Oliver Vernon

Jason: Tell us a little about who Oliver Vernon is? Where do you live and tell us what would it be like to have a glimpse into your lifestyle / background?


Oliver: After graduating from Parsons in 95, I lived in Brooklyn for almost 15 years before breaking the spell and moving over to the West Coast, where I’m now set up in Oakland.

Jason: I see that you studied at the University of Vermont, Burlington, while also obtaining your BFA at Parsons School of Design, New York. Before this what was your artistic background ? Where you artistic as a child?


Oliver: My parents were both artists (father a painter/sculptor/musician, mother a modern dancer) who filled our home with art. Through my childhood years I was encouraged to exercise my creativity in many forms. My bedroom walls were covered with bmx and skateboarding pictures, together with hand-drawn copies of all my favorite logos. I remember really being into making these meteor/space-ship drawings. I would make a random meteor outline, and then inside I would subdivide the space into all these interconnected rooms and chambers. I would add dining halls, sleeping quarters, aircraft building dept., caged monsters, even a dance floor covered in little figures with their hands in the air under a shining mirror ball (not to mention the oodles and oodles of missile silos.) Building skateboard ramps and obstacles was good training in bringing ideas to life through design, and got me started into basic architectural thinking. 


Jason: As child growing up what was a normal day in the life of Oliver Vernon?


Oliver: I was often in the woods, climbing trees, building forts, building bmx jumps, sledding, catching tadpoles. We had a big clan of kids in my suburban hood how would always gather for epic football matches, ice hockey on friend’s homemade backyard rink, big-wheel smash-up derby, kick-the-can. I was having break dancing battles in school and in my basement which was covered in cardboard. I played in youth-hockey and soccer leagues, went skiing as much as possible, camped in the Adirondack Mountains with family.




Jason: With that said, I was compelled to ask the above question because there is such a variety in human experience and a seemingly limitless individual imagination, that art includes such a wide range of expression. The human mind may find artistic expression in almost every endeavor. What is it that leads you to create the work that you do? Is it a form of self expression or simply aesthetics?


Oliver: Everything comes into play. Certainly I am very concerned with aesthetics, as I am a lover of beauty. Through my work my aim is to be a conduit for life’s expression to come through me.


Jason: After graduating there was a slight gap between your schooling and the first time we saw your works in a gallery, in between this time what was taking place artistically?


Oliver: I was working in a painting restoration studio, where I learned what it was like to work at an easel, how to handle tiny brushes, and how to match colors using traditional color wheel theory. I was also diving deep into underground dance music/DJ culture, which had a very impacting force on my creative mind. I was painting but my studio was overrun by turntables and records, as the art of djing became a very satisfying form of self expression. I started doing murals in clubs, bars, restaurants, yoga studios, private venues, and began doing live painting performances at the famous Giant Step parties (they were the first organizers I saw booking painters for their events.) I befriended the artist Alex Grey who offered me great support and mentorship.


Jason: Without too much overstatement, you are best known for your unique style of chaos and order, can you tell us a little about how this method of painting was brought to life?


Oliver: Portrayals of chaos and order in painting are nothing new. Mark Tobey is one of the early examples from the early 20th, whose dense all-over abstractions sought to explore the representation of the spiritual in art. Jackson Pollack is the most famous example. At the core I identify with these artists in their vision, however I feel the need to implement a multitude of varied techniques, methods, approaches, and to fuse them together into unified wholes. The world, and life itself, seems often like chaos… a staggering myriad of opposing forces moving in visible and invisible cycles, all co-existing in a simultaneous, interdependent system. What meditation has given me was the ability to sit quietly with this great chaos and to feel the perfection in its balance. It’s like witnessing from the eye of the hurricane…there is serenity within the madness of it all.



Jason: What are your biggest inspirations? And what is it that influences you most when going through the creative process of painting a piece?


Oliver: I cannot list inspirations in order. Life, love, the struggle, the adventure…these are the big ones. Sure there are countless people, places and experiences which have inspired me and continue to do so all the time. But it is the quality of the inspiration itself rather than the source of the inspiration which affects my work. The inspiration remains after the source has left…and if this feeling of inspiration could be visualized, this is a subject I’m interested in.


Jason: Which living (or dead) artists do you find inspiring? Do you feel connected to the abstract expressionism / post –pop surrealism scene? Or do you personally see your work in a different light?


Oliver: I followed in the steps of the AbEx masters and the early surrealists, for whom Automatism was the agenda: spontaneous stream-of-consciousness automatic composition. Feeling was more important than description. I liked the early surrealists Miro, Matta, & Ernst… from the mid 20th I like Motherwell, Kline, Rothko, Pollack, Frankenthaler, Mitchell, DeKooning. Cubism was a powerful force on my creative mind as well as other “modern” developments from Braque, Leger, Mondrian, Kandinsky, Delaunay, Davis.


Jason: As an artist of many mediums can you explain to us your technique? Your painting is so refined’ the tiniest of objects are rendered so perfectly. How do you start a painting?


Oliver: Generally the process begins loose, allowing me to explore gestural mark making in a way that is not connected to finished result, as elements are painted over again and again. As the composition develops intuitively, form suggests itself to me and I follow. Painting is like chess, each move is informed by the previous, and opens a new range of possibilities. I stay open throughout the process so that the “story” of the painting can be revealed to me.




Jason: When and where do you decide to end? Is there a method to your madness?


Oliver: My first painting mentor Frank Hewitt once told me, “it takes two people to make a painting…one to do the painting and the other to hit him over the head with a hammer when it is finished.” 


Jason: Your work is so highly imaginative and evolved thematically. Is the mythology in your work something that was with you as a child? And how has this technique developed over the years?


Oliver: I give George Lucas credit for implanting mythology into my childhood mind through Star Wars, which later led me into a deep personal study of the eastern wisdom tradition.


Jason: Do you see your work drastically changing in the future, and is it important to your progression as an artist to constantly evolve?


Oliver: If the work is not evolving then it is dead. I’m interested in what breakthroughs lie ahead…this is what motivates me.


Jason: What do you find to be the greatest challenges of being an artist?


Oliver: There is an atmosphere of seclusion that naturally comes with a being a studio artist. My intense desire for progress keeps me focused, but over the years I’ve found myself losing a bit of the well-roundedness that was with me before painting devoured all my time. I find it a great challenge to pull myself away from the work, to take time off, to give my creative mind some resting space.




Jason: If you were not an artist what would be your chosen profession or better yet what could you picture yourself doing if art was not an option for you?


Oliver: As I was applying to art schools, Architecture was competing with painting as a path worthy of taking. If art wasn’t an option, or architecture, then I would be a massage therapist.


Jason: When you are not painting what do you enjoy doing?
 

Oliver: Making love, playing at the beach, yoga, and epic back-country adventures.


Jason: What do you want people to walk away with after looking at your paintings? Does it matter to you? And do you think of the audience when you are producing a piece?


Oliver: If one has something in their mind opened from looking at one of my paintings, I’m happy. If their mind is blown, even better. I want people to experience a new kind of seeing.. I want to shake up their normal modes of perception. I do think of the audience sometimes, but the best moves are made when the audience is not in mind.




Jason: For those unfamiliar with your work how would you best describe it?


Oliver: I try to avoid descriptions as much as possible, because descriptions detract from the mystery, which is a key strength to what painting has to offer. There is certainly a fusion happening, a symphonic blend of many different types of painting languages and techniques. There is an ongoing examination of space, of how different planes and dimensions of space coexist and interrelate.


Jason: And if you had to describe your work in three words or less…?


Oliver: Bold, Provocative, Complex


Jason: With your series of paintings such as “Blue Swirl” or “Subway Translation”, how do you go about naming a particular piece, are the paintings based around a concept or the concept based on the paintings? Which originates first?


Oliver: I keep lists of possible titles, and then when the works are near finished I will find the right match. I like titles which are a little ambiguous and have a range of possible readings. Sometimes the titles are merely reference titles, as in Blue Swirl and Subway Translation, where there is no intention of using the title to be be a springboard for thoughts or contemplations about the work. Other times a title can be a trigger to open a new angle of perceiving the image.




Jason: What is your philosophy as an artist?


Oliver: To express purely with honesty.


Jason: What type of atmosphere do you like to paint in, is there a specific setting, time of day, music etc.. That is essential to your creative process? And what is it that motivates you to stay focused while working in a piece?


Oliver: I spend time making the studio as beautiful as possible. The atmosphere in a room affects the state-of-mind which affects the work. Typically my sessions take place morning, noon, and night. Each time of day, or each type of music, has a different vibe and offers a unique psychological space which directly affects the work that comes out.

Sego Y Ovbal

Jason: Tell us about yourself. What is your lifestyle/background? Where are you from?
“CUENTANOS UN POCO DE TI. QUE STILO DE VIDA TIENES? DE DONDE ERES?”

 

Sego y Ovbal: Before we get started, thank you for the interview. Currently I consider my lifestyle to be tranquil, I try to consistently create street art and produce illustrations. At the moment I’m looking forward to finishing school soon. The rest of my time I spend with family and friends. Traveling is important to me although I don’t do it as much as I’d like to. My favorite relax spot is the beach because I surf but I truly enjoy any environment that is natural. In the city of Mexico where I was born, there are plenty of places to go and things to do like exhibitions, cultural events and concerts, archeological sites and museums etc. Which I try to attend when the opportunities present them selves. My next big step is adding a dog to my family, I’m very excited about it. I also do sports, not as often now as I use to do it in the past anymore because of my time limitations. I’m now very involved with music which has become very important to me, it inspires me, I currently listen to a wide range of styles from Dub to minimal techno, among others.

 

Jason: Your name is an interesting name, how did you come up with it and does it have a specific meaning? “Tu nombre en intereseante, como lo inventastes y tiene algun especifico significado ?”

 

My name is derived from my last name, Segovia, which has it’s roots in Spain, there is actually a city called Segovia there. So Sego became an easier way to write my signature . Plus, I choose to sign my art this way because I like how it sounds. My grandfather, Fellecido Segovia, nickname was Sego. Both my grandfather and father played proffecional soccer for the Mexican league.

 

Jason: How do you define yourself? A Street , Graffiti, Urban artist?
“Como te definas en el mundo de arte? Consideras tu arte urbana, graffiti, o arte de calle?”

 

I actually get asked this question a lot. I started out as a graffiti (letters) artist which is why I consider myself under this category. Some of my art does not seem to fit but they all originate out of my graffiti style. I allow myself to be taken by what I am passionate about and I find great satisfaction in my work. Some people have told me that my work has a different vive or feel to it. But I’m not concerned with labels. I’ve been congratulated and complimented from people who are renowned for their art in New York (80′s art) and from other parts of the world. But at the end of the day, I simply try to do what I love and enjoy to the best of my abilities.

Jason: Has the current political climate affected the subject matter of your work or the way in which you approach it?
“Tu considerias que el clima politico de nuestros dias a tenido afecto en tu trabajo de arte? y en la manera que perceives el mundo de arte?”

No, in my city there is a lot of inconsistencies when it comes to political issues and how our government officials do their jobs. I have my own personal opinion over it, but we all hear “enough” about political dramas. This is why I choose not to include them in my murals. In general I think people are fed up with politics and for that reason I leave it out of my work.

Jason: As someone who communicates through a great use of symbols in your work, can you tell me a little about the ones that mean the most to you and why you use them in your art?
“Es obio que tu arte communica mucho con uso de symbolos, nos podrias decir un poco de los symbolos que tienenmas significancia para ti y como lo incorporas en tu arte, y porque?”

 

I think as a community we have been through difficult situations because of the lack of spirituality which I belief has led to the inconsideration towards our environment and to our lack of consciousness when it comes to contaminations to our environment and everything related to it. Like the inappropriate use of water. In my work I use symbols like the tree of life and the third eye which are universal symbols. For me the third eye represents a different way of perceiving the environment surrounding me; almost like a different state of consciousness. Similarly the tree of life represents the balance we should have with nature, to me it represents the roads to oneness with God.

Jason: Give us a little history on how and when you got into street art? Where you artistically inclined as a child?
“Danos un poco de istoria en tu pasado y como fuiste introducido a arte de calle? De nino tenias inclinaciones a arte, de pequeno ensenastes un interes en arte?”

 

I recall that as a child I use to draw at a very young age and enjoyed play-do. Adults use to be attracted to my art even as a child. At school I participated in the art competitions usually taking home first or second place. Often I became that friend who the kids would come to for illustration help in their homework assignments.

What became critical to my graffiti was living in the cost of Oaxaca, a state in my country with great vegetation, very tropical and lots of exotic reptiles, insects, birds and fishes. I lived there for approximately two years because my father’s job transferred us there. Since I was a city boy, this move changed my perspective and my passion for nature was nurtured. The environment was so completely different than the city and I subconsciously took in a lot, which is now expressed in my art and partnered with new ideas to create my current work. My first exposure to graffiti was in the city of Mexico, people were tagging on walls which created an impulse inside of me to try and do it myself. I had no idea at the time that Graffiti was becoming widespread in other parts of the world. Since I didn’t have the influence of other artist I created what is now MY OWN style of graffiti.

 

Jason: Do you have any formal education in art or are you self taught?
“As tomado classes o ido a la escuela para arte? Como aprendiste tu estilo?”

I’ve never taken any classes; I try to learn from practicing and perfecting it. No formal education when it comes to art.

 

Jason: You’re particularly renowned for your incredible blend of color prowess. What have been your greatest influences in this arena and how did you hone your technique over the years?
“Tu eres conosido por la manera enque conbinas colores. Cuales an sido las influencias en esta area de tu trabajo, y como as perfectionado tu trabajo, y como a cambiado tu technic con el tiempo?”

When it comes to color blending I don’t know if I can point out a single individual who influenced this area of my work. In Mexico we are a very colorful people, in all aspects lol. Also, the colors of nature are very lively. But the way I paint is contrary to the way I use color for other things like my clothes, I tend to lean toward neutral and bland colors when it comes to clothes and other things. My technique has changed in accordance to my needs to pain different things, details, transparencies and textures, etc. A lot of it has to do with experimenting. What was important was being able to have access the Grafitti sprays and paints, since in Mexico it was not easy to find imports of good quality; once we had access to quality pain the possibilities for our art expanded, in regards to colors quality and pigment. The caps also freed us to more possibilities which we did not have before.

Jason: What is your approach to color?
“Como te relationas con colores y la manera en que lo usas?”

It has a lot to do with the way I’m feeling, also with the subject that I’ve chosen for the mural and the intentions I’m trying to get across; the vive and feelings I want to transmit through the colors that result in the totality of the work.

 

Jason: Before you start a piece, do you have a detailed sketch and are you fully prepared with color concepts? is there room for spontaneity as you go along?
“Antes de comensar un trabajo, tienes una idea oh un dibujo ya echo con los colores que bas a usar ya escojidos? Cuanto de tu arte esta echa en el momento y cuanto es pre-planeado?”

 

For the last couple of years I’ve been bringing pre-planned designs before starting a job, some of these can be very simple and only for the purpose of structure or it can be a very elaborately planned sketch, depending on the situation. Before I use to do a lot more improvising in regards to composition of the piece and colors; Now I’m at a different stage where I get great satisfaction watching a plan or sketch turn into art. In retrospect I think my style of putting art together is a positive one, there was an incident where I fractured my head, even though I’m not completely sure why but this traumatic event changed the way I do and relate to things.

Jason: How long does it take you to produce a piece?
“Cuanto tiempo te toma para completar un trabajo?”

It varies with each piece. I have jobs that require 5 to 6 hours and others that take up to twelve hours. And yet others that take three consecutive working days. It varies depending on where the piece is located, the intentions behind it and the time available to actually finalize a project.

 

Jason: Who or what are your greatest influences? Any artists from the past that may have influenced your work?
“Quien o que a sido tu mayor influencia en arte? Algun artista del pasado que a influenciado tu trabajo?”

It’s more like inspiration. In a matter of a moment Seher and I became creative. He had the idea that we should take objects to honor Salvador Dali’s work. I thought this was a great idea. We would do something inspired by his work, yet it would have an original aspect and feel to it. The distinction between having an influence and stealing ideas is a very delicate line in our time among artists. Currently , you can find a reference to everything, so it’s very probable that artist come to similar ideas without knowing of each other, or that there are artists out there who have overlapping work. 

The very nature of man, in relation to creation leads us to arrive at similar conclusions. I believe a lot of catalysts interplay with the integrity, honesty, ethics and personality with which each artist creates their work. Ranging from lifestyle to access of information an artist has access to. In 2007 I visited the museum of Louvre in Paris and I came across Archimboldo’s work (Italian painter, 1500) which left me dumbfounded. His work was impressive. Unconsciously I believe experiences like this stay on an artists mind and expand’s the ability and direction of the artist. Even if there is no intention.

 

Jason: if you could paint with anyone in the world, who would it be and why?
“Si pudieras pintar con cualquier persona en el mundo, quien seria y porque?”

I would love to do a graffiti piece with Popay, the French graffiti artist. And artist from the past, it would be with Archimboldo and Remedios Varo, among others even thought they were not graffiti artist.

Jason: As a Graffiti / street artist and painter, Is there a difference between these labels in your opinion?
“Como un artista de Graffiti, arte callejera y pintor, piensas que ay differencias en esas maneras de espresar arte?”

Of course, the differences are in the technique, the material and the intention of the art. This depends on the artists, some have what they consider their style and never diverge from it, while others have a road of exploration, from technique to conceptual ideas..

 

Jason: What do you think of the current “Street Art” movement in Mexico ?
“Que piensas de el movimiento de arte de calle que esta ocuriendo ahora en Mejico?”

I think Mexico city has many new graffiti artists who are growing in numbers, and others well established experienced artists as well. And of course those who tag for other reasons that have nothing to do with creating art. Mexico, in relation to other larger cities, has a very short Graffiti history but this does not mean that we are behind.

 

Jason: How do you feel about graffiti as a culture? Graffiti in the mainstream?
“Cual es tu opinion de graffiti como cultura? Y graffiti asiendoce popular en las comunidaded?”

For me, to discover graffiti and it’s technics opened my horizons to creating larger scale art, being able to create faster and outdoors on the street. I believe that graffiti has taken our culture and it’s art to new extremes. And for that very reason, graffiti artists are becoming renowned for their contributions.

Jason: How has graffiti, or art in general effected how you live & think?
“Como Graffiti (oh arte en general) ah afectado la manera que vives y piensas?”
 

It has become one of my priorities and lifestyles. It has a large effect in my personal life, most of my friends I met while I was becoming involved in graffiti or in related events. It also affects my emotional state, as an outlet, If I go a while without creating I start to feel bad. I’ve also learned to be more patient. Overall, practicing graffiti gives me a lot of personal satisfaction and at the same time challenges me to better myself.

Jason: if you weren’t an artist, what would you be doing?
“Si no serias un artista, que arias con tu vida?”

I had often given a lot of thought to going back to school for archeology, veterinary work or biology. A year ago I was into producing electronic music, techno and other music to that degree. And of course goalie for  professional soccer.

 

Jason: How long have you been painting graffiti?
“Cuanto tiempo as estado pintando con graffiti?”

This year, It will be nine years.

Jason: What would you like to communicate as an artist to people when they see your work?
“Que estas tratando de comunicar/expresar a la jente cuando ellos ben tu trabajo?”

My message is flexible, free to interpretation, I have a lot of ideas that I portray, but not all are understood or taken in by the observer. I don’t have a single message for my paintings, that would be too boring.

 

Jason: I see that you collaborate with a number of artists, do the people you paint with have any impression on your style of artwork?
“Nos emos dado cuenta que tu collaboras con un buen numero de artistas, que opiniones tienen ellos de tu arte?”

I don’t know, you would have to ask them (LOL). Well they must like it, and they’re my friends, so it makes it easier to collaborate. We usually improvise on our styles together, and this adds a little magic to the final product. If we are doing a mural we’ll discuss basic structuring and can go from there to finalize it without talking any further. There is an unspoken understanding of creating with others, that I never feel when I paint alone.

 

Jason: How has American styles in graffiti impacted your concepts?
“Como el estilo Americano de graffiti a tenido impacto en tu consepto de arte y graffiti?”

Well the origin of graffiti was in the U.S, I consider my work drastically different than the styles in the U.S. However, I have great respect, and have friends who are influenced by the American graffiti style.

 

Jason: As a street artist in Mexico what are some of your greatest challenges or obstacles you face when making your art?
“Como un artista de calle en Mejico cuales dirias son tus obstaculos mayors y problemas que tienes que confrontar cuando ases tu arte?”

The lack of knowledge of graffiti by the policeman and by the majority of people. For example when I am painting a mural with the permission of the owner of the place, the policeman thinks that I am painting illegally. They don’t have a lot of common sense, why would I be painting so calmly and with so much paint (LOL). Not all the cops are like that, you do have some that will ask if you have a permit to paint. On occasions, I loose a lot of time explaining to the judge the facts of the matter. Fortunately it’s been a while since I’ve been taken to the police station. I paint illegally in abandoned locations or where I know nobody’s property will be damaged.

 

Jason: When you are not painting, what do you enjoy doing?
“Cuando no estas pintando que te gusta aser, algunas otra pasiones?”

Music is very important to me, a couple of years ago I was producing electronic music with software, groove box, sampler. That required a lot of production time. Now, I only play music in parties or for my friends.

 

Jason: On a more personal note, Do you have any crazy or funny stories about your experiences as an artist?
“En una nota mas personal, tienes alguna istoria graciosa o increible que te ah pasado en arte que podrias compartir con nosotros?”

A lot of people don’t know that I have two signatures, Sego and Ovbal, they belief that it’s two different people, some have even said that we are cousins or brothers (LOL). I’ve been asked before, where is Sego, your cousin? Or where is your Brother Ovbal? I like having to facades, each one allows me to develop in different creative aspects.

 

Jason: What is your life long goal for your artistic career?
“En que direction quieres llebar tu arte, cual el to gol para el future de tu arte?”

 

I have several things in mind. But I don’t want to get ahead of myself, things 

still need to progress and mature to different stages on their own. One of the things I’ve learned is to listen to my intuition. But I intend to take “Ovbal” tag a lot farther, bigger plans (huge) directed to architecture. With the “Sego” tag I’m creating a series called The Dream Guardians, soon I want to make samples of my illustrations which are duplicates of my murals. Maybe even have a store of spray paints where I can also exhibit art of various graffiti artists and to have more opportunities for projects. And ofcourse continue where I started, being a street artist.

 

Jason: And what’s new for the upcoming future, what will we see from you this year? Any gallery shows or upcoming projects?
“Que estas sacando Nuevo, que deveriamos de esperar de tu arte este ano? Tienes algun projecto o display de galerias?”

This year and the year before I’ve dedicated myself to painting things that are different from what I’ve done in the past. Now I’m taking things and fusing them with new ideas, to give a new vision of my work. I’m going back to the things I really liked from previous years and taking that project and converting it into something completely new. The characters that look like insects have returned to my work.  And the Dream Guardians Are in their third year but are being reinvented with clearer new ideas. In Mexico, I’ve received a lot of proposals for locations to exhibit my art. But I have yet to find the perfect fit. I do, however, keep in mind doing an individual exhibition “Sego & Ovbal” whether it is here or in another country.