Speaking with Dirty Laundry, illustrator Colin Johnson explores his ubiquitous theme of man’s effort to conquer nature. His at-times chaotic, but always revealing, works range from collages to illustrations and tend to depict humanity’s own clever self-destruction. In addition to his muses, the MICA alumnus discusses his secret skills and hopes as an artist.
Cycles #2, 5 x 7in, Mixed Media on Paper, 2011
What was your experience like at MICA and how did it help you get to where you are today?
The experience of being an art student, in an environment where all of the students and teachers are artists, was great. Immersion in that type of world as an impressionable student gave me access to a rich art history and an introduction to many artists and art styles that still hold influence over me to this day. Being able to see how many of my teachers – who were/are professional artists – set up their businesses was a great help in terms of starting my own professional career.
We really live contrary to nature and destroy or pillage most of the world’s natural resources without an understanding (or even a care) of how or why we should be replenishing these resources.
What’s your process like? How do you get to the finished product?
On my own personal paintings and illustrations for clients I always start with a sketch idea(s). Once the sketch concept and composition has been worked out to my satisfaction, and approved by the client, I paint a background. I then use tracing paper to transfer the sketch idea onto the newly painted background. After that, I work on the painting/collage until I have achieved a final piece of artwork.
Where does your imagery source from, and what draws you to it?
Too many influences to really list here. However, in terms of my collage work, I’ve always been drawn to older source material. I’m not going to divulge all of my sources here but there’s something about older collage materials, which are cooler than anything modern. Plus, it’s helpful to draw from older sources to hopefully avoid any potential copyright entanglements.
Inferno
6 x 10in
Mixed Media on Board
2013
Tell us about the theme of human versus nature in your work.
I feel that the world we live in is always one of humans versus nature. We really live contrary to nature and destroy or pillage most of the world’s natural resources without an understanding (or even a care) of how or why we should be replenishing these resources. My fear of what we are doing to this planet now and for future generations is a constant metaphorical theme that I explore in my personal work. Most of the time, humanity wins in the artwork I create, much to the detriment of nature. So in a sense my work is a small warning/cry in the dark about the path we’re on. I’m troubled by the fact that I’m as much a part of the problem as anyone else and I don’t claim to have a solution, just that a change is necessary for our ultimate survival.
What do you think your collages say about you as a person?
Well, I think the most obvious thing is the complexity of the work, which speaks to my meticulous nature. It probably borders on some kind of Obsessive Compulsive Disorder, but it also makes the work ultimately worth looking at. I admire works that have immense amounts of detail and demonstrate great craftsmanship, and I strive for the same thing in my own work.
Are you ever satisfied with what you make?
Yes, sometimes I am. But there are also at least several sections of any given piece that always bother me. I’m never comfortable with my work for too long. I always feel that I can do better and that my best work is still yet to come…
It probably borders on some kind of Obsessive Compulsive Disorder, but it also makes the work ultimately worth looking at.
Everything and Nothing, 8 x 10in, Mixed Media on Wood, 2011
What kind of feedback do you get in response to your work? Has any of it ever surprised you?
Off the top of my head I can’t remember if any of it has ever surprised me. Many people look at my collage work and tell me I’m crazy. I had one person visit my studio, look at my collages, and tell me I was a “freak.” He meant it in a good way, I think, so I took it as a compliment.
On days you don’t feel motivated, how do you push through and continue to work?
Really, it’s pretty simple, I have to pay the bills so I have to work. If I’m on a deadline for a client I don’t really have a choice. It’s not good for your professional reputation if you don’t meet the deadlines. Plus, not completing the work means you don’t get paid and you just can’t let that happen. Fear of having my utilities turned off for failure to pay my bills is a great motivator. But really, it doesn’t take much for me to get motivated because most of this work is pretty fun to do; and it’s always cool to hunt for neat old collage elements.
Imp
4 x 4.75in
Mixed Media on Paper
2009
What are the biggest roadblocks as an artist?
My biggest roadblock these days is time. I always wish I had more of it. I’m sure everyone does. I’ve got too many personal projects going on in my studio currently and not enough time to finish them all. Story of my life!
What’s something every artist needs to discover for themselves?
The development of personal messages in your work, plus personal style. These two things can take years for an artist to develop. Sometimes an artist will go through many styles and it can take years to shake off the influence of other artists. Other artists develop early. For me it took me literally years to develop a style and message that I’m comfortable to call my own.
What’s the best thing that has happened to you to-date?
Career wise, I would say the licensing of my artwork. As an artist you can only create so much work by hand each year. So getting into the art licensing business has really helped to relieve some of the load of having to create huge amounts of original artwork and helped greatly to supplement my income. Thus far, I’ve had: bags, prints, purses, puzzles, technology skins, and coming soon…pocket and wall-sized calendars made of my work.
Illustration for Smithsonian Magazine
The development of personal messages in your work, plus personal style. These two things can take years for an artist to develop. Sometimes an artist will go through many styles and it can take years to shake off the influence of other artists.
I know you love movies and film. What are your top 10?
Dammit!! This is so hard! And exactly why I never do a top 10 list. OK, this list may change tomorrow. Hell, this list might be different an hour from now, but here’s what I’ve got right at this very moment (in no specific order):
1. Blade Runner (The Final Cut), 1982/2007, Ridley Scott
2. Sunset Boulevard, 1950, Billy Wilder
3. Repo Man, 1984, Alex Cox
4. The Last Emperor, 1987, Bernardo Bertolucci
5. Raising Arizona, 1987, the Coen brothers
6. Ed Wood, 1994, Tim Burton
7. Close Encounters of the Third Kind, 1977, Steven Spielberg
8. Black Orpheus, 1958, Marcel Camus
9. Slap Shot, 1977, George Roy Hill
10. To Kill a Mockingbird, 1962, Robert Mulligan
What’s your greatest non art-related skill?
I’m pretty good at doing laundry. Actually, since I attend a lot of garage sales, estate sales, etc., to look for collage materials, I’ve also become pretty good at picking out valuable toys and other collectibles for resale if I manage to find them for a cheap enough price. Though some of the vintage toys I find I end up keeping for my own collection.
If you could throw a dinner party for any six people in the world (dead or alive), who would you invite and why?
Wow, that’s hard. I really had to give this one a lot of thought. I would say Orson Welles because I’ve always heard that he was a great storyteller and he was a genius. It would be great to hear stories of old Hollywood from someone who was shut out of the business in order to get a different take that hadn’t been heard before. David Byrne because I’ve always been a Talking Heads fan and have been fascinated with him as a person and an artist for as long as I can remember. Nicola Telsla because he did things as a scientist that still baffle many scientists today. It would be amazing to pick his brain and possibly learn a few secrets. Benjamin Franklin and Leonardo da Vinci because it would just be cool to see a discussion between the two of them about inventions, technology, art, philosophy, the list goes on and on. And lastly, Annie Oakley and Buffalo Bill Cody, both of whom I’m sure had many amazing stories about the old West. Plus, they might even provide some kind of amazing shooting demonstration or some other amazing old West feat or skill. And yes, I know that’s seven people. Sorry for adding one more!
Any last words?
Just to urge people to support their local artists who are small business people, can create something amazing and unique that you can’t find at Target or WalMart, and generally don’t make great amounts of money or have the luxury of ideal healthcare benefits.
Duality
5 x 7in
Mixed Media on Paper
2009
Big Numbers, Heart & Teeth, 8 x 10in, Mixed Media on Wood, 2011
The Golding Time, 8 x 8in, Mixed Media on Board, 2013