The Tastemakers Society

Art and the world it exist in is a wonderfully curious and intriguing place. Now there are thousands or artist, and so many paintings I’ve seen and liked for various reasons. But there’s only a certain number of artist who I truly love their work, and if I was some type of millionaire I’d spend my money building my art collection on those artist alone. And one of those viable and amazingly talented artists is Josh Keyes. I can’t even really put together the words to describe his work but all I know is when I fist saw it I new I loved it and from that moment on I knew I’d always some how wanted to be connected to Josh Keyes’ work. It just grabs at you in that way.

Name, age, location

Josh Keyes, 38, Oakland, CA

Can you give us a little bit f history on yourself?

Born in Tacoma, WA in 1969. I grew up in a family of artists and teachers. Both of my parents taught art and continue to make art. My sister Whitney, has multiple talents in theater, music and film. I have always wanted to play the piano, but I think I need to find a larger apartment so I can fit a piano in it. And I would also have to find comfy earplugs for my girlfriend, neighbors, and my cat Zeus. I have had a strong desire to learn how to play the work of Erik Satie, and John Adams.

I received my BFA from the School of the Art Institute of Chicago, 1992. Amazing teachers there; I have to name one painting instructor who really inspired and taught me how to paint, Dan Gustin. Took for years off, parents went through a nasty divorce, made a healthy body of work and applied to graduate school. I received my MFA from Yale University in 1998. This was the most difficult time in my life, great teacher, amazing students, $30,000 in student loans. Ouch!!

I met my girlfriend Lisa (also an artist) at Yale. We drove to California after graduation and have been living in Oakland ever since, love it here.

When was the first time you drew or painted anything?

As far back as I can remember, I have always been drawing or making sculptures. My father has one of my earliest sculptures. It is a small ceramic figure of the Tin Woodsman from the Wizard of OZ. It stands only half an inch tall, and is very detailed. It must have been the surreal quality of the Tin Woodsman, odd, geometric, metallic, yet sensitive being frozen in the forest that inspired me. And it might be the reason why I sign my work with silver paint.

When did you start taking art seriously and knew that’s what you wanted to do with your life?

I knew at an early age that I wanted to be an artist of some sort. It started with a desire to create special effects for film. Film had a strong influence on my creative development when I was young. I remember coming home after seeing a film that inspired me and I would immediately gather my art materials together and recreate in miniature, an entire scene from the film. My parents said my behavior was like the scene from Close Encounters, the one where Richard Dreyfus is obsessively building the Devil’s Tower in his living room. In high school I was always making things, or painting. I became more and more fascinated with would take a trip once a month up to Seattle to check out the art shows. I remember loving the art I saw at the Rosco Lewie (now COCA gallery), and the Linda Ferris Gallery. It was during those gallery visits as a kid that I saw that you could make a living as an artist. It stuck.

How often do you paint or draw, did you do either or both today?

I try to put in at least 9 hours of painting or drawing a day. I used to work at night but now I have switched to a “normal” 9-6 schedule. At the moment, I am concentrating mostly on painting. I am planning to switch gears in a few months and create a few drawings, at the moment I am consumed with painting.

How has the journey been from the beginning of your career to were it’s at now?

It has been a rollercoaster. It can be a challenge finding a teaching position or at related job that will sustain and support your art career once you graduate school, or are lucky enough to be picked up instantly by a gallery. Having time to work on art is extremely important. It has taken me about 8 years to finally have the time, space and resources to launch my career as an artist. I have worked in movie theatres, in retail, painting murals, and teaching. Long hours with little or no time and energy to make some art at the end of the day. What kept the ideas and creativity flowing during this time was a sketchbook. I have kept a sketchbook since I was around 9 years old. It is a journal, diary, and sanctuary; working in it keeps me on the road.

I think what has helped me the most is having a website, working hard, and at one point not too long ago I made an effort to participate in as many group shows as possible. Staying focused, and continuously exploring the possibilities’ in my work continue to be the strongest foundation for my continued development and career. I have come to realize that every job, good or bad, has been a valuable learning experience.

How did you come about developing your style, I can’t even think of the proper wording to describe it?

I think of my work as a fusion of current environmental and political events, and personal life history. Sometimes I feel like a sculptor who is trapped in the mind of a painter. I tend to think of things, events or ideas symbolically, and in terms of objects. Things in my work, deer, whales, rabbits, rocks, trees, grass, buildings; are not always meant to be read, or interpreted as the things they illustrate or signify. I am interested in combining elements from the natural world that push the boundary or challenge our understanding of the natural world. The work in some way is the creation of a fantasy world that is based in reality. In the end it is a visual poetry that I am after.

Do you get nervous at your shows?

Yes! I often want to leave and go back to the studio, or I see an area of a painting that needs just another bit of detail or fine-tuning of color. In the end, it is great to meet the folks who came and it is very rewarding and interesting to hear the comments and different interpretations of the work.

From an outsider’s perspective how would you describe your art?

Most people who see my work for the first time describe it as surreal, whimsical, environmentalist, and at times tragic. To me the work reminds me of an alchemist’s toys, or some sort of bizarre science textbook illustration that appears at first glance, logical and objective but seems to be calling attention to some sort of mystery. The absurdity and minimalist quality of the work also reminds me of Samuel Beckett’s plays and short stories.

Got any favorite spots to eat in your home town?

There are a number of great restaurants in this area, but when I am working hard in the studio and need a quick bite, for me nothing beats a gyro from simply Greek on Piedmont Ave.

Totally off topic, but when was the last time you got into a fight?

It was with Lisa my girlfriend; she deleted one of my Discovery Channel shark shows without asking me. Grrrr.

Do you have a favorite color, or color you like to use a lot with your paintings?

I think I am in a blue period at the moment, but I have a feeling things are going to heat up.

What do you want people to remember about your work after they see it?

I would like them to have an emotional response to the work. I would hope that they are able to engage and connect with the subject matter and develop or invent their own personal story. Though the imagery in the work appears contained and finite like a specimen, it remains open in terms of their interpretation; they are to be worked with over time like rereading a poem.  

JoshKeyes.net