Today we finally caught up with the incredibly hard-working LA-based artist and toy maker Luke Chueh. Come on behind-the-figure with us....
Q: Hi Luke, thanks for being here. As a way to get a feel for your background - what was it like growing up and how did it influence your creativity?
A: My family moved (from Philadelphia) to Fresno, California, where I spent the first 18 years of my life. Fresno's impact was significant. Growing up in a small conservative town taught me a lot of hard life lessons. And when it came to things like art and alternative culture, my friends and I had to really seek it out. This hunt made those things I eventually discovered deeply personal and important.
Q: That's evident. Your characters also have a sense of solemnity, of longing. There always seems to be something about the inner-self attached. How biographical are your ideas as translated through these imaginary creatures?
A: I like to see my characters as metaphors for myself, and so my paintings are very personal. I think that's why my audience empathizes with the narrative. I like to think there's a sincerity that my audience can feel in my work, and people who've "been there", get it.
Q: Can you remember when your work was first published, where it was and how you felt to be in the eyes of the public in that way?
A: The first time I think my personal work was published was in a magazine called "Book LA". It was the first time I had be featured in a magazine, and that feeling made me feel like I am one step closer to recognition. My biggest publishing experience was when I did the album cover for Fall Out Boy's Folie a Deux. By then I can't say I noticed a significant change in my career, but I still get people coming up to my asking me about it, which is always nice.
Q: Keith Haring, Jeff Koons and many other pop artists have had their work reproduced into so many utilitarian products for umpteen uses. Your work has been produced in many ways, I recently saw some very cool t-shirts online where there is a bunny protectile vomiting a rainbow. Can you talk about these commercial variations of how your work has been used until now and any thoughts on what you'd like to do in the future?
A: With the passing of the industrial revolution, and the maturation of the Information Age, a world of possibilities have opened up to the artist. My goal as an American artist is to get my work in front of as large of an audience as I can, and if possible, make some money while I'm at it.
The shirts you speak of were produced my the company Nuvango. They are a Canada based print house, they started off with making phone and laptop skins, and I truly feel that they have the artists best interest in mind. Personally, I'm not the biggest fan of the all over print t-shirt, but when they mocked some up with my artwork, I thought the end result was neat. Ideally, I want to create imagery that is designed for t-shirts, rather than re appropriate paintings into shirt designs, but I don't think Edvard Munch ever dreamed of his "Scream" being turned into an inflatable sculpture either. Anyways, I'm currently working with an investor on establishing an apparel line, so we'll see how it goes.
Q: With fellow graphic artists like Shepard Fairey or KAWS having museum retrospectives, etc. do you consider yourself a fine artist? Or is it all relative?
A: I think it's relative. To compare myself to the past greats contradicts the entire idea of CONTEMPORARY art. If Shepard Fairey or KAWS fixated on Warhol or Lichtenstein, they wouldn't be who they are. I guess you're asking if I think I'll ever get to that point… Well, if I didn't think I could, I wouldn't create art for gallery or museum shows.
Q: You have become known for the balance of "cute and brute"? Is that a masculine/feminine definition...what does it mean and come from?
A: I guess masculine/feminine is a way of interpreting it. When I coined it, I was trying to describe the way I play with opposing elements, darkness and light, softness and hardness, and if you want, masculinity and femininity.
Q: Your recent Kickstarter campaign was quite a success, did you double your goal? What might we expect?
A: The Kickstarter campaign was designed by the good folks at Clutter. As for the results, I know we hit most of our stretch goals, which means I'm going to be busy embellishing and signing prints, personally painting a couple heads, and making sure all our obligations are covered.
Q: Can you talk about one of those super proud (and perhaps one of your most embarassing) in your creative life?
A: For my proudest moment, it would probably be the opening reception for my 2007 show "Paintings of Hope and Hopelessness". It was the first show I had that sold out during the opening reception, and my family were at the reception. My most embarrassing moment was for another 2007 show, "My Funny Little Tragedy". The show was down in Palm Springs, and I showed up super late with the artwork. On top of that I was still working on two paintings in the back of the gallery, I felt terribly humiliated, and after that I became very conscious of my time management.
Q: It definitely takes an awakening like that sometimes, thanks for sharing that story.
Copycatism. OK, in the art world there has been much appropriation which exploded in the 80's. Perhaps it started much earlier with Marcel Duchamp, and perfected by Warhol. With digital technology, 3D printing, smart phones and social networking we all have greater access to almost anything in moments. What do you think of people who steal ideas and make them their own, but use your images as the base for their own creation?
A: I think when you consider "conceptual", "abstract" or "contemporary" art, the "concept" is the backbone of the artwork. That means if an another artist catches wind of your idea and belts it out before you do, then the originator of said idea is screwed. Considering the genre of art my work is associated with, we see less and less of that kind of conniving back stabbery. The reason being that a lot of our work is built around signature styles. This coupled with distribution over the Internet, it becomes easy for artists to stake their claim on their personal style. I've had many fans reach out to me to inform me of "biters" (artists who blatantly steal, or recreate my work without permission), and before I could do anything about it, those fans will flame the thieves till they are forced to back down with their tail between their legs.
Q: If you had unlimited access and finance to create a dream project what might it be....can you give us a mental sketch?
A: There are so many different projects I'd want to do if money wasn't an issue. The first thing that comes to mind is large installation shows (that incorporate sculpture, animation, and sound). Large sculptural projects like the shows they do at Hong Kong's Time Square would be something I'd love to do too. I'd use the opportunity to explore styles and ideas I usually shy away from due to time and size constraints.
Q: What is upcoming for you?
A: 2015/2016 have proven to be incredibly busy years for me. This September I'm participating in a mural show hosted by Inner State Gallery in Detroit. I've never done a mural before, so I believe this going to be super exciting (and nerve racking).
In October I've got a show at Wrong Gallery Taipei. It's going to be a different kind of show for me cause I'm collaborating with sculptor Jesse Yu. The basic idea we are exploring for this show is a relationship between a girl and her friend (who happens to be a monster). We originally wanted to compile the artwork into a book, complete with a children's book style narrative but unfortunately we ran out of time. Hopefully we can do something with the artwork afterwards. We are also producing a 4ft sculpture of the bear in my painting "It Takes More Than A Jumpsuit", and I imagine we'll also make a smaller 7" - 8" vinyl version of it too.
Mighty Jaxx is releasing a ceramic edition of a bust based on my "Bat Bear". That should be released towards the end of the year. Munky King (see "Bitch" colorways above) is will be expanding on our Headspace series with additional head designs while also developing my next figure "The Prisoner".
In 2016 Inner State Gallery will be hosting my next solo show in March, followed with a solo show at Secret Fresh (Manilla) in October. There's a couple other projects I've got going with various companies, but we can discuss those as they get closer to the point of fruition.
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GOFN's previous reviews of Chueh's work: Target + Hung/Bitch