On why SFAL has become “the Sundance of illustration”
You helped curate Spectrum’s first exhibition in 2005. Did you ever think it would grow so big?
Actually, I entered my work into the very first Spectrum Call for Entries in the early 90s. So frankly, no, I didn’t think back then that it might get as big and beautiful and competitive as it is now. By the time Irene Gallo and I curated the show in 2005, Spectrum had changed the entire field for the better.
Why will SFAL 3 be special?
Spectrum Live entices and attracts professionals from all over the art market – artists certainly, but art directors, film makers, gallery owners, animators and fine artists too. It’s pros talking to pros, sharing ideas and studying potential projects. Without those artists, gaming, film, publishing and comics would all be entirely useless. This thing is going to grow into another place that people will want to make sure they attend – like Sundance. People thought Robert Redford was crazy to get pros out of Hollywood, to Utah, to talk about film. But that’s exactly what allowed those professionals to relax and get away from the fray to think about and discuss ideas.
Who are you most looking forward to seeing at SFAL?
I have many artist friends in this field, from all over the world. I’m excited to see the ones I don’t get to talk with most of the year. We share our thoughts, help each other express ideas or solve visual and technical problems. New artists are gradually pulled into that circle, and the community widens in a galaxial radius with a black-hole centre that attracts us all back again. Put simply, creatives love being around other creatives.
The multi-award winning American illustrator’s work has appeared right across US popular culture.