art piece but as an info graphic as well. I’m getting at mothers and fathers that bring their kids to the toy section for a toy or two. Opening them up to the possibility that supporting their children enlisting into the army for a war that’s not worth fighting for is wrong, I don’t really wait around for a reaction from people. I got some love and hate emails in response to my army set piece. People find it at Wal-Mart or Target, google my name do a little research and find my website where they contact me. It’s wild too because I have no website on the Army Set packaging I just sign it with graphite which is just my last name “Martinez” and I number it like a print but from that little info they seem to find me. I had a high school teacher emailing me asking me for a set so he can show it to his class and discuss the piece… that really blows my mind.



Tell me about your “pollution tags” and your documentation of your “Dirty Humans” tag.
That is an experiment and is still sort of taking shape. The concept behind that was I took 3m super 77 adhesive, which has no color and caught a tag on the tunnel area of the 110 freeway that reads “ Dirty Humans”. Then I just wait and let the smog and soot from the cars on the freeways build up on the adhesive. Then in a couple of months you can see the tag clearly. I would like to document this and show it in a gallery setting. The idea would be a bi weekly photo on the tag developing and taking shape. I would show all the photos on a giant wall at a gallery. I’ll keep you posted on how the piece develops.


www.patrickmartinez.com

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