Artist: Mark Riddick

The following feature was conducted by k@t and compiled by Gabe. Please direct link to this feature rather than copy+pasting. Give us credit for our hard work!

...and now, the brutal art of Mark Riddick.

First of all, let me start by saying your work is brutal and horror-based! We love it. When did you start creating work like this?

Thank you very much for your kind words on my artwork. I created my first pen & ink illustration in 1990 during my first high school art class. My teacher, at the time, was a huge fan of pen & ink and had several fantasy-like creatures he would illustrate. The art class steered me in the right direction as I began to experiment with ink drawing. The subject matter of my work has been heavily inspired by the music that I listen to. In 1991 I became very active in the worldwide underground network of death and black metal music. I began illustrating for underground magazines, doing cover and filler art, along with T-Shirts plus demo and record covers for bands. I started promoting my artwork as soon as I saw that there was a need for my talent in the network of extreme metal music. I have since carved a huge niche for myself over the past 16 years; it has landed me some pretty cool projects and some very noteworthy clients.

Who/what influences your artwork?

As I mentioned above, death and black metal music is undoubtedly an influence. As far as other influences, it's sometimes hard to pinpoint. I believe it's a combination of fears, curiosities and frustrations rising to the surface in horrible conglomeration. Several artists and graphic designers also affect my work. Some of my personal favorites include Bosch, Brueghel, Bernie Wrightson, Chris Moyen, Kristian Whalin, Wes Benscoter, Stephen Kasner, Dennis Dread, and the list goes on. There is some amazing and unique talent to be sought after in the death/black metal music community and elsewhere.

How did you start designing artwork for bands?

It's always been about networking and building a reputation. My first T-Shirt design was for a Kentucky-based grindcore band called Song of Dog. It was 1992 and I was 15 years old. Things have just grown from there. It takes a lot of time and motivation to keep up with the metal music scene, especially since it is an evolving genre. It used to be comprised of photocopied zines and demo cassette tapes but now with the Internet, accessing music and making connections with bands has become more efficient. MySpace, for example, is an incredible tool for this sort of thing. I get at least 90% of my current freelance business simply by being active in this realm alone.

How would you describe your work?

I would describe my work as intricate, raw, sacrilegious, gory, and grayscale. I'm a huge fan of black and white . . . it's quite obvious in my work. Black and white offers the boldest form of contrast, which makes it pleasing to the eye, and often begs a well-balanced composition. The subject of my work features themes of death, violence, sexual deviance and religious mockery . . . the darker side of existence that is often swept under the rug and shunned by mainstream society.

What do you find visually stimulating right now? Any local artists that we need to keep an eye on?

Yes, there are several fantastic artists I've been into recently. They're not so much local as I discovered most of them through MySpace: Putrid Matt, Aaron Crawford, Before His Fall Media, Chris Moyen, French, Jon Zig, Kris Verwimp, Drew Elliot, Ed Repka, Tom Denney, Tony Koehl, John Dyer Baizley, Zornow, etc. Some are older and have been around the block but others are fresh meat offering some amazing work for the metal scene.

What other artists or movements inform your work/aesthetics/sensibilities?

I'm a fan of the pre-Raphaelite movement, including artists like Dante Rossetti, Edward Burne-Jones, William Morris, etc. I also appreciate some Art Nouveau like Aubrey Beardsley's and Erte's work.

Do you think that the notion of an artist's "style" is fabricated to boost sales and marketability? Are artists then forced to limit their body of work to specific content or media in an effort to facilitate easy recognition?

I don't think an artists 'style' is fabricated by a market as much as it is by the artist him or herself. I believe artists can develop a 'style' as he/she develops in various areas. A 'style' is often formulated by a combination of factors like influences, subject matter and skill level. Developing a 'style' can take years and a lot of practice. Style and originality help distinguish one artist from the next but may also bring a sense of unity as similar values and themes are shared. I don't think artists force themselves to be recognizable. Art, being an act of creation, can be manipulated as the artist pleases. I've done plenty of art that no one would recognize as a 'Mark Riddick' piece. I've painted murals of flower gardens and have taught children 'How to Draw Manga' classes; quite a divergence from my usual work.

What were your favorite cartoons as a kid?

I really enjoyed waking up early to watch the 'Saturday morning cartoons' during the 80s. Some of my favorites were Dungeons & Dragons, Transformers, Voltron, Masters of the Universe, etc.

When not creating, what do you do with yourself?

I'm always doing something creative. I'm very passionate about creating as it's an extension of my being. Most of my day is spent at my day job as a graphic designer. Outside of work, I spend time on my freelance artwork and various musical projects I'm involved in. This consumes some of my time but perhaps my most valuable time is spent with my wife and cats.

How do you balance family life with your art?

It can be very difficult at times as I tend to over commit myself to projects. It's a very complex balancing act but somehow I manage. I'm positive there will be a shift in the way I handle things as my wife and I adjust to our soon-expanded family.

What do you imagine is the role of your work in the lives of those who see it? What evidence do you see of your work achieving the goals you have for it?

While there is logic to art, there is still room for subjectivity. Like most art, people probably interpret it in various ways. It is utilitarian in the sense that my artwork is often used to sell a product but it may also act as a catalyst for stirring emotions or forcing a reaction. The goal of my art is to achieve both. I go out of my way to have my work published as I feel it would be wasteful to let it go unseen. Imagine if Picasso never brought Les Demoiselles d'Avignon out of hiding? The modern art world would have never been the same. Not that my work is akin to Picasso, but the point being it would be a shame to let any form of creativity go to waste. On the other hand, my work poses the purpose of challenging people's world view. My art might seem shallow on the surface but there is often something brewing beneath if further analyzed. Art is a forum where ethics do not exist. Art is the ultimate form of expression and one of the most powerful ways to make an impact on humanity.

If there were no financial limits whatsoever for you, what constraints would you most like to overstep? Are there other mediums you would explore?

I don't feel fiscally constrained by anything at this point in my freelance career. The only constraint on my work is time. Having a full-time job is rewarding but I do sometimes wish I had more time to spend on my illustrations. I'm very content working in pen & ink and doing graphic design. I've experimented with other mediums in the past but none render the satisfaction of working in black & white.

Did you grow up in Virginia? (If not, when/why did you move here?)

Yes, I grew up in northern Virginia. It's a very fast-paced region; the county I live in was ranked the fastest-growing county in the nation in 2004 and it continues to expand. It's also one of the wealthiest. There is a lot of job security in this area, especially being so close to Washington DC; but the traffic is awful.

Do you do gallery shows?

Yes, it's been quite a success for me this year as I've had several showings. It's very coincidental as I've never displayed my work until now. I participated in gallery showings at MF Gallery (New York City), Optic Nerve Arts (Portland, OR), Strangeland Records (Annandale, VA) and I've just been invited for a show at Galeria de Muerte (Tokyo).

Not only do you illustrate but you have a book out cleverly named, Killustration. What was it like putting this book together? What is hidden behind that edgy cover? Where can we get our hands on some of this cool merchandise and your book Killustration?

Killustration is a self-published book featuring most of my work from 2006. It is perfect bound with a color cover and 88-page black & white interior. The book features work I did for bands like The Black Dahlia Murder, Through the Eyes of the Dead, Daath, Arsis, Dying Fetus, Misery Index, etc. It is a great tool for marketing my art to bands or simply as a 'quick reference' portfolio. Killustration sells for $15.00 and is available online through my Web site, www.riddickart.com, and other online vendors such as Target, Amazon, Barnes & Noble, etc. I also have a clothing line called 'Riddickart Apparel' available through my Web site, as well as some limited edition prints.

The business side of being an artist: how do you market/promote yourself, and does it work? How do you cope?

As I mentioned above, MySpace is where I do most of my marketing and promotion these days. I also have business cards and other printed materials in case I meet a potential client outside of the virtual realm. Yes, MySpace seems to work rather well. It has gotten to the point where I am turning clients away as my workload has increased. I get a couple of requests per week; it is sometimes difficult to keep up. I cope by picking and choosing my clients. I've found that the younger bands are less serious about hiring me versus the bands that have a bigger following or have been around for awhile. I do what I can to accommodate. Thanks for the interview, K@t & Gabe!