A Quote by Francois Nars
Being a studio make-up artist and working on magazines was the only thing I wanted to do.
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A secondhand wardrobe hand clothes doesn't make one an artist. Neither do a hair-trigger temper, melancholic nature, propensity for tears, hating your parents, or HIV. I hate to say it - none of these make one an artist. They can help, but just as being gay doesn't make one witty... the only thing that makes one an artist is making art.
Since my Dad was an artist, I grew up around art shows and openings and that had a big impact on me as well, especially in L.A. So skateboarding was the cool thing to do and I was totally attracted to it and once I saw the magazines... that was it, I knew this was what I wanted to do for a living.
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
For me, Sundance always felt big. It's not the only way to make your way, but for me, it was definitely that critical link between struggling artist, kind of working on my own, to actually working professionally and being connected and being seen.
I began working within the streets of Harlem, where, after graduating from Yale [University, New Haven, CT], I became the artist in residence at the Studio Museum in Harlem [New York, NY]. I wanted to know what that was about. I would actually pull people from off of the streets and ask them to come to my studio.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
When you're an artist, you're generally working at home alone in a studio. It's just really good to get with other guys and make art something you can share.
Working a model liberated me from ever having to hold a day job. I transitioned from doing that to working full-time as an artist. If you're 19 and living cheap, being an artist model can sustain you. I dropped out of college at 21 and my illustration hadn't yet taken off. It is more than working in a store. It is a hard way to make a living but you earn more than in a similarly unskilled job.
In the long run magazines can't be a convenience play - the Web has stolen that. So magazines have to be high fidelity - a fantastic experience - to thrive. Magazines will survive the Internet age, but only the ones that give people an experience they just can't get anywhere else. A magazine will have to be truly loved to make it.
Any working cartoonist will tell you this, anybody who's working in a creative field: at some point, it's a job. You have deadlines. I think, for over a year, I refused to make them for publications, because I only wanted to make them when I wanted to make them. But at some point, I was like, "This is crazy, you have an opportunity to be a professional cartoonist.
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
I never wanted to be that fad type of artist. When I looked up to artists, watching TV, I wanted to see somebody. I wanted to touch that person. I wanted to sound like them. I wanted to move like them. That' s what I want my fans to do. So that's why, everything that I do, the music I make, how I dress, it's all based off my lifestyle.
I've always wanted to collaborate with Shawn Mendes, he's an amazing artist, but the thing with Shawn is that I won't collaborate... me just sending some beats. It has to be in the studio where we'd both be there recording together.
I love the architecture magazines and all of the French magazines for decoration or whatever. I end up enjoying them more sometimes than the fashion magazines.
It's a terrible thing to say I know. I've only done what I wanted to do. It's a real luxury. I only made the pictures I wanted to make and lived in the places I've wanted to live. I'm very, very happy.
Having people around you that are honest with you, and having a team around you that can actually track and communicate where things are working and where they're not working, is really an invaluable asset to an artist's career. I just see it time and again, people who have no clue about that stuff. It's frustrating, and I see the frustration for them. It's a weird thing being an artist, trying to navigate the music business with little to no help.
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