Selfless Art Gallery had the privilege of sitting down with John Casado to explore his fascinating artistic journey. From his early years in his father’s studio to becoming a multidisciplinary artist, his work spans a range of contemporary art forms, influenced by legendary artists like Picasso, Cézanne, and Matisse. Known for his figurative portraits with subtle distortions, his art explores themes of expressionism, art history, and the creative process. With a successful career in design and advertising, John seamlessly blends commercial experience with fine art, making him a prominent figure in both the art world and art collecting circles. His work challenges traditional boundaries, offering viewers a unique perspective on the interplay between photography, painting, and visual art. In the first part of our conversation, John reflects on his early influences and the pivotal moments that defined his path. Here’s how the conversation went:
He Drives His Own Car, 2020. 18x24 in
Q. John, let’s start at the beginning. How did your artistic journey unfold, and what initially sparked your interest in art?
A. My bedroom, growing up, was my father’s studio, where he would work at night to make extra money as an advertising art director. When we would come home from the market, my father would set up a still life from the day’s groceries and then tear open the brown paper bags for me to begin to draw. By the time I was 9, I was enrolled in weekend art classes at the Chouinard Art School in Los Angeles. Edward Ruscha and Robert Irwin were among the notable alumni. During my early teen years, I would go on plein air trips to rocky landscapes with my father and his artist friends. At the end of the day, I would listen to them talk art as they reviewed each other’s paintings. I went to university to become a doctor because my parents convinced me I would starve as an artist. While I was there, I stumbled upon a year-end Masters of Fine Arts show at the university’s art gallery and came out inspired, believing that I could also make a living as a creative person. I ended up transferring to The Art Center School, now known as the Art Center College of Design.
Hello Darkness My Old Friend, 2020 16x20 in
Q. Your first solo art show in the ’80s was a success, selling out quickly. How did that experience influence your decision to focus more on fine art?
A. During the ’80s, my design office was fully formed and successful, but I needed to reconnect with my artistic roots. I spent five years, late at night in my garage, doing large-scale watercolor abstract paintings, which turned into a show with none other than Man Ray. The show got good reviews and sold out. The gallery, once the show closed, said I should come back next year with the same themes but with a different color palette. I felt confused and angry. I made the decision to not have another show, but I never lost my ambition to be an artist.
Q. In the late ’80s, you began to explore photography. What drew you to the medium, and how did it integrate with your broader artistic journey?
A. Photography is magical. I was always interested in photography as an art form and used it throughout my design and advertising career. Once I began taking pictures or directing photography, I was interested in pushing the medium through its film, processing, or making prints. Photoshop was on the verge, so you had to use the science of photography to be creative. Man Ray was a good example of pushing photography. I still try to push whatever medium I use today as a painter. I love to experiment and see mistakes turn into something beautiful.
20x24 Lith Prints
Q. During your photography journey, you had the opportunity to collaborate with legendary photographers like Art Kane, Richard Avedon, and Irving Penn. How did working with these masters shape your own approach to photography?
A. I have to stop and take a deep breath. Each of these men gave me the confidence to follow my own path, not only in photography but throughout my entire creative life. Each of these men was more than photographers; they had a way of bringing life’s blood to their work. Richard Avedon was a force, excited to be alive and to poke humanity with his camera. Art Kane believed that each of us could do it all—take pictures, design, or write a play. Irving Penn brought elegance to his photography and was only interested in perfection. I once asked him to shoot an assignment for one of my ads that I was creating. A few days later, he called and said that there was a small chance of failure in my assignment and kindly declined to do the job. Years later, I was faced with the same situation as a professional photographer and also decided to decline an assignment because there was a chance I wouldn’t be able to deliver. I remembered that it was Penn who gave me the confidence to trust my instincts, so I wrote him a thank-you note. He replied, “Glad to be of help.” There is no such thing as perfection, but you have to try to get close to it. This was the message I received from these three amazing talents. I am forever grateful.
Q. By the ’90s, you were fully immersed in both fine art and photography. How did this period help define your identity as an artist, and were there any key projects that marked a turning point for you?
A. First, I had to divorce myself from my commercial design career. It took a while to lose my old commercial habits when it came to being an artist. Photography was a good transition for me because only one person can hold a camera and make instant decisions. Once I ended my professional photography career, I continued with photography as a medium for my art. I always believed that taking an obvious subject is a great way to solve the problem of “What’s my art going to be?” I decided to shoot figurative work in the beginning after doing a film test using a friend as a model. It was obvious that art history was full of figurative work, and I had to take the challenge to do it differently. I made the same decision when I started painting. I decided to paint heads, which, again, have been done throughout the ages. The obvious—or what is in front of you—will always provide a good way to begin. Where am I headed? I don’t know. The turning point was not feeling I had a choice. I had to become an artist.
My Mirror Friend
Q. Your figurative abstract works often include portraits with subtle distortions. What inspires these distorted forms, and what do you hope to convey through this unique approach?
A. Distortions for distortion's sake don’t work. I also believe that the drips of paint have no meaning; they are just drips. I must admit that I tried them myself and was disappointed because they resembled so many other paintings I had seen in my past. When it comes to distortion, three names come to mind: Picasso, Giacometti, and Modigliani. Each of them created a signature style. For some reason, their distorted views all made sense. I am trying to work towards something that feels natural, but I’m not there yet. For me, I see a developed personality in their work, and I can relate to it. I wish I could tell you some deeper reason, but there isn’t one.
Q. In line with that, what is the overall message behind your artworks—both in your abstract pieces and figurative portraits? How do you want audiences to interpret or connect with your work?
A. People, as a subject, can be very subtle in expressing their feelings, and it has always interested me to recreate that moment in a painting. While working on a painting, I try very hard to reach my deepest level of creativity. I use the alla prima method of painting, which requires constant attention. That being said, I’ve never given a thought to what a viewer might think or feel—it’s not a concern. I am often happy to hear that someone likes my work, but the reality is that an artist created it, and an audience found it. Now, did the audience understand or see the subtle look in the painted face that I was trying to create? I feel gratified that it even touched them in the first place. Art can be mysterious in many ways.
Strange To Be Me, 2020, 16x20 in
Q. We’ve noticed that on your social media, you frequently reference artists who have inspired you. Can you share how this practice came about? Specifically, Paul Cézanne and Henri Matisse seem to be recurring influences—what about their work or careers resonates with you?
A. I made a list because I wanted to be clear about where my influences came from. I don’t believe there is an “original” artist. The artists on my list inspired me long before I decided to be an artist. Perhaps I should have organized them into a timeline. Each of these artists has something to say that resonates with me on different levels. Cézanne and Matisse came into my life very early. Each of them demonstrated that reality is just another way of looking at things. Cézanne provided structure, while Matisse showed me how to be free and loose. His sense of color was simple and primary, whereas Cézanne showed how the grayness of color can work for you. Each artist on my list follows a different path, which you can follow until you’re ready to carve your own.
As John reflects on his early influences and transformative experiences, it's clear that his journey has been one of continual evolution—moving from his father’s studio to defining his own identity as an artist. His experiences in design, fine art, and photography have shaped a unique creative vision that challenges traditional boundaries. Stay tuned for part two, where John will delve further into his inspirations, his experiences as a collector, and his thoughts on the changing landscape of the art world.
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