Agent X identifies himself as the "Afro-American Edward Scissorhands," and an "agent of the unknown," in as much as he pays homage to "early American history, exactly where most black slaves last names had been provided the last name X. I honour them as well," albeit "I am a slave to my art inside a twisted way." He grew up in Louisville, K.Y, Vancouver, New Haven and Atlanta, beginning his art background in college and furthered in the Art Institute of Vancouver. "What led me to this point is a gift from God to create, plus collectors and people thankfully liking my artwork." Drawing on pop culture for inspiration, he tells us he loves the work of "Romare Bearden, Andy Warol, Bansky, Takashi Murakami, Dondi, Jacques Villegle, Damien Hirst and Syd Mead" as most of these artists "invoke a sense of social commentary, unique artistry, Futurism and commercialism." Nevertheless, there is a powerful sense of individuality in attempting to produce a distinctive style, "art means expression. I look at artists in the previous and present but attempt not to be influenced by them much. I grew up exactly where copying somebody else's style was a Sin. Educate yourself using the best art and like meals, you're what you eat."
Futurism, history, politics and music are the core themes explored, telling us "my artwork is like the movie Cloud Atlas. It has to appear back to look extremely forward." Influenced by pop culture from the 1920s towards the present, the multimedia works incorporate iconic imagery from genre magazines from the past eighty years. The work entitled Osmosis Entitlement "deals with wealth, beauty, religion and chaos. How humans are sliced and visualised for an osmosis of vanity. The entitlement is passed down to every human generation regardless of how chaotic, thus the background. This piece has Pepto Bismol dripping in it," displaying an aversion to such such entitlement.
The work is abstract but has an underlying meaning, whether or not political or social, its about "how society is viewed, occasionally political, how the poor get fucked over or vice versa. Politics can mean numerous things." London Pound refers to the British economy and style, "he is inside a faded suit, faded by the day to day grind, but has a head of a Tiger, Lion, Panther within the economic jungle. She is is styled to the nine. The paint dripping will be the climate. Colours bland, muted by status." In FireAnt, the work is abstracted additional, "pure Abstract like Q tip and Pollock."
G.B.S "is a joke on me," he says, "that's me on a Saturday evening when I was 15. Going out and planning parties, in my Star Trek teleport , Moving time and space, heaven and Earth for me and my crew! On my Funkmaster Flex exclusive Johnny Depp after hours shit. The scrabble game of the Nightlife." One of the more favourite pieces he has carried out is KINGZ. There is reference to ancient Egyptian history, mixing "Afro American Heroes of mine. Hieroglyphics and Graffiti." There's also a strong musical influence, "I believe music impacts all society because it brings us all together. I can reside anywhere on the planet and know about a culture's music with 1 click. All my friends are into music, rapping, producing, DJ's, spoken word. In the event you didn't do some thing you weren't down." He presently is listening to "Oddfuture, A$AP Rocky, Jeff Mills(Techno), Beatminerz radio, House DJ's and Drum&Bass (Goldie,Grooverider,) plus anything electronic, Jazz and 80s and 90s rock and alternative." Like his work, the stimuli is diverse.
The work he says is "always spontaneous with extreme execution," with every work dependent on "how I really feel and what statement I wish to make or not. I'll make pieces like 'Golden Girlz' or 'Ice Cream' as they are like my Norman Rockwell type of artworks or something like '2320' having a Sim card, steel wool, Memory card reader, important chain, watercolour, oil and magazine clippings. I by no means make exactly the same factor twice." His exhibition at SoHo Gallery for Digital Art "has been very well received and I've shown my artwork there for every show since early 2012. Susannah Perlman and John Ordover are awesome and I'm extremely grateful to possess a house in New York to show my artwork." His artwork ultimately is a creative outlet for his thoughts, thanking God for "creating so many issues with so numerous different shapes, colours, thoughts" and his parents, who he calls his accurate heroes, "so a lot exposure to greatness." 2013 and beyond will see him look to "have a location for my artwork in England, Japan, Europe and much more. Plus do some Style and maybe music as well. Grindin."
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