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STRIP! Magazine’s Exclusive Interview with
up and coming Sculptor,Illustrator and Digital Artist Jose L. Rodriguez (DARK PROPHECY)
1.
 
Three words that would describe you best?
I would have to say
“
inquisitive
”
,
“
anti-establishment
”
and as much as I sometimes hate toadmit it,
“
procrastinator.
”
 
2.
 
What do you like most of all about your job?
That would have to be answered in a sort of pasttense, since my art has had to take a back seat thelast couple of years and is no longer my only full time job anymore. Waking up everyday and getting paid todo something I absolutely love and would do for freehas got to be the best part though. When your job is
what you were born to do, you don’t work a day in
your life.
3.
 
What do you think about the future of your art?
I
don’t think I’ve truly developed
a distinct style of art
yet, at least not that I can see. I’m sure a
s I continueto grow as an artist people will begin to see moretrademark sensibilities in my work. The use of anatomy, symbolism and esoteric references, as wellas the darker elements that were always present willsurely continue. As for where
my art itself will go, I’m
really not too sure at the moment
. I’ve alwaysenjoyed sculpting but it’s proved a bit too timeconsuming for me right now. I’ve been tea
ching myself to work on digital platforms a lot recently. Zbrush and Photoshop have been a focus for me lately. I remember when I first heard about digitalscanning and printing, sculptors in general were in fear that this new technology would eliminate theneed for us all together. After all, why pay a sculptor to sculpt a portrait in two weeks, when you couldhave the subject sit in a chair and get scanned and have a digital print in ten minutes? It wasintimidating! Truth is however, artists will always be needed,
even if it’s just to refine
the details of a 3-Dprint out. My philosophy has always been that these technologies are simply additional tools for theartist. A
sort of “Artistic Darwinism”, so to speak. Adapt or die.
 
4.
 
Favorite things to do for recreation?
I don’t have much time for recreation anymore
! (laughs)
I’m a full time dad, husband, working man anda “part time” freelance artist
now. If and when I do have free time, I
t’s
usually spent it catching up onquality family time or chatting with friends through MySpace.
 
3
5.
 
What are your plans for the next year?
Aside from my New Year’s resolution to quit smoking
? (Laughs) I have a couple of personal projects Iwant to wrap up and finish. One is a statue representation of an ancient Mesopotamian demon,
“Pazuzu” who represent
ed
the winds of famine and disease. I’ve had countless requests for that one
asa resin kit!
Though I have basic experience in molding and casting for production I don’t currently have
the space to produce actual resin kits for these pieces.
I’m hoping to hook up with the right production
house and maybe market these pieces out.
6.
 
What do you feel is the role of artists in creating social change?
I think artists have a unique ability that most people do not. As more and more of our civil libertiescontinue to disappear, the highways of information and especially the avenues of free speech continueto fade along with them. Artists have always had the unique ability to say what they want and usuallyget away with it, even if only a handful of their audience can truly understand their message.Not just classically trained artists, but actors and musicians as well. Look at John Lennon, Banksy, ZachDe La Rocha and the Waschowski brothers for example. All were artists that have stuck their necks andpersonal careers out on the line to influence social and conscious change and help raise growing publicawareness through their works and expose the worldwide corrupt power structures that seek nothingbut monopoly and increasing consolidation.
7.
 
Which artists have influenced you most, and how?
Sculpturally, masters like Bernini, H.R. Giger and Clemente Susini. On a more personal level though
, I’ve
had the fortune to run across influences like Digger Mesch who gave me my first break and PaulKom
oda, both of which I worked with back in the late 90’s when I lived in New York.
The founder andcreative art director of Art Asylum, Digger was always like a big brother to me. He took me under hiswing and taught me the foundations of good sculpting like the importance of anatomy and pushing the
of 00

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