kozik

occupation theory by frank kozik

Nude sponsored an art show by Frank Kozik which took place at the Aquarium Gallery, London, during May and June of 2004. Prior to his arriving in the country, we conducted an email interview with Mr Kozik in which we asked him about painting, punk rock and growing up as a child in Spain, under the fascist dictatorship of General Franco.

This is your third show in the UK. What impressions of this of this country have you taken back back with you following previous visits?
In my mind, I spent time in the UK in the late Sixties and it seemed dull and worn out, though it seems real nice now. I like London, at least what I have experienced of it. Seems like there's a lot going on: lots of interesting cross-pollination of things.
So what are you up to now?
For the last two years I have been primarily designing art toys and learning how to paint. I've taken up limited edition silkscreen work again and continue with random commercial work. I also helped set-up and start the American Poster Institute, which is basically an association of currently active poster designers and printers. We have about 200 members and are doing two large-scale events a year. I'm the president. I'm also doing a few lectures here and there and I'm spending a lot of time in Japan doing random things. I still live in San Francisco but go back and forth to Japan on a regular basis, mostly doing toy
design and working on projects with clothing labels. I have a small apartment and workspace in Tokyo.
You admit that your initial paintings were transitory and reminiscent of the poster work. Do you feel you've subsequently succeeded in moving away from this poster style to develop a distinct painting style?
I have no idea. Each subsequent batch of work involves a lot of experimentation. All I know is that they all sell, so I imagine that's good, but who knows? I think if I keep at it, maybe in 20 years I will actually be able to print 'properly'. That would be nice! I like some of my paintings when I've finished - others I hate. I am learning.
The majority of your former work was for other people; either commercially or to promote bands, which must have led to some self-censorship. Now that you're painting, has it removed the need for such censoring?
It's pretty much gone. I am now able to do just whatever pops into my head. Some stuff is very different to what I've done before, some is the same thematically, The painting is more about colours and textures really, the physicality of it rather than a message. I'm just trying out new things.
In terms of your poster art, you've been described as being to 80s/ 90s punk and alternative rock, what Roger Dean was to late-60s/ early-70s prog rock. How do you feel about such comparisons?
I have no idea. When I was in the midst of the really explosive period there was not much time to think about it. I was just making stuff. I'm happy to have done it, but I'd rather leave all the explanations about its context, cultural importance or whatever, to other people. I was just making posters for bands.
You have talked about being finished with rock. To what extent do you feel that punk and rock generally should be left to the young?
Well, in my personal case, I don't get to the shows anymore. So it would be kind of false for me to keep doing the posters, as my work has always reflected the things I am currently doing. Right now, I'm totally into the toys stuff and going to Japan, so most of it revolves around that. I had a good twenty years of punk, but I'm not interested in it any more. It failed to smash the state. Heh, heh!
Your poster work grew organically out of the punk scene in Austin, Texas, and subsequently took on a value with collectors. Now you are creating specific pieces such as vinyl toys principally for a collectors market. To what extent do you feel you've succeeded in creating a Frank Kozik industry, and do you think you've managed to stay true to your roots in doing so?
Well, in an odd way the toys are sort of punk in themselves. It's a very DIY sort of scene. It's also really visually stimulating, and it's a bit dodgy 'seat of your pants', which I like.
You've always struck me as a bit of a loner. Would you say that's true?
No, I am just not good at small talk. I'm a task-orientated person. It's a time thing. I'm 42 and there's still a lot of shit I have to do in order to justify my inner idiot. I tend to basically work or study all the time.
Where do you see yourself in ten years time?
I have absolutely no idea. Hopefully, still earning a living in a creative manner and in general good health. I might move to Japan.

Tell me about growing up under General Franco. How did it affect you on a personal level?
Well, it sort of made me appreciate things once I left. My family was 'in' so we had it good, but it was a stifling sort of regimented lifestyle. I prefer the US.
You've said in previous interviews that your exposure to state fascism gave you a 'deeply ingrained loathing of authority'. So why did you decide to spend time in the military?
It was the only way for me to get ahead at the time. I was homeless and drifting into a serious life of crime. I wanted out... to get a little money and get away. I joined to escape basically, and it worked out well.
Why have you drawn on fascist imagery at this particular time and with this particular show?
I don't really know, it's a sort of compulsion. I mean, I do all sorts of stuff but the Hitler kitsch thing keeps drawing me back. Perhaps I'm insane. It seems to have some sort of magnetic appeal. Like, people hate it and like it at the same time. So, that's interesting.
What would you say to people who are uncomfortable with the use of this imagery?
They should be!
© Nude magazine 2004. Extracted from a longer feature which appeared in issue 3 of Nude (May/ June 2004).