Exploring the Creative Process with Axel Geittmann

Considering the abstract and fickle nature of the art world, it’s any wonder how artists arrive where they do and why artists produce what they produce. How is success in art defined when dealing with the core of the human experience? Intrinsic impulses do not always comply with the outside mélange of benchmarks, schedules and otherwise arbitrary constructs that can easily be applied in other realms.

How does the self-taught approach compare to that of the art scholar? Training, some training, no training, does it matter? Where does natural talent factor in to the equation? What defines good art? What if the answer is simply being in better touch with intuition? Does this make a better artist? While these and other mysteries of the intangible remain, and the elusive bounty of sustaining life as a pure artist continues for many; Axel Geittmann, self-taught and ever evolving, opens up his own creative and artistic process for some light inspection.

MID: When did you begin making art?  

Geittmann: In elementary school I was always drawing and doodling. That eventually evolved into meaner forms of expression in high school with spray paint and big markers…so I guess I’ve been making art since I was little, though I never considered it as such.

 

MID: Where did you grow up?

 

Geittmann: I spent those most awkward years of life in between Washington and Colorado. I spent other amounts of time in California and Minneapolis. 

 

MID: When did you begin getting into canvass work?

 

Geittmann: After utterly failing at my first year of college, I took a hiatus from creativity until around 2005. This is when I began working with canvas and paints. Shortly after, in 2006 is when I had my first show at The 400. Thanks Kris, Randy, Marlon and Mark!

 

 

 

 

 

MID: What kind of paint do you use?

 

Geittmann: I use acrylic and spray paint. I have always wanted to use oil, but feel there is a specific process and technique required before I step to it. Someday I will have the time to learn about the intricacies of oil painting, but until then, I will settle for its lesser brethren-Acrylic and cans.

 

 

 

MID: Tell us about the evolution of your subjects and work.

 

Geittman: At first I started by painting simple characters with simple line work. The goal was focused on eliciting a strong feeling or emotion through the use of these simple characters.

 

MID: Do you think you accomplished your goal?

 

Geittmann: Yes. These characters definitely came alive with personality. ‘Stitches’ became a consistent, well-known character in my work…just off the wall and weird.

 

 

 

 

MID: He’s made an appearance in some product design, correct?

 

Geittmann: That’s correct. The company I work for, Smith Optics, approached me about doing a goggle design using the character, Stitches.

 

MID: Have you done other products?

 

Geittmann: Yes. I have consistently worked on clothing for DVLP based here in Denver, as well as Emage skate and snowboard shop. I also paint shoes quite often. I think this is such an interesting form of expression, and actually has an interesting sort of subculture…mostly based on street art and tagging. I try to raise this to a level of art design, which transcends the habitual tag and overspray aspects of graffiti.

 

 

 

MID: What came after Stitches?

 

Geittmann: I started getting bored with characters. Stitches will never go away, but I’ve started to bring some new elements into my work.

 

MID: Like what?

 

Geittmann: Text especially. Adding text makes the piece more personal and presents a cool challenge for me. I was also craving a literal expression to my work, which could blend with the organic feelings I try to coax from the subjects.

 

 

 

 

 

 

MID: How would you describe your work?

 

Geittmann: I have two sides to my work, one fantastical and one a little darker and more realistic.

 

MID: It seems even in your ‘darker’ pieces, there is still a sense of humor.

 

Geittmann: One translation of comedy is a dramatic work that is light and often humorous or satirical in tone and that usually contains a happy resolution of the thematic conflict. In that sense, I think art is not effective unless it allows the viewer to draw on more than one emotion.

 

 

 

MID: What do you think about natural talent?

 

Geittmann: I think you are lucky if you don’t need to work at relating your thoughts and feelings to your expressions.  The rest of us have to learn from every mistake. Luckily, this is how the best art is brought to life.

 

MID: How do you approach a new piece? What motivates you to produce?

 

Geittmann: I start with an idea of how the subjects of the painting are going to interact with the space and with each other. The things that motivate me are revenge and the perpetual need to get these thoughts and feelings out of my system, and onto something material.

 

 

 

 

 

 

 

 

 

 

MID: What are some of your influences?

 

Geittmann: Evan Hecox, HR Giger, Donny Miller, Swoon, Bret Easton Ellis, friends and memories.

 

MID: Now what are you up to? What are your plans with your art?

 

Geittmann: Short term, I am currently putting the finishing touches on some new pieces, which I am proud to say, are completely out of my normal realm of creativity. These pieces are being shown at the Nixon Art Mosh coming to Denver on the 24^th of this month at Lisa Kowalski gallery. I am excited to show with artists I look up to very much.

 

Long term, I don’t know. I think I will keep creating until I no longer feel the need, although I doubt that will ever happen…. I don’t know what else I would occupy my limited free time with.

 

 

 

 

Interview: Melissa Belongea