Kathie Olivas and Brandt Peters Interview

Kathie Olivas and Brandt Peters. Contingent. Oil on Linen. 24" x 24".

[Husband and Wife artists  Brand Peters and Kathie Olivas will show their latest body of work at the Opera Gallery in New York City with a private preview on January 14th and a public showing from the 15th through February 5th]. Dailydujour had the pleasure of interviewing both artists about their approach to this newest work, the process of meshing their distinct art worlds for collaboration, and the key role sculpture plays in their art.]

For both of you, what was the starting point for your new bodies of work?  Was there a specific theme you wanted to explore or perhaps a technical aspect/challenge that motivated the pieces?

KO: We tend to approach new works differently. I often start several paintings at once and then start focusing on a portion of that group as they relate to a particular series. The look of an individual piece along with the content or meaning will continue to evolve with every layer of paint. Most of my work has been based on an upcoming apocalypse—by apocalypse, I don’t necessarily mean the end of times. It’s more about working out your darkness/ weakness and becoming a better person for the sake of humanity. We’ve both been pushing ourselves technically as well, so there tends to be an intense history with each piece as they took almost a year to complete as a group—it’s been a pretty crazy year, so there’s quite a bit of energy in each piece. I’ve been working with a combination of old master’s glazing techniques—it’s been a love/ hate relationship, definitely a challenge.

BP: This was an interesting body of work for me – during its course (about 6 months)… many doors opened from many angles. Some of these connections were brand new; some were doors that I have kept closed until recent. I don’t believe that anything was planned in terms of a specific theme like I may have done in the past… this was different – It felt like, what I would consider — “…following the rabbit down the rabbit hole.” I would say that the imagery and concepts were more spontaneous and formed in a sort of alchemic way, involving different parts ideas, connections and energy or combinations of these mixed to achieve a fluid idea. As each painting formed the imagery I was receiving became increasingly more intense – the future, the unknown, fears, love and sexuality and of course death… Not death as in the end, but rather a new beginning – I guess in that sense, Kathie’s work and my work were on a similar path for this show. Regarding technique… this is an area where we both are extremely critical, constantly pushing ourselves forward, staying in flux – questioning and challenging ourselves. I feel the Opera show really showcases the best in our work so far. From a completely different perspective, but related – Maybe I took a risk with going back to grayscale… but I feel that color wasn’t necessary. Color is actually not really natural to me… I think in line, form and depth – more importantly idea and concept – I wanted the work to be raw from that angle and at the same time the rendering and execution pushed further than I have ever taken my work.

Kathie Olivas. Instigate. Oil on Linen. 30" x 48".

Kathie, the Misery Children seem a little less so these days. Is that the case?  While your earlier work seemed to focus on restraint particularly of expression, questions of identity seem to be at the fore now.  Are we witnessing the growth of these characters or rather different aspects of their identities?

KO: The role of identity has always been the focus of my characters; I feel a little less angry and prone to anarchy as I used to—there is more of a self restraint now, as if it is no longer forced or incited by the outside world. I’m finding balance now in my own life, so I think that’s probably echoing in the world of my characters. I also feel more optimistic about the future; I like to think I’m seeing things from a greater sense of perspective.

Brandt Peters. Fate Series No. 1. Oil on Canvas. 24" x 30".

Brandt, the  seemingly somber series of ‘Fate’ pieces all feature human-like females in uniforms surrounded by comparatively creature-like characters.  Can you tell us more about the series and share some of the concepts behind it?  I’m curious about the relationship between the females and the skull-faced creatures? Finally, numbers play a role in many of your paintings — here they can be seen on the skulls and in the eyes of the women.  Serial numbers, iterations of lives gone by or?

BP: The “Fate series” were and are really the sum culmination of most of my “girly” more pin-up type pieces you may have seen prior in my work… they have also been a constant theme. In my world of icons and archetypes the empowered female always seems to step up and take a dominant role… I believe it takes a certain sensitivity to capture the form and character behind the female forms I create — a “feeling” is key… I celebrate it… honor it – capturing might, potentiality, sexuality, innocence and surrender all in one form. The form in many ways represents the caretakers, the “Mother”, The Creator… to her flock… “her flock” being the unknown, spirits, energies, Skelves (skull faced creatures), etc. – watching over them with love, acceptance and at the same time never so removed as to not be their guiding light, skeptic, possibly even the disciplinarian… I adorned this selfless icon with an odd combination of car mechanic outfit, “diner” waitress dress, Army corps WAC uniform and a bit of Goth/Punk accoutrement to wrap it up (my old stomping grounds… This approach seemed perfect to translate my take on the 3 determiners of the proverbial thread of life.

The “numbers” like I have mentioned in past interviews represents my connection to time and generations. I see the body and really all forms for that matter as updated versions of previous models – bodies as bio-computers complete with version #s or energies from previous times or even code for “belonging” – even into Past Lives. It brings up a complicated understructure where my characters can judge, love and relate. As color becomes less important in my work – I need to rely on other forms that give a bit of background. The viewer themselves are confronted with a question as to why… either why about my character or why about the artist. – I love that!

Maybe the series is somber (to some); maybe weirdly comfortable… this captured contrasted feeling of flux to invoke change… I have no place to force the change, just merely supply the catalyst for the viewer to make a decision… He or She can merely walk away – what will you do?

Brandt Peters. Echo. Oil on Canvas. 30" x 30".

Each of you has created very specific worlds which you feature in your paintings.  How do you approach collaborative pieces?  Do you attempt to find a story or concept that bridges the two worlds? Or is it a matter of seeing your characters as general actors that can relate to one another despite their different origins?

KO:I think we are each able to see each other’s characters in our own worlds—like the characters in my world would sleep at night and see fragments of Brandt’s spirit world. Sometimes it is more of a “through the looking glass” type of approach whereby our characters are seeing themselves as living parallel lives.

BP: Kathie and I always talk about a plan before we start collaborating or open up the doors to an exchange program between our characters and worlds… I can tell you that it never goes as planned – it’s more organic than that and when we try to structure it, it just, well… it just doesn’t work that way. I do agree with Kathie from her answer – Maybe less different worlds and more different dimensions or levels of the same world… that connect through dreams or lore…

Kathie Olivas and Brandt Peters. Elizabeth. oil, acrylic, epoxy resin on fiberglass. 45".

In addition to your original paintings, there are two amazing sculptures in the show — both based on the forthcoming Elizabeth fiberglass fine art multiples.  To me these feel like a new pinnacle in both of your efforts to incorporate 3D into your fine art work.  You continue to make strides on this journey from customized versions of existing toys to your own vinyl art toys to these nearly life-size exquisitely painted pieces. Can you tell us more about the birth of Elizabeth and your goals with her?  More than any artists that come to mind, you’ve made a point of mixing 2D and 3D into your gallery shows.  Why has this been so important? Finally, can you tell us more about availability of the limited-edition Elizabeth figures (as opped to the one-off show pieces)?

KO: The Elizabeth series is a project I started working on with Rommel Chua, a very talented sculptor based in the Philippines. We started with a 34” fiberglass version; each of these will be hand painted, some with additional sculpting like the ink-slinger version. The goal was to produce what could be considered a life-size version of one of my characters. I think when you see how she would relate to our world physically; she becomes more “real” and easier to connect with. Sadly, these are expensive, time consuming pieces to produce. Because of that we decided to produce a smaller version. Those will be hand painted as well, but the smaller scale will make them much more affordable to our collectors. Oh, yeah, and we decided to give her her own squid that can either be place next to her or can be worn on her hear. The smaller series will be a loose edition of 50—they will probably all be uniquely painted, so it will be more of a non-traditional edition.

We both have a long history of sculpture and installation based projects, so to us, the addition of tangible, multi-dimensional objects adds to a different, more effective type of experience for the viewer.

BP: 3D has always been important to us – I guess that is why we approached the toy industry to begin with, many, many years ago… a tangible form that is effected by light, space, form, material, ritual, touch, weight and even technology – you are forced to connect in a way, much easier than 2D work. We both feel that it is our purpose and role as storytellers… and it’s not just us that are pushing the boundaries – the viewer expects more, and rightly so. So here’s a promise we will continue to push the boundaries – if you open your minds.

[Dailydujour would like to thank both Kathie and Brandt for this interview.  For artwork availability please see  Opera's official preview pages -- Kathie Olivas and Brandt Peters].