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Your human characters often wear animal ears,
horns, or costumes. What does this symbolize for
you
I don’t really think in symbolic ways. My paintings
and drawings aren’t created based on a grand theory
or for cerebral satisfaction. The images are created
for the love of humor and affection for the odd
and out of place. The displacement also rings with a
kind of sadness. My paintings are about playing with
images and icons. The costumes and cigarettes in
some cases reinforce the separation of the characters
from a normal day-to-day–the outsider.
Are the people that you draw and paint people
that you know
The people that I paint are almost always faces
from my head. There are maybe one or two paintings
that I was thinking about a person but never
trying to duplicate their features; it’s more about
picking up on visual clues. I just draw and the face
that comes out is the face that comes out.
You’ve said that you’re a big fan of John Currin’s
work. Where did you first encounter his work and
what is it you like most about it
I became aware of Currin’s work when I went to the
Venice Bienniale in 1995 while I was going to school
in Florence. It didn’t really strike me at first but
in later years I would trip over his work here and
there and I really liked the direction he was going. I
like that he sticks close to figurative work and works
within the traditions of painting; also, his work is
very playful and whimsical and sometimes just plain
silly. All that and he is pretty successful.
What does the cigarette as an object represent to you
The cigarette adds a certain toughness to the
image. Also it seems to make the characters I draw
or paint to be more based in the real world, [as
if] the characters are just normal people going
through their day. I also like the cigarette because
it is one way to spoil the cuteness factor. I have
always liked using symbols and this one symbol has
been with me for a while. It seems to really connect
to people. It is a commonality.
Who was your favorite skater growing up
Mike Vallely. At the time he was one of the best
street skaters and he rode for Powell-Peralta–everybody’s
favorite company in the ‘80s. As he states
proudly these days, he was one of the first pros to
break away from the major companies and ride for
World Industries, a small upstart at the time. So he
lead the charge and that was pretty dope when I
was a 15-year-old kid living in Sudbury.
What character from a movie do you most relate to
Fiver in Watership Down.
What is your big fear
Immobility.
How do you and your brother [skate photographer
Scott Pommier] influence each other
We have introduced each other to so many different
things. I can’t even imagine what I would be like if
I didn’t grow up with Scott. He is pretty integral to
the person I am today and I’m sure he would say
the same of me. Scott has showed me what hard
work and sacrifice can lead to. He has such a strong
work ethic and is sharp as a tack figuratively and literally.
Yes, he is a very pointy young lad. Ouch.
Where is your art going next Any new mediums
or stuff you’re changing
I think I’ll be changing a lot of the imagery I have
relied upon for the past few years. Once I finish
paintings for a show I always feel that it is time for
a change. I don’t really plan what to do next. I just
roll with what I’m drawing in my sketchbook at
the time. There is no medium shift at the moment.
Oil painting will always be what I love to do.
Watercolor is still pretty new to me and I’m happy
with what I am producing so that will continue.
What song did you have your first make-out session
to
Something by Led Zeppelin. The fact that was
playing in the background will forever piss me off
because I really can’t stand that band and it will
always be with me. It was only playing because I
was at my friend’s apartment and I put the tape on
because I thought the girl would like it. As it turns
out it didn’t really matter what I put on, so I wish
it had been Black Flag or the Dead Kennedys.
What are some of your favorite skateboard graphics
ever
I have always been a fan of the Chris Miller decks
from the ‘89-‘90 period–the ones with the drawings
of the cats. The Mike Hill period at Alien
Workshop was also pretty kick ass, all those dioramas.
I really get a big kick out of skate graphics
from the early ‘90s because there were no rules–
nobody was thinking of branding or marketing.
There was almost no money in skateboarding so
nobody cared all that much about the graphics,
a lot [of boards] didn’t even have company logos
or pro names on them. There are some real gems
from that period, boards that would never see the
light of day if you produced them today.
List five random things that are making you
happy at this moment in time.
A day out with [my girlfriend] Tiffany and the dog.
Morning coffee. Faber Castel pens. Apple products.
Velcro.
opposite page:
“Panda”
“Captain America”
“Walrus”
“Vampire”
“Blue”
this page:
“Versus”
“Buckminster”
“Bilbybosch
Sketchbook excerpts
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