Elbow Toe

Interview with Elbow Toe

- When did you begin Street Art?

E: I became involved in street art a little over 2 years ago, though I had seen quite a bit of it for years, having lived in New York for well over a decade.

- What influenced you to be an artist? What are your art roots?

E: I was influenced to be an artist by both my grandfathers. When in high school I became truly passionate about art making and studied at School of Visual Arts in NYC. I would definitely say that I have had a very classical education but have been passionate about performance art, theatre, video art and interactive computer art for just as long.

- What grabs you, and how is that expressed in your work?

E: I am particularly struck by emotion. The kind that hits you in the gut, and that sits right behind the eyes. My figures are exaggerations of these emotional states. They communicate emotion on several levels. Through their distortion, the palette I work with, and I often combine the work with abstractions of human organs and plant life. I use these abstractions to lift what is behind the surface to the foreground.

- Your drawing technique is very unique, Please tell me what kind materials do you use? And how to draw?

E: Thanks. I tend to draw with charcoal, or go directly on paper/canvas with the brush and paint. When working on a door I use Oilbars. I tend to draw by pulling around the forms. And push elements to fit into places that will have more impact.

- Which artist are you most influenced by?

E: For years I had been into Frank Auerbach and Chaim Soutine, as well as Max Beckman. I am also a huge fan of Steve di Benedetto and Richard Diebenkorn. I find Richard Tuttle fascinating. I guess I would say that my tastes are always evolving and that I am very influenced by my own emotions and the response to the subject I am dealing with.

- What do you think that London’s Graffiti scene compares with NYC?

E: I noticed that there seemed to be a lot more stencils in London. I only was able to travel to a few places in London while I stayed there, but the scene felt good. There are so many great spaces that seem prime for being worked on. I did notice that the wheatpastes that I did, and a friend of mine did, lasted for a much shorter time in London than they do in NYC. They seemed to be meticulously removed, which could be a real advantage for using stencils here. It is also very obvious that Banksy has had a huge effect on the scene in London.

- What are you interested in or what is your favorite thing except Street Art?

E: Theatre and my wife.

- Do you think you will still be Street Artist after 10 years?

E: Definitely on some level. The interaction of the work within constantly evolving settings, and the element of limited time to place the work add a spontaneity that has profoundly affected my work.

- How do you want to carry on your work in future?

E: I am showing more in gallery shows, which I find challenging in a completely different way. I am constantly challenging myself to incorporate new methods, ideas and relationships into the work.

- Message for reader please.

E: The best place to see street art is still on the streets. For it is there that the elements and forces outside the artist control take over.

Website : http://www.flickr.com/photos/lunapark/sets/

Written by Toshimi Takaishi