INSA

B. Summers

An artist from the UK, residing in East London has been doing his thing for about 15 years under the name INSA – a four letter word he made up for him self back then.­ Although he doesn’t focus on graffiti too much, he feels it was an “important part of [his] life and a major influence on how [he sees] the world” and chose to keep the anonymity. If you are ever in London , you might catch a glimpse of a tear drop flame head sprayed on a wall or a train. He uses images of women’s high heel shoes to mostly symbolize in his most notable fetish pieces.

INSA has done work on almost everything. He has painted cars, vans, whole train cars, walls ( of course ), people, and he has even been invited to Sweden to sculpt the famous Ice Hotel. To add to his adventurous escapades, he plans to do some painting in Brazil in the new year.

After several years of painting heels on walls, INSA partnered up with fashion guru Ruth Shaw to make three leather heels with INSA inspired patterns. The shoes have been a big deal to bloggers, collectors and shoe connoisseurs.

Clearly INSA has become a graffiti culture mogul. In all his fame, he chose to remain anonymous, as the name INSA is really ‘just a creative evolution from
writing [his] name, but you can try your best to make out his blurred face on his blog, www.insaland.com/blog , or just catch him at any upcoming show.

Also check out www.insaland.com

Roadsworth

B. Summers

From what started as a self motivated campaign to give cyclist more freedom on the streets of Montreal, Canadian artist, Peter Gibson better known as Roadsworth has made himself a notable name up north.   In 2001, Roadsworth began spray painting streets with stencils of bicycles just like the ones on bike trails.   This was to give the bikers, in his words a “fair share of the public pie.”

Almost four yeas later, Roadsworth was caught and charged with 53 counts of mischief.   Thanks to the art loving citizens of Montreal , he received a slap on the wrist.   So after paying a hefty fine of $250 and serving a grueling 40hrs of community service of his choosing, Roadsworth started receiving commission for his paintings.   Clients like Tour De France , Earth Day , and London Can’s Festival are a few to pay Roadsworth for his creative stencil paintings.

Alan Kohl and Sergeo Kirby, director and producer, respectively of Loaded Pictures shot a documentary about Roadsworth’s plight entitled Roadsworth, Crossing the Line .   The film is scheduled to be screened at Montreal ’s International Documentary Film Festival, Friday, November 21 st this year at Concordia University .

For more information about the screening visit www.cinemapolitica.org/films/394

www.roadsworth.com

Elephants can paint

I just thought this was cool. I can barely draw animals, but this elephant can draw other elephants! I’d like to see’ em draw a person, then maybe I’ll buy some work.

An Observation

B. Summers

I consider myself a rather talented artist. I can draw well, paint a little, and take a good photo. I even like to write. The problem (if its actually a problem) is that I am a jack of all trades and a master of none. I guess I’m afraid to become one sided. I don’t want to be categorized as just a painter, or photographer, or just someone who draws well.

Another thing I’ve noticed is that I have moods. Sometimes I’ll want to draw with pencil or pastels. Cartoons might spark my interest one hour, so I’ll switch my style up to draw whimsically. Being able to create art however is cool, but I find myself locked in to whatever style I adapt to for at least a week.

Not too long ago I woke up on a Saturday and felt like using charcoals. A few days later I started painting on a canvas I had left alone two months ago. What I have been lacking is the discipline to draw what I want, when I want, for however long I want. You have to be able to create a consistent body of work in whatever medium you use. Nothing is worst than just having one piece of work in your portfolio.

Justin Maller

B. Summers

Justin Maller, a 24-year-old graphic artist, has done work for 20th Century Fox, Hershey’s Ice Breakers, and Sony BMG Music Entertainment to say the least. The guy is a wiz when it comes to graphic illustrations. We had a chance to chat with the young Australian native about his role in the visual arts game, as well his aspirations.

TWM: Where did you go to school?
Maller: The University of Melbourne

TWM: What did you study?
Maller: I have a Bachelor of Creative Arts

TWM: When did you start designing?
Maller: I started fooling around in Photoshop around 1998!

TWM: How did you get into graphic arts?
Maller : A friend gave me said copy of Photoshop, and I started mucking around with it then; it became one of my main hobbies around 2001 when I found the only communities and whatnot.

TWM: What programs do you use?
Maller: Mostly Photoshop, with a dash of Cinema 4D

TWM: How does Australian art, specifically graphic arts, differ from American art, and any other country for that matter?
Maller: I can’t answer this mate; I know many Australian designers, and I (take out the extra space) wouldn’t say there’s a common aesthetic between them that could be defined as specifically Australian.

TWM: What is depthCORE? And why was it started?
Maller: depthCORE is an art collective I started with Kevin Stacey in 2002; basically the site serves as a showcase for a private community of designers who combine to release themed exhibitions periodically throughout the year. We started it to provide a platform for abstract and conceptual artists to exhibit through – this M.O. has changed over the years to a much broader aesthetic, but the essential premises remains.

TWM: When did you start doing tutorials, and why?
Maller: I wrote my first tutorial in 2006. Why? Because they’re great exposure and a good way to make some cash!

TWM: The Wall Magazine highlights visual as well as performing artist how does music play into your designs?
Maller: Music is a passion of mine, and many of my images are created as a visual reflection of a song I am listening to. I work much better with music on as opposed to say, a movie or silence. I think visual art and music are inextricably linked in a very positive way.

TWM: A lot of your work has a machine meets animal thing going on. Are you inspired by a wild sense of technology?
Maller: I see those themes in my work too, but they aren’t what inspire me; they’re the result. I can’t explain it – I seldom analyze my artistic process, I just leave it alone and hope for the best!

TWM: What/ where do you see yourself in the future, near and far?
Maller: Short-term, I see myself building and developing my freelance client base – I’m always open to taking on new work, and that is definitely my priority at the moment. Longer term, I plan to open an agency filled with D.C. artists – it’s still a few years away, but it is definitely my long term goal.

www.superlover.com

Thanks to Justin for taking time out of your busy schedule to talk with us.