Masters of the black & white image, USUGROW and MIKE GIANT blew the doors off San Francisco’s aptly titled WHITE WALLS GALLERY when their eponymous joint show opened to a throng of adoring fan boys and girls this weekend. Now, Supertouch sits down for a chat with both masters of black & white for a closer look at the methods to their fine line madness:

*(Installation photos by Supertouch allies Pushead and Brian Ewing.)

////////////20 QUESTIONS WITH USUGROW/////////////

Who have been your heroes in life and why?
To me, heroes are not artists. I had to pick someone, I would say my parents.

What was your last exciting discovery?
It started to rain today in San Francisco. That was exciting.

What constitutes great art?
Mind state and philosophy of life. Not techniques.

Is art the object or the action?
Action.

What are you most compulsive about in life and why?
Eat, sleep, sex, and art. Why? Because we are animals and those are our basic needs. But beyond that because we are humans and we can enjoy them more than others.

What’s your daily routine?
Smoke with coffee, make art, smoke with coffee, make more art, smoke with
coffee, smoke with coffee. You get it!

Has the current political climate affected the subject matter of your work or the way in which you approach it?
Yes, in a way, but my work is far more personal than political. But it is something that one day I will be able to communicate with others verbally and with my work.

What was your childhood like? Is it a great source of inspiration for your work?
From what I remember, I rode my bike a lot, but I don’t think my childhood really inspired my work now.

The modern art world has been rife with sudden success stories and young artists who are making hundreds of thousands of dollars in the span of a few years with no track record to back them up (Banksy comes to mind). As a young artist yourself, how has this trend affected your outlook on your career and/or your expectations of success?
I’m not trying to sound harsh but I don’t care about any of that. I’¢m going my own way.

Working in such a graphic style it would be easy for people to simply label your art as illustration. Do you consider your work to be fine art or are you comfortable with a more commercial tag? Is there a difference?
This is something that I have given much thought to but to be honest, I’m not sure how I view it. Also, giving labels to my work isn’t something that I’m into. Just take it for what it is.

Do you think mankind is becoming more violent as time goes on or is the media just amplifying that trait?
It’s a vicious cycle. Media provides a view and at the same time mankind is becoming more violent, if they feed themselves that’s not very good. It’s all messed up but at the same time, the fucked up shit brings light to all that is good. You can’t have love without hate.

As someone who communicates through a great use of symbols in your work, can you tell me a little about the ones that mean the most to you and why you use them in your art?
One of my favorite symbols is called ‘Shingan’, the eye in the heart and the growth into the lotus from the heart. The meaning of this is how to enrich or how to achieve a good life. Life needs an open mind and an open path to the heart (the eye of the heart). With that, one develops his or her own life. The meaning of life is symbolized by the lotus.

A distinct sense of spirituality is evident in your work. Are you trying to communicate any particular message or sense of religious experience through your art?
Man, this is a very hard and intense question that needs more attention and thought in order to develop a short and distinct answer. I’ll have to get back to you.

Merchandising has become an increasingly important aspect of modern artist’s careers, from prints and T-Shirts to toys and custom shoes & cars. Do you think this has a negative effect on a fine art career in the long run? Does it cheapen an artist’s work or vision? What influences your choices when working in a commercial sense?
This is another hard question to answer, but at the same time, if one wants to do it they should. Also, one needs to pay rent. With this there needs to be a balance between commercial work and gallery “fine art”.

You’re particularly renowned for your incredible lettering prowess. What have been your greatest influences in this arena and how did you hone your technique over the years?
I look at all fonts and typefaces that are around me. Not only do I look at their physical presence I also try to figure out why they are used in certain fashions and what sort of dynamic story they might hold. With that, I try to apply those influences into my work. Also, practice has a lot to with it.

Rick Griffin’s artwork was godhead in reproduction, but close examination of his originals reveal great amounts of White Out and paper overlays to hide mistakes. As a technical artist working in the unforgiving medium of pen & ink, how dedicated to creating flawless work are you? Will you use correction fluid on your pieces or do you start over if you make a mistake?
Ha, you’re trying to call me out! Just kidding. Well, it’s a learning process. Over time, I have been able to create works that don’t use or need extra corrections, but mistakes do happen from time to time. What can I say? I’m human. As far Rick Griffin’s work, I don’t believe his method was wrong at all. His method and presentation of final work was for print, so it makes sense that he utilized those corrective tools.

What modern artists do you find most inspiring?
I find inspiration from all artists (street, commercial, gallery, classical) and I’m always checking out my friends work, especially Pushead, Chaz Bojorquez, Toshikazu Nozaka (asianwaveskate.com), Bene (xbx.jp), Jun Kaneko (junkaneko.jp), and Zys.

You’re someone who works in a very technical and traditional medium at a time when loose, Pop-oriented work continually sells for higher prices than finely rendered figurative work and enjoys much greater popularity. Does this fact affect your outlook on your work? Do you ever feel discouraged?
Well, I think about this all the time but I really try to keep my opinions to myself. I’d rather think about the philosophy of art, and form an appreciation at all levels, just like other people.

Are happy people liars?
Ha, this question makes me laugh. Well, if they say they are happy, they have a right to feel that way. I’m not judging.

If you weren’t an artist, what would you be doing?
I am what I am, and that is an artist. That’s all. >ST<

The Lebron James of the underground art world, Nate Van Dyke, and his Japanese mini-me, Usugrow…

////////////20 QUESTIONS WITH MIKE GIANT///////////////