Can you tell us what influenced your work towards sci-fi/hip-hop? It seems like a rare combination in CG art.

Music influences me a lot. Few years ago I did some cover art for hip hop bands. Hip hop is my culture, I grew up listening to rap music and looking at graffiti. It still influences my art. Sci-fi is everywhere, all the concept artists I know already painted sci-fi in the past, so I thought mixing both universes could make something interesting.
“Variety is food for brain, and the more I observe, understand and analyze, the more the savour and color of my art will be rich and unique…”

Where do the hip-hop characters that you produce for yourself come from?

They come from people I know or I met in my life. I spend a lot of time observing people, not only related to hip hop codes but art in general. I have a fascination for the body language of dancers, they could come from contemporary dance, hip hop or African dances, never mind. I don’t want to limit the spectrum of my art, influences or message behind that. I try to stay open minded on people from other cultures than mine. Variety is food for brain, and the more I observe, understand and analyze, the more the savour and color of my art will be rich and unique, because it will not born from a limitation but from a choice. I think that unconsciously I paint what I would like to be, a part of me is as extravagant as the characters I create.

How did you become involved in Steambot?

Steambot already existed as a collective when I came in Montreal. Not yet a company. Guys automatically accepted me in the team, they started Exodyssey with Design Studio Press and what I saw just blew me away. But working on the side for the job was hard for everyone. The book production was slowing down, then I came in and acted like a boost for the team. I just arrived in Montreal, full of energy and excited to discover a new country and find new friends.

The team needed that at this time. I came with new ideas and a new glance on the project but also on the steambot image by refining the website, marketing stuff, I naturally became the visual director of the team.
Steambot already existed when I came in Canada, not as a company but as a collective.

Dd you feel a lot of personal pressure to see Steambot succeed?

Well, pressure is not the right word, responsibility is. Each member of the team has progressively and naturally taken a precise role into the company, considering all the tasks there positions require. We are not only concept artists anymore at Steambot, but also CEO, visual director, creative director, etc. Thanks to these recent changes we think differently. Reflection becomes more important because we think more about IP and not singular images. In any case, we never put pressure on each other so creation is still fun for us, even if we have to keep it a business. Within Steambot we get to take the time to learn, and build a reputation.
Any advice for other artists who might be looking into forming an art collective?

Of course I have one: SHARE!

This is what we’ve explained and demonstrated in the last 4 years through Exodyssey and conferences. Teamwork is the key when you start a structure with your friends. Its important to be able to see their skills and to learn from them.

The other advice is be respectful with your friends, don’t think because you are friends you can be less organized or use less clear communication. You should treat each other like colleagues to keep good working relations. This is the key to succeed in creating together.
Links:

www.steambotstudios.com
www.feerik-art.com/

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