Jeremy Fish Interview on PROHBTD

Jeremy Fish PROHBTD

Online culture magazine PROHBTD interviewed Jeremy Fish for his upcoming exhibition at Thinkspace Gallery. The article covers Jeremy’s health scares, art installations, and the mythical beasts which will be featured throughout the work. Check out the full interview on their website.

Can you tell me about the mythical beasts in the new show?

Some of the themes came from things I knew and loved about LA as a little kid. I grew up in upstate New York, and LA always seemed so fucking cool in film and television in the ’80s. I loved Fast Times [at Ridgemont High], Cheech & Chong, The Big Lebowski and The A-Team. At that age, I was also deeply fascinated with BMX, skateboarding and all things Disney. So I started by making lists of things I loved about LA and went from there. The ideas for the lurky “beasts” grew from my list of things about LA I loved, combined with some very inspiring friends who live there and past experiences I have had over my 22 years living in California. My imagination went from there and delivered these 22 new beasts in the form of drawings and paintings.

New Works by Jeremy Fish and Jim Houser featured on Juxtapoz

Jux Banner

Juxtapoz featured our upcoming exhibition of new works by Jeremy Fish and Jim Houser online, hop on over to their website and read the full write up and get ready for Saturday!

Two phenomenally influential and distinctively stylized artists, Jeremy Fish, and Jim Houser both came to their love of art making through drawing, music, and skate culture. – Juxtapoz

Interview with Troy Lovegates for ‘Tales From The Riverbank’

Lovegates Banner II

Troy Lovegates wanders the world with eyes wide open absorbing his surrounding and soaking in inspiration, his brain firing with ideas faster than he can record them. We’re excited to be showing Lovegates latest body of work ‘Tales from the Riverbank’, opening Saturday, June 25th. Our interview with Lovegates covers the days before the internet, his creative process, and what the life of this artist looks like.

SH: What is the inspiration or narrative behind the latest body of work?
TL: It is hard to say, every little piece in the show is something different i think … trying to express one separate thing. I don’t really have a blanket inspiration or narrative. Consider the body a variation of all the trials and tribulations of the last 6 months.

Troy Lovegates Tales from the Riverbank

SHWhat does being an artist mean to you?
TL: Here in San Francisco it is very strange to be an artist. I work on an odd schedule comparatively to the 9-5ers, most of my days are searching for frames and wood and wandering. Looking for references and ideas out on the streets to incorporate into my work. To me wandering is a huge part of being an artist, just getting on the train to a different part of the bay area and wandering up mountains and thinking alot. I find that all the parks and hills and lakes and streets are dead in the day everyone is on a hard grind here to afford SF, so i experience a weird quiet shell of a city . Then i usually work all night, I don’t know i guess being an artist to me is thinking way-way too much.

SH: What is your favorite and least favorite aspects of being an artist?
TL:  (favorite) Painting murals on the street is amazing because you meet people and they want to know what you are up to and engage with you and give you feed back …. painting in the studio can be a really lonely experience

Travelling for exhibitions and murals … new places … really the most inspiring thing is a fresh view and new faces and energy

I can and have moved anywhere as my work can be created wherever.  It is not dependent on one-time zone or one office or city; therefore I have lived in Toronto, Montreal,Vancouver, Victoria, Berlin, Taipei, Buenos Aires and now San Francisco

(least favorite) Getting the funding to make the work you really want to be making. I find it hard to truly 100% concentrate on what I want to be doing as an artist because shit like rent, food and the money you need to make get in the way.

I spend so much time applying for grants and sketching proposals trying to get big projects on the go and 95% of the time it never comes to be. Actually, some of the drawings in this show are rejected murals.

Troy Lovegates Tales from the Riverbank

SH: You have a lot of fun with patterns and color in your work? Do you map out how it will be first or just let it flow?
TL: In the last years a lot of my color drawings are like those ink splotch cards that you see in movies, look at this one what do you see? An axe murderer! And this one? A butterfly. I just splootch down some paint and fill in what I see in the various shapes; a lot of them come out just terrible so I leave them on the streets or on the train or wherever. Most of the time when I am doing patterns I just wing it, no outline no color palette, I like things looking off … while i admire the work of people such as say the Low Bros and their ability for perfection i am just way to messy and impatient to focus the way they do …

SH: What is your creative process?
TL: Oh man it is the dance of procrastination. I am the unfocused artist fighting to get something finished. I will have like 5 paintings or drawings on the go at once and be eating and texting and watching a movie and battling someone at scrabble, then take the dog for a walk, then back to painting and listening to a podcast and doing the laundry and scrolling Instagram. I really need a cabin in the woods to escape all the city out there dragging me away from my work

Troy Lovegates Tales from the Riverbank

SH: How do you work through creative blocks and self-doubt?
TL: I have the opposite of a creative block I have too many ideas. Really, I am always thinking down the line to the next thing I want to do and I get really excited. I need to calm down and put in the work on my current painting before I can move on.

Self-doubt is a motivator for me. Nothing is ever good enough, and that propels me to do better or just do more and more until I get it right. But I never get it right and that is what keeps me on and on.

SH: What drew you to painting on trains? Do you have a good story to share from the yards?
TL: Way back in the early 1990s before smart phones and high speed internet, graffiti artists used to trade photos with each other through the mail. Someone gave me one address and when I wrote them they sent me more addresses in the package. Also in these letters would be photos of local graffiti, stickers and sketches of lettering etc. The names and dates of the artist would be written on the backs of the photos. I wasn’t really into painting trains at that time but had done a couple with some friends on nights we couldn’t find good walls. Anyways, this one friend of mine got a package from some writer in San Diego and it had a photo of one of my trains that I had painted in Toronto that he had photographed in Mexico. That was three time zones away and a 24 hour drive south in a country that at that point I had never set foot in. After that I almost only painted trains, the North American train system was like a giant bulky internet sending random messages out to who the hell knows where.


Troy Lovegates Tales from the Riverbank

SH: Today it’s more common for street artists to be exhibited in galleries, but when you started there was still a push back. What was that transition like for you? How did you figure out how to translate what you were doing outside to indoors?
TL: I started scribbling on walls way back in 1988-89 it must be so different for a person starting today. People intentionally do street art now as a way to break into the gallery world or mural world. I never imagined I would have turned into an artist from skateboarding around and drawing on walls and trains. These days I try less and less to associate the two things together at all; art outside and art inside are two completely different beings. One is clandestine and quick and fleeting a lot of it is not documented and probably nobody even sees it or if they do, really cares. The other is super detailed and thought out and planned in a safe peaceful environment listening to music and relaxing for an intentional audience.

SH: What would be a perfect day in SF be like for you?
TL: Get up early take the train out to some random mountain, hike with the dog for a few hours perhaps find a train line or a random spot to draw on a bit. Come back down into the city and check some thrift stores on the way back to the train. Then meet up with the wife on the train back home and have dinner and work late into the night, possibly another night time adventure with the puppy. Maybe a beer up in the hills as the fog rolls in or a long bike ride somewhere? swimming? beach walk… San Francisco to me is all about the nature surrounding the city. There are so many different perfect days to have out there!

SH: Congratulations, you get to throw the most epic dinner party for 5 people dead or alive! (Loved ones get an automatic in) Who is on the guest list? What’s on the menu? And what would be your ice breaker question?
TL: Gosh, I think i would like to have dinner with New Order and Richard D James. Actually, I think I would like to get pissed with them. I think we would all forgo dinner as to let the alcohol go right to our heads. Just a night out on the town or something. I think my icebreaker would be wanting to know what music they are listening to these days and what are their favorite bands and groups of all time. Maybe they have some hidden gems that I know nothing about … ( i really need some new music)

Troy Lovegates

Join us this Saturday, June 25th from 6-9pm for the opening of ‘Tales from the Riverbank’ in the Thinkspace Gallery project room. For more information on Troy Lovegates, please visit the Thinkspace Gallery website.

Interview with Jim Houser for his Upcoming Exhibition

Jim Houser Banner

Jim Houser will be showing his latest body of work alongside Jeremy Fish in their upcoming exhibition opening Saturday, June 25th. Jim Houser’s work is an analysis of self and the world, stripped of pretense and broken down into its most simplistic form of communication. In turn creating work that is both playful and thought-provoking. Our interview with Jim Houser discusses the inspiration behind this latest body of work, his thoughts on the art world, and a basic day in the life of this Philadelphia artist.

SH: What is the inspiration or narrative behind the latest body of work ?
JH: It is all just continued self-examination , but hopefully has elements to it that are universal and that people can relate to. Looking back over what I have made over the last few months, my health comes up a lot in there. My son has started to work his way more and more into things, I think maybe appropriating ideas of how he sees things. Also, there’s some meditation in the work about the work itself, the how and why I make what I make.

Jim Houser New Work

SH: How do you work through creative blocks and self-doubt?
JH: I make work because of that stuff, not despite it. It seems like the periods where I feel good about myself and my work is usually when I sit back and rest. That zone of feeling frustrated and or anxious is kind of a sweet spot for getting things out for me, unfortunately.

SH: As you are showing alongside Jeremy Fish, what are a few of your favorite aspects of his works?
JH: His craftsmanship and attention to detail. I constantly see things from Jeremy that boggle my mind from a technical standpoint. And also his work ethic, he is incredibly prolific.

Jim Houser New Work

SH: You’ve been a part of the New Contemporary Art movement for well over a decade, what are your feelings about the movement, your place in it, and where it is headed ?
JH: The older I get, the less energy or interest I have to look around at what direction that stuff takes. I just do my thing and keep my head down, really.  As far as my place in anything goes, if I am thought of as a good person who makes honest work then that is really all I could ask for.

Jim Houser New Work

SH: Your work possess different reoccurring symbols that connect to deeper meanings, care to elaborate on any of the “regulars”? Definitely, tell us a lil’ about my favorite, the Lurker please.
JH: The Lurker references those feelings of doubt and anxiety that you referred to, for the most part. But most of those reoccurring icons have multiple meanings.

SH: Your work has been described as visual poems, do you have a favorite poet? If not, do you have a favorite author?
JH: No, I don’t have a favorite poet. In fact, I like writing poetry but don’t really enjoy reading formal poetry as such . I’m drawn to a particular type of poetic prose,  like a specific type of well crafted evocative sentence. It’s hard for me to put a finger on exactly what that is. But if I find three or 4 of them in a book, then to me that’s a pretty good book. As far as what I like to read, I read a lot of science fiction and historical non-fiction.

Jim Houser New Work

SH: When did you first find your artistic voice, when did it all click? How have you grown over the years?
JH: Man, I don’t know. I’ve written and drawn my whole life. I guess once I noticed that other people were drawn to what I made and were responding to it? Maybe my mid -twenties ? But iIdon’t feel any differently about what I make now than I did when I was 10 years old .

SH: Your work has a playfulness to it and you’re very open about sharing your son’s artistic aptitude, has he influenced any of your work?
JH: I think the playfulness people perceive may come from trying to execute an idea in the simplest way possible. Even my more complicated paintings are just a collection of single simple thoughts. In a lot of ways, the best things my son makes or does will capture that concept perfectly. I’ll look at things he draws and think never in a million years would I be able to pare things down to that, and yet here it is .

Jim Houser New Work

SH: What is the biggest misconception about being an artist?
JH: It makes me sad when people refer to themselves at “not artistic”, but in the same breath they can prepare a spectacular meal or use some novel way to fix their car or their water heater. Everyone is creative, it’s part of the human condition.

SH: What does a day in the studio look like and your creative process?
JH: Get the kid ready for school, get him out the door. I usually work from 9am -1pm then eat something and take a nap. Seamus gets home at 3pm and we hang out until Jess gets home at 7pm. We eat dinner as a family. Once he is in bed, I work some more , 8-10pm. That’s a pretty standard day.

Jim Houser New Work

For more information on the exhibition please visit the Thinkspace Gallery website. The opening reception is from 6 – 9pm on Saturday, June 25th.

Billboard Interview with Kevin Peterson for Red Hot Chili Peppers Album Cover

Billboard Red Hot Chilli Peppers

Kevin Peterson’s ‘Coalition II’ that was featured in our ’20 Years Under The Influence of Juxtapoz’ exhibition has found a new place on the Red Hot Chili Peppers Album ‘The Getaway’. Billboard music interviewed Kevin Peterson on how he ended up on the new album cover, sobriety, and the inspiration behind the piece.

View the full interview on

Peterson was told frontman Anthony Kiedis wanted the image of “Coalition II,” an oil painting from a series depicting “the strength that it takes growing up in the world today, those traumas that it takes to get through it, and to survive and thrive.” – Billboard Interview

Kevin Peterson Coalition II

We currently have a timed release sale of “Coalition II” occurring on This special print will be available for purchase from Friday, June 17 at 10AM until Saturday, June 18 at 10PM. A 36-hour purchase window for you to pick one of these beauties up before the sale will close. We’ll then print off the edition, followed by shipping them to Peterson to be signed and numbered in the amount sold during this special timed-release. This is Peterson’s first timed release and a way for him to give back to his fans and allow them all the chance to own a copy of this iconic image. For more information on the print visit our previous post on the edition.

Interview with Jeremy Fish for his Upcoming Exhibition

Jeremy Fish Interview Banner

How many living artists have a whole day dedicated to them? Not very many. But, Jeremy Fish officially has his own day in San Francisco, and that’s really rad. So we’re incredibly excited to be exhibiting Jeremy Fish’s latest body of work in his upcoming exhibition opening June 25th alongside Jim Houser. Below is our exclusive interview with Jeremy Fish discussing his creative process,  role in the new contemporary art movement, and spirit animal.

SH: What is the inspiration or narrative behind the latest body of work?
JF: This body of work was initially inspired by writing a list of things that I love about Los Angeles, while laying on a beach in Hawaii. Mainly concepts and characters from music, film, television, and pop culture from the 70’s and 80’s. As well as some narratives about friends or personal experiences in LA from my past. These works are very playful, lighthearted and based in fantasy, which was a much-needed change from my last few projects. The vehicles, their spirit animals, the traffic, the freeways, the smog, hills, valleys, mountains, deserts and beaches of Southern California, blended gently with Italian espresso and served over ice with a twist of citrus, and a medicated cookie.

Jeremy Fish New Work Hef Spicol

SH: How do you work through creative blocks and self-doubt?
JF: Change my scenery, more caffeine, a nap, a fierce sandwich, long walks, a van or scooter adventure, extensive hugging, softer fabrics, 100 beers, new sneakers, fine nectars, and or extremely potent extracts can all suitable cures to both problems at different times.

SH: As you are showing alongside Jim Houser, what are a few of your favorite aspects of his works?
JF: I have been a fan of Jim for a long time. I admire his color palette and unique compositions, as well as his reoccurring cast of clever characters and symbols. When I think of Philadelphia, I think of Rocky, The Roots, Ricky Oyola, and Jim Houser. Legendary Philly dudes.

New Work Jeremy Fish The Vantel

SH: You’ve been a part of the New Contemporary Art movement for well over a decade, what are you feelings about the movement, your place in it, and where it is headed?
JF: I have a very large brain aneurysm, and I think the answers to this question are what helped to form it. Honestly, I am more inspired by music, food, film, and day to day life, than I am by contemporary visual art. My art movement will be made up of skilled chefs, barbers, long bearded wizards, bartenders, rappers, wordsmiths, comedians, creeps, cutthroat kooks, old vehicle enthusiasts, sidewalk surfers, and me.

New Work Jeremy Fish The Snoop


SH: How has San Francisco helped to shape you as an artist?
JF: I moved to San Francisco in 1994, and it was a magical creative recipe at that time in the Bay Area. I was lured out from Albany New York for art school at SFAI. But also to study the underground genius of Del, Casual, Souls of Mischief, Saafir, Dug One, Barry Mcgee, Mike Giant, Todd Francis, Think Skateboards, Slap Magazine, DLX, FTC, Last Gasp, Juxtapoz, 111 Minna, The Luggage Store, ect ect ect. The mid 90’s in SF was a cultural gold rush of talent, and I soaked it all in like a sponge. My style was heavily influenced by that time period, as well as the R. Crumb, Rick Griifin, and Victor Moscoso era of psychedelic rock posters and comic art from the 60’s and 70’s.

SH: When did you first find your artistic voice, when did it all click? How have you grown over the years?
JF: I found my artistic voice while working for Think Skateboards and Slap Magazine in the late 90’s -early 2000’s. That was my last full-time job, and I have been using that voice to yell loud as fuck ever since. I went from sleeping in a storage closet to recently having the Mayor of San Francisco proclaim November 19th is officially “Jeremy Fish” day here in SF. My work and I have grown strictly by working my ass off drawing pictures non-stop for 22 years in the most expensive city in America.

New Work Jeremy Fish Quiver

SH: Describe the perfect day in San Francisco?
JF: every day all day since day one!

SH: What is the biggest misconception about being an artist?
JF: That we are all lazy and ugly. Fortunately, there are a few exceptions.

SH: What does a day in the studio look like, what are you favorite tools/materials?
JF: For the last year or so, my days are spent out enjoying the city, taking meetings, running errands, administrative bullshit, and lavish long lunches. Night time is the right time in my studio. I sit down with a coffee at 4 or 5pm, and work until 3 or 4am depending. I do woodworking and outdoor projects during the day, but my studio time is usually in the wee hours when everyone wholesome is asleep. My favorite tools are pencils, pens, paper, and a Storz and Bickel Mighty.


SH: What is your spirit animal and why?
JF: When I was a tiny kid it was a frog, because my mom made me a killer frog costume. When I was a young man it was a bunny rabbit, because I jumped around and was quick on my feet. Now that I am 42, I am more of a wizard tortoise, because I move slowly but I make power moves.

New Work Jeremy Fish Maltz Grizzney


For more information on the exhibition please visit the Thinkspace Gallery website. The opening reception is from 6 – 9pm on Saturday, June 25th.

Juxtapoz Says You Should See “Breaking Point” by James Bullough

James Bullough in Juxtapoz

We are in the final days of “Breaking Point” featuring new work by James Bullough in Thinkspace Gallery’s project room. Juxtapoz says you should see “Breaking Point” before the show comes down. Your last day to view “Breaking Point” and Curiot’s mesmerizing “Act 1: Warped Passage” is Saturday, June 18th from noon to 6pm. You have been informed.

“James has been on our radar, and seeing a new series of his paintings, like the ones in Breaking Point, reinforce the talent he has and his ability to capture motion and movement in a refreshing way. We highly recommend checking the show out before it comes down on June 18, 2016.” – Juxtapoz