Mark Englert (Artist Interview) + “the korova milk bar” exclusive premiere!

To close out Mark Englert’s highly successful Director Series: Kubrick exhibition, 411posters got a chance to interview Mark Englert about his experience thus far in the poster scene as well as premiere his latest print to conclude his show at Gallery1988. “the korova milk bar” is a 12″ x 36″ 5-color Screenprint w/ 2 metallics, printed on black paper, signed/numbered of 200, and will cost $50. On sale Saturday, August 24th at a random time HERE.

englert the korova milk bar

“the korova milk bar” by Mark Englert. 12″ x 36″ 5-color (2 metallics) Screenprint. Ed of 200 S/N. $50

Meet The Artist: Mark Englert

The first time you heard the name Mark Englert might have been while he was camping out next to you in line at the Olly Moss or Lost G1988 exhibition. Or maybe it was through a random encounter on an art forum that he frequents, Or maybe you watched him hatch and develop his very first print on the same aforementioned forum, thus springboarding him into nearly a household name in this poster-world that we live in. And if you still haven’t heard of him from that, then maybe after 15+ print releases in the past year culminating in his recent Stanley Kubrick themed solo show at G1988, introduced you into the incredible art of Mark Englert.

Englert’s now signature style of landscaped artwork often depicting memorable scenes of a movie or tv show long engrained in our minds through multiple viewing, resonate deep when seen in print & ink format. His use of Glow-In-The-Dark inks often as a reveal to an entirely new image that complements the daylight image is done with wit and a touch of humor. 411posters is proud to present a Q & A session with Mark Englert.

englert You Are My Lucky Star variant

411posters: Where are you from and what is your art education background?
Mark Englert (Englert): I grew up in Southern California. The vast majority of my art training is self-taught, drawing at school during subjects other than art. I started getting work in comic books before I finished a bachelors degree in art. So, I went ahead and pursued actual work, rather than completing my degree.

411posters: Before you got into creating poster art, what were you doing?
Englert: I’ve been working in the comic book field since 1999 and more recently on a lot of toy packaging, design as well as storyboarding for animation.

411posters: What mediums do you use to create your art?
Englert: I draw mainly using a pencil and brush with Sumi ink. I like doing ink washes quite a bit. For digital work, I stick to Photoshop. I used to use Manga Studio to draw quite a bit, but I do the majority of my drawing by hand these days.

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411posters: What/who inspires you to create?
Englert: It’s just something I do. I’ve never really had a problem with “writer’s block” since drawing is just something I’d do no matter what else I have going on in my life.

411posters: Take us through the process of your art from concept —> process —> final piece.
Englert: I’d say concept is the biggest struggle to me. I don’t write any ideas down, bad ideas fall away pretty quickly and if something is good enough to stick in my head for a while, then I will go with that.

Producing art at high quality and on a crazy deadline has been my life for over a decade. So, the production part is fairly by the numbers, it is also the most exciting for me because it is when the piece has the highest amount of potential and once I am done with a project, the process of breaking down what I could of done better and my excitement for the next things starts to take hold.

I have tried a few different processes for actually making a poster. These days, I like to do a small sketch of it first, then I’ll draw on paper whatever figures or pieces I feel like, scan those into photoshop and finish the poster there. I’ve done a lot of coloring comics in my time and I find those skills translate over to print making really well. Once I have a finished image, it’s time to break things down into separate colors to be screen printed. If I planned ahead well enough, this process goes quickly… if I didn’t, it can take quite a while to make things work how I want and I may have to bite the bullet and add a color. It’s a fun puzzle to try and achieve as much depth as I can with as few colors as possible.

After I’m done separating the colors, I send the file to a printer. I don’t have the space in my house or the expertise to print my own stuff.

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englert Hudson River Damn

411posters: What inspired you to take that first leap and develop the “Det er en Slags Ting” print and what ultimately prompted you to approach your creation to the people over at
Englert: I had been collecting prints for about 2 years(still am) and was always saying to my wife, “someone should make a print like…” and she would just tell me to do one on my own. Being really busy coloring and helping out with the comeback of some toy from the 90’s, I was just too busy for another project. Eventually, I found myself more or less caught up with things and, well, you can read the rest here:

Needless to say, the wife was right.


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411posters: What was it like to see such a huge positive response to your very first print, “Det er en Slags Ting”?
Englert: I’ve always been an “expect the worst, hope for the best” kind of person. All I really wanted was to make enough money to cover the cost of producing the print, what I wound up with was an open door into the world of making prints and I was lucky enough to have just enough experience at making art for a living that I could step through.

411posters: What aspects of using GID inks in your art do you find liberating? Constraining?
Englert: Well, the big shock at first is that glow in the dark ink isn’t some magical, invisible ink that glows brightly in the dark no matter what. There are quite a few rules to follow in order to make it work how it ought to. Once you grasp the rules, it’s not a big challenge to make them work for you and plan around them.

I put a lot of time and effort into my glow in the dark work, so I only use it when it makes absolute sense and adds something to the story of the print.

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englert this is my farm i'll die here gid final

411posters: Who are some of your art influences?
Englert: My biggest remain Jack Kirby, Maxfield Parrish and Edward Hopper…but I have a LOT more, that’s just my “core” group.

411posters: Which print of yours is your personal favorite?
Englert: I usually like whatever I finished last, the most… So, right now it would be, “we’ll meet again”

Englert-Dr-Strangelove we'll meet again


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411posters: Which print / subject matter would you like to work on in the future?
Englert: I’d like to take on a genre that is very important to me in my life… video games.

411posters: Take us through the process of how the concept of a ‘Director Series’ theme led to your first exhibition based on Stanley Kubrick?
Englert: Being someone who “expects the worst and hopes for the best”, I treated my first show as if it was going to be my last. If I only ever did one solo show in my director series, it HAS to be Kubrick.

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englert all work and no play

englert no tv and no beer



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411posters: What other directors works do you admire?
Englert: Ha, nice try.
(note to readers – I tried! :))

411posters: Art, like life, is an ongoing progression of evolution and change. Where do you see your art headed in the next year(s)?
Englert: I just always want to be improving and I’m not entirely sure what that means. I don’t necessarily see evolving as an artist as uprooting everything and starting from scratch, nor do I see it as doing something trivial like changing up the size of the posters I prefer to make. As long as I’m happy while I’m working on something, I feel like I’m headed in the right direction.

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411posters: Did you ever in your wildest dreams imagine you would get from the point you were at before the “Det er en Slags Ting” print, to the point last week where you held your first solo exhibition at G1988?
Englert: Never. Along with tons of poster nuts, I’ve spent countless hours refreshing the Mondo store page on Friday mornings. I slept overnight for the LOST exhibition at Gallery 1988 and I waited something like 14 hours in line for the Olly Moss papercuts show…

It is beyond surreal to be INSIDE the gallery.

Weekend Features: Henrik Aarrestad Uldalen (Artist Interview)

Meet The Artist: Henrik Aarrestad Uldalen

Seemingly floating from the void of nowhere to an unknown destination, the central lone figures in Henrik Aarrestad Uldalen’s paintings have a calm composure that seems to translate a similar feeling onto the viewer. Looking at his body of work is much like stepping deep into a meditative dream; fluid and serene.

411posters presents our latest quick Q & A with emerging artist Henrik Aarrestad Uldalen. He first came onto the print-world with his “Cobweb” print release in Feb. 2012 and since then has drawn great interest as he delves into the ‘Void’.

Henrik Aarrestad Uldalen

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411posters: Where are you from and what is your art education background?
Henrik Aarrestad Uldalen (Uldalen): I grew up in a small town outside of Oslo, named Asker, in Norway. I came to Norway when I was about five months, adopted from Seoul, South Korea. When it comes to my art education, the papers are pretty much blank. I have no formal art education. I did study to be an art teacher in elementary school.

411posters: How did you get started in painting? What were your first paintings like?
Uldalen: I have always been interested in art, and especially drawing. It wasn’t before I started studying to be an art teacher that I tried oil painting for the first time. I met a couple of guys there (Morten Thyholt and Trygve Åsheim) who was in the same situation as me. We were all very interested in drawing and painting. We started experimenting with different mediums, and when I tried oil painting for the first time, I knew this was it. But to answer your question, my first paintings were pretty much shit. But at the time it was much better than any of my earlier attempts.

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411posters: What mediums do you use to create your art?
Uldalen: Oil on panel.

411posters: What/who inspires you to create?
Uldalen: I’ve found out that the main thing to motivate me is having a fresh new project on the easel. Sitting around and waiting for inspiration to hit never works for me. So in a way, all I need to do is to get early up in the morning and start working.

411posters: Take us through the process of your art from concept —> process —> final piece.
Uldalen: It all starts with a vague and abstract idea, often just an idea of color and atmosphere. Humans are in the center of all of my paintings, so the next thing I do is taking photos of the model I want to paint. From there I play around in Photoshop for a while, searching for compositions. I finish off with painting after the rough Photoshop sketches. I often make changes along the way though.

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411posters: Who are the characters that are seen in your paintings? Is there a story behind each of them that is personal to you?
Uldalen: Most of the characters in my paintings are good friends. They are the easiest models to call. But I do have some people I don’t know in my art. Contacted merely because of certain qualities that I search for in a model. For me it’s not important to have a personal story with the model. I don’t paint portraits in that sense. One should not need to know half my life story to enjoy my paintings.

411posters: In most of your paintings, your characters seem to be either surrounded by complete white space, or engulfed in total darkness. Is there a message in this, or more of an aesthetic preference?
Uldalen: This series has a lot of different meanings. It’s a series called “Void”, where I want to depict some sort of metaphysic feeling. Being lost in limbo, or in the state of dreaming. But as you are mentioning, the aesthetic is always important to me. So sometimes I just do it because it works, and work out the theme in the process. I work intuitively with my paintings. That’s what I do best. If I were better at expressing myself with words, I would write a book.

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411posters: Many of your pieces are untitled. You even have a couple with the same title (drifting). Is there a reason for this?
Uldalen: I have a hard time picking names for the different pieces. I would like a name for each and every piece for both practical reasons, and for the artwork itself. The problem is that many of my paintings are the continuation of a previous painting. So the same thing is often said with different compositions and models, as the theme often is the same through a series of paintings. I also don’t like it when titles lead nothing to the imagination of the viewer.

411posters: What aspect of your work have you found the most challenging thus far?
Uldalen: Every day as a painter I face different problems. I have a few ones that keep coming back though. Like trying to bring something new to a medium that has existed for centuries, technique related issues, and of course financial problems. I’m hoping that will change some day.

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411posters: Any misconceptions of your work that bother you?
Uldalen: I do sometimes get some very weird personal takes on my work, which is completely different than what I intended the piece to say. But it doesn’t bother me. Often I don’t even know myself what I want to say with the piece, so the viewers are very much allowed to make up their own mind when it comes to the content of my work.

411posters: In your bio, you mention that despite the realism of your work, photographic accuracy is not what you are seeking to achieve. So what do you seek to achieve in your final product?
Uldalen: What I mean by that is that I‘m in no way trying to make my art resemble a photo, like photorealism/hyperrealism, even though I sometimes use photographic “effects” in my paintings. I work with paint, and that is what I want it to look like.

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411posters: Who are some of your art influences?
Uldalen: All from William Bouguereau, John Singer Sargent, Alphonse Mucha and Ilya Repin to living artists like Antonio López García, Gottfried Helnwein, Alex Kanevsky, Jenny Saville, Daniel Sprick, Jeremy Geddes and Odd Nerdrum. The list could go on for several pages, so I choose to stop there.

411posters: List some of your favorite music, movies, and art work.
Uldalen: My music taste range from soft singer/songwriter to death metal. Noteworthy movies for me are most of the production of David Lynch, Roy Andersson, Charlie Kaufman and Hayao Miyazaki. And many other movies that make me think or are esthetically pleasing. I’m also addicted to tv-series, but there I have no filter what so ever.

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411posters: Art, like life, is an ongoing progression of evolution and change. Where do you see your art headed in the next year(s)?
Uldalen: That is a very good question. Good as in difficult. Two years ago, I would never guess that I’d be making the pieces I do today. I wish I could travel forward in time and watch my whole production from start to end. I bet I’ll be doing these people suspended in air at least for a while more.

411posters: What words/phrases best describe your art?
Uldalen: For me it’s hard to say. I pick elements from different -ism’s over the years, trying to create something new. I’ve heard things like “magic art”, “surrealism” and such. But I would leave this up to art historians or art critics.


Henrik Aarrestad Uldalen Website

Brett Amory (Artist Interview)

Meet The Artist: Brett Amory

Hazy, dreamlike, meditating, quiet-unfullfilled anticipation. Hopeful, yearning, deconstructing, urban…..waiting. Brett Amory’s ‘Waiting’ series highlight heaviest of these elements in such a unique and delicate manner that if you blink it could all go away.

411posters got to sit down for a quick Q & A with Brett Amory and he gave us some insight into his past and current projects as he gears up for this weeks solo exhibition titled Waiting 101 at The Outsiders Gallery in Newcastle, UK.

Brett Amory

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411posters: Where are you from and what is your art education background?
Brett Amory (Amory): I am originally from Chesapeake Va. I moved to the bay area in 1996 to go to the Academy of Arts. I was a film major at first but eventually switched over to fine art.

411posters: How did you get started in painting? What were your first paintings like?
Amory: I started painting about two years after I moved to San Francisco. I was skateboarding and playing music with some artist so I started drawing which eventually led to painting.

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411posters: What mediums do you use to create your art?
Amory: I have experimented with a lot of different mediums but I primarily use oils.

411posters: What/who inspires you to create?
Amory: My surroundings inspire me the most. People and places I see on a day to day influence my work more than anything else.

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411posters: Take us through the process of your art from concept —> process —> final piece.
Amory: My work starts with observation. If I see something that has a certain feeling, I take a picture. Now days most of the work I make is for shows. When I’m getting ready for a solo I take hundreds of pictures over the course of a few months and slowly narrow the images down. Once I have about 20 or so that go together I start painting. I usually edit about half of what I paint.

411posters: How did the ‘Waiting’ series come about and how different is the concept of it from when you first started it, to where it is now?
Amory: I started the Waiting series in 2001 but it was more about people in transit. I was living in San Francisco and working in Oakland so I was taking the train to and from work. I noticed how there was this disconnect and how everyone seemed to be somewhere else. The work was pretty much about people waiting to be somewhere else. I stopped the series in 2003 and experimented for a few years. I came back to the series in 2007 but the idea was less about people in transit and more about not being in the present moment. Every show I do I treat as a sub series within the series.

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411posters: What does the term ‘negative space’ mean to you and how does that apply to your ‘waiting’ concept?
Amory: When I came back to the series in 2007 the feeling of the work was my primary focus. I felt by stripping down the environment the viewer would be forced to focus on the feeling of the work first and the aesthetic second.

411posters: Do you expect to find any resolve in your ‘Waiting’ series? Or are the characters disconnect a lifelong human condition?
Amory: The only thing I can hope for is that when the viewer is in front of my work they are in the now.

411posters: What aspect of your work have you found the most challenging thus far?
Amory: Figuring out what I want to say.

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411posters: Any misconceptions of your work that bother you?
Amory: Some people think I only paint overweight people.

411posters: Who are some of your art influences?
Amory: The past year I have been looking at Stephen Shore, Robert Adams and a few other photographers.

411posters: List some of your favorite music, movies, and art work.
Amory: Boards of Canada, Oneohtrix Point Never, and Slayer. I really like the movie City of God and Dreams. I saw some of Velazquez paintings last year at the National Portrait Galley in London and was blown away.

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411posters: Art, like life, is an ongoing progression of evolution and change. Where do you see your art headed in the next year(s)?
Amory: I really dont know. I just hope I can keep moving forward and do what I love everyday.

411posters: Tell us a bit about your upcoming exhibition/projects.
Amory: I have a solo with The Outsiders (Lazarides) in Newcastle April 19th and a solo at Sandra Lee Gallery in San Francisco in October.

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411posters: What words/phrases best describe your art?
Amory: Abstract realism.

Brett Amory Website


Brett Amory Waiting 101 opening this Thursday, April 19th at The Outsiders in Newcastle, UK.

Weekend Features: Anonymous Ink & Idea (Artist Interview)

Meet The Artist: Anonymous Ink & Idea

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My first exposure to Anonymous Ink & Idea’s (Rich Knepprath) work was his “Opeth, Austin TX” gig poster back in October 2011. With cleanly calculated lines, and a wonderfully flowing image of skulls and flowers set amongst a pleasing color palette, I could tell that this artist had a clear vision. An artist’s portfolio is often a snapshot in time where we are let into their world to experience what they see and feel during those moments. In the short time that we have seen Anonymous Inks works thus far, I can tell that this artist has alot to express; looking to open new eyes to those that will see, while thoroughly giving a good pummeling of the mind at the same time. 😉

Currently, his presence in Austin, Texas’s burgeoning metal scene has been nothing short of inspired. Working with notable metal acts such as Mastodon, In Flames, and Opeth, Anonymous Ink & Idea has set his own pace and imprinted his own style in this flourishing gig poster scene.

411posters is pleased to present our debut interview article with the talented artist…

Anonymous Ink & Idea

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411posters: Where are you from and what is your art education background?
Anonymous Ink & Idea (Anonymous): I’m from Austin, Texas. I have been here a little over ten years and I love it. Although, if anyone from the Pacific Northwest ever wants to do a summer house swap… let me know! I love rainy days, and we don’t get many of those here in Texas.

I actually don’t have an art education background, I’m completely self-taught.

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anonymous ink beyond gods and empires

411posters: So how did you get into design?
Anonymous: I rebelled against my instincts to become an artist for a long time. Don’t get me wrong, I enjoyed drawing characters and comic books at an early age like every one else, but when people would call attention to my talents, it made me feel very uncomfortable. I was much more interested in being in a band and playing music, until I found out this was another art form that people heavily scrutinized. Eventually, after many odd jobs, I found myself in a design position at a local newspaper, (which, after the small challenge of learning to use a computer) proved to be very satisfying for me. Setting type, balancing a page and working all hours of the night to meet a deadline was intoxicating to me. After that, I dove pretty much head first into my design career, working my way up from production artist, to lead designer, art director and eventually owner of my own little design shop. I learned by working with a wide variety of businesses and clients and learning from my inevitable mistakes. After many years, I became confident in my abilities, despite a formal education.

anonymous ink by any means necessary

411posters: How did you get started in gig poster art?
Anonymous: It happened pretty organically. I started doing album art for independent bands a little over 10 years ago, in between my corporate design work. Album covers are something I had always had a passion for growing up and once I moved to Austin, it became somewhat easy for me to meet bands and do it semi-professionally. After a while, requests to design other items like tee-shirts, press kits and gig posters became more and more common… but I didn’t truly appreciate the aert form until 4 or 5 years ago. It was around that time that I started to take notice of studios like Aesthetic Apparatus and Methane. Those guys got me thinking about the gig poster in a different way.

411posters: What bands have you worked with thus far?
Anonymous: I’ve worked with hundreds of unknown, unsigned and under-appreciated bands throughout Texas, but I didn’t get any real attention until I started to take on work for larger touring bands. My decision to work with this type of clientele was a shift in ideology for me and is when I started using the Anonymous Ink & Idea moniker. Since then, I’ve done posters for Opeth, Mastodon, In Flames, The Bled, Norma Jean, Machine Head and The Chariot.

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411posters: Take us through the process of your art from concept —> process —> final piece.
Anonymous: When I find out about a project, I immerse myself pretty deeply in the band’s music. I’ll listen to their entire discography, and read lyrics while sketching out thumbnails and rough ideas. Once I feel like I have a concept, or a vision for what I’m going to do, I get into the computer and start tracing over my sketch and increasing the fidelity of my design. My drawing skills are okay, but I lack the confidence to draw an entire poster from scratch…so I often combine my drawings with found images, photos or other stock vectors to construct my final piece. I tend to zoom in pretty close and work on a macro level where detail and texture are concerned, but also zoom out and see how well my design is holding up at 3 inches. I start working with type about halfway through this process, and give myself plenty of time to find the right typeface, or create one from scratch. I hardly ever use a font out of the box, it usually goes through several modifications or digital sandpaper before it ends up in my design. At some point I have to call a job “finished”…although, Josh Scogin’s quote “ A song is never finished, it’s abandoned” resonates with me quite a bit. Anyway, at that point I send a proof to my printer and make any adjustments necessary to ensure a satisfactory print…and then I try to not think about it until the prints are back in my hand.

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anonymous ink art print

411posters: What mediums do you use to create your art?
Anonymous: I’ve experimented in quite a few mediums, but I seem to thrive best in a digital environment. I’ve also used a ton of print methods, but my favorites are hand pulled silk-screening and letterpress. The DIY nature of screen-printing, and I think ultimately the ability to personally maintain your equipment and push the creative limits is exciting to me.

411posters: What aspect of this field have you found the most challenging thus far?
Anonymous: Other than figuring out the best ways to get my work printed (for which I rely heavily on the experience and advice of my printer) my biggest challenge continues to be me. I can drive myself a little mad trying to get exactly what I want out of a project, and often get in my own way.. But with lots of therapy and self-examination this process is becoming a little easier to manage. 😉

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411posters: Who are some of your art influences?
Anonymous: One of my biggest influences has always been Storm Thorgeson who designed some of my all-time favorite album covers (Pink Floyd, Led Zeppelin, Dream Theater, Audioslave, Muse, The Mars Volta, etc…). Don and Ryan Clark also made a huge impression on me during their Asterik Studio days and I’ve continued to follow their work with Invisible Creature. I also have a a great appreciation for Rob Sheridan and his work with NIN over the years and I also really dig the work of Digital Kitchen, who did the intros for Dexter, Six Feet under, True Blood and others. As far as the gig poster community goes, I’m a big fan of DKNG, Methane Studios, Aesthetic Apparatus, Todd Slater, John Vogl, Ken Taylor and Delicious Design League. I think I pick a little bit up from each of these guys. But I’m certainly searching for a style of my own. Oh , and I’m also really digging Graham Erwin right now, he has a really unique style and his colors are spot on.

411posters: Who are your favorite bands?
Anonymous: That’s tough, I have quite a few. I’ve been a pretty big Smashing Pumpkins fan over the years, particularly the Gish/Siamese Dream years. And the 90’s Seattle stuff was a big influence on me as a teenager. (Nirvana, Pearl Jam,Soundgarden, Alice in Chains) Bands like The Mars Volta, Tool, Muse, Portishead, Nine Inch Nails, Opeth, Mastodon, Mogwai, Sigur Ros, Pelican, and Radiohead are in my regular rotation… but I have too many favorites to mention. I just recently discovered the band “Vildhjarta” a progressive metal band from Hudiksvall, Sweden. These guys put out a pretty sick record in 2011…and I’m anxious for a follow up.

anonymous ink opeth austin tx

411posters: When creating a gig poster for a band, where do you draw inspiration from, and how much of their bands music plays a part of the final piece?
Anonymous: Music plays a large role in my process. As I mentioned earlier, I spend a lot of time with a band’s music and lyrical content at the start of a project. But I might also find inspiration from band interviews or live footage from YouTube.

411posters: What projects are you currently working on and what are some of your dream projects?
Anonymous: I just finished up a poster series for all three Texas dates on Machine Head’s North American tour. I’m releasing an art print version of these as well as a color variant. I’m pretty excited to share those. After that, I’ve got a few art prints to finish leading into this year’s Flatstock event. And of course a few things I’m not at liberty to discuss quite yet. I like to surprise people.

anonymous ink machine head houston left

411posters: Dream projects?
Anonymous: I would probably push Rob Sheridan down a flight of stairs for the opportunity to work with Trent Reznor and Atticus Ross on a project. (I’m just kidding Rob) I love everything those guys do, and only hope that someday I find myself in the middle of such a fruitful collaborative relationship. In the realm of things that might actually happen, I’d really like to do something for the Mars Volta, Portishead, or Mogwai someday. There are also a few local bands that I would love to work with like This Will Destroy You or the Clouds Are Ghosts. Also, I’m trying to get my foot in the door on a Mondo movie poster. Movies have always been a big part of my life and I think I would enjoy being a part of one. We’ll see how that turns out.

411posters: Art, like life, is an ongoing progression of evolution and change. Where do you see your art headed in the next year(s)?
Anonymous: I try not to think about it too much. My focus is on my craft, honing my skills and perfecting my process. I’m hoping this takes me the rest of my life, and that this is a long time. Other than that, things are pretty much entirely out of my control. I just want people to love what I do half as much I do, maybe not everyone…but enough to keep me doing it.

anonymous ink norma jean austin tx

411posters: Your presentation of skulls and humans take on a very clinical/scientific approach. How did that come about?
Anonymous: I tend to over analyze everything and examine things at a very detailed level…sometimes to a fault. So I guess there would naturally be an obsessive compulsive, clinical feel to my work as a result. But, I’m also big fan of symmetry, the golden ratio (phi) and geometry. These concepts are heavily prominent in human anatomy, particularly the human skull and the cosmos (another theme in my work). Selfishly, I think I make posters that I would want to buy…and these are themes I enjoy seeing and studying.

411posters: What words/phrases best describe your art.
Anonymous: I’ll leave that up to you readers.

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