Carpe Noctem Interviews - Volume 2

by Carnell, Thom

  When I entered the university I thought that it might not be necessary for me to have any academic background. When I entered Art School, I also started thinking that I don’t need any mentor / teacher.

  You worked, for a time, at an advertising agency. Do you think that experience got you accustomed to doing work per someone’s instruction or did it bolster your resolve to do what was in your heart?

  I practiced and learned how to deliver my idea or concept to people and to the public more accurately. Because of this experience it gave me a sense of social nature as a creator. It gave me a more realistic sense as an artist. I think working at the advertising agency was a very good experience for me.

  Did you grow up reading a lot of science fiction or Manga?

  No. I watched movies a lot. Often I skipped classes and went to see movies.

  Do you think that the West has missed the boat when it comes to sequential art? I mean, Manga is so ingrained into the Japanese culture and yet, here, it is relegated to “kiddie books” or superhero books which rarely deal with subjects of any relevancy.

  I don’t know much about Manga. I think time will tell us in the near future. I don’t think Manga is ingrained only into Japanese culture. For me, as a creator, TV and even movies are practically the same in Japan. Is it only in Japan?

  I met you at the San Diego ComiCon and remembering that got me thinking. What do you think of the art that is being presented in most American comics?

  This San Diego ComiCon experience was a very first time for me. Also I do not know much about American comics. So it is kind of hard for me to tell or answer the question. Although I can say that I see the comic business here in America is a huge business.

  What artists do you think at working at the top of their craft? Who inspires you?

  I’m inspired mentally by some so-called underground unknown artists (who are sometimes very spooky or even very weird and scary). I am not interested in the crafted artists. For me, it is a natural element to be expected of an artist being technically at the top of their craft and beyond this point it becomes a professional artist.

  When doing research for this interview, I asked a lot of people I know, all of who are professional artists, and they absolutely revere you and your work. Are you ever flabbergasted at the response you get from fans regarding your work?

  Well, sometimes I’m amazed by it. But I am very happy to know that many people like my work.

  Tell me a little about what draws you to paint robots.

  It started for an advertisement project at first. But, recently, I started thinking that it became a trauma and an obsession.

  A lot of your work glorifies the female form. What is it that draws you to painting it time and again?

  My nature!

  In 1985, you did an instructional video for Fuji Television. Is that still available and is that something you’d ever consider doing again?

  It is almost impossible to get the video now. It didn’t sell well back then so it was discontinued. If someone plans a project for me, I would like to do it again.

  I’ve asked this before of different artists, but do you feel that trading cards are a way to put art into the hands of people who wouldn’t normally buy art?

  Trading cards are not so popular in Japan, so I cannot comment much about it. But it is certainly a good way for people to get to accustomed to the art. This is one step for it.

  Would you ever lend your name to an animated feature?

  Of course, I am ready anytime!

  Tell me a little about working for Stuart Gordon on Space Truckers.

  I designed Bio Mechanical Warrior in the futuristic movie called Space Truckers. For me, working on the 3D model was a very difficult task. Because of the limited budget, we could not use computer graphics. We had to use actual models and make them wear the outfit(s). I can work on 2D any way I want. I can draw impossible situations on 2D surface. But 3D you have so many limitations. I found it also difficult to create/design the character matches to the scenario/story line. In that sense I really admire people who work in the movie industry.

  How about the work you did on Spawn?

  I did a conceptual design for the assassin woman in the movie.

  How is your ongoing relationship with Penthouse? Are they treating you right?

  I like Penthouse Magazine. It is a very aggressive magazine. It may be the best media for me to display my kind of art. They pay me in advance, always. Relationship is very good. No complaint, whatsoever.

  Can you take us through your creative process from the time when you approach a blank piece of canvas to the finished product?

  For me, before I actually start the painting is the most important creative aspect of the game. Coming up with an idea and developing it is the most important process. After that, it becomes just a practical conduct. If I spend a certain amount of time on the painting, I know I can finish the painting at a certain level. When I am actually painting it, I do not have a deep contemplation toward my painting, so sometimes I have a unsatisfied feeling toward my work.

  When you paint, do you stop when it feels right or do you continue pushing until you force yourself to say, “OK, it’s completed”?

  When I stop painting is actually when I feel that this may be good enough to convey my idea to people. I always try my best to stay cool, not too much involved in my paintings, so that I don’t embarrass myself later.

  I read in a bio on you that you did some work on something for HBO. Can you explain what that was?

  The program is Perversions of Science “Chrome T&A 2000.” HBO television series. I designed the character robot, which at the beginning introduces the show and wraps up the show at the end.

  I understand that you have two children. As a parent myself, I wonder whether you push them to become artists or do you just let them pursue whatever interests fascinate them?

  I let them pursue their own interests. Sometimes, I feel overprotective. Their lives are theirs, not mine. I think my parents felt same way about me when I was young.

  What does the future hold for Hajime Sorayama?

  Well, I am planning to live to about 200 years old and make the world perplexed with my art… Like most troublesome old men.

  Monica Richards

  This interview with vocalist, songwriter, and artist, Monica Richards, was conducted recently and is the most current interview offered in these pages. We’ve known Monica for years now and consider her to be a dear friend. Easily one of the smartest and most beautiful women it has been our pleasure to know, we’ve watched her expand her craft from musician to graphic artist to author – to permaculture guru.

  You’ve been involved in the Gothic subculture for years now. Are you comfortable with your legacy, and how does what you’ve accomplished inform what you plan to do in the future?

  I’m not sure what my legacy is! It keeps changing, I think… I’ve made some good music under the various bands I’ve been in, but I want to continue to evolve. If you view my start in the punk rock scene all the way to F&TM and InfraWarrior, I think it shows a natural progression.

  Are there any styles of music that you’re more comfortable working in than others?

  I like being all over the map! Sometimes dark rock, sometimes dance, ambient music – really depends on the music that comes to me. I did a harder rock style piece on the new E.P. (it’ll be on the album as well) called “Armistice”. I got Steve [Niles] to play bass on it, which was so much fun! I may be leaning towards that a bit more as I write…

  Are there any that you won’t touch because of taste or difficulty?

  Disco? Country? Not due to difficulty, just style, really…

  So, I understand you’re working on a new CD. Is there a title yet?

  Right now I’m concentrating on the E.P. called “The Strange Familiar”. Funny how it came to me before all the changes in my life!

  What changes were those?

  I’ve started my entire life all over a
gain. It’s a very strange but empowering feeling to once again start from the ground up. This is the first time I have done the recording [and] engineering myself as well as the composing. It’s been really stressful to learn it all under the gun but now so exhilarating as I my courage grows more and more!

  Will it be going in a different direction than InfraWarrior?

  It’s a continuation. I’m working on some spoken word, soundscapes, plus some new styles. I’m working with other musicians now as well to play parts!

  What new styles? Polka? Bulgarian wedding music? [wink]

  Harder stuff, more rock-edged! Which I can say now is a bit of a departure from the first album!

  As this is your second solo disc, what does that mean for the future of Faith and The Muse?

  That’s very much on the backburner for now. We fully burned out after an entire year of touring.

  Will the instrumentation be different than it was with F&TM?

  Well, with F&TM using any and everything, it’s a bit more electronic due to my own music-playing limitations. But as I continue on, I have started calling upon other musicians to play. For the E.P., I have Steve Niles on bass, Steven James (Christ vs. Warhol) on guitar, Marzia Rangel (Christ vs. Warhol) on cellos. I’ll be calling on other musicians as I go! But I do use a great deal of dulcimer, strings and strong percussion, so there are similarities!

  That seems sort of contradictory… “a bit more electronic” and then the use of “a great deal of dulcimer, strings and strong percussion.” Are there any plans to tour in conjunction with the CD?

  I have a couple festival appearances coming up! I’m working on more of an art performance/interactive film – with two women drummers (they are from the band Seventh Harmonic) and Lucretia – my dancer from the F&TM tour, will also be working with me… It’s going to be a great deal of fun! The basis is “Women and Nature”…

  That seems to be a touchstone for you… Nature. Any reason you feel drawn to that particular subject?

  As I get older, I think on that. Nature has been with me since I was a small child, disappearing into the forest and feeling close and loved. Losing my mother, feeling alienated from people and nurtured in Nature instead… It’s a big deal…

  Are you continuing to work on the ANAFAE books?

  That’s been put aside for now as I’ve had a few other projects to get through lately!

  Will there be more poetry books?

  Yes, as well as a strange book of tales, I may be putting that out this Summer through Seraphemera Books!

  Take us through your “process.”

  Right now, it’s music first then lyrics, other times the song comes to me in lyrical form and I write around the words. My iPhone “voice memos” is full of ideas that come to me in the middle of the night…

  So much of your (music) writing has been done with other people. Has it been difficult to make that transition to doing that solo now?

  No, I wrote all the music for InfraWarrior – the first solo album, all on my own. I really enjoy composing. Right now I have a brand new studio space, which I share with my four cats. I’ve actually just gotten some new gear and software and am at breakneck speed learning everything in time for the E.P.

  What software are you working in now?

  Reason and Reason Record! I LUVVUT!

  Are you a quick study when it comes to learning new computer programs (or anything else for that matter)?

  Yes, and lucky for me at that!

  Are there any further plans to record with The Eden House?

  If they throw another song at me that I like, absolutely. “To Believe in Something” was one of 3 instrumentals Steve sent me, and that track called to me. I sent the vocals and they mixed them down in their studio.

  Are you still painting?

  Not really! I’ve mostly taken to my main love, computer graphics – starting with raw materials, then scanning and finishing on computer…

  How involved are you still with HOPE: The Sophie Lancaster Foundation?

  We gave them a F&TM track to raise money. We’re good friends with Martin Oldgoth and his crew, who started the Foundation.

  Are you involved with any other charity work?

  I donated almost all of my house furnishings to Animal Acres, a factory-farmed animal rescue in Acton, CA. I have volunteered there over the years, and believe in what they do.

  Do you think that it’s an artist’s obligation to “give back”?

  I don’t know. The act of creation is quite a giving outward – I have never been in a position to have much more than I need, but at the same time I have donated art and songs for good causes.

  Where can people get in touch with you to order some of your books and artwork?

  You can actually go to monicarichards.com and find out more there.

  What’s next for you after the disc is completed?

  I have the solo album to finish for June, currently not titled yet.

  Are you open to being a part of any collaborations?

  Always, especially if the music is great and the people are nice!

  Don’t miss the upcoming ZED Presents

  … The Carpe Noctem Interviews: Vol. 3, available October, 2011 at www.crossroadpress.com featuring:

  Alex Ross

  Brian Pulido

  Cliff Nielsen

  David Mack

  Diamanda Galas

  Jhonen Vasquez

  Jon J Muth

  Screaming Mad George

  Tom Savini

  Tim Cridland (The Torture King)