Where did you grow up? Modesto, California. What brought you to art? My Mom is a self taught artist who had an international art career. When I was young, she would take me with her on her trips to galleries, artist studios, art supply stores, museums. I remember the smell of the first oil painter’s studio that we visited. My Dad takes apart and fixes everything in our house as well as designing our house and being a hobby painter, printmaker, cartoonist and drawer. He loves to make things including hobby models like cars, star trek devices and World War 2 planes. In the attic, I found several handmade games he made with his brother when they were young. These games had a wonderful handmade folk-art quality. My Mom subscribed to Raw Vision magazine and this had a profound effect on me. How often would you say you work in your studio? Everyday. I am fortunate to have several studios to make art. I literally make art all the time. I have figured out ways to make art even while I travel on public transportation throughout New York City. Do you approach each piece the same way in a systemized manner, or does it vary? I have developed a process that allows me a certain flexibility when making my art. When I make paintings, there are some paintings where I have a pretty good idea what they might look like. Other paintings, I allow more random events to occur in the making of the painting such that the result is not planned ahead of time. There is an equal amount of careful decisions that are made so the painting is what I intend but is serendipitous. I don't want to know what I am doing all the time. I want my painting and art making to be a source of discovery. So, I don't always want to know exactly what I am doing and know exactly what I am going to make. I resist a programmed approach to making art. I want to surprise the viewer. I believe there are other unifiers (color, technique, medium, content) in art work so that artists don't have to get pinned in to one way of working. Artists today are engaged in more than just one mode of art. This allows them more freedom in what they make. What materials and tools do you use most? I have always embraced non-traditional modes of art making and art tools. I developed a process that reflects my own sensibilities and interests. I don't always go to the art store for my materials. I am interested in the path less traveled and so the only rule that guides me is I don't use a paintbrush when making my paintings. This directed me to research my own methods and approach to making my paintings. I pull my artistic sensibilities from all the art that I studied in art school. I use a blowtorch, x-acto knife, linoleum printmaking tools, kitchen spatulas and putty knives. I have made my own tools. I believe in doing-it-yourself and that self discovery and invention creates unique works of art. I continue to be open to new ways of working and I want my process to evolve so it stays fresh and exciting for me each and every time I make a painting. Where do you get inspiration in the studio? When I was young, I read comic books, science fiction books and Raw Vision Magazine. In the end I realized that imagination was the most valuable aspect of an artist work. Van Gogh, Picasso can teach us that. They present their vision of the world. Science Fiction and Comic Books utilize creative science, fantasy, supernatural force and utopian ideals. These positive aspects of what we could be, are interesting ideas to explore. How did you come to use pipe cleaners for your sculptures? I had a job that involved travel so using pipe cleaners allowed me to make art on the subway, plane, train and in my hotel room. Making sculpture is a nice counter activity to making paintings such that I keep art making fresh for myself. I never get bored and I have developed a way to make art all the time and utilize every minute of the day. What are you working on lately? I am preparing for several group shows in Stockholm, Sweden, London, England, Richmond, Virginia, Florida and New York City. Since graduating from Hunter College in December 2006, I have enjoyed a lot of art world success. Stefan Stux at Stux Gallery offered to work with me at my Thesis Show. He feels my art is unforgettable and he has been responsible for discovering many now famous artists. Who comes to visit you in the studio? Other Artists, Galleries, Curators, Collectors and my Studio Assistant. How often does your studio artist come to help you and what sorts of tasks to you have him do? Sometimes every day and sometimes once a month. I am fortunate to have a flexible studio assistant. I make my own encaustic paint. so he is making paint for me. He also helps me ship art work and build stuff in my studio. He meets shippers at my studio to pick up artwork when I can't be there. He is not art trained but is creative so I offer things I think he can do and he tells me what he wants to do. How do you fund this? I sell my work, I teach a couple of college art classes. This helps fund my studio assistant. I only spend my money on my art and room and board of course. Would you mind taking us through how you came to bring in extra help in your art-making process? Did working for other artists in the past help you navigate this step? I was an assistant to Miriam Shapiro and David Salle, so I felt that a non-artist would be good. They both employed non-artists as studio assistants so this is where I got the idea. The belief is that artists might be too star-struck, borrow your ideas or methods. I believe that if you are going to succeed as an artist you have to be able to make a certain thing in a reasonable amount of time and have an approach that allows for an artist assistant. What is the best thing about your work space? Three large windows, plenty of white walls and a view of Manhattan, 600 square feet plus storage space, my own private entrance and very cool studio mates who are never there. What don't you like about your studio (if anything)? I am close to the KeySpan Energy Factory in Long Island City, NY. I worry about air quality even though it has won awards for running a clean facility. New York City is the best place to make art because you are constantly inspired and motivated despite the obvious environmental drawbacks. I love to work for long stretches of time in my studio Unfortunately for me, I recently discovered that I am allergic to dust mites. I learned that when I sleep over in my studio I am sleeping on a futon that has dust mites. I develop a bad cough that takes several weeks to get rid of so I am in the process of sealing off the inside of my studio free from dust and using an air filter. If you could have your way, what would your ideal workspace be like? This is a great question. I am planning this out right now. I am trying to buy a place in New York City that I can transform into a green facility. I would love to have a place big enough to entertain as well as a big enough studio and living area so I could be sustainable. It will have a garden because healthy living is important to maintaining health and longevity in a big city. What shows do you have coming up? 1. All Systems Go: invitational exhibit at Florida State University, Sept. 17-Oct. 13, 2007. 2. Yukiko Kawase Gallery in Paris, France will be taking my art to Year 07 Art Fair London: Oct. 11-14. 3. 3-person show in March 2008 at ADA Gallery in Richmond, Virginia. 4. Ice Cream Show at Galleri Loyal in Stockholm, Sweden, April 2008. 5. Several other important shows that are in the works that I cannot reveal yet. What do you want to know about the next studio artist on SpyMart? How much time do you spend promoting yourself? For example, developing a web presence like myspace, websites or going to openings to meet people. SpyMart would like to give extra thanks to Don for disclosing his valuable secret intelligence to our undercover agents. Visit Don Porcella on the web at these fine places: DonPorcella.blogspot.com MySpace/Waxhead4000 Artcomments