James Blagden: New York State of Mind

Today it seems like it’s even harder to be original with the access to get and create everything. With new technology that comes out everyday it’s hard for one to stay fresh and current. Artist James Blagden who out of high school made the journey to the Big Apple is beginning to carve out his space and develop a style that represents a multitude of influence but exudes individuality. With clients that includes ny times, uniqlo,
king, flaunt and nylon James Blagden still defines himself as someone who likes to draw. Blagden has been on everything and you may have seen his work on the clothing line No Mas with founder Chris Isenberg. James Blagden really doesn’t want much, just to slowly but surely dominate the world and make sure women know his name.

Scheme: Did you first discover this drawing ability in Denver or was it after you moved to New York?

James Blagden: I grew up in Denver, and I grew up drawing my whole life… but I’d wanted to move to New York for as long as I can remember. My dad was from the east coast originally, from New York, and my mom was very city-centric, she’d always tell me about going to New York when I was little. I’d see all the movies and comic book images of the big city and what not, so when I finished high school I came straight out here to go to school and live, make art and be involved in whatever “artistic scene” I could find.

Scheme: Where did you hone your style, because its something that I’ve never seen before, so where did your style really develop?

James Blagden: I don’t know, I appreciate that, but I think it just comes from being into a lot of different influences. From graphic stuff, to musical stuff, to film and all kinds of different media - years and years of collecting comics and records and looking at all the covers and design that go into that stuff. I started out copying sh*t from comic books and things that I was collecting and then moved on to creating my own characters and coming up with my own ideas. As I got older influences would change, and there was always new stuff that I would see and really like. A lot of modern African art, like poster paintings from Ghana and hand painted barbershop signs, with super bright primary colors – bright, real contrasty sh*t. Also guys like Red Grooms, who I really loved as a kid. My style will hopefully continue to develop, I try to keep sh*t interesting for myself. But where it comes from, really its just a heavy influx of massive media, whether it be “high art” or junkie cereal box art - whatever it is.

Scheme: On a side note, say you were the director of Spiderman, Superman, the Hulk, or the Transformers what would you have kept or changed about those films?

James Blagden: (Laughs) That’s a hard question… I’m not in the movie business. I guess as a fan, I thought the first Spiderman, which generally got better reviews from everybody was better because it was kind of dark and menacing. More true to the comic, and the dude Sam Raimi, the Evil Dead guy, that shit was way spooky. If it were my movie, I’d want to have that grimy element - to whatever I’m doing. Those movies got so Hollywood, they lost that edge. I don’t care about Mary Jane’s singing career. Superman was just wack. Sh*t is too polished.

Scheme: If I met you, I would assume you were from New York because in your work you seem to have captured that culture as diverse as it is - how much of Denver, CO is influenced in your art?

James Blagden: Don’t want to sound too corny, but you know that line, that state moto – I don’t know what state - “more than a place, it’s a state of mind” I think that is true. The place is less important than the upbringing. Whatever artwork or media or stuff you are exposed to… these days it doesn’t really matter what city as long as you are exposed to sh*t. I guess if I would have grown up in the country it might have been a little different, but I lived in downtown Denver and youth culture is youth culture. Denver was a grimey city. It’s got a strange cosmic appeal that I will always appreciate – being in the middle of the country like that. But kids growin up in the city - they either want to go to New York or Los Angeles. New York was my place (laughs). I loved everything about the east coast from the music, the people, the architecture and humidity, so I wanted to be out here. So once I got out here I got into it fast, and I got comfortable fast.

Scheme: Coming to New York even though your style is unique, was it hard breaking into that art scene?

James Blagden: There’s a lot of people doing their thing! A lot of people making art, in addition to a lot of people competing for the same type of work. I came out here to go to school initially, and going to school for me more than anything else helped me make good connections and build with similar minded people, whether they were older than me, or my direct peers. As far as work, my teachers really helped me establish myself and get some exposure… I think that, more than anything, really helped, because I’m not much of a self promoter or a hustler, and I know very well that’s what it ultimately takes to stay busy and stay eating (laughs).

Scheme: Even though you say your work is influenced by “a state of mind”, a lot of your work seems to be with real life social issues. When I saw your illustrations of the stereotypes,you had of the Whites, Mexicans, and Black people I immediately thought of Spike Lee’s Do the Right Thing in the scene where every other person is talking about someone else’s race. What about conflict or reality grabs you because if this type of discussion comes up I can’t picture you in the corner shying away from those conversations?

James Blagden: (Laughs) Yeah, I guess it’s just… that is reality, and reality, for better or worse, is on my mind a lot, you know. It’s not something that comes up topically, that kind of sh*t is in your face all the time, especially if you watch television, which I do (laughs) that race series is sort of about watching TV, there is so much garbage on mainstream television that is just flat out racist - or just bad stereotypical images - of everyone, not just minorities, but white folks as well, it was all bad. I guess that’s just something I’ve experienced growing up in a diverse community. You have to be aware of the bullsh*t, cause they’re serving it up regularly.

Scheme: The picture about the race riot you have, since 9/11 America began this big push about we’re all American and united. Being there in New York do you still feel like there is racial tension and that people are looking behind their backs constantly at the next person or has it gotten back to what it was before 9/11 occurred?

James Blagden: I think it’s back to how it always was in regards to the balance between racial tension and harmony. After 9-11, that whole united as one feeling - that was fear-based! It was this culture of fear that the Bush Administration has everyone living under now - everyone is supposed to ban together in our mutual fear and hatred of whatever the enemy of the day is. After 9-11 it was Middle-Easterners, Muslims. We’re so ignorant, it really became this blanket hatred thing where people in Midwest are going “keep those Muslims out” … it’s just awful. So were supposed to be happy, cause people who might have been fighting before, are now together sharing their disdain for the enemy (laughs). It didn’t last very long - as far as people and their attitudes I mean - New York is probably the most diverse city in America right? But Do the Right Thing is still very relevant. There’s a lot of gentrification going on and a lot of attitudes towards different cultures from different races that aren’t really going away - aren’t really going away, or haven’t really changed.

Scheme: Describe the sports and drugs concepts.

James Blagden: That was Chris Isenberg who runs No Mas – that was his idea. I was doing that series with him. It stems from the Mike Tyson series that he did with my boy Mickey Duzyj. No Mas deals with the tragic fall of athletes who rise into these superpower positions and lose it all - whether it be drugs, a racist culture, or whatever scandal causes one to fall. But the Drugs In Sports series, it’s sort of poking fun at drug culture, but it’s also about lamenting these dudes who are scandalized in the public eye. They f*ck up and they have problems and sometimes it’s worse than other times, and sometimes it’s really devastating… One of the dudes (in that series) allegedly died of an overdose, so we didn’t want to be disrespectful - but celebrity and drug culture is really an interesting phenomenon.

Scheme: Are you continuing to work with Chris Isenberg and No Mas?

James Blagden: Yeah, we’re actually working on more Drugs and Sports stuff - Chris is cool, we’ve become friends… we did a series of shirts together, and got some more stuff on the way. I appreciate his attitude towards illustration, and drawing, and the way he utilizes it in his appearl - I think it makes him and his brand unique in the overpopulated “street wear” scene or whatever kids call it, and I appreciate that for sure.

Scheme: You seem to not to be too concerned with names, labels and categories and that kind of thing. If you were to define or describe your work how would you describe your work to the people?

James Blagden: I guess I would say that I love to draw… as simple as that sounds. When people ask me what I do and they find out I’m an artist or whatever, and then the question is “what kind of art do you do?” That’s a complicated question to answer, because even my illustration work is more personal to me than to just say “I’m an illustrator” you know? Labels just feel so constricting! Sometimes I say “I like to get funky” (laughs). But basically, drawing is the seed, and whatever spouts from that seed is ok with me. So I guess let’s just say I like to draw (laughs).

Scheme: So what is the ultimate Scheme for the rest of 2007 and maybe even the rest of your career?

James Blagden: Domination, domination.

Scheme: You sounded so serious when you said that.

James Blagden: Domination baby! (Laughs) I just want to stay busy at all times and never to allow too much down time. I just want to continue to work on new projects and whatever comes, be ready for. Bigger projects with more people involved, more exposure to new sh*t, and work with new artists, make lots of friends, lots of money and have all the girls knowing my name! (laughs)

For more head to www.JamesBlagden.com