Rick (00:25):
So Louis, we know each other through an art gallery that you and I both go to and we go for an artist critique where we bring our artwork and other people provide us critiques, which is a wonderful experience for me. And it's been great to meet other artists. So I've had an opportunity to see your artwork, and get to know you. It definitely seems like you are on a trajectory, a positive trajectory of your artwork is really evolving and it's kinda escalating. tell me about that.
Luis (01:03):
You know, so before I even got the chance to meet you and go to a studio, Oh, I was in a position where I was really undermining myself and really unsure of what I wanted to do. So somebody had recommended to me that I go to one of these art critiques, at studio oh. So when I had a chance to go to be in the public eye and to hear not just good things but bad, I wouldn't say bad things, but for people to critique. So honestly, my work, it really helped me have more of a particular eye for my own work. And in doing so it, it, it's really one of the major components to why my art has evolved in such a short span of time, you know, and it's been really, really exciting. These critiques and I, I'm going to continue to go to them as well.
Rick (01:48):
Yeah. So what was going on with you that were you sort of in a stagnant situation and you were looking for something to move things forward or to stir things up? Like, where were you in creatively when you decided to go to these critiques?
Luis (02:06):
Well, that's exactly what it was. It was a rut because I found myself dipping back and forth between different types of art and different styles. I found myself manipulating my work and trying to tailor it more to the audience and what was more trendy and what people were, were, were in search of when it comes to artwork. And I just think that having been in attendance to one of these critiques, it, it just showed, I mean, and watching other people stand up in front of, in front of such a brutal audience at times too. They, it, it just helped me realize to embrace my, the integrity of my work to, to be honest with myself.
Rick (02:44):
Sure. Now, were you interacting with people? Were you sharing your work with anybody else or were you kind of in your own creative head?
Luis (02:54):
I was kind of in my own creative head for sure. I mean like any other artists. I'm one of my biggest, my own biggest critics and you know, and sometimes it's hard for not just for myself over any artists to stand up or front of a crowd and justify why a piece is good or why this piece conveys this specific message or meaning and, and you know, to, to get people's honest insight and get their honest evaluation of the work that, that really helped me grow or continues to help me grow as an artist.
Rick (03:26):
Yeah, that makes sense to me. I know I kind of had a similar experience where I work in a studio by myself. There are other people at the studio, but I don't really get that much feedback and it's kind of interesting that we pursue a lifestyle as an artist and it's a very much a solo activity and the whole point of it is sort of like your, what's going on in your head and getting that out on the canvas. That said, it's really important to connect with other people and other creative people to kind of get you out of your head. And I think that it helps you see your artwork in a whole nother way. Getting people's feedback. It's kind of like when you're in the process of creating something and then you share it to the world, you start to see it in a whole different way. And I've, on my, this podcast, I've had musicians and they spend all this time collaborating in the, in the music studio and then when they release it to the world, like suddenly they see this music in a whole other way because they're getting reactions. And I think going to these critiques and interacting with other artists, we sort of get that experience. But before the work is done,
Luis (04:49):
Yeah, that's right. That is absolutely right. And I really, if, if I had chose not to go to these critiques, I, I would probably be very stagnant right now. I'd still be in my room creating words, trying to justify why this piece is the way that it is and why should it move. But not doing the work outside of the room to push the product and hear what people have to say and, and, and be open to, to, you know, taking in the ideas that people share with me. I mean, it's all part of the creative process, all part of growth. And I think that you got us beat step outside of your comfort zone if you, if you want to see a movement.
Rick (05:28):
Let's go back to your childhood. Now. I want to hear about I want to hear about how you started painting and drawing. Like was this something that you did as a little kid? Were you the artsy kid? Tell me about where all of this originated for you.
Luis (05:46):
You know, the, the most particular memory that really comes to mind is I was in middle school. It wasn't even like a third or fourth grade and it was summer school and just out of nowhere to spa, some out of nowhere I just began drawing it just out of nowhere. And what were you drawn to this? I was drawing a dinosaur. I was drawing a big Bronco source rocks or Bronco soar, excuse me. And and everybody, you know, like people started, I mean, my, my peers that are surrounding me and looking at me create this and they're saying, wow, that's so good. How are you doing that? And at the time I clearly had no answers for dumb, but I just, you know, they were fueling me and I just kept doing it and doing it and getting that attention and getting that acknowledgement from my friends and my peers, it, that one memory propelled me to just continue to do it and not stop.
Rick (06:39):
So that's interesting. So the driver was, there was, it was the creative process, but it was also the attention you were getting.
Luis (06:48):
Yeah. Yeah. And, and not to sound shallow, but that's really what it was. I mean, you know, people were so enthralled by the work and, and it propelled them to ask questions like, how are you doing that? Can you teach me? It just opened so many avenues of communication. It was exciting.
Rick (07:03):
So were you a like a shy kid and this was an opportunity to actually make connections with other people that you maybe weren't able to do, you know, without the art,
Luis (07:14):
I think you hit it right on the nail. I was, especially in middle school, even now I'm, I'm very timid, very shy. I have a, I found myself having a little trouble speaking, you know, to the public or, or trying to, you know, speak on behalf of my work. But you know, I mean it, it is what it is and you have to embrace the good with the bad.
Rick (07:36):
So you started this around, did you say third or fourth grade? Yeah. And then did you kind of stick with that stick with using art and did you stick with it as a way to connect with others?
Luis (07:48):
Oh, absolutely. Especially as it was most prevalent in middle school and high school. I mean, I any chance I had an opportunity to take out a sketchbook or somebody who needed a volunteer to get something done, I was there. I was, I was in their faces ready though to put out, put my talent out there and show people that you know, I, my work could be a, an asset or, or value to you to some degree. So yeah, that's for sure.
Rick (08:14):
That's great. Now you grew up in Chicago, like did you grow up in the city or did you grow up in an urban or rural area?
Luis (08:22):
No, I grew up in the city. I switched a lot back and forth between Logan square and Bucktown that, you know, I was like, you know, as far North as Logan square too. As far a South as Armitage, I was always in that area. Yeah. Like by the town Logan square. I kind of swapped back and forth between there for most of my childhood.
Rick (08:44):
Was art class a big part of the curriculum and the school that you went to or was it something you kind of did on your own? Was that a big part of what you were studying in school?
Luis (08:56):
No, it wasn't really considered a, a main focus of curriculum, but I mean, I had some great teachers. One that really comes to mind is Miss Metcalf, my middle school art teacher. She, she noticed from the beginning, she saw, I remember going to beginning and she actually pulled my mom aside and was just like, your son has a talent, like you have to develop this and push this and propel this. And I soon come to find out that my mom also had an artistic talent and she [inaudible] and she just kind of blossomed from seeing me do it. And I would watch her draw Disney characters and dinosaurs and caveman and in such great detail. And I was like, you know, I want to do that. I want to get good at this, you know? So she she was a big advocate for my work and, and I'm really grateful to her. But it's funny how it took me having that one moment to really bring her creative momentum back backup. You know, it was really interesting to see that
Rick (09:50):
Meaning for your mom.
Luis (09:52):
Yeah. Yeah. Like, I mean, cause she hadn't stepped aside for all when it came to art. And I wasn't even aware that she was creative in that sense. But once my art teacher had approached her and told her, you know, your son can do X, Y, and Z and he's really good and you should develop this, that's when I soon find out or soon come to learn that my mom is also very creative.
Rick (10:13):
Ms Metcalf, my goodness, I would say that 50% of the people that I talk to on my podcast, when they tell the story about their origins of their creativity, they always have a teacher that did exactly what you just described. And they always immediately name her as Ms. Mack, miss met. Tav. It's, that's so interesting and so amazing and fun. So did you, so that was like high school ms Metcalf or was that okay?
Luis (10:41):
No, ms Metcalf was middle school, but you know, as, as the, once I graduated, I went to Lakeview high school and, and I came across some really great teachers there too. I mean some of the, some of the best Jim D perf professor Terry Norine, ms Norine, I mean all just so valuable in my growth. And they were really hard on me. I mean, they, you know, I would present a piece of them and I'd be like, Oh, I don't really think this is good, but the all, we'd have something, we'd always have something to say about it that really just got the cogs moving in my head. You know, maybe I can add this, maybe I can take this out. So they were just, they had such a critical eye and I think I really took that on.
Rick (11:21):
I think that is, I think that's really helpful. Really on anything to have someone who's kind of on top of you and not, not just praising you for how great of an artist you are, you know, the, or the, the talented artsy kid. But really pushing you to be better. And that's some, that annoys some people. You know, some people get pissed off but other people realize that that is something that's going to help them grow. Your work that you're doing right now is it's very specific and it's very, you like when I, I could, I would be able to tell a painting by you I think very easily. And I, that's a compliment. It is very much it's portraiture. Everything that I've seen is portraiture and it's very chromatic and it's of, of a women. Is it, is it always women?
Luis (12:16):
Well a lot of the pieces that I, that I choose to showcase are women. I, I've had some male subjects in the past, but you know, those are still pieces that I still work on to this day that I'm kinda keeping in the shadows. It's, I'm ready to let them out. But most of my work, or at least the ones that I've released to the public are of women. Yes. But I do have some male subjects I work with.
Rick (12:37):
Tell me about that subject matter. And why you want to spend so much time with a particular subject. I know that being a painter myself, it's a very big commitment and you're spending a lot of time getting to know the painting. You have to be with it and you have to be, I wouldn't say like it, but you have to feel a connection and motivated and inspired. Why is it that those subjects, those compositions are what motivate and inspire you?
Luis (13:10):
You know? So that has been a question that I have tried so hard myself to answer. And there's just so many underlying layers that contribute to why I I zone in or focus on one particular piece for so long. And one common thing that I've noticed, especially with the photo itself, is that the, the gestures, if somebody is women convey in their photos or are so seductive and so welcoming. And so it's just so organic almost to me. And I, and I, and I enjoy exploiting that. Whether it's the color of their eye or, or, or the way their hand drapes under their chin or, or how they gaze in a certain angle or a gesture. It's just, it's all inspiring to me. And I really tried to, to explore those little nooks and crannies in each piece that I get a chance to look at or each photograph there or look at. And one other thing that I've noticed through my work is that a lot of the subjects that I paint are women that I've either met or in person or through social media. And I've gotten a chance to know them to some personal degree and, and you know, I kinda like to put the spotlight on them in some sense. You know, their, their creative minds themselves and, and, and I like to, I consider myself a an advocate for those models. I guess you can say.
Rick (14:33):
Nice. You use the term nooks and crannies. I like that. And when I, when I hear that, what I'm thinking is you're finding something that you're trying to really explore, highlight and showcase to the person that's viewing the canvas. And I can completely relate to that. Is, is there usually like one thing, is there, do you try to limit it, limit it to one or two things that are the key or, okay.
Luis (15:05):
Yeah. And, and I think the, the one constant that really just is that sells me on a piece or sells me on, on, on a woman is, is their eyes. I mean, as I say, eyes are window to the soul. And I've been I've been, I mean, I've been told many times that when people look at me like, man, those highs look so good and those eyes really speak to me or they say something and it creates a sense of relate-ability to the audience. I mean, without me saying anything or trying to project a specific emotion or theme or, or, or, or, or, or or climate for that matter. But it's it's exciting to see them when somebody looks at my work. Like once they look into their eyes, it, it relates something to them without me having to, to to, to like push them or, or, or walk them through it. I don't know if that makes any sense. But that's, that's my way of how I sum it up, you know? And it's the eyes really that saw me on a piece.
Rick (16:04):
You're walking them through it with your technique on the canvas.
Luis (16:10):
Yeah. I mean, and, and it's funny cause sometimes when I'm working on something, I mean the inspiration or how I apply the paint, whatever you want to call it, when I, when I'm interacting with the piece, sometimes it's instantaneous. It's so abrupt and it's so hard to replicate that or duplicate that. So sometimes I have to step away from it, maybe a day, a week, even a month sometimes. And when I come back to it just, there's this resurgence and then I just, I get involved again and it's, it, the process is so exciting for me and, and I really think that's what people take from the piece when they see it. It's just like they see the work, they see the layers, they see the, the complexity of it. And, and it's, it's exciting to me when people can see that and relate that to me without me having to give them a direction, you know, just, they, they, they, they get engulfed with this feeling just looking at the piece. So it's it's exciting and that's what's really pushed me to, to want to do more work and, and, and you know, work with this momentum that I've been so lucky enough to gain.
Rick (17:13):
Yeah. It sounds like, I mean, I'm no expert in these matters, but it sounds like that's the sign of a talented artist. If you are able to get people to understand and feel something and make them think just by what's on the canvas. If someone came up to you in a gallery during a show and you were like the whole social part you were comfortable with, are you fine? Do you have a lot of stuff to say about a particular piece or would you feel like what is on the canvas is really all you have to say?
Luis (17:47):
You know, I would really, I really think everything that's on the cannabis is really what I have to say. Because on some of these paintings I've spent a lot, I mean a very long amount of time on. I mean there's just sometimes I started and there was a drought that goes on for months and then they come back to it later. But that's, that's just me being so particular with how to, how to do one part of the painting a certain way, you know? And like I said, sometimes the process is so instantaneous and so abrupt that it's hard to replicate, so you have to take that absence away from the painting until that comes back. And sometimes that sparks with, you know, maybe the music that I'm listening to or, or you know, some, it's something that might've happened that day, but it's, it's, it's so far from few, but I really embrace those little blasts of inspiration that I get, you know? And, and the meaning I received that or feel that, I just, I had to throw it on the canvas. It really sounds like there's a,
Rick (18:43):
A big part of you and what's going on in your head that can only be expressed by painting. I mean, that's definitely what I'm hearing. And is that something that you have always had available to you or has it become more like, yeah, tell, tell me about that. I mean, is that something that you've always had?
Luis (19:05):
No, no, no. That is something that I have not always had because like I said earlier in the conversation, I mean, there were times where I found myself tailoring my work to fit to, you know, a specific crowd or, or you know, just like taking away the integrity of my piece and just focusing on moving the product. And I think that if you want to become you know, whether it's a successful artists or established artists, whatever your vision may be longterm, you have to embrace the integrity of your work and the processes that it takes to, to provide a finished or final product. I mean, and that that comes with, with, with the droughts in routine inspiration, I just think you have to embrace it all that comes your way and, and and once you're able to accept who you are as an artist, that only becomes easier and it's only become easier for me recently. Like, I mean, I spent so many years of my artistic growth spent on trying to apply to appease the, the audience, but it had no story. It had no integrity. It lacked, lacked feeling and depth and emotion. And I feel that my work actually has that now. It has so many layers and so many nooks and crannies, as I said earlier, just it's, and that's me becoming comfortable with myself as an artist and, and coming to terms of that now.
Rick (20:25):
Very interesting. How did you, how did you come to terms with who Louis is as an artist and you kind of forgot about all this other stuff in the world that influences you, influences your product, but you, you found that connection inside. How, how did you do it and could you tell others how to find that
Luis (20:52):
Constant failure? You have to fail. You have to constantly fail. You have to, you have to you have to, even at times be bored with your work. Eventually you find yourself in a position where you're just like, you're going to do it because you want to do it. You're not looking to, to to, to fit a specific criteria or do things the way this artist does it. You have to just fail and realize, you know what, this isn't meant for me. This is what I was meant to do. Because eventually I found myself taking two steps back and realizing what I loved. What I love to do is to paint women from the beginning. That's what I like to do. It started with dinosaurs. It went onto, you know, cartoon characters. But eventually I just found myself painting women, whether that was full body or portrait and, and eventually I just realized this is what I love to do and I had to, yeah,
Rick (21:46):
I was just going to say, that may be one of the favorite answers anyone has ever given to me. Constant failure because that isn't, that is awesome because I think that failure is such a source of learning and growth if you look at it that way. I mean, when I know personally you know, you always hear that, but I know that when I was in my twenties there were many area and really throughout my life there were many areas where I failed. And looking back I'm like, damn, that was a lesson and I didn't, I was just, it was a total lesson. And I, and you kind of keep, it kind of keeps happening until you're learning failure is such a great indicator if you can take a moment and look at it.
Luis (22:34):
Yeah, yeah, absolutely. And I think that was the issue that I had in the beginning was just that I wasn't, I didn't look at my failures, like successes. As awkward as that sounds like I had to fail. I was learning about myself as an artist. I learned that, you know, I wasn't happy with my product back then. It, it, it, it, it lacked something genuine. And, and I think once I was able to embrace the fact that, you know, just this, this isn't what I'm meant to do, let's take a few steps back and kind of work on my craft and through and doing. So it just, it gave me confidence at developed on its own and I wanted to, and I wanted to keep moving forward to keep you know, regardless of how much time went on from piece to piece. And I have so many projects, it's just, it's absurd, but, you know, I just, it's okay to take a step back to take a pause to be bored, you know, and just, you know, allow you to just compose yourself and then get back to it. You know, as I said before, your failures or your successes and you have to embrace those failures. And in doing so you'll, you know, once you become, you can become honest with yourself as an artist, that's when you'll see yourself. That's when you see yourself growing and gaining momentum and people asking questions and wanting to know more, not just about your artwork but about you. And that's what I've come to terms with right now.
Rick (23:56):
Nice. Where did I learn that?
Luis (24:00):
Who taught you that? You know, what is, it's just trials and tribulations. It's all, it was just constant, constant battle in my own head trying to figure it out when I finally came to terms with it. Now.
Rick (24:14):
Nice. Well that's great cause a lot of people, you know, what you're experiencing is something that happens to most people that are engaged in the world. They're going to have challenges, problems, all the stuff that you described. And a lot of people don't learn anything from it ever. So that's amazing that you know, that you have learned and it has taken you to a new level. Creatively. So let's talk about what's going on with your show that's coming up. What can you tell me about it? I think, I think it's delayed or something cause we're in the middle of it.
Luis (24:46):
Yeah. Yeah. With the current, you know, trying times, I think it was best to put a, you know, to postpone or put it on a delay of sorts. You know, this is just my, this is my opportunity to just get a bigger spotlight on my work and just really gauge the interest of the audience, you know, on a, on a bigger spectrum. You know, I've, I've had the opportunity to meet a lot of amazing artists, including yourself, Rick, of course I'm a big fan of yours. And you know, people have always pulled me inside and be like, you know what, what's, what's most difficult for any artist is trying to set yourself aside from everybody else. And people had told me, when I look at your work, I can tell that that's your work. And I think that's a huge compliment when somebody can tell me that they can set aside my work with someone else's.
Luis (25:33):
It's a I think that's the, that that is what you need to, to hold on to in order to see, to to propel yourself. So again, this is just an opportunity for people to come see my worth, to gaze your interest to really show people how I've grown as an artist. Cause I've had, I've had a lot of followers with who have followed me for a long period of time and they've actually seen growth in a written to me and told me, we see a lot of development out of you. Great job. Keep it up. And you know, I think with any artists, you know, you got to take the time to at least do one solo show and see what that can do for you. Whether, whether there's the results that you want or the results that you, you know, you don't want. I mean, you just, you, you gotta do it. I mean, it's one of the stepping stones to seeing yourself grows in artists. And that's really what the show is all about.
Rick (26:26):
Wonderful. Are you hesitant at all about putting all of this stuff out into the world and people's reaction or are you confident or comfortable?
Luis (26:38):
No, I think I'm really excited about it because like I said, I was uncomfortable when I had the the art critiques. But it, it, it pushed me, it, it, it, it helped me to, to do more and to, and to be comfortable with my work and to, and to see it with more of a, a particular eye. And I think that doing this on a, on a, on a bigger spectrum is going to kind of calcify what it is that I don't want to say meant to do, but what I should be doing as an artist, as a creative.
Rick (27:11):
Okay. So Luis, it sounds like you're someone that really responds to like pressure and feedback and a pushback. Is that first of all, is that, is that assessment accurate?
Luis (27:28):
I think that's a fair assessment. Yeah. I would have to. I mean, I don't, yeah.
Rick (27:33):
Okay. I mean, is that something that your parents taught you or did you play sports, or do you have any insight as to where that originated from for you?
Luis (27:44):
Well, I, I've it up, you asked that. So I played a lot of sports when I was younger, but I wasn't very good. And you know, getting, you know, from your peers of course, getting, you know, their, their their insight on how you could've done this better or done that better or you or you know, more inappropriate terms like, Oh, you're not good at this. It's, you know, and it pushed me to be like, wow, I'm gonna prove you wrong. I'm gonna show you wrong. And, and whether that was in the sports world or the creative world, it's, it's something that has stuck to me when I was very young and I continued to, to work on that and develop that and, and, you know, be, be the best at what I do. I mean, every artist is different. And every artist prefects perfect their methods and techniques and has their processes. But NDN it's, it's personalized to cater to you. And that's, that's it.
Rick (28:36):
I would say that is definitely it. Hey, are there any, this is fantastic. What I want, I'm so glad that we had this conversation. You're, you're an awesome guest. Can you can you have people that are listening, can you give them a couple tips of based on your experience and your growth? I mean, you've already given us tons of tips, but are there a couple things specifically that you could suggest to people that are listening, that are looking to embrace their creativity?
Luis (29:08):
Well, as I mentioned earlier, don't be afraid to fail. I mean, you're going to, your successes are gonna flourish from that. Next thing I would say is if you really want to see growth and really want to gauge what people think of your work, I mean, you, you gotta, you have to put yourself out there. You got to put yourself in a position where you're, you're, you're uncomfortable. Because that's where you're going to get the most honest and genuine assessment and then you're going to be able to really evaluate your work and its integrity. So I think those are, those are two major points that I would, I would share with people and, and just last one is just don't stop. Whatever you do, do not stop, keep you know, painting, keep writing music, keep writing, whatever you doing, don't stop. Eventually
Rick (29:55):
You're, you're, you're, you're,
Luis (29:58):
I'm going to capture that essence of why you're doing what you're doing and then you're just going to build off that and then the is just going to be a ton of fun and you know, just embrace it all.
Rick (30:10):
Perfect. Where can people see your work or learn more about you? I know you have an Instagram and I think also on Facebook. Can you give us or your website, just give us your, all your handles.
Luis (30:22):
Yeah. So right now the best way to reach me is my Instagram handle, which is a guru underscore Gulu. And I can spell that for you. A, G U. A L U underscore, G. U. R U, or I'm sorry, G. U. R. U. Underscore, G. U. L. U. and I did have a website up, but I took it down for construction for the opening of the a solo show. But since there's a pause on that, there's also been a delay on the website, but I'll be sure to post updates once it's ready to go on my Instagram handle. Okay. But that's really the only communication right now.
Rick (30:56):
Okay. That sounds great. Well, Luis, thank you very much for chatting with me on this Sunday afternoon during coronavirus. We were supposed to do this in person at a transistor and then we just decided that we would do it via Skype. And this was, this was great. So thank you so much.
Luis (31:19):
I really appreciate that. Right. Thank you so much. It was lots of fun.