| HF Feature Interview with Chris Reccardi |
| Monday, 06 October 2008 | ||
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Page 1 of 3 We've landed an exclusive interview with painter and animation director/creator/musician Chris Reccardi. Matt Holdaway discusses Reccardi's upcoming solo shows at M Modern gallery ("Cosmodelic"), Limited Addiction and Seattle's Roq La Rue. They also chat about his story boarding work on Rob Zombie's upcoming "The Haunted World of El Super-Beasto" and his prior work on Ren and Stimpy as well as his three upcoming animation pilotss. We also discover Chris' mod pop musical side and discover that he's scored several popular animations. Check out Matt's in-depth interview with the artist and see a few behind the scene's of Reccardi's cat fighting world. (This is a three page interview, be sure to click the next page to continue at the bottom of each scroll.) 
Skooterman If you have enjoyed an American cartoon in the past 20 years or so, chances are you have enjoyed the work of Chris Reccardi. Ren & Stimpy, Power Puff Girls, Samurai Jack, Sponge Bob Square Pants, Shrek the 3rd, Cow and Chicken, Foster’s Home for Imaginary Friends and more all have his thumbprints on them. Beyond his animation work, Reccardi’s paintings have been in solo and group shows at the M Modern and the Limited Addiction Gallery. He recently wrapped up a show at Roq La Rue Gallery in Seattle and has an upcoming show on November 1st at M Modern in Palm Springs. His style is a smooth blend of Mod and Sci-Fi, opening portals to far away worlds and yet is still familiar. Riccardi is currently working on a solo album and has scored multiple cartoons. I had a chance to catch up with Chris and here are some excerpts from our conversation:MH- Let’s talk about your paintings and upcoming shows. What was your motivation to begin displaying your paintings? CR- I started in 2000 with the “Burning Brush” art auctions. When that ended, I was asked by Jay Nailor at M Modern and I didn’t say no. I didn’t intend to keep it up, but people keep buying the stuff, so many thanks to you whoever you are. MH- What themes do you enjoy exploring within your paintings? CR- Right now mostly just strong design and appealing color. Fictitious musical instruments, vehicles, and of course the female form. I generally tend to come up with stuff that I wish existed, but doesn’t…. like a Steam-Powered computer. It wouldn’t have to run on coal either…. But I guess some things are too ahead of their time. 
Cosmopollus MH- Do you have a theme for your upcoming M Modern show “Cosmodelic”? CR- In general, it’s dedicated to Music and some favorite songs of mine that have strong visual or social themes… But themes can get too confining, so some of the new stuff is just stream-of-consciousness. MH-How has Lynne Naylor influenced your work? CR- This’ll be hard to keep short. If you have someone that talented in your life, the influence is unavoidable. It’s like if Brian Wilson lived with me, I would probably end up writing songs (hopefully) that sound a little bit like “Pet Sounds”. She is an incredible draughts person (or “drawer” if you’re from Long Island) and the unequaled master of drawing females. Her sense of design is unmatched and the way she has developed her own approach to applying it to the female form is genius. Her girls exude pure sensuality and innocence at the same time. She can also draw funnier than hell, and has drawn some of the manliest muscle men I’ve ever seen. But as importantly, she has introduced my ignorant ass to the work of some great artists: Eyvind Earle, Richard Powers, the Provensons, who have been a huge influence. 
Miss Mod 
Miss Mod MH- Much like your animation work, your art is current, however there is a classic feel or at least classical aspects to your paintings. Which artists have been influences on your work? CR- All of the above, and most recently David Weidman who I am absolutely addicted to. When I was growing up it was Roger Dean. MH- How did you first get involved in animation? CR- I came to L.A. because I was hoping that my sister's husband (Disney Animator Chuck Harvey) could help me get into the business. I was never an animation geek (outside of early Fleischer Popeye, which were just cool to watch stoned) and didn't go to art school, so even with Chuck's leads, I couldn't get hired anywhere. But I persisted, because anything is better than a $4.50 an hour stock room or warehouse job. My first real in-house animation job was when John Kicfalusi, who was producing "The New Beany and Cecil show" at D.I.C. decided to give me a chance as a layout artist. My drawings were pretty lousy, but they needed new people badly. "Roger Rabbit " came out that summer and a sort of renaissance in the animation biz happened after that. Mostly because some execs figured that you can make real money off of the shit. |
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