He
is fascinated with dark, surreal, horrific imagery — but what lies
behind the eyes of the artist, is unknown. No one can explain his message,
vision, or dedication to this type of art form, other than himself —
Mike Bohatch. Scene 360 takes a step into the dark world, a place where
light can be found, oh yes, it can be found.
What is envisoned is the art.
When did you begin working in dark
art? And have you been involved with other styles or art forms?
Absolutely 100%. Honestly, an evening may consist of this:
I sit down to do some chalk drawings, practice some sketches, get out
the acrylics, and prepare some boards... maybe just focusing on the textures
themselves. On day two: I scan photos into Photoshop...bring in some previous
night art...mix them up. On day three: I spend a whole day concentrating
on spray painting on oatmeal over matte boards (dried of course) —
you get the picture — but I do end up in the long run spending many
hours in the digital realm (fine tuning and compositing). Once you realize
there are no real limits, nothing stops you from experimenting a bit in
various art forms. You begin to see the light.
What type of themes do you use frequently in your work? Is there a strong
symbolism these themes?
I would have to say I kind of jump around. There's really something about
Death, which has an ominous creepiness too it. At times, I like to take
themes like an "emotion," and give my interpretation of it. Also nightmares
and dreamscapes. Some pieces are more creature-driven, and on the other
hand, sometimes I may just illustrate revolving on may be bothering at
the time. I really try to stay away from blatant-devil-type-stuff. That
seems to just inspire the wrong intentions, and boy is this world filled
with them! Demons are ok — everyone battles demons — whether
literally or metaphorically speaking. Sometimes they like to show their
face in my pictures, damn demons! they pop up everywhere, I tell you!
What is the most bizarre thing you had to do to give texture, or a visual
in your mind the look and feel you want in a final art piece? (e.g. glueing
oatmeal onto a canvas, hair, etc.)
I tend to use alot of art products as well as food products sometimes
for texture. I still have a few I haven't got around to trying, but mainly
I've used oatmeal, dirt, starch, food color, cereal, egg shells, bleach,
clay, spaghetti, bones, etc. You have to remember that usually I don't
want something laying around that smells, so I usually end up covering
it with paint or collage to harden it, and help it to coagulate. Mostly
this is done for textural feels that I can't achieve through other means.
This is then photographed and scanned in for usage or archiving. Little
treasures for a rainy day. Art can literally have many transitions and
levels through both traditional and digital means. I also like to perform
this process on styrofoam wig-heads for interesting sculptural pieces.
Do you think dark art has expanded into a more diverse audience, not
only true dark art fans, but also reaching into other fields of art with
its presence in contemporary films and books? What are some of the changes
you have noticed in your audience, if there are any changes?
I think there has been much more expansion in all mediums due to a
few different factors. For one, film and television have been in a position
and direction to take much more chances on "content," than they did say
10 to 20 years ago. The MTV generation has come full circle, and what
was merely an artistic expression before, IS starting to become trendy.
Trends that are looking at art and dark subject matter in a whole new
way. They're realizing there "is" an audience for this stuff. And that
audience wants something a bit more dangerous. Books are selling, DVDs
are selling, and "horror" has found new life with present technology.
Face it, the "Leave It To Beaver days" are gone... "darkness" has a certain
cool factor to it....people are interested in fear and danger and surreal
interpretations. I believe it is starting to work it's way from this underground
scene to something more "mainstream." I believe "the same ol' cliques"
just aren't gonna cut it anymore and it's time for a little scratch on
the bubble.
Who are some of the artists that have inspired
you greatly?
Well, that seems to be an on-going change. First off, I do owe a lot of
credit to Dave Mckean's work. His work inspired me to go back
to school and learn about the traditional arts. It also inspired me to
approach the world with my own set of perspectives (i.e. the use of collage
and mixed mediums can be endless). I really love Miran Kim's work. I would
love for her to just publish volumes of her stuff. And who I can't leave
out is the photo-manipulation of J.K. Potter (surreal photo-realism to
the extreme). I think in general there are many newer artists who offer
interesting perspectives, but some fall short, as others slam it and run
with it! Some artists have particular areas of expertise that overshadow
in their work. I think the "Spawn" campaign is doing great things. Ashley Wood and Brent
Ashe's collaborations are interesting dark-esque artsy type. I love, love,
love, Russell Mills (textural
compositions) I could go on, but yes, there is great work for those who
take the time to look for it.
What are some of the films that have influenced your artwork, and made
you think: "Now, this is a great film!"
That's an easy one. I'm an avid movie watcher, and film is a great medium
for inspiration. So my top films up to this point are: "Seven," "Event
Horizon," "Hellraiser" (all of them), "The Cell," "The Bone Collector,"
"Halloween," "House on Haunted Hill," "Fight Club," "Spawn," "Blade,"
"Freeway," "American Psycho," "Dark City" and the odd man out "Tombstone."
Yes, I had to have them all for my collection — the second they
came out. Just loving them "horror" flicks.
When you were growing up, were you a good-little boy? Or did you enjoy
doing some fun but strange activities that most kids do, like pulling
wings off of insects, and freezing them. Any macabre stuff?
Sure, I think most boys do that sort of stuff. But in school, I had a
curious fascination with drawing monsters...you know, back then it was
aliens, Godzilla, King Kong, Dracula, etc. I was always doodling on my
books with these creepy little drawings. I did behave though, in a quiet-mysterious-way
— much more consumed in my crafts than being a delinquent. Although,
I did wonder at an early age what it was that I could do with that type
of talent or fascination for a better word. It wasn't until about 5 years
ago, that it all came together. Be careful with what you wish for, because
you may in fact become it! I also designed haunted houses at an early
age... first in my bedroom, then for the neighborhood, and then submitting
ideas to professional Halloween haunted houses. Just a chock full of the
stuff, I tell you... my Mom was a little worried.
As we all grow up, there are some TV shows or cartoon series that stick
in our minds. Which are remembered in our adulthood, and can play an important
role for influencing art styles, or tastes in imagery. What TV shows do
you recall "loving every minute of it," and still do, but they don't air
anymore?
Oh, I just loved "Millennium;" until they killed it with shitty plots
and episodes. I had such a "dark" tone that you wouldn't find in television.
Of course, there's everyone's favorite the "X-files" (just bad ass and
nothing more to be said on that one). Other shows... let me think... "Monsters",
"Freddy's Nightmare's", "The NightStalker," "Twilight Zone," "The Dark
Room," "Night Gallery," and "Tales from the Dark side." Oh, and I'm sure
there's so much more that escapes me at this moment. I really dug "Sid
and Marty Croft" stuff as a child... "Puff and Stuff," "Lidsville"...
and all the rest... now that stuff is scary!
Do you have new online collaborations/projects
you are working on?
No present collaborations. Although, I have a number of CD covers, and
book covers in the works. Projects that keep getting pushed is my Flash
stuff for my site
and some new motion graphics pieces too. Most of this will require long
hours with my film-maker hat on, and there's just not enough time in the
day or night for it all. I am contemplating a release of a special addition
to my site, featuring the "History of Horror Movie Ad Art" for the public.
You have designed CD covers for Heavy Metal bands. Why is it very common
for Thrash Metal or Heavy metal bands to associate with dark themes for
their videos and covers?
I think aggressive music essentially requires aggressive graphics and
visual presentations. Many of the lyrics written by these bands have a
"horror" overtone to them, and well quite honestly the dark stuff sells
better as a marketing tool than say butterflies and roses. You have to
look at the big picture which goes on to posters, T-shirts, among other
things. Plus there seems to be a greater need these days for presentation
in a sort of metaphysical surreal ambiguous way. Eye-catching is the key.
If the buyer likes what they see, then perhaps they'll take a chance and
buy the CD, just on look and feel alone. I think the art also goes with
the general attitude that is projected, which is a heavy rip-your-head-off-rock-your-brain
kind of thing.
What does the color black symbolize in your work?
I'm not sure about it symbolizing; but it is the darkest tone and
often relates to shadows, night, death and darkness. Black to me is depth
— just as white is to highlight. When I use colors it's more from
a color theory background rather than just subjective. I like to keep
my tones more controlled than reckless.
Nightmares seem to reoccur frequently in most dark artists work. Do
you have many dreams/nightmares of characters you have created in art,
or is it the other way around (i.e. nightmares inspire artwork)?
No, my nightmares have long gone. I believe when you look at dark art
as interesting and inspiring you tend to not be bothered by typical nightmare
scenarios. You take alot of those thoughts and ideas, and try to surface
them into your work. The creatures, the emotions, the situations, the
fantastical,... they all become part of this mental bucket that you let
pour out, to making pictures. And when I don't, I write down the ideas
to later come back to them. I remember my last scary nightmare ended with
credits rolling by... so that's what it's come to.
Dreams are different. They're usually based on something that has happened
or something in which you want to happen. But never having your dreams
happen can be somewhat of a "nightmare."
What do you find so intriguing in nightmares?
How differently we are all effected by them. One person's nightmare could
be another person's dream. Usually they are fears locked up — having
no place to go, perhaps bottled or scared of something that could happen.
I think nightmares primarily extend from peoples fears, and that is what
becomes interesting to me. The element of fear, and how I capture it in
tiny segments into visual creations.
Red, Purple, and White. Colors are proven to have a strong psychological
symbolism in our world, and they can provoke reactions in art, as well
as in other things. If you had to select a color out of the three, which
would it be? And also by using your imagination, which emotion
would it spark for you?
I would choose Red, for it's contrast. It adds the element of danger,
anger, chaos, slaughter and fire. All factors I've touched on time to
time. Red tends to jump out more and in relation makes a stronger statement,
but at the same time you don't want to exhaust your art with red. Colors
do have a psychological impact — I believe it is a part of a composition
that should be carefully chosen.
Credits:
Introduction, Interview, & Design
by Adriana de Barros
Artwork images: "Mike Bohatch Portrait,"
"Perpretations with Serpent's Tongue," & "Smile," by Mike
Bohatch