The Orange Lantern

I haven’t always liked stretching canvas and never thought I would be doing it on a regular basis but these days, it has become more of an adventure than a chore. It is the sponge that soaks up all the thoughts going on in my head. Having an overactive imagination since a very young age, it has always made sense to me that any artwork I develop should be composed of these vivid thoughts. What used to take form in crayons and pencil, evolved into pen and ink drawings, spray painted murals and computer graphics, and has further morphed into the acrylic paintings I create these days. My childhood obsessions with Disney cartoons, Lorne Greens’ New Wilderness and books such as Watership Down and The Phantom Tollbooth have become fodder for my work as it develops today. I have become increasingly interested in the rabbit holes we fall down when daydreaming. So many have created worlds in their art in which to escape and inhabit, and for others to enjoy. We have seen glimpses of them in Narnia, Wonderland, Middle Earth, Neverland, and Hanalee. As homage to these types and shadows of other lands, I have attached the all-encompassing title, Up until I was 21 years old, I didn’t care about the Internet. But now, 15 years later, I can pretty much credit the Internet with everything leading up to this article. I tried traditional routes of applying for art jobs back in the mid 90’s. I sent out portfolios and made multiple attempts at getting my comics published, but those only led to rejection. Around that time I started blindly experimenting with the Internet out of boredom and realized immediately that I could anonymously spread around my art on every message board and social networking site without having to face the fear of rejection because I wasn’t trying to really DO anything with my art. I just wanted people to see it in hopes of getting some feedback, even if that feedback was critical and hateful…which it was. But it was helpful. Continuing to jump on as many social networking sites as they appeared, and disciplining myself to actually UTILIZE them was, for me, the most important thing I did in establishing the art career that I have now. So when I got asked by Juxtapoz to curate this Halloween issue, and to additionally be featured and interviewed for it, Giclée (pronounced "zhee-clay") is a neologism for the process of making fine art prints from a digital source using ink-jet printing. The word "giclée" is derived from the French language word "le gicleur" meaning "nozzle", or more specifically "gicler" meaning "to squirt, spurt, or spray". It was coined in 1991 by Jack Duganne, a printmaker working in the field, to represent any inkjet-based digital print used as fine art. The intent of that name was to distinguish commonly known industrial "Iris proofs" from the type of fine art prints artists were producing on those same types of printers. The name was originally applied to fine art prints created on Iris printers in a process invented in the early 1990s but has since come to mean any high quality ink-jet print and is often used in galleries and print shops to denote such prints.