HMHnyc

Artist: Eugene Schroeder
Born: Detroit, MI
Zodiac: Cancer
Resides: NYC, NY

I walked up the the stairs from the subway at 103rd st and Lexington Ave. and looked to my left to see the hill my Mom roller skated down, against her Mother’s warning, and fell bumping her head. She covered up the bump to prevent more bruising from her Mom by combing her long hair over her bump and eye like Veronica Lake. Spanish Harlem in the 40′s, the stuff movies are made from. I walk the streets and wonder what it was like for my Mom back then. I remember her stories as I stroll taking in the familiar sounds. Now in 2010 I visit to interview artist Eugene Schroeder, a white boy from Detroit. Hey, things change. My parents moved to Long Island to raise us. My brothers and I were the only Latinos in our school for years until the Gonzales sisters came in sophomore year. I arrive at the building and I’m soon greeted by Gene and he walks me up many stairs to his residence/studio. He’s welcoming and pretty at ease as we enter and he introduces me to his cats. We begin to chat easily and look at his work. He quotes Picasso: “Bad artist copy. Good artist steal.” and becomes more enthused as he tells me of his new work involving stolen images. He shows me an interesting technique he uses to copy images using clear acrylic and explains how he had to adjust to the concept of stealing images for his art. He offers me a beverage and we soon settle into the interview.

HMH: What was the first piece you made that made you feel like and artist?

ES: The first thing that comes to mind was when I was around 23 and working the grave yard shift in an hotel in San Francisco. I xeroxed some Kleenex tissues with the cover open. They were beautiful like flowers. 

HMH: What were your early inspirations/aspirations?

ES: I was drawn to being a musician but didn’t have the aptitude. When I moved to LA I met a guy and he took me to a Frank Longo exhibit. I remember thinking, “I want to do this”. I decide that I would go to art school.

HMH: What brought you to New York City?

ES: I thought if you wanted to be an artist you should go. I visited in 1986. I guess it was drugs and eviction that actually got me here. (Laughs and tell me he’s been clean for 10 years.) I cleaned up my act and came to NYC in 2000.

HMH: It’s now 2010, 10 years later, what have you learned here?

ES: I love NYC and have learned so much and would never give up my experience here. I guess I learned that you don’t have to be in NYC to be an artist. The NYC art world is very commerce oriented now and few galleries have true vision and courage. I like Judith’s vision at Priska C. Juschka Fine Art. It’s fantastic!

HMH: In this age of social marketing via the Internet how important is quantity to you? How does quantity effect your approach to art and productivity/presentation?

ES: I think quantity is important. I learned that with my old MySpace account. After about 10,000 view one collector contacted me. In fact now I have someone who does my social networking, finds me friends on Facebook, and other things that take up so much of my time best used to make art.

HMH: How do you find personal strength and support as an artist spiritually and philosophically?

ES: Meditation has been great for me much to my surprise. It releases the mental clutter and helps to be more clear with my decisions. I also feel more intuitively connected to my art and my process through meditation.

HMH: As artists we are creators. How do you see yourself and operate as a creator outside of making art?

ES: I would say in everything I do I see myself as a creator. I had an accounting job and my monthly reports and advice were what I used to create results. I like the idea of imagining the end result as achieved. I use creative visualization sometimes before I go to an opening. I picture myself talking to important people and exchanging cards and it actually happens. The people come to me!

HMH: We live in a time of contemplation of our carbon foot print, recycling, sustainability. How important is the physical longevity of your art? Could you be fulfilled as an artist not producing material art?

ES: I do want my work to last into the future. Yes, I could be happy as a virtual or performace artist. I wouldn’t have to store all this stuff! I saw some early Chris Burden and really loved it.

HMH: What galleries would you like to show at?

ES: Black and White Gallery is one I like a lot although their style is maybe a little cleaner than mine, Priska C. Juschka Fine Art. Another place that I would see my self showing at is Rare Gallery. Of course I would love to be working with Gagosian Gallery. The director did buy a painting of mine at a benefit auction and I hope it might be a little foreshadowing.

HMH: What would be your dream art moment?

ES: That would be for a patron to buy all my paintings. Then I could quit bartending and live abundantly.

Visit EugenePortfolio.com

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