Brin Levinson & David Welker Interviews

Specialists in gig posters, fine art prints, and street art. | 2381 N Milwaukee Ave, Chicago, IL

Brin Levinson & David Welker Interviews

We chatted with Brin Levinson & David Welker about their upcoming show at GF, Lucid Dreamscapes.


Hey Brin, tell us about yourself and what you do.

I have a pretty simple life and try to avoid the rat race. The Pacific Northwest is rainy a lot the year so there’s a good excuse to get work done. If it’s a rare nice day, I might head to the coast or mountain. I never go anywhere without my camera and dog. I love looking at things in nature. Most of my time is making art. I’m an oil painter usually eight days a week.

Your work is crazy detailed and comes from an imagination and talent level I can’t even begin to understand, what is your process?

I usually start with looking at pictures and taking pictures. I use them as a jumping off point. Sometimes you go on a tangent with ideas that can become a series of pantings. Other times each piece is like a new experiment because you want to try something different. I usually don’t sketch, I just start painting with loose washes. The whole painting evolves with many layers of paint. It’s like focusing a lens. This technique takes a long time but it’s how I like to work, it’s very free, I don’t worry about “staying in the lines”. I tend to be a perfectionist and do a lot of analyzing. When nothing about the painting bothers me, I can call it finished.


Your work involves a lot of urban decay, is this what attracts you to Chicago?

Yes. When I visited Chicago the last time, I discovered the L  and took a million pictures. I love the steel structures, water towers and tracks overhead.

Explain a little bit about Lucid Dreamscapes and what your vision is for the show?

David (Welker) and I talked about what we wanted to do for the show and what would be a good fit for the gallery. Galerie F is an amazing gig poster and screen print gallery. So, we wanted to have a good mix of small originals, screen prints and I wanted to revisit my idea to do a lenticular print series. There’s going to be a refreshing variety of work from us there. The common thread is the urban landscape aspect and surrealism in our work.


What excites you most about shows? Coming up with the work? Seeing it in the gallery? Working with other artists?

I love doing shows and having a body of work that is finished and unified. This show is especially exciting to me because I’ve been inspired by Davids work since I was a beginning artist. I met him for the first time by chance at a party on new years eve in New York when I was a teenager. I never thought we’d show together some day. It’s really an honor and a personal milestone to show with David.

You’ve worked with us before on an exclusive, what attracts you to the gallery system?

I like being involved in the art world. Having people come see what you’ve made is what makes what you do relevant and worthwhile. If there was no one else to see my paintings, I really don’t know if I’d make them. The interaction between the art and other people is the main point to me.

Do you have anything else coming up this year that you can talk about?

There are some nice group shows this summer and fall and I have another big two person show in October here in Portland. I’m looking forward to making some new work and expanding on some ideas.



Hey David, how are you today?

I’m feeling good. In the zone.

Tell us about yourself and what you do.
I live and work in downtown Manhattan. I draw and paint.
Explain a little bit about Lucid Dreamscapes. What is your vision for the show?
Well Brin Levinson and I both have this fixation with landscapes and pictorial staging. We’ve talked about floating compositions but we both gravitate towards what we’ve called “grounding” of events.
And since we both tend towards the surreal we expressed this sort of range of conceptual realism in this show. I also added some graphite studies of Chicago with the help of local photographer Jason Kaczorowski.
Do you know Brin? What are you looking forward to regarding his work? Have you been in contact with each other regarding the show?
I met Brin in 1995 in a liquid room with a bunch of liquid people across the street from Madison Square Garden. He came up to me with pupils the size of frying pans and said that I inspired him to paint. 20 years later I couldn’t be more happy, proud, honored and inspired by his career. He is a gem of a person.
I’m sure lots of people know you from the gig poster world, what made you branch out from that in such a big way?
My influences, perspectives and desires have always been very diverse, so flowing to and from one aspect of the art world to another is second nature.
You have quite a few different styles, where did they come from and do you choose to implement a style based on the project?
They all just emerge naturally from my interests and the ethos. That place of “La Joie De Vivre”
You’ve worked with us before on the baseball series and other prints. What do relationships with galleries mean to you?
Well it’s a symbiosis. It’s a social thing. An event based relationship where people can come together for a real time happening. Thats why we do it nowadays.
Do you have anything else coming up this year that you can talk about?
Most of the stuff coming up is a secret, but I can mention that I’m in a cool group show at the Mondo Gallery in Austin Texas on March 18th with a ton of other awesome artists. I’m also working with Hoerle-Guggenheim and their friends at Halcyon Gallery to try to schedule a show for me in London in 2017. I’m very excited with that possibility.
Lucid Dreamscapes opens Friday 11th March 2016.
Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

Fugscreens Interview

To celebrate our owner Zissou from Fugscreens Studios having his 10 Year Anniversary show at the gallery on Friday, we thought it would be nice to interview him and get to know the man behind the work and the gallery.



You’re celebrating 10 years of Fugscreens. That’s such a huge milestone. What were your original plans and did you ever think it would get this far?

I started Fugscreens as a way for me to be able to print my own work, once I was done with college I needed a place to work. I’ve never really had a plan for the studio, I’m not one of those people who look forward ten years down the line. I tend to take thing as they come and then deal with it once it’s in front of me. This isn’t always the best course of action as I tend to overload myself with work and all sorts but I guess it also allows life to be a little more exciting. So in answer to your question I’ve never really had a vision as to what it would become or even what my plans are for the future but I will say that I’ve always had confidence that I could make something work professionally, I mainly didn’t want to work for somebody else. That’s always been my main motivation to have control over my own destiny.

How many prints have you created in the last ten years?

Wow! I’m not too sure about this one. I’d say over the past 5 years I produce on average around 150 prints a year, that’s my work and anything I print for other artists from all over the World. So if I were to guess I’d say around 700-800 different designs over the past 10 years.

Which is the print you are most proud of? And who do you want to work with?

There are lots of prints that I love and there are lots of prints that i don’t have any emotional connection to but are huge landmarks in my career, such as Phish or Muse. I think the first posters I did for Iggy Pop and Elvis Costello were both massive personal achievements for me. Obviously more recently working with Michael Jordan has been a huge thrill that I don’t think I could have ever imagined would come true. Some projects of note are the 75th anniversary of Batman for DC and posters for The Vaselines and Mudhoney. Dream jobs for me would be Neil Young, Patti Smith and PJ Harvey for the obvious reasons.



You’re quite an international guy, what brought you to Chicago?

School. I finished my BA at the Art Institute after leaving Central St Martins in London. I was born in San Francisco so I’ve been coming to the States to visit family since I was very little, we would go to Pennsylvania every Summer and I fell in love with everything the US has to offer. So when the idea of studying here came up I jumped at the chance, it just so happens it was Chicago, it could have been Boston, San Francisco or Philly but I loved the feel of Chicago. Once done with college I didn’t have much to leave for other than my parents so I stayed and continued to build a life here. Now I own two businesses, a house and have a 5 year old who was born here so it’s home now. It’s a great city and I’m proud to call it home, but I do miss Europe a lot especially London and Paris for many reasons.

What would you say has been your biggest achievement in the last ten years?

This one is tough. There are always little wins and personal achievements that I’m proud of but without sounding corny my biggest achievement is being a father to the smartest little boy I know. Inka has changed my life in so many amazing ways over the past 5 years. I think most of the big professional achievements I’ve had, my drive to work and continue to grow are spurred on by him. If you look at my portfolio over the past ten years it’s only in the last 4 or 5 that I’ve really come into my own and found my footing creatively and professionally grown. I don’t think that’s a coincidence.



You started off as a commercial printer, what gave you the idea of stepping out from behind the curtain and creating your own work?

I actually started off as a fine art printer, just printing my own art and then I fell into teaching private lessons for individuals or couples who were looking for a creative outlet or just wanted to learn how to screen print. From there I started working for local bands and friends. That took me into doing gig posters full time and then I started printing other people’s work and things have been pretty consistent since then. I’d say at this point I print about 70% for other people and 30% for myself. I’d like to get it to 60/40 printing my own designs so I guess thats one of my goals moving forwards, to concentrate more on my own work.



Your work has evolved but you are best known for your series like the Fuggin’ Revolution prints, the sports jerseys and the more recent Air Jordan series. How did these jobs start?

The revolutionary series is now about 6 years old, I’ve always been fascinated with pop culture as most of us are and I also love history so melding those two ideas was pretty fun. I can’t really remember why but the idea was to do a continued project based on facial hair starting with Lenin, Frida, Patti and Lemmy but that changed once I did Steven Colbert which sold out in a matter of months. Then then it became anyone fictional or real who has made an impact on my life one way or another, Marge Simpson Jordan etc. It will be a series that will ideally will never end, so far i have 18 done and I already have a list of around 30 others that i would love to get stuck into.

As for the jerseys and Air Jordan those are connected. The fine folk at Nike found my jerseys and liked them enough to ask me to create a series of prints based off of all 29 original Air Jordan sneakers since 1984 for the opening of their new store in Chicago. It’s been a huge thrill for me to work with such a massive brand, and they have been such a pleasure to work with. I’ve always been a massive sports fan so its a joy to work with people who share my passion.

You also own Galerie F, tell us a little bit about how that started and your plans for the future.

Galerie F was instigated by Billy Craven, he sowed the seed a few years ago about starting a store that would have a print shop and a space for selling prints and street art. For over a year we spoke about it and slowly that seed grew into reality. Even though we had been speaking about the idea for a couple years, the whole thing happened within the space of a few short months and like most things in my life its been something that has grown and changed quite organically. We are constantly trying to find more interesting and new ways of doing things. It’s a very fast growing flower that has surprised us all in how quickly it has blossomed, but that’s what makes it fun and exciting. at this point I’m not certain as to where it will go and how it will evolve but I’m very excited about what we have planned for the future.

You are officially the busiest man I know, if you had to get rid of one aspect of your business life, what would it be and why? Gig posters? Art Prints? Commissioned Work? The Gallery?

I do tend to stay pretty busy and I keep telling myself I’m going to slow down, you might not believe this but I have started to do so this year. Hopefully I can keep it up and stop taking every job that comes my way. As far as all the different aspects of what I do I would say that I enjoy them all equally and its’ kind of what keeps me interested. I’ve never been one for monotony so keeping active with different projects keeps me excited to see what the next project has to offer, what sort of challenges it will bring and how well I can execute the final project. I will say that I’d like to be able to take more time over each print that I work on, I don’t like doing things half assed so not being able to give everything I work on my full undivided attention bothers me.

What was the idea behind getting other artists involved with your solo show?

So something I have always said is that no matter what I do or have done the studio would not be what it is without all the people I have met throughout the years. They have helped me grow stronger and more confident about myself and my work. a lot of them have become great friends , business partners & more. People like Billy Craven, Michael Lauritano, Sean Mort, Justin Santora , Allie Whalen , lefthandedwave and so many more have been instrumental in making the studio what it is today. so to not have some of those people contribute to the show for me would be leaving out a large part of what Fugscreens has been for the past 10 years.

What is the plan for the next ten years? Do you plan to keep on trucking or do you have any new tricks up your sleeve?

Well as I said above I’m not a big planner of sorts, but I will say the older I get the more I think about the future as we all do I guess. So for the next ten years I see myself trying to slow down and find a good work life balance, finding more time for those I care about and doing more things for myself. Professionally I have all sorts of goals for Fugscreens and Galerie F but I will keep those thoroughly tucked up my sleeves for now.

Fugscreens: 10 Year Anniversary opens on Friday 19th February 2016 at 6pm CST.

Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

Matthew Hoffman (You Are Beautiful) Interview

It’s You Are beautiful 3.0 tomorrow evening (02/05/2016). It’s been a huge collaboration since we opened and our arms and minds are always open to whatever it’s custodian Matthew Hoffman is up for.

We thought it’d be a good idea to show you the man behind You Are Beautiful. He has a great story and is so inspiring to know. Hopefully it rubbed off on you reading this interview.

YAB3Photo by Paul Octavious
Hey Matthew, how are you today?
Pretty good!
Tell us a little bit about yourself and what you do
I always biff that answer. Recently when I was forced to do an introduction at a meeting I said “I make stickers, I don’t know.” and just trailed off from that. 
I think a lot of us struggle when talking about ourselves, it’s hard! But basically I’ve been making work since 2002 when I moved to Chicago. Back then, I would have never believed I’d be making artwork with a team, full time. It’s really a dream. 
Pretty sure I just wiggled out of giving a real answer…
I love the positive message of your art, where did your outlook come from?
It might be a surprise to the outside world, but for those that know me – I’m more of a realist than an optimist. Or even a positive pessimist. Hope for the best, plan for the worst. To be honest, life can be really hard & hit you with all sorts of unfair stuff. I’ve always made work to protest that, to be such a force of positivity, it’ll hopefully knock negativity on it’s ass.
I’ve kind of always seen this message as my protest song. I decided a long time ago that there’s enough negativity in this world, I’m not going to add to it.
YABYou Are Beautiful Sticker by Jenna Blazevich – @vichcraft
YAB has gone from strength to strength over the last few years, what have you been doing to grow this idea?
I really give all the credit to the community. I think the strength of the message is how open & inclusive it is. It’s for everyone and anyone (literally). There’s no demographic – everyone deserves to hear it. 
It also keeps going/giving every time someone shares a sticker. Someone sees a sticker, enjoys an interaction or a moment, looks up what it’s about, gets their own stickers, and the chain of positivity repeats. It’s a message people love to share.
I love how collaborative you are with your work. Seeing so many different interpretations of your message must fill you with pride. What gave you the idea to create these group shows?
It’s a funny story. We’ve always had a PO Box and email, where people send in photos of stickers they’ve come across. In 2004, I received an email from Jacob and his friends. They went to a bridge overpass in San Francisco with party streamers & spelled out You Are Beautiful. They sent me a copy of the Bay Area Paper, where it made the front page. I was blown away.
It’s really cool to see how people add their voice to the message, and see what their interpretation is. Things always happen with collaboration that you could have never done on your own.
Designers and Artists have been at war for thousands of years yet you seem to successfully have a foot in both camps, what s your opinion of this? Do you consider yourself one or the other?
Why can’t we all just get along? I say that light heartedly, and also rather seriously. I just call myself a custodian of the project. I just keep the lights on and the floors clean. 
What side do you prefer? The everyday Clark Kent, fighting design crime one letterhead at a time or the Artist Superman, making the art world a safer place?
I prefer to work with people that are inspiring & engaging, simply put – just good people. And I prefer to do things that make me laugh out loud. I love a good prank, or “dad jokes”. So, whatever arena it’s in – that’s what I look for. (The good people thing, not necessarily dad jokes).
I also think more and more, things are going to blend so deeply in the future, it’ll be even harder to pick out differences. Some day, hopefully we can all be seen as humans – better yet, all equal humans.
YAB2You Are Beautiful by JC Rivera – @jcrivera
What do relationships with galleries mean to You Are Beautiful?
I’d say, pretty much the same thing as the answer above. Great people growing together, having fun, and helping each other to carve out a living. Knowing that it’s a two way street, and you’re both doing each other a favor.
Billy & Zissou are just great guys. They’re highly proficient artists in their own right, and are working hard to foster a community of artists & designers (young humans). They’re doing a good thing for the right reason. 
That might not be able to be said as the intention for all galleries or people. 
You have been participating in craft fairs recently, how effective are the fairs in growing your brand awareness?
We get so many people who excitedly rush up to the booth, and say “I’ve seen these stickers everywhere. What is this about?” It gives us a moment to talk about it. We chat about the history (100 sticker in 2002 in Chicago, to now 2.5 million stickers in 90+ languages around the globe. Large scale installations in Chicago & beyond, etc.) 
But I prefer to just say “How did you feel when you saw it? That’s what it’s about.”
What are your plans for the future? More YAB? More positive messages for your fellow Chicagoans?
You bet. We’re always working on making more public art. That’s my favorite thing. To put up a big piece, that says something powerful, and anyone can walk by it. Who knows what’ll happen next – but hopefully it makes their day a little better.
But I’m always trying to keep it fresh, reinvent & find unexpected ways to interact with people. They’re not content, and I’m not content to just do the same thing all the time. So I’ll keep experimenting, and find ways to keep me & others laughing.
Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

Dan Mumford Interview

 wonders 2The Temple Of Artemis At Ephesus – Dan Mumford

This Friday sees the opening of our latest exhibition. Wonders showcases the incredible talents of British artist Dan Mumford & Chicago favourite Andrew Ghrist and is based around the seven wonders of the world, both modern and ancient. Wonders is open from 10-6 on Friday 11th December 2015 until Sunday 3rd January 2016.

 wonders3The Lighthouse Of Alexandria – Dan Mumford
We sat down with Dan Mumford to ask him a few questions about the show and beyond, check it out below.
 wondersThe Statue Of Zeus At Olympia – Dan Mumford
How are you?
I am well, tired but well. Its been an intense 8 months or so. I rolled from one show in LA in July straight into a ton of client work and then this show. I haven’t really stopped for any break at all since April. Which is incredible to be able to say, but it does take its toll on the mind and body a bit. Im looking forward to going to see the family at christmas and switching my brain off from work.
What is your process?
The general process for me is quite quick. I am not someone who spends days deliberating over a sketch and various compositions (which is perhaps to the detriment of my work sometimes), but i generally have a layout idea or plan in my mind before i even get to sketching. I also don’t really do any physical sketching nowadays, which sucks, but its generally so much quicker for me to do it this way. So sketching takes place digitally, and i do quite a finished but very rough comp in full colour. Then if that gets the approval its straight into working it up in full detail, i equate it to doing something in Standard Definition and then working it up in glorious HD, if you squint at the sketch as a tiny thumbnail and it looks good then i know it will work as a final detailed piece. Most of the detail in the pieces takes place on the fly, I trust that i can probably make most things work as long as the general composition looks good!
Set This Is The End Of All We Know – Dan Mumford


What was your inspiration for this show? It seems to be quite different in tone from your previous work, while still containing familiar elements.
I have to give Credit for the theme of the 7 Wonders to the guys at Galerie F! We had discussed doing a show early this year but the content wasn’t locked in till around a few months ago. I previously did a landscape diptych called ‘This is the End, Of all that we know.’. Which in itself was an extension of a few pieces i had done throughout the last few years where i was basically trying to create visions of a sort of… beautiful apocalypse, scenes of destruction or decay, but beautifully. So when it came time for this show I knew I wanted to revisit this, as most of the time i create work based in Pop Culture, movies, videgames, comics etc. To be honest I don’t normally get a chance to have complete artistic license like this, and the idea of the 7 wonders was the perfect starting point.

The seven wonders of the world is a fascinating subject and it allows for a lot of interpretation, especially the ancient versions. Do you prefer to rely on found imagery or create from scratch?
Well originally I was going to be creating a mixture from both the ancient and modern wonders, but then i thought that actually basing it in the Ancient realm as a set meant there was pretty much complete room for artistic license. Theres no real right or wrong way to depict these places, there are many images of them of course, but ultimately no one is going to question the depiction itself. If something is based in reality i do like to use imagery as reference, as my work is to an extent realistic i like to try and get aspects correct where i can. This was far more open though, and it was a mixture of using reference and purely working stuff up on my own. I generally use quite a bit of reference, so this was quite liberating.

The wonders seem to be a sort of travel guide for the ancient and modern world. If you could create a list of your own wonders, what would you include on there?
I think it has to be places to would clearly make you lose your breath, Niagara, The Grand Canyon, on top of the Empire State Building looking down, The Shard in London is quite an amazing building too. I think its about experiences and making you realise how tiny you are. These days we are certainly moving upwards towards the sky, and our modern monuments are these gigantic buildings. I have never been, but Dubai as a whole looks something out of a scifi movie. I do wonder if they will stand the test of time though, whilst a natural beauty like the Grand Canyon will always be there.

DoomWeb-940x600Mega City One – Dan Mumford


You are working alongside local hero Andrew Ghrist on this show, are you excited to see his take on the subject?
Absolutely. Andrew has an incredible ability to create beautifully flowing pieces with intense detail, and he’s quite young too, so to imagine where he will be with his work in the next few years is mind-blowing. I haven’t seen anything he has come up with for the show yet, but i can’t wait to see them all in person.

Are you excited for your trip to Chicago?
Yes! it is my first time to Chicago. And its always great to be able to come over for a show like this, would have been a real downer if I was stuck at home in London on opening night.

What are your plans while you are over here? Bring a jacket.

As of right now i don’t actually have any major plans other than the show, I haven’t had a chance to plan anything! I am only over for about 3 days, and one of those will be spent signing all the prints and getting all that in order, so i’m thinking I might just go with the flow while I am over. Obviously will be great to get to see the gallery and hang out with everyone there, really looking forward to that. I am however very aware that its probably going to be absolutely freezing…but hey, I live in the UK, it can’t be that much colder right?….

Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

YAB DIY Madness…

Processed with VSCOcam with c1 preset

The sun is out and it’s been quite a summer here in Chicago, the months of May and June have been spectacular here at Galerie F and to top it off, we kicked off the month of July celebrating our 3rd year anniversary here at Galerie F with the You Are Beautiful campaign.  Only days after being named by Chicago Reader as the Best Gallery in Chicago – we geared up to bring one of the largest group shows to date.

You Are Beautiful began in Chicago in 2002 with 100 stickers. Since then, over 2 million stickers have traveled to every corner of the globe. The most exciting idea about the project is that it has always been open source, giving the community the power to be creative in the way they spread this positive message.

YAB DIY showcases over 100 incredibly talented artists from around the world who have added their voice to their own YAB Boards making this exhibition another one for the books.

We also partnered with Project Onward for this exhibition having ten of their artists participate in this exhibition. Project Onward is a nonprofit studio and gallery for professional artists with mental and developmental disabilities. Their mission is to support the professional development of artists with exceptional talents and challenges, ranging from autism to mental illness, and provides these artists with workspace, materials, professional guidance, exhibition opportunities and access to markets to sell their work and advance their careers.

We’re all here to say one simple thing: You are beautiful.

Come and view this grand exhibition while you can, running on display until August 10th, 2015.


Hours: Tuesday- Sunday 11-6pm

Preview 1




Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest


Hello peeps of the internet world…. Galerie F here to update you on all that is happening in our great land of Chicago! As many of you may know, C2E2 is starting this Friday April 24th going on through Sunday April 26th. We will have a booth at this rad convention so make sure you come on out! [Booth # 554] We’ll be releasing exclusive prints, vinyl toys, and more by JC Rivera, Leecifer, Justin VanGenderen , Jason Rowland R6D4, Epyon5, Dan Mumford, Matthew Johnson and many others. Along with these exclusive releases you’ll also have the chance to meet some of the artists! The schedule to meet the artists will be listed below.

Chicago based street artist, JC Rivera will be releasing exclusive prints. Leecifer has sculpted and painted vinyl toys of JC Rivera’s “Dead As Fuck” Bear Champ. Justin VanGenderen has crafted a series of prints based on the Star Wars planets. Jason Rowland R6D4 has produced incredible prints and oversized wooden cutouts of iconic characters such as Spiderman, The Wolverine, Venom, and many more. Epyon5’s work will feature prints of Bill Murray, The Joker, and Darth Vader. Dan Mumford has produced an incredible print of Judge Dredd that will blow your mind away. Matthew Johnson is bringing in sick prints of Mortal Kombat and Street Fighter. So as you can see this line up is pretty killer!

Last but not least, the great Hua Tunan will also be in town for C2E2 and his upcoming exhibition, EARTH SPIRIT. Opening reception for this exhibition: Friday May 1st 6-10pm.

C2E2 Booth Schedule

Friday: 11:00am-7:00pm

Saturday: 10:00am-7:00pm

Sunday: 10:00am-5:00pm

Meet The Artist Schedule

Friday: Justin VanGenderen 2:00pm- 4:00pm

Saturday: JC Rivera 12:00pm- 5:00pm

Sunday: Hua Tunan 11:00am- 3:00pm

Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

SCREAM WITH ME: An Interview with Brian Ewing

With SCREAM WITH ME coming up, we decided to get to know Brian Ewing a bit better…



On your website, you talk about how you worked for Hustler on the the magazines handling scheduling, prep houses and printers. What made you drop the porn industry to full heartedly pursue art?

I originally took the job at Hustler because I didn’t think I could make it as an illustrator. I thought that I needed an art degree to be allowed to get hired to illustrate anything. (I was young I didn’t know how the world worked. Not sure if I do now…) So I took the job in porn with the goal of becoming an art director. After a few years there of being knee deep in nudity I was freelancing for most of the magazines – during my lunch breaks and after work. And I was doing rock posters when I had time. The job started to wear me down because I wasn’t advancing at all. I was still in production and not an assistant art director. It was kinda frustrating having to do photoshop work for the assistant ADs. I was actually making as much money doing gig posters so I ended up quitting the XXX lifestyle to pursue the rock posters full time. I figured if this whole “art thing” doesn’t pan out I can always get my old job back at Kinko’s.“Would you like that collated and stapled, sir?”
So with a few bucks in my pocket, rent due and a very unhappy girlfriend I quit. I emailed every band, label, art director and publisher a link to my portfolio and within a few days I had my first job. I was unemployed for about two days. I promised myself that Hustler was going to be my last day job. Twelve years later…
Based on your previews, each piece you work on has extensive work behind it. How did you decide to take icons and draw them in layers of bones, muscle, and flesh? 
To be honest it started out of desperation and ended up being about evolving as an artist. Hahaha…sigh. There are so many people trying to do rock posters now that a lot of bands don’t want to pay for art. Sometimes not even for the printing. (Not every band is like that some are actually awesome to work with.) Same goes for art prints. Some of these people will cut their mother’s throat just to say they got to do a poster for such and such band…for free. I’m stupid. I still put value on what I and other artists do.I also felt like I needed to try something different. I had just moved from New York City to the bustling mecca known as Columbus, OH. I needed a new approach that wouldn’t take me weeks just to finish one piece. Normally when a project has a shitty budget you usually have more creative control. So I figured “fuck it” and tried something different. If it failed I could go back to my regular style. I did some posters for Swans and the Melvins and it took off. Prints were selling out in less than an hour. From there I decided to switch styles when doing poster work. With each piece I got better at drawing anatomy and design. And it took me less time than my previous style did.

How would you personally describe your style?

My style is dependent on other people’s descriptions. I tell most people that I’m a graphic designer so they’ll leave me alone. So far so good.

What are your favorite mediums to work with?

Whatever I can get my hands on.I’ve designed two toys so far with A toy company my buddy Justin Jewett and I started – to fulfill all of our childish Lovecraftian whims. We are going to do a toy release at the gallery on the opening night.I also enjoy designing patches. It sounds so stupid because it is…but they’re fun to do. I’m a member of the Turbojugend and have designed a few patches for my chapter so far. I also have my own patches. Speaking of which – I designed a new one just for the show to give to the fine folks (for free) that plunk down their hard earned cash on prints. It glows in the dark!
For both I have to use a different part of my brain. The toys require that I think in three dimensions. The patches force me to simplify my drawing and design to fit the limitations of an embroidered patch. It’s a nice change of pace.
Obviously I like inking. I feel like I’m finally getting good at it after years and years and more years of practice.
This kinda sounds like an online dating application… I also like long walks through the cemetery and tiki drinks too. No smokers please.
On average, how long would you say you dedicate to each character?
Way too long. Part of the reason why I show sneak peeks of what I’m working on is to remind people that there’s a lot of drawing going into each piece…aaaand that I’m not dead. When I use mixed media and bring photos into the process it’s hard to see all of the drawing when you’re limited to just a jpeg. A lot of the work is dependent on seeing it in person. There are printer tricks I use that when you look at the print – it transforms from the photo to the drawing depending on which angle you’re viewing it. The closest I can get to showing people that effect online is by posting videos on my instagram page (@brianewing) and by the video Galerie F posted showcasing how the Psycho print looks
Some of the pieces have collage backgrounds. That alone takes about a day to research and gather up found images and make new ones to throw into the background then I hafta Tetris it all together. The Psycho and Shining pieces have collage backgrounds. Each bit of the collage is a reference to the movie. My goal was to keep the viewer’s interest longer than usual and to take the poster further with all the added Easter Eggs that I nerded out on.
Zissou and Allie at Galerie F asked me to design new pieces for this show. To save time I changed the size at which I work. Normally my original drawings are 11″ x 17″. I’m working at 8.5″ x 11″ so I can work faster and make the originals more affordable to collectors at the show.That’s just the design end of it all. FugScreens Studios (aka Zissou) has to print all of the pieces. He let me go apeshit on adding more colors and trying out new papers.
Your work varies from working with Metallica and the Warped Tour, to The Strokes and Death Cab For Cutie. What musical artist are you into right now?
Whichever musical artist that wants to hire me… To misquote my girls in TLC – “I ain’t too proud to beg…”That is the toughest question people ask me. Because I’ve had the opportunity to work with so many different bands my musical tastes are influenced by all of that. If I’m working for a specific band I will melt my brain by listening to their albums for inspiration until the project is done. Then onto the next one. I grew up in the 80’s with my older sister listening to House/Hip Hop, my older brother listening to Zappa and Zeppelin, my Mom listening to Elvis and Leonard Cohen and I listened to a lot of shitty punk and metal bands. Add all those influences and you’ve got a recipe for disaster. Because it’s October and because I’m a nerd I even made a spotify playlist to keep me inspired while I worked on all the pieces for the show called halloween  (
Do yourself a favor and come in to Galerie F and see this exhibit.
Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

Everyone, we have been keeping a secret from you…




It’s been a rough go of it but we are finally ready to spill the proverbial beans. Of course, we don’t want to overwhelm you so we’re going to take it  one step at a time. Let’s start by introducing our newest partner in crime, The Logan Theatre.

The Logan Theatre is a small local movie theater that has established a stronghold in this community as an entertainment staple. The theater is not only a beautiful building [opened in 1915 if you can believe it] but screens both contemporary releases and cult classics. The team over at Logan Theatre have reached out to us to create an ongoing series of film posters to promote and commemorate the cream of the cult classic crop that they regularly show on the big screen. We felt like we hit the jackpot when they told us they wanted to premiere our partnership in October alongside their Horror Movie Madness series. Our first release is Stanley Kubrick’s THE SHINING – a Halloween masterpiece re-interpreted in this sleek minimalist design.

 Tom Whalen is an unbelievably talented and prolific designer who knows precisely how to encapsulate a film, avoiding tropes and creating visually interesting designs. We are very excited to begin our working relationship with Whalen and look forward to the next few projects we have planned together.

The Shining by Tom Whalen. Edition of 75, hand numbered with a certificate of authenticity. Measures 18″x24″. Printed at FugScreens Studios. Four colors on Cougar Natural 100#. Part of an ongoing collaborative series with The Logan Theatre.

AVAILABLE Monday October 27th at a RANDOM TIME at

Be in touch with any questions, comments, concerns, qualms, queries, and whatever else you’ve got.






Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

Cut Along the Dotted Lines

The opening reception of Cut Along the Dotted Lines was quite the eventful night. It was possibly the muggiest day of this summer, but we were still a full house. Thank you to everyone who endured the heat with us and enjoyed the quality works of EPYON5 , Jason Rowland R6D4, and SARO. The works were intricately made with layers of hand-cut stencils and paint. On one wall, we displayed the stencil cuts. The artists were pleasantly surprised by how their cut outs looked framed as art themselves. On the exhibit wall, each artist brought their best work out to show the city. The show is available for viewing now until September 10th. Originals are selling quickly, be sure to purchase them before they’re gone.





We were also very happy to host The Sketchbook Project as they made their way along their Midwest tour. It was fantastic seeing how interactive the project was with everyone passing by, everyone here for the show, and those who came out for the project. Visitors were able to walk up to a tablet and enter a key word. The system would then give you a selection of titles of sketchbooks to chose from. The lovely members of The Sketchbook Project would then receive a text message with the number of the sketchbook you selected and a random mate for it. You were then able to sit down and immerse yourself into the life of someone else. These sketchbooks are jam-packed with creativity and love. Flipping through them, it was evident on how vast the content of each varied.




Thank you again to all who came and especially to the artists! We’ll see you at the next one.

For more photos of the night click here.

For more on the event click here.


Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest

Galerie F Exclusive Box Set

Galerie F is proud to announce the release of our Galerie F Exclusive Box Set on August 11th at a random time. Within this colossal set there are 82 exclusive prints by 33 artists. Included in the set is renowned designer Justin Vangenderen’s series of “Location, Location, Location”, Jason Edmiston’s sold out Texas Chainsaw Massacre print and variant, and a number of other sold out prints.


 Also included is “Made in the Midwest” poster signed by all artists from the show and remarques by Justin Santora. This set is ideal for avid collectors, comic fans, film buffs, fine art lovers, and poster people alike.

Made in Midwest

With 82 exclusive prints by 33 various artists, this set’s value is $3,000. Do not miss this limited time sale of it being $2,000.There are only FIVE sets available.


Shipping is $49.95 for domestic customers. International orders will be sorted out on a case-by-case basis. For further inquiries, email us at

 View the entire set here


Share on FacebookTweet about this on TwitterShare on TumblrPin on Pinterest