Dave Elitch first garnered attention with his band Daughters of Mara’s debut album “I am Destroyer” in 2007, but his time touring with the American progressive rock band The Mars Volta in 2009-2010 is what really put him on the map. He has since worked with Miley Cyrus, Justin Timberlake, M83, The 1975, Juliette Lewis, Big Black Delta, as well as many others. He is a regular in the LA session scene, including performing on various records, syncs and film scores for major motion pictures, (most recently “Trolls” and “Logan.”) In addition to playing, he also conducts master-class lectures worldwide and keeps a busy private teaching practice in Los Angeles where he has developed a reputation as THE technique/body mechanic specialist who has helped many of the industries top players as well as educators.
“Ever since I decided that I was going to be a drummer, I wanted to be the best I could possibly be, and I put all my faculties toward that. Eventually that can take a toll, so I kind of hit a wall and needed a break. I’ve always had an appreciation for art, and luckily where I live in LA there are all these rad galleries – the Getty, the Hammer, Thinkspace, C.A.V.E., Giant Robot – so I frequent those. I get a different vantage point on the creative experience. I started getting inspired by documentaries about artists, like The Radiant Child about Jean-Michel Basquiat, Rivers and Tides about Andy Goldsworthy, the Gerhard Richter documentary Painting, Francis Bacon movies on YouTube… It’s just such a fascinating take on making sense of the world around you. Plus, I’ve dedicated my life to knowing all there is to know about drums, and I’m expected to know everything, With art, I can just go from my gut, so there’s a huge sense of freedom and escape for me there.” – Dave Elitch
Topics Discussed In This Episode:
www.artistdecoded.com
With iconic photography of young iconoclasts, musicians, and bands like the Red Hot Chili Peppers, Tom Waits, Nick Cave, The Circle Jerks, Ice Cube, and Bad Religion, as well as hundreds of other early punk and hip hop bands, Edward Colver was an insider to the turbulent and burgeoning underground music scene of early-eighties Los Angeles. Since active in photography for more than forty years, he first documented an average of five local shows a week using only a 35mm camera, flash, and Kodak Tri-X film.
Colver’s book, Blight at the End of the Funnel, collects some of the best of his hardcore punk and promotional work for record companies. His shot of Henry Rollins for the cover of Black Flag’s “Damaged” album was used on billboards and lamppost flyers throughout Los Angeles during the Annenberg Space for Photography’s Who Shot Rock and Roll installation in 2012, curated by Brooklyn Museum curator and author Gail Buckland. In addition to numerous other openings, including Shepard Fairey’s Subliminal Projects gallery and a solo show at Lethal Amounts this last year.
Topics Discussed In This Episode:
www.artistdecoded.com
Winning the Archibald Prize as Guy Maestri did in 2009 would be a defining moment in most artist’s careers, but he is quick to cite physical immersion in the landscape as revolutionary to his painting practice. It’s easy to gloss over the history of plein-air as a European tradition, born of gentle grasses and mild sunlight. Practiced in Australia, away from the slip of green coastline, plein-air demands rigor of vast dimensions. For Maestri, the material and temporal challenges of extended painting sessions in the hard country around Hill End, Wilcannia and Broken Hill has been instrumental in a new understanding of local art histories and ecologies, as well as the atmospheric and elemental qualities of landscape. Beholden to intimacies of place, the artist stakes out a subtle void or stillness in these dry landscapes without surrendering his animated, almost kinetic approach to paint.
Masquerading as a shady retreat, the studio retains its disciplinarian attitude but demands a different kind of focus. Here the void is more theatrical, Maestri’s compositions orchestrated with operatic tempo. Desiccated road-kill (the anti-trophy of inland highways) perform as contemporary Gothic vanitas, shot through with equal measure of beauty and pathos, the eye and the heart facing off.
A graduate of the National Art School, Maestri won the 2014 Kings School Art Prize and the 2013 Premier’s Plein Air Painting Prize. He is a regular finalist in the Wynne Prize for Landscape at the Art Gallery of NSW and his work is held in several public collections, including the National Portrait Gallery and Parliament House collections.
Topics Discussed In This Episode:
www.artistdecoded.com