For Rich Jacobs things can, actually, be pretty easy. It’s just a question of if things move him or not. I mean that was how everything started, with “Move”, the first show that put together a series of unknown names at the time, more than famous names at this point. We are talking about 1997, when people like Barry McGee, Phil Frost, Thomas Campbell or soon to be myths like Margaret Kilgallen were nothing but strangers to the art galleries universe. “Move was based on not seeing enough of friends work that I liked and wanted to see shown together. It was fun and kinda loose. Just the things that moved me” says Jacobs.
So who is Rich Jacobs? A person that is able to move freely and do what he likes without a lot of interruption and hassle, or in some instances much notice. Someone who likes sloppy punk and at the same time releases a folk album
with long time friend Tim Kerr. An artist who never stops creating and curating: “I started curating about ten years ago out of necessity, in a way to see things I liked in the place where I lived and wasn’t seeing there. I never stopped creating though, I feel it’s important to always try to do both if posible.”
Talking about his characteristic style and where he finds his strange characters Jacobs says: “My style was a natural progresion of constant drawing, looking, and experimenting. The characters came in my childhood so early it’s difficult to remember, they are pieces of everyone I see around me. The environment can have an impact but it is usually kinda subtle in my work as an influence, maybe more in colours and that kind of things…”
But why are we talking about Rich Jacobs? Because we found the perfect excuse to finally meet the artist in person. Jacobs is touring with the brand Eastpack to release a new limited series of bagpacks, designed by the artist himself, and this time Madrid was one of the chosen cities. So we just decided to invite him out for lunch and see if we could find some record stores to buy some good old punk records.
Jacobs turned out to be as we expected, an example of politness and creativeness, always finding time to draw one of his characters on a sheet of paper or even in a passport as a way of saying thank you, and patiently answering to all our questions and doubts while going up and down the streets of Madrid. He felt us feel at ease with him and showed us that the nameless, the invisible, or even talentless just everyday people are the best influence he can find to create art, and using his own words: “…well, aren’t we all just people?”
Thank you Rich!
By: Ana Neto (ana@subaquatica.com)
October 13th, 2006 12:48pm
Administrador
It wasn’t easy to find Jim Houser… but I finally did. And from nothing I was chatting with the man who created Babel. More than a book, it’s an invitation to enter his world, to understand that it’s not that difficult to be a good artist. You just have to love what you’re doing and never stop doing it. From skate, love and everything else that makes us be who we are, Jim is the first to start the conversation: ” you wanted to talk, now we can…”
When, where, how and why did you start making your kind of art?
I have made art my whole life, drawings and such, but I would say that the type of painting I am known for now had it’s beginning in around 1996, while I lived in Providence, Rhode Island.
The first time I saw your work I immediately thought of Chris Johanson, Barry McGee and all the folks from the Mision District. And then I was surprised to see that you were actually from Philadelphia and that you lived on the opposite coast, the East Coast! I wonder where did you came up with your style? Who were your influences?
I was aware of what Chris and Barry did, as well as Phil Frost, Ed Templeton and others through my friendship with Shepard Fairey. Shep lived in Providence and I worked for him, cutting stickers and folding Andre The Giant t-shirts. I met a lot of very interesting folks through him.
Do you or did you ever painted in the streets? Do you feel that you are part of the Graffiti culture or more like the illustration world?
Yes, I have done my thing outside at night. It’s fun occasionally but it has never been the real point of what I do. I have a ton of friends that wheatpaste posters and write on walls, so I would go hang out and have fun with them every once and a while. But no, I don’t feel a connection to the Graffiti universe, other than their love of stealing and ruining things.
Tell me how is a normal day in the life of Jim Houser?
Lately I wake up around 10 am, coffee, cigarette, let the dogs out. I work from 11 or so till 3, painting, computing, making music. Then I run errands around town. I take a nap on the couch and watch the news around 5 or 6. Take the dogs to the park or for a walk. Eat dinner, then paint until I am tired, usually around 1 or 2 in the morning.
You are a skater and you design skate decks for Toy Machine. That should be good, to work for something that you believe and enjoy. Skate as well as painting is a 100% time necessity, right? How do you manage to do both?
Well, I’m an older dude. I long ago gave up the dream of a pro skateboard career. I don’t place anywhere near the priority on skating that I do on painting, and I don’t skate as much as I used to when I was a youngster. It is painting that defines who I am as a person. But that attitude definitely came from skateboarding…the feeling of loving something so much that it’s all you think about. That said, nothing about painting compares to blasting down a busy city street with friends, while everybody else is sitting in an office at work. Best feeling there is.
Talking to Shepard Fairey, on the last issue of Swindle Magazine, you said something that I just can’t stop thinking. You said “Everything around me gets painted on”. I got the feeling that you have a nonstop need to paint. And looking at your work it’s obvious that for you to paint a wall, a piece of wood, a skateboard or a soap it’s the same, the idea is to never stop painting. Am I right?
Yes. I take occasional breaks from painting or art-making, like after a big show when I’m burnt-out. But generally I can’t stop making stuff, almost to the level of it being a personality disorder or a compulsion. It’s the only time I feel truly at peace, while making things.
And I think that’s the real message in your book Babel. I can imagine that it was a difficult but important step for you to do this book the way you decided to do it, like a diary where you present yourself and your intimacy to your public. Why did you decide to do it like this?
Because the art that interests me is art that is presented in context. I care more about the image if I care about the person, their story, their process. That’s how I wanted to present my work, in the context of the world that I occupy. All my influences are present there…my friends and family, my wife Becky, particularly.
Why did you choose the title Babel?
Because I love the story of the tower of Babel. I’m not religious at all, I just like the moral of the story. And it dovetails nicely with my love of language and the human need to communicate.
You exhibited last may in L.A. “This Place Is Ours Now” was the name of the exhibition. Can you tell us a little bit about it?
The title refers to the idea that one gains possession of any location where an event of great emotion occurs. You own the place where your first kiss occurs… you own the place where you broke your arm etc. Nothing can remove those memories and what we have experienced. And so we possess it forever.
The exhibition came with music right? Is that usual in your shows?
It has become more common over the past 2 years, and will continue. It’s just an extension of the world I try to create when I make an installation. It’s a way to affect another sense.
Do you think in ever coming or exhibiting in Europe? Would you like that?
Yes, I’m sure eventually it will happen. I take on projects as they arise, if I find them challenging. I don’t really actively seek out shows. For example, the projects that have been proposed to me so far haven’t been what I am looking for.
Any plans for the future that you can tell us?
I am working on a record of my music, with a record label from Philadelphia called Tonearm. I am getting ready for Art Basel Miami, which is an art fair. I’m doing that with Merry Karnowsky Gallery, and then 2 shows in 2007, so far.
Any artist or event /initiatives that you would like to recomend?
Here are some things and people to “Google”: Rebecca Westcott, Space 1026, Artjaw, Jonathan Levine Gallery, Merry Karnowsky Gallery, Crown Farmer, Richard Coleman, Megawords, Adam Wallacavage, Ben Woodward, Max Lawrence, Isaac Lin, Manman, Need New Body, AFBL, Plastic Little, Traffic skateboards, Andrew Kuo, Villa villa cola, Swindle Magazine, Isaiah Zagar.
Thanks!
Thanks.
Interview by: Ana Neto
October 2nd, 2006 04:31pm
Administrador
