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Special Thanks: KOJI YAWATAïŒ24×7 RECORDS, INC.ïŒ
<English version is below>
Being born in Florida, what kind of environment were you growing up with?
I grew up in South Florida in an environment of surfers, sailors, and scallawags. My parents were really young and living in a sort of maritime community living on the intercoastal waterway called “The Jungle” when I was born. As a kid I was always outside: at the beaches, skateboarding or in the giant desert behind our old house that we called “The Dunes.” My cousins and I always had really active imaginations which would fuel our action movie inspired adventures.
Did you start drawing first or playing music as a kid?Â
I started drawing as a little kid as do most children. I would copy a lot of cartoons such as Ren & Stimpy and then my interest moved to Marvel comic books for a while, so I started illustrating Wolverine and the X-Men like most 11-year-old boys.
Music was always a big part of the household growing up, I remember my dad always playing his tapes: lots of reggae, REM, Happy Mondays, The Clash, Grateful Dead, The Specials, INXS.
You moved to Philly when you were a little kid. How growing up in Philly influences your work? Iâm sure you were listening to all the good musicians from Philly such as The Roots, a whole A touch of Jazz crew and so on.
I moved to Pennsylvania when I was 10 and went to art school in Philadelphia. I definitely grew up listening to The Roots, Black Thought is my favorite MC of all time. Living in Philly has influenced my work in countless ways. I think there is a lot of stimulus living in a city which provides aesthetic inspiration. Everywhere you look there are interesting scenarios and people. Philly is also a pretty tough and gritty city so I think some of that edginess works to balance my Florida influenced pastel heavy tropical feel.
What inspired you to start making collage art?
I started making collage art to cover up drawings I did not like in my sketchbook. I would cut and paste in combination with illustration and experiment with different methods of image making. Over time, collage became my dominant medium and I have invested a lot time gathering materials and improving my techniques. Recently I have whole heartedly embraced the idea of being a collage artist and I view collage as medium that exists out of time and continues to stay relevant.
Any collage works from other artists you liked back then? Â Â
My first collage inspirations might be David Hockney’s polaroid combinations which show a full scene using hundreds of photos overlapped. I was exposed to a lot of photography as a teenager, so I was looking at photo work heavily which influences the collage work; seeing that it starts with photographic images.
How did you hook up with Anderson Paak and start working with him?
Anderson and I connected via Twitter and I started working with him on a poster for his weekly at The Lyric in LA. That project snowballed into a single, then an album cover (Venice) and eventually to the Malibu project. We have done a ton of visuals together, and I think that it is some of my strongest work to date.
What are some of the processes when you work with the artist for their music?Â
Usually, the music will drive the creative process. Sometimes the artist has something in mind, and we will work back and forth sending references and mood boards. Other times, the artist will provide a few keywords for me to work with and other times there is no direction – and I art direct and design at the same time.
Do you always clip and keep materials when you find something interesting and might wanna use for your collage in the future?
The process shifts slightly but I have a few boxes of clipped material to be used. For new projects, I will cut fresh pieces rather than look through the archives. It’s difficult to stay organized with the amount of paper material I have on hand, so I have folders of specific objects and envelopes of smaller delicate pieces. I’ve tried many methods and I am still searching for the ideal workflow.
The Japanese version of Chronixxâs new album will be out in the next week. How do you hook up with Chronixx?
I hooked with the Chronixx via Che Kothari. I was finishing up a huge campaign for Bridgit Mendler and she introduced me to Che which got the ball rolling. Their team had seen my work in The Fader around the same time which made them decide to use me for the cover.
The artwork of Chronology has a different feeling from your other collage works. What kind of feeling were you and Chronixx trying to create with that cover?
When I initially spoke to Chronixx, he made it very clear to me that this album Chronology was about the big picture, looking back into the past and continuing a tradition that goes further back than reggae but into African music. We wanted to create a cover that would stand the test of time, one that looks like a classic traditional reggae cover which could exist in the modern day which incorporated this vast history and musical tradition. The feeling we wanted to create is the same feeling that the music gives you while listening, it is uplifting and positive music for the healing of the nations with an emphasis on Rastafarian philosophy. The color gradient and palate have a warm feel which is bright but also makes the eye feel good when you look at it. My approach to the design was to use simplicity and a few staples of classic reggae record sleeves, for example, the Rasta colors of red yellow green and black. I extended that color field a little farther and brought in a nice blue which extends the palate into a slightly new realm. From the very start, I was interested in using Jamar’s dreadlocks in an iconic way so on the cover his profile reveals a fascinating shape, especially with his knotty dreads which might be the focal point. For this cover, less was more and I am really pleased with the how it looks on phones to huge screens on stage. It is a clean and crisp design, but up close you can see some nice textures and hand drawn type lettering.
What are you working on now? Any exhibitions coming up?Â
Right now I am working on a project for Stones Throw and a project for Roadrunner Records. I can’t really speak too much more about who the artists are quite yet. Â I have an upcoming exhibition opening August 4th in Philadelphia. It is a two person show with Bohay Gold who does wonderful sculptures of octopi in dazzling forms. It is called Subtle Studies and I am really pleased with my new series of mixed media works and how our pieces tie in together color wise and conceptually. Another exhibition called Coffee Wave Three is opening October, and this project is an audio visual collaboration with boss DJ Ed Christof. We create an art exhibition and release a zine/tape combination based on the theme Coffee Wave.
Which artists would you like to work with? Which deceased artists you would have liked to work with?
I always wanted to work with Flying Lotus. Also, would love to work with Hiatus Kaiyote, they are definitely one of my favorite bands. As far as deceased artists, I would have liked to work with Bob Marley.
Interview and translation by Atsuko Akko Matsuda
writerïŒ Atsuko Matsuda