Illustrator, Fantasy Artist, Poet, Musician

Interviewed by Carol Reid

1. Much of your work appears to represent a personal mythology. Can you give us a bit of history about where this mythology came from?

Silk and Nightmare: Courtesy of the Artist

Since I’ve hardly thought of myself–in the field of visual arts–as more than a commercial artist–I don’t think of my illustrations as coming from a personal source, not consciously anyway. Like my sources are something like Victoria’s Secret and traditional fantasy.

I don’t mind admitting to that since–in the field of visual arts–I’ve never aspired to be anything more than an illustrator.

2. How would you describe your relationship with art and reality? Or between art and reality? Do they have a future together?

Wow…dude…that’s so deep…uh…lemme go get a beer first….

Is that like a ménage à trois question?

I think only a self-proclaimed sage who thinks he’s here to clear away all the bullshit can answer. I’m sure said sage is just bursting to share his thoughts on the subject. Lil’ ol’ me is just not qualified to even attempt it.

3. Your series, “Unbindings” combines ethereal with erotic. What’s that all about?

It’s about the ethereal and erotic. What else do you wanna know?

No, wait–it’s about the healing and transmutation of the world–and nothing promotes that better than drawing Verlee Peters in a black spandex.

I seriously believe that. [nods head in self-approval]

Psyche's Garden: Courtesy of the Artist

4. You have an idealistic view of beauty– especially young, feminine beauty. Is it difficult or disturbing for you to draw imperfect women?

Let’s just say I have a deep appreciation for what are considered by some to be the more superficial attributes of certain women. Do you wanna make something out of that?

5. The detail you achieve in your drawing is remarkable. Do you ever get lost in the details?

Yeah, it’s my dream to draw nose hairs and get paid for it at the same time.

[sighs longingly]

6. As a professional illustrator, do you sometimes have to work in collaboration with other artists? How does this work for you?

I’ve yet to really collaborate with fellow visual artists. The closest thing was when an artist and friend that I knew agreed to model for me. Otherwise, any collaboration I’ve done was with writers.

7. There is often a very dark undertone in your work. Is it just your nature to shrink from “The Light”? What’s the appeal of the dark side of experience?

Are we still talking about my drawings? I don’t really think that most of them are that dark. Figuratively and literally.

If we’re talking about my writing, I think I get drawn to that kind of framework in an effort to understand and transcend it. (Plus if one walks the dark path long enough, one gets to shoot blue lightning bolts from one’s fingers.)

I certainly don’t always understand or transcend it but I don’t like denying it’s there.

I have nothing against “The Light” per se (I’ve always wanted to say per se [nods head in self approval]) If you’ve heard me mocking it, it’s only because I’m rather sick of people who use words like “light” and “transmutation” as a way of letting you know how enlightened they are.

Lightfall: Courtesy of the Artist

8. You’ve mentioned John Lennon as a major influence. How did his work shape your creative life?

Well I latched on to him and the rest of the Beatles as kind of father figures. They taught me the concept of music as “high art for the masses” which, in the field of music, is something I aspire to. You know, like “Strawberry Fields Forever” and ‘Penny Lane” as abstract and surreal yet accessible art in music form- I find that notion fascinating.

Plus, I’ve always liked and emulated Lennon’s spit-in-yer-eye attitude. I’m talking about the Lennon who told the royal family to go rattle their jewelry and who wrote “I Am The Walrus” as a way of confounding those who were taking Beatles lyrics way too seriously, not necessarily Saint John who wrote “Imagine”.

But I admire the other Beatles (Harrison is actually my favorite) just as much in varying ways. And I also have some awareness of their (including Lennon’s) failings, thank you very much.

9. How about the big names, like Frazetta or Vallejo or….? Are you part of this tradition?

No, since I’m more of a leg man than a breast man.

10. Art, music, literature—how do you place these in order of importance? Does this shift from project to project?

I don’t believe any parent who says he or she doesn’t have a favorite kid. I find drawing a bit painful a lot of the time. I enjoy looking at them afterwards but the process is a bit tedious. I find composing and writing lyrics more fulfilling but with me, they fluctuate whereas my drawing abilities are a constant. I like that I’m able to do it but!

For more of Rick’s work…

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Carol Reid is an Associate Editor for Emprise Review