Camilla d’Errico has something for you: graphic novels, how-to creative books, coloring books, paintings, prints, and so much more. Welcome to the world of Camilla d’Errico! If you’re into manga, Pop Surrealism, or even classic Italian painting, this artist is for you! You can call her a commercial artist or a fine artist. She’s definitely both. In this interview, we explore as much as possible in a brief video format. I offer up a new buzzword in Pop Surrealism, the idea that we’re living in the era of the Anthropocene, a time when us humans are dominating over the climate and the environment. Hope you like this short and sweet interview. Just click above.
Camilla d’Errico at ECCC 2019
If you’re heading out to Emerald City Comic Con, March 14-17, be sure to visit Camilla d’Errico on the main Exhibitor Floor at Booth 108!
In the Studio.
As I say, there is so much to love from the world of Camilla d’Errico, which includes melting rainbows, fuzzbutts, and albino rhinos! Be sure to keep with her in 2019. She has a new book out and new gallery art show!
POP MANGA DRAWING
POP MANGA DRAWING is a new how-to book detailing how to draw in the d’Errico style with pencils, available July 2nd from Watson-Guptill.
ZODIAC is a new art show at Haven Gallery in New York that will run from May 11 thru June 16, 2019.
Femina & Fauna, by Camilla d’Errico, published by Dark Horse Comics
Camilla d’Errico has been making waves in the fine art and comic industries with her manga-influenced style. Ever the prolific artist, d’Errico is an urban contemporary painter, illustrator, designer, character creator, and comic artist residing in Vancouver, Canada. Nominated for both Eisner and Joe Shuster Awards, she has worked with Random House, Dark Horse Comics, Image Comics, and Tokyopop. Her creator-owned properties include the graphic novel BURN and SKY PIRATES OF NEO TERRA. TANPOPO, d’Errico’s passion project, has been embraced by fans and independent comics collectors for its highly original combination of classic poetry and literature blended with her unique “West Meets East” drawing style. She has collaborated with Neil Gaiman, Sanrio, Disney and Mattel. d’Errico has distinguished herself through her ability to seamlessly weave manga and western comic art, creating a unique style that bridges cultural and geographical boundaries, while remaining totally relevant to today’s varied audience.
A tattoo artist deals with people’s desires and dreams. So do bartenders and cab drivers and let’s not forget therapists, agents, and attorneys and all manner of other good souls servicing a wide spectrum of humanity. People have needs, wishes, and frustrations. People seek answers, release, and resolution. Often they seek out the tattoo artist for more than any form of body art could ever fully satisfy. The seeker and the tattoo artist, in unspoken agreement, realize this and still they meet and arrange together a new portal toward that most elusive of goals, pure happiness. It’s at an event like the Seattle Tattoo Expo, held this last weekend at the Seattle Center, where all that unspoken energy comes to the fore and gains finer articulation by the very fact there is so much of it gathered in one spot.
If I were to compare a tattoo convention with a comics convention, I’d say there is a certain amount of a fish-out-of-water sensation that both vendors must contend with. You’re not at your home base anymore whether it’s a tattoo parlor or a comics shop. And both of those environments have their own special vibes that are not going to be totally recreated on a convention floor. What you get instead is the next best thing. That is what you get from this tattoo expo, the next best thing to actually being at the parlor. The Seattle Tattoo Expo was created by world famous tattoo artist Damon Conklin. His shop, Super Genius, leads the way in hospitality at the expo. Tattoos are a very personal thing but Damon Conklin and his crew of talented tattoo artists will break the ice. I got to chat a bit with Colin, who is an apprentice at Super Genius, and he was very friendly and in the moment which is great since, truth be told, tattoos are a personal thing.
What’s great about being at the expo is the opportunity to immerse yourself in the tattoo culture. You can walk in with your whole body tatted up or with no tattoo and it’s all good. But you can feel that special bond that is shared by those that are fully into tats. It can’t be made up. Either you’re really into tattoos and show them off proudly or you’re not–or you fall somewhere in between. If you’ve long admired tattoos but only from a distance, then actually coming down to the expo could be very rewarding. There’s a benefit for everyone, for those who are new to the scene as well as for all the attendees who have years of experience.
Many people aren’t going to ponder over the mysterious world of tattoos. A fair amount of people are just going to dive in and get one. That would be a mistake. That’s where bad tattoos come from. It’s a fevered form of thinking when all those impulses suddenly rise to the surface and you act way before you’ve fully thought it through. Did you really mean to get a star tattoo? Well, nothing wrong with that but is that really what you meant to do? That particular star, on that particular place, instead of stepping back, maybe concluding that this could wait? All is not lost. These days, tattoo removal is within reach. In fact, there was a tattoo removal booth at the expo. It’s not a perfect process. Mistakes will be made along the way but it’s sure nice when you can avoid them. But mistakes are human and there are plenty of humans. It just makes those who get it right look that much better.
What does it take to get it right? You get to see a lot of that at the expo. Whatever it is you are seeking, it doesn’t matter if it’s a tattoo or going to college or whatever your goal, you will find that you need to take the time to get it right.
“In the Land of Retinal Delights,” oil on canvas, 1968, by Robert Williams
ROBERT WILLIAMS MR. BITCHIN’ is now available on DVD and VOD. It is a unique documentary, distributed by Cinema Libre Studio, on Robert Williams, a significant artist that has done a lot to usher in the zeitgeist as the leader of the Lowbrow art, or Pop Surrealism, movement.
We take for granted today the mash-up of high and low culture. It is considered common knowledge that we do this mashing up. Everything is oh so “mashable.” Media empires rely upon it. How cute and comforting it all may sound now but there was a time when the lines between the art world establishment and the outsider were far more clearly drawn. Never mind the myth of such bad boy artists as Jackson Pollock or even Andy Warhol. It was the art world, taking its orders from a closely knit New York elite made up of a handful of blue chip galleries and high end art magazines that decided which bad boys, with the occasional bad girl thrown in, would go on to be crowned art royalty. It was something that artist Robert Williams could hardly not notice since, during his early career, his art was on the wrong side of the established line. As the years progressed, Mr. Williams would find the whole line not only switching in his favor but becoming blurred. This, in no small part, was due to him.
A new documentary, “Robert Williams Mr. Bitchin,” provides us insight into this process of becoming acknowledged as a professional fine artist as well as what it takes to make groundbreaking art, to really make art history. This is the highest achievement an artist can seek and that is what we see Mr. Williams set out to do and ultimately achieve. It is truly an inspiring story that clearly shows you how the mysterious art world climate can change despite itself. It is an argument that lead director Mary C. Reese and co-director/writer Nancye Ferguson are more than happy to make a case for with Mr. Williams as their prime example. And Mr. Williams, an amiable person, is quite adept at helping connect the dots to his own career.
The whole style of this documentary seems to suit its subject’s nonconformity well. It’s not a high end production, per se, and is ready to practice what it preaches as it presents a more casual shaggy dog presentation as opposed to your typical “art” documentary that can be restrained and clinical. There are no polished dramatic pauses, for instance. Design is pretty basic. But, at the same time, that is not really a problem at all. There is more of an honest blue collar approach that undercuts any need for too much in the way of heightened experience. The interviews, archival footage, and art speak for themselves quite nicely. And, where the budget allowed, you see some nice additional touches as in the multi-layered observation of the actual artwork.
You can tell that the filmmakers were going for a more familiar feel in many of the exchanges between Mr. Williams and the camera. At one point, he jokes that, as far as he understands from Werner Herzog, cinéma vérité is passé, implying he’s not so sure he wants to be followed too closely. The response behind the camera is a good-natured shrug and, “It’s Okay.” Mr. Williams shrugs back with a wink, “Okay.” In another scene, he sort of mocks concern over his interviewer’s lack of knowledge in anthropology. He is also quick to say he is more than happy to defer to his wife, Suzanne, and her expertise. This all adds up to showing Mr. Williams in a relaxed and trusting mood. We even see the couple riding unicycles.
Back to art history, the documentary does well with its facts and there are inspired moments as when we are swept away to the greener pastures of post-war Los Angeles. Everything cool, from Betty Page to hot rods, is happening out there. It was some pretty heady stuff decades ahead of its time, particularly for the East Coast establishment. This was the culture that Mr. Williams knew and loved. This is what Mr. Williams drew and painted. Along the way, he created iconic work, including naked women lounging on top of giant tacos, and inspired a new generation of artists.
We follow his career from his work with Big Daddy Roth through to his falling onto the general public’s radar with his painting, “Appetite for Destruction,” becoming the album art for the legendary rock band Guns N’ Roses. And onward to Mr. Williams’s answer to Art News and the like, his creation of the influential art magazine, Juxtapoz, and his own work being recognized by today’s art world establishment. “Robert Williams Mr. Bitchin'” proves to be the right mix of respectful tribute and irreverent fun.
Tuesday, July 30 – Screening at 7:30pm at The American Cinematheque (Egyptian Theatre, 6712 Hollywood Boulevard, Hollywood, CA 90028). Q&A to follow with Robert Williams, Suzanne Williams and filmmakers Nancye Ferguson, Stephen Nemeth, Mary C. Reese, Doug Blake, Michael LaFetra and special guests! Details: http://www.americancinemathequecalendar.com/content/robert-williams-mr-bitchin%E2%80%99-0
DVD and VOD street date – July 30th available at major retail outlets and digital platforms (Hulu, Amazon Instant and more!)
ABOUT CINEMA LIBRE: Cinema Libre Studio is a leader in distributing social-issue documentaries and features by passionate filmmakers. Headquartered in Los Angeles, the Cinema Libre team has released over one hundred films including the Sundance Audience Award‐Winning FUEL, THE END OF POVERTY?, Rachid Bouchareb’s LONDON RIVER and Oliver Stone’s SOUTH OF THE BORDER. The studio is developing John Perkins’ best‐selling memoirs, CONFESSIONS OF AN ECONOMIC HIT MAN, into a major motion picture. For more information and updates, please visit: http://www.cinemalibrestudio.com and follow on Facebook and Twitter.