You know, there was a fundraiser in 2010 for Volunteer of America and I was like, I get
approached, you know, the lead director, Lighting and Rhymes, you know, if you have
a really good idea to try to auction off some art, but kind of do it differently, like
do it to where I'm actually drawing it so they can see the development of it and then
you can sell it and, you know, your fundraiser can do what it wants and so I was doing the
art for the fundraiser, like the band they hired started playing and I kind of started
falling into their groove and that sort of magic happened and Bruce Plow shoes with
Loser's reunion was there, he works for Volunteer of America and actually saw the sync and the
harmony happen and so then that's when I started doing shows with Loser's reunion and then
from there it was just, like, there's really no one to look at or to learn from, it's like,
you know, when you go up there and people, they either have this antagonistic thought
about, oh, I don't know about art and a band or they're really like, oh, cool, what is
that?
You know, you have both sides, but it's definitely when you step up there and do art, you have
to please yourself as an artist, but also as a performance artist, like the evolution
of the drawing has to be just as engaging as something I could walk away with the final
product and say that was good, you know, so you can't really be boring, but you want
a good product, so you've got to get a good mix.
I kept it on the lower and the way, I kind of get about the artist and the way that happened
was, you know, it's set up with the bands and it can be, who are you and I'd be like,
Ricky, Ricky Kennedy, I'd say the artist, I'll set up over there, you know, and I kind
of wanted to keep it general and keep it vague because I wasn't sure how it would do, like
how it would fare, and the better response I got, the more I got a little Facebook page
and stuff like that, but the direction, I just kind of let it go and I had the good responses
and I kept playing and doing shows and evolving the techniques and the medium to be as fast
and to keep pace so that the art and the music sink, you know, you really want to keep that
flow and go off of each other and have it sink.
You know, I would say, like, the core element of what I do is to do art and express it in
a way that is not only, you know, creates an experience and I, you know, I could bring
music in because it is a performance art with music, music's 50% of it, but you're
allowed, you know, the setting and the format to express yourself independently, to express
your ideas, to use colors with music, to use colors, to use line with rhythm, to, you know,
invoke this style that's in sync with another art's art form, which is music, and to have
it, you know, come across as an artistic slash musical experience that, you know, allows
for people to walk away with, you know, a little bit more introspection than I think
you would get at a normal musical concert when you combine the two.
And I think the response is, you know, as a force that's been really good and, you know,
it pushes me as an artist to do well, but it also pushes me to be conscious of subject
matter and importance and relevance to what I do as an art and to take, you know, the
music and musicians as artists, just as well as the visual artists, and really, you know,
learn from it all and then just, you know, just really get after it on stage.
Just, you know, go out there and let loose, and it's fun.
Yes, that's what I mean.
