In the second chapter of our conversation with John Casado, we take a deeper dive into the evolution of his remarkable artistic journey. From his early foundation as a designer to his expansive exploration of photography and art collecting, John opens up about how his creative process has transformed over the years. He also reflects on the profound impact of African art on his work. Drawing from a wealth of experience, John offers a fresh perspective on what it means to be an artist today. He delves into the importance of consistency, the discipline of staying true to one’s craft, and the deeper definition of success beyond external accolades. John stresses the significance of personal evolution and how the nature of artistic expression constantly evolves.
The Emotional Precipice, 2020 16x20 in
Q. As both an artist and an art collector, how do you view the relationship between the two? In what ways has collecting contemporary and African art informed your own creative work or enriched your artistic perspective?
A. I first became a collector in my early twenties, acquiring works from artists from the ’60s onward. I happened to watch a film called A Bigger Splash, which was about an artist named David Hockney. I watched as he made drawings of Celia, his muse. I had never heard of this artist before, but I knew I wanted one of his pieces. I found out who his dealer was in London and flew there specifically to buy a Hockney. When I arrived, the gallery was closed, but the dealer was there doing paperwork. He kindly opened the door and asked what I was looking for. I proudly said I was there to buy a Hockney. He told me he didn’t have any pieces available, but he hadn’t checked his mail yet. There it was—a tube with David Hockney’s return address. He opened it, and I said, “I’ll take it.” A few years later, David Hockney was invited to speak at the San Francisco Art Institute. His local gallery called me and asked if I would like to attend his talk and join him later at a reception as the David Hockney Collector. I was the only one there who owned a piece by Hockney.
I went to New Orleans to visit friends who introduced me to Charles and Kent Davis of the Davis Gallery. Their gallery was an eye-opener for me. They showed me one African piece after another, telling the stories behind each. Here was an art form where the artists had no formal training but learned the craft of carving. This became my new passion. I laugh when I think about how I came to the party a little late, knowing that Picasso and others had their own collections of African art in their studios fifty years earlier. It was African art that truly inspired me to start thinking about making art. Once again, it demonstrates both structure and looseness. This theme has stayed with me and remains important in my work today.
Smooth Seduction, 2020. 18x30 in
Q. From your wealth of experience, what qualities do you believe make an artist or photographer truly great? How do you personally define success in the creative world?
A. I have been asked this question many times. If you think about it, artists don’t make themselves great or famous. Their large and vast audiences make people famous. They also stand the test of time. Today, it’s all about marketing for a fast rise, but I have seen many burn out. The hardest part is consistency. I think people who aspire to be great will fail because that is not how it happens.
Personally, I am rather shy about notoriety, but I did give many lectures on design and judged many design competitions, which I did for business reasons. So, success for me was my design career enabling me to retire as an artist. I had just given a presentation on Casado Design when a gentleman stopped me and said, “Thank you for telling us about your wonderful career. I am also a local designer, but I’m not famous like you. Instead, I own four office buildings in the downtown area.” Then, he walked away.
Q. Having worked across both the commercial design world and fine art scenes, how do you think the role of the artist has evolved over the years?
A. This is only my opinion. I have done no research as to why I believe that artists—both commercial and fine artists—are now very solitary. Besides Burning Man, I can’t recall seeing groups of artists openly getting together once they are on their own. Historically, art and politics were intertwined, while today, artists seem more focused on becoming a commodity.
Houdini’s Mistake, 2019 19x12 in
Q. For emerging artists who might be considering a major career shift, what advice would you offer to help them follow their artistic passions and navigate that transition?
A. You are starting over, so go back and master the basics and experiment forever. I believe it was Cy Twombly who said, “Don’t be too eager to have a show.” It takes time to reach your real stride with your work. A Master of Fine Arts degree doesn’t always instantly make you a successful artist.
Q. As an art collector, can you offer any insights for artists who may be reading this? What do collectors typically look for when acquiring pieces, and how can artists better align their work with the expectations of collectors while staying true to themselves?
A. It’s an either-or situation. Call me old-fashioned, but just do the work. My wife once received a postcard announcing a painting show by an artist we didn’t know and a gallery we seldom visited. We were moved by the image and asked the gallery if we could see the painting the night before the opening—and we bought it. Many years later, I regretted not buying more work from this artist.
Q. Finally, after such an extensive and diverse creative career, what’s next for you? Are there new challenges or projects that you’re particularly excited to explore?
A. Mastering the basics.
Cool Like Miles Davis, 2020. 16x20 in
As we conclude the second chapter of our conversation with John Casado, his insights leave us with a compelling reminder of what it truly takes to thrive in the world of art. With a career built on both passion and perseverance, John offers a refreshing and thought-provoking perspective on the delicate balance between art, success, and the power of consistency in an era of fleeting fame. His candid reflections on the pressures of rapid success and the importance of staying true to one’s craft resonate deeply, inspiring artists to focus on their own growth rather than the pursuit of external validation. A heartfelt thank you to John for sharing his invaluable wisdom and offering us an intimate glimpse into the mind of one of today’s most influential multidisciplinary artists.
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