STRIP!

Magazine’s Exclusive Interview with up and coming Sculptor,

Illustrator and Digital Artist Jose L. Rodriguez (DARK PROPHECY)
1. Three words that would describe you best?

I would have to say “inquisitive”, “anti-

establishment” and as much as I sometimes hate to
admit it, “procrastinator.”

2. What do you like most of all about your job?

That would have to be answered in a sort of past

tense, since my art has had to take a back seat the
last couple of years and is no longer my only full time
job anymore. Waking up everyday and getting paid to
do something I absolutely love and would do for free
has got to be the best part though. When your job is
what you were born to do, you don’t work a day in
your life.

3. What do you think about the future of your art?

I don’t think I’ve truly developed a distinct style of art

yet, at least not that I can see. I’m sure as I continue
to grow as an artist people will begin to see more
trademark sensibilities in my work. The use of
anatomy, symbolism and esoteric references, as well
as the darker elements that were always present will
surely continue. As for where my art itself will go, I’m
really not too sure at the moment. I’ve always
enjoyed sculpting but it’s proved a bit too time
consuming for me right now. I’ve been teaching myself to work on digital platforms a lot recently. Z
brush and Photoshop have been a focus for me lately. I remember when I first heard about digital
scanning and printing, sculptors in general were in fear that this new technology would eliminate the
need for us all together. After all, why pay a sculptor to sculpt a portrait in two weeks, when you could
have the subject sit in a chair and get scanned and have a digital print in ten minutes? It was
intimidating! Truth is however, artists will always be needed, even if it’s just to refine the details of a 3-D
print out. My philosophy has always been that these technologies are simply additional tools for the
artist. A sort of “Artistic Darwinism”, so to speak. Adapt or die.

4. Favorite things to do for recreation?

I don’t have much time for recreation anymore! (laughs) I’m a full time dad, husband, working man and
a “part time” freelance artist now. If and when I do have free time, It’s usually spent it catching up on
quality family time or chatting with friends through MySpace.

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5. What are your plans for the next year?

Aside from my New Year’s resolution to quit smoking? (Laughs) I have a couple of personal projects I
want to wrap up and finish. One is a statue representation of an ancient Mesopotamian demon,
“Pazuzu” who represented the winds of famine and disease. I’ve had countless requests for that one as
a resin kit! Though I have basic experience in molding and casting for production I don’t currently have
the space to produce actual resin kits for these pieces. I’m hoping to hook up with the right production
house and maybe market these pieces out.

6. What do you feel is the role of artists in creating social change?

I think artists have a unique ability that most people do not. As more and more of our civil liberties
continue to disappear, the highways of information and especially the avenues of free speech continue
to fade along with them. Artists have always had the unique ability to say what they want and usually
get away with it, even if only a handful of their audience can truly understand their message.

Not just classically trained artists, but actors and musicians as well. Look at John Lennon, Banksy, Zach
De La Rocha and the Waschowski brothers for example. All were artists that have stuck their necks and
personal careers out on the line to influence social and conscious change and help raise growing public
awareness through their works and expose the worldwide corrupt power structures that seek nothing
but monopoly and increasing consolidation.

7. Which artists have influenced you most, and how?

Sculpturally, masters like Bernini, H.R. Giger and Clemente Susini. On a more personal level though, I’ve
had the fortune to run across influences like Digger Mesch who gave me my first break and Paul
Komoda, both of which I worked with back in the late 90’s when I lived in New York. The founder and
creative art director of Art Asylum, Digger was always like a big brother to me. He took me under his
wing and taught me the foundations of good sculpting like the importance of anatomy and pushing the
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envelope every time. Paul had to be the strongest influence on my style itself because when they sat me
down to work next to this guy, everyday was a fighting struggle just to keep up with him! His quality of
work and his skill level were just fucking intimidating. I soon soaked it all up like a sponge though. He
would probably never admit it, but I know there were a few times where I noticed I began to challenge
his expectations and made him work a little bit harder too. Of course, he would just shift into high gear
and blow past me like a Lamborghini. (Laughs) I
knew I couldn’t surpass his abilities, I was just
proud I forced him shift gears.

8. Where do you see yourself in 10 years?

Hopefully by then I’ve developed the knowhow

to maintain the business aspect of things and I
could actually live successfully off of my own
works rather than juggling commissions.

9. What are the best and worst parts of being

a full time, working artist?

Like I said before, waking up everyday to do

what you love most is definitely the best part.
Constantly keeping your phone ringing and email
inbox full of proposals has got to be the hardest
part.

10. What advice would you give to an artist just

starting out?

Learn anatomy! Not just human anatomy, but

the basic principles of how biological organisms
function and move. Always keep reference
handy as you can never have too many anatomy books. Every anatomy book will offer a different aspect
as to how the body works. Also read sculptor, Dan Platt’s article titled, “The Biz of Sculpting” featured in
Amazing Figure Modeler magazine issue #9.

11. What kinds of people do you enjoy working with?

No bullshit movers and shakers. People that actually follow through with what they promise. I also love
surrounding myself with artists better that constantly challenge my abilities and force me to get better
at whatever it is I am tackling at the moment whether it’s sculptural, illustrative or digital.

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 12. What music do you listen to while working?

That all depends on what my mood is or what I’m

working on. Many times I’ll play stuff that helps me
focus in that particular direction. For example, the
majority of the time I spent working on the Pazuzu
piece, I played a lot of dark ambience to guide my
mindset. Artists like Diamanda Galas and Lustmord
were some favorites. I’m extremely eclectic with my
musical choices. It’s not uncommon to hear
everything from Salsa, Classical, Opera, 80’s Goth,
and Industrial, Metal to Jazz, Classical and even Hip
Hop coming from inside my studio as I work. I’ll even
work to spoken word favorites like William S. Burrows and Vincent Price. I’ve been listening to a lot of
Alex Jones’s broadcasts lately though that’s more politics and current events than anything. Soundtracks
are always a favorite too. It all depends.

13. What are your goals?

Like everyone, I would just like to be happy. Above all else however, I would like nothing more than to
someday be able to look my daughter in the eye tell her she can be and achieve anything she puts her
heart and mind to. To me, that leaves no room for hypocrisy. I have no choice but to succeed.

14. Where do you go for inspiration?

Too many sources to list here! I think rather than seeking inspiration, it tends to find me. I might come
across an artist’s work that blows my mind and might shed light on new techniques and possibilities.
Inspiration sometimes strikes from some unexpected sources too like Theology, Philosophy and ancient
sacred and esoteric symbolism.

15. What software do you have experience using?

Primarily at this point Photoshop. I’m almost completely self-taught and it has obviously helped me get
my portfolio together as well as some extra graphic design jobs on the side. I’m super hyped about
learning Z-Brush though! I’m hoping to buy a new system soon, better equipped to handle the heavier
programs like Maya and Z brush. These skills will come in especially handy as I will soon be constructing
a more “official” website soon. For now, the majority of my portfolio can be seen on MySpace.
(www.Myspace.com/DarkProphecy4U) Hell, why not? It’s free!

16. How have you handled the business side of being an artist?

Not very well so far! (laughs) I think I still have a long way to go before I can platform myself along side
The Shifflet Brothers or Randy Bowen. Those guys definitely have their shit together. Artists tend not to
be very good at the business end of things. Unfortunately, that’s why many of the greatest artists that
exist we’ll never hear about, while those who excel most at marketing themselves become the best
known and paid. It doesn’t necessarily mean they are the best or most talented artists.

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17. How can you describe your style (in your art)?

Most people would describe it as “dark”, but I find that such a broad and overused term. I don’t have a
set style either. I know it tends to jump around a lot as I’m exposed to different influences. One moment
it’s sharply precise and anatomically fanatical and the next minute it’s humorous and surreal.

18. Describe your best friend and what he / she does for a living?

The obvious is one my wife. I haven’t found a better friend than that. The one your readers probably
want to know about however was a quiet kid named Steven who kept to himself, yet seemed to know
everyone important in school and on the Bronx streets. We first met in middle school when we were
about 14. We didn’t really begin to bond a friendship until High School where we became like brothers.
We were the type of avid film and horror buffs who collected Fangoria magazines and dissected Sam
Raimi’s Evil Dead films. It wasn’t long before we were strapping an old camcorder to a discarded baby
stroller in an attempt to create our own wild moving camera angles through forests or staircases! I think
we wore a groove in the sidewalk cement between our parent’s homes which at that time were down
the street from one another. This was best illustrated though a mural I made for him for his 18th birthday
that depicted us in the center surrounded by all the Sci-fi and horror film characters we grew up
watching as kids. Steve always has a passion for film and music and after we finished High School we
made a pact to work together professionally someday and went our separate ways. He graduated from
the School of Visual Arts in NY as a Film major and I went on to work with the Art Asylum in Brooklyn as a
toy sculptor. We continued to hang out though less frequently, and compare our two separate paths and
lessons gained. It was like some crazy experiment in a way. We still keep in touch only now I reside in
Miami and he lives in Indiana. He’s got some family here in Florida so we do still meet up and see each
other from time to time. Last time I spoke to him he was working a day job and still working his way up
in the entertainment industry shooting and editing music and videos.

19. Do you start your process analytically, with sketches on paper or wireframes, or are your main
initial concepts likely to come in a flash of inspiration?

For the most part I sketch my ideas out in a sketchbook. It’s good to sometimes go back and pour over
old ideas from years ago that might inspire new thoughts and directions now. I had for a while, kept a
sketchbook by my bedside at one point. I kept having these vivid nightmares for a while. I would
sometimes wake up and sketch whatever I could remember as quickly as possible. Weird shit too. As
much of an inspiration as those nightmares were, they didn’t last too long. I remember Paul mentioning
a similar experience to me once. He got a lot more out of them though. His piece titled "Gott ist Tot” is a
hauntingly perfect example.

20. How do you go about designing a character, and what goes through your mind, from start to end?

The main thought running through my head is that if it is a finished piece, it has to be better than the
last. Other than that, I almost never know where it will wind up going. I do tend to start with the eyes as
that is always the focal point of a character. I think the main thing is to just do what comes naturally to
you and what feels right. Have fun with it. After all, that is the whole point, no?

(FIN)