Meet Your Maker Monday: Carlos Pozo
I first met Carlos at one of the art markets at Winter Street. His geometric prints caught my eye because there were echoes in them of form and space that we studied during my architecture days in college. So when I asked Carlos to be part of this series, everything clicked when I found out that he works at an architecture firm. Read on as we follow Carlos working on a print while learning more about his creative process.
What is your name, company, URL, and social media links?
What do you make?
I'm an artist and designer who makes silkscreen prints.
What does a typical day look like for you?
I work at an architecture office from 8:30 to 6:00pm every day, Monday through Friday. In the evenings and whenever I'm not at the office I plan the artwork that I will print on the weekend. I try to make all my artwork separations so that I can get an early start and finish a print in one day. I ask my very smart and sensible wife Amber for advice on the images and colors I will use – all this is done casually in the evenings, so that when I go to the studio by myself I will have a clear and definite idea of what I want to accomplish. I am a co-op artist member at Burning Bones Press, where I have access to professional printmaking facilities. On a typical Saturday or Sunday I go to the studio mid-morning and spend the following 6 to 8 hours working on one print.
Why did you decide to start your own business and why Houston?
I was born in Chile and came to Houston because my father worked for Brown & Root overseas in the early 80s. I went to high school in the suburbs and to college at The University of Houston. I consider Houston my home. I like the diversity of the city, and the way it feels like a small town in spite of the endless urban sprawl. I admit that I rarely stray from the midtown / Montrose / near-downtown area where I live.
What are your inspirations and how do they guide your work?
My biggest inspiration is my work in the field of architecture. I'm old enough to remember the shift from hand-drawing to computer drafting, and I don't think I've ever recovered from the initial sense of wonder when first confronted by 2D and 3D computer drafting and modeling software. Almost all of my prints begin as hand-drawn sketches that then get realized into 3D form by the same software I use at work to draw "real" structures. I use computer and analog drawing techniques to explore ideas of structure, order, form, movement and tension. Simple forms in complex arrangements result in diagrams of ordered confusion inspired by the infinite space of the computer modeling environment. A life-long interest in comic books (Hergé, Moebius, Jack Kirby) has also played a large part in how my prints are assembled and composed.
What's next for Carlos Pozo?
I will be participating in the 3rd Annual It Came From the Bayou! Inkslinger Printmaking Show-case – Sunday, April 27 upstairs in the brewery hall of the Saint Arnold Brewing Co. 10am-4pm.
I will have a solo exhibit of my prints at Vinal Edge Records beginning on May 10. I'm a life-long vinyl record enthusiast and music fan and therefore extremely excited about this. The opening reception will feature a musical performance by my band Raceway and my friends FLCON FCKER and Stephen Farris.
I recently designed the artwork for a friend's 7" record release. I have always had an interest in graphic design and record album artwork, and I hope to do more commercial work like that in the future.
What do you want people to know about your work?
I was drawn to silkscreen printing as a way to reproduce extreme detailed line work and the possibility of creating new forms by printing images in dense overlapping layers. The act of getting ink on my hands and manually pulling my own prints has become as much a part of my creative process as the cold precision of arraying digital vectors. I would hope that my artwork triggers an emotional reaction the same way a certain series of musical notes can trigger an emotional reaction. I've given up on trying to define my work as "art"- I think of the finished prints the same way I perceive architecture. It can be art, but then it isn't really. But mostly I get the greatest feeling of satisfaction when somebody looks at any of my prints and simply says, "dude, that's badass" – I consider that a success.