Interview: Artist, Justin "Proj" Rowley

Justin Rowley, seated, with Charles Rucker
of Charles Rucker Gallery

Interview by
Terrie Relf
copyright 2002
all rights reserved
All Images Copyright Justin Rowley
All Rights Reserved

Justin Rowley's website: http://www.proj8studio.com/

Justin Rowley, AKA Proj, is a native San Diegan who "grew up" in North Park, Downtown, and University Heights. He has a Bachelor of Arts in Painting from San Diego State University.

Terrie Relf: Where did you get the nickname "Proj"?

Proj: The name reflects a dominant personality characteristic. "Proj" is
short for "project". This name comes to me from always working on a
project. It’s what I'm known for. I spend every day trying to make things happen. I work really hard to get shows together, to generate new leads and develop relationships with prospective clients. My life is about change in an active sense of the word; I see it as my project.



TR: How does environment play into your work? Could you talk about how you get started on a project?

P: I don't paint to music. I do turn it on, but when I start to paint, I can't hear it anymore. I don't admit to reclusing myself when I work, because so much of my work has to do with interactions and human/environmental contact. So people come to the studio and most of the time I can talk and paint at the same time. The rest of the time I spend alone, which is more frequently than I'll admit to. When I'm working, I temporarily lose touch with friends; when I come out of my cave, we talk again every day. I need time to grow and develop before I can offer anything new. I suspect that we are all like this.

TR: Besides being an oil painter, what other media do you work in?

P: I work in almost any media: photography, 3-D work, collage, and lots of drawings. I don't have much of a life at this point. Mostly I work either on paintings or trying to get shows together and promotion. I really love my job; I get to make things. I'm always tightening up my designs or improving my technique.

TR: Could you discuss your process?

P: I have an interactive hands-on process. It’s simple and direct: I photograph, sketch and paint the people I know and understand.



TR: You mentioned that you work with photographs.

P: I use disposable cameras for two reasons: first of all, because no one takes them seriously so I can get into places that you could not with a serious camera, and secondly, because my cameras keep getting stolen. Currently, I'm using a "real" camera since disposable cameras have a problem with motion, which is essential to my new work.

TR: I’d like to hear more about how you use these photographs as a basis for your paintings.

P: I compose the photos I take to highlight specific content or build stronger compositions. Most of my models are friends, or people I know.

TR: Would you call your work "portraiture"?

P: I have a problem with paintings that have sparse backgrounds and single-figure, traditional portraits. I think real portraits should also capture the person’s environment. What does the blank space say? I think it says the painter cannot compose. My world is not empty; there is so much to look at that I have to narrow things down. I see myself as a true figure painter.

TR: Since you’re "all about" painting people, I’d love to hear about your "people watching" and observational skills. What do you first notice about a person? What makes you want to paint them, to tell their story?

P: When I look at people I first see style, mannerisms, movement. I paint people who have a distinctive look, a visual character, which is based on either an understanding or a curiosity. People with a lot of depth can be seen one moment a certain way and a moment later you see an entirely different person in them. They have the ability to interact, respond and change as necessary to fit their world; they have their ideas down. They ask questions not because they don't have the answer, but rather to understand someone else's point of view. They have a way about them and no shortage of opinions. This is how I relate directly to my models. The process of painting someone is the process of discovering/rediscovering them.

TR: Tell me about a specific painting—or group of paintings--that challenged you to grow as an artist.

P: Every painting challenges me. I don't have a formula that spares me from the time-consuming process of learning. As a painter, the importance of a painting is not in the object, but in the process, the developments, and the lessons. I have at least five paintings I'm working on right now that I will not stop working on until they are either incredible or complete failures. Honestly, I expect some of each. It's a risk you have to take in order to prevent repetition. That's what matters, not the trophies. In my last series, I had to work much harder on "Happy Hour" than on any other painting. It came close to going in the junk pile every day; it was almost a complete failure until the last minute. At the time I was working on "Happy Hour", it was at the parameters of my skill level in terms of balancing the flow and space. I think the painting works on many levels. As a result of this painting's success, my skills and direction have been pushed forward for the next body of work, which has a whole new set
of problems.



Another painting that posed a challenge was "The Watcher." This painting is about that moment where you are seen walking close enough to set the birds off. It is an announcement of your presence in the form of a loud noise. Everyone around is startled and checks you out in that moment. It’s about anything that suddenly reminds you of your environment, that brings your attention back to the streets. If being startled reminds you to live in the present, then it’s worth it.

"The Watcher" was uncomfortable for much of its audience; the noise was not relaxing, and made it impossible for them to penetrate it on any level. Others found it what it is: an original and quick glimpse into a moment within someone’s life. It is a reminder in the form of a break of concentration. It’s about contrasts.



TR: Whose work has inspired or influenced you?

P: I look at a variety of artists: sculptors, photographers, and cinematographers. I have influences in probably every medium. For my painting critiques and feedback, I look to sculptors primarily. Sculptors see light and dimension in a way that is very helpful to me. Richard Keely, a local sculptor has been critiquing my work for years; he has insights into painting that most painters don't. We work well together based on a mutual respect and a willingness to pick on each other's work.

In terms of painters, I look at Basquiat, Jacob Lawrence, Diego Rivera, and Degas. Charles Rutger is one of my favorite SD painters. We have worked together on a couple of paintings since we met; it seems pretty clear that we are family-- all arguments included. His surface quality and looseness pushes me to let some tightness go.

TR: What about shows? I understand you have a few coming up.

P: I only just started showing; mostly I experience rejection both here in San Diego and NYC. The Internet has helped expose people to my work, but not as much as I had hoped. In short, I've been operating out of dirty garages for five years, as if they were galleries. I've only been on the gallery circuit for about five minutes. I'm currently trying to get into the local rotation; I'm planning a show with a barter increment, and hope for it to take off in September.

I'm also shopping for liberal galleries while working with local businesses, like salons, working toward having my work featured and in the public eye. Later this summer, I have a collaborative coming up with Shepard Fairey. Later this year, Mark-Elliot Lugo will be curating a group drawing show at the PB Library. I’m being considered for it.

Finally, I have an invitation to represent at the Florence Bienalle in 2003.

TR: It seems that you know more than a few remarkable people.

P: Almost everyone I know is remarkable. I meet and know a broad range of people; I learn so much from any one of them. Most of them have equally eclectic experiences. Most of my closest friends don't have much experience with the art world. Then again the art world does not necessarily have anything to do with art; it’s more about politics.

People who work hard, have discipline and change their circumstances and outlook anytime they want to are my friends, peers, and role models simultaneously. I'm fortunate enough to have a loyal crew; no one can do this alone. It's an honor for me to pay my dues at this level, the people's enthusiasm and support is encouraging. I work very hard to produce quite a bit of work in order to collect collectors and fans and get to the next level. I'm always on the move and never comfortable enough to stop trying.



TR: Do you think people make inaccurate assumptions about you and your work? Perhaps a better question would be what assumptions do interviewers and/or people in general make when they talk about art and artists? Why do some "miss the mark" when attempting to "capture the essence" of what it means to be an artist?

P: Assume that I'm poor, gay, depressed, temperamental, etc. and you fail to take into account that I'm a painter but I'm also a man and don't conform to the artist stereotypes. Glance at a painting and ask what it means and I'll know that you have been spoon fed your whole life and are not willing to work for knowledge. Many people feel too intimidated to say anything because they think they will sound stupid when I realize they don't understand something, instead of realizing that this makes them appear intelligent. I understand people can feel uncomfortable around art; one of my primary goals is to break that down.

There is a big difference between a gallery and a church. My work appeals to people with no art training because they can understand the images and can relate to them. This will help bridge the gap between art and life.

Even if it is in a different form, ideas transcend specific images. People coming with an art history background see comparisons and technical ability, knowledge of composition and materials. They can also get the message but they often alienate themselves based on their own discomfort with a white painter who paints mostly black people.



TR: I’m sure you get asked this question all the time, but here goes: Where do you want to "go" as an artist? When you showed me your work, you mentioned that you have different "periods", that you often shift focus. When you reflect on your past work, especially when you first began to "put it out there", how would you characterize your "path"?

P: As an artist, I want to facilitate social change and an appreciation for honesty and directness. I pursue avenues that allow me to be myself and not cater to the desires of the aesthetically ignorant.

Having only one specialty and no willingness to change or compromise puts an important emphasis on marketing. As long as I don't have to use my skills to paint mutant family portraits for cash I'm all
right.

To do something I don't believe in would be to sacrifice one of the only things that matters.

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