Each week we completely republish a story from a back issue of one of our publications. This week it’s our interview with artist Brian Stupski of Problem Child Kustoms in issue 04 of Fuel Magazine.
How would you describe your art?
I like to think of my art as somewhere between realism and graphic novel style… I try to bring as much realism to the table as I can (especially when rendering a design for a project car), but keep it full of energy with some looser lines, and blocky colour work.
What inspired you to get started? Have you always been drawing?
I was young, say five years old or so, and my Dad drew a sketch of a ’40 Ford for me on a scrap piece of paper. That just ignited something in me, and I began to draw anything I could think of. I’ve been drawing with some attention to detail since then, but always had my hands busy with crayons, pencils or I was building something in the back yard. I made the conscious decision to do this professionally in 1989, when I read an article that featured Charlie Smith’s work, and immediately thought “I NEED to do this”…
How do your surroundings, your environment, influence your work?
I’m very conscious of my surroundings, and take influence from them, wherever I happen to be, from the grocery store to a public park. My own studio is an ever-changing landscape, with new work hanging on the walls, to books and videos on whatever strikes my imagination at the time, and those things always seem to sneak into my work. Lately, it’s been a fine art/painting binge again, and my latest work has gotten really “painterly”, with natural media playing a bigger role again.
Tell us about some of the cool clients that you’ve had.
I’ve been truly fortunate to work with some seriously gifted builders. I do quite a lot with Troy Trepanier and his crew at Rad Rides (there’s something very exciting about working with guys who can build almost anything you can draw!). I’ve worked for many years with Tim Strange (of Strange Motion), and we have a mutual need to push the envelope a lot of the time, and always take a traditional hot rod idea, and see where we can make it work in a modern design.
I’ve worked on a number of projects with Zane Cullen at Cotati Speed Shop, and again, our shared respect for European design and hot rod history breeds a lot of great and unusual ideas. Shops like Rob Ida Concepts and Recovery Room Hot Rod Interiors have pushed me to be as creative and logical as I can on a design… I’ve done a lot, as well, with private owners, and love the small, home-build projects, as they force you to be even more creative with what parts are on hand, and really get the right brain firing.
Digital techniques obviously feature heavily in your work. Do you do a lot of sketchbook work, or do you go straight to the screen?
I fill a sketchbook rather quickly. Every piece of my work starts on paper, whether it’s a simple line drawing, or a full-blown sketch to feel out an idea. Most of that line work can be seen in my work, as the final sketches are scanned into the computer, and keeping that original energy is of tremendous importance to me… It’s what helps “sell” an idea sometimes.
Have any of your fictional works come to life? You must feel the urge to build one yourself?!
I’ve seen a few cars make the leap from sketchbook idea to real car… Recently, I found out that someone is building a Model T concept I created almost nine years ago… I’ve had a bunch of my sketchpad cars find life as scale models, as well, which is a tremendous compliment, to think that someone liked an idea enough to burn energy and resources to have it for their own… how cool is THAT?!
I have the urge 24/7 to build something… I love wagons and old vans, and muscle cars and traditional custom cars… and, well, you can only image what my thoughts are like. I’ve been plotting a wild ’33/’34 Ford Sedan for a long time now, and once the kids are a bit older, I’d like to make that happen.
Do you bounce ideas off other creatives much, or does your art develop through personal experience?
For years, I worked alone, as it was such a small industry, and the “big guys” just seemed intimidating. My work really began to take off, though, when I began networking and throwing ideas around with other artists. Having good friends who share your day-to-day experiences is priceless, and nothing beats having a talent pool to draw some inspiration from… One guy might do some shading with a marker that sparks an idea for a current piece, and soon, you’ve pushed a drawing into some new level that you’d have never even thought to.
My work has a look that grew from studying masters like Charlie Smith, Darrell Mayabb and Steve Stanford, and making use of my training in painting and drawing… and just generally getting stoked about a car that I’m drawing or designing.
What would your creative vision be of the ultimate ‘Fuel Magazine’ vehicle?
I’d love to build a multi-purpose car… something that could run in a variety of events, but still run on the street. I have a vision of a ’55 Chevy hardtop that’s been burning a hole in my brain for years now: A deceptively simple car, with a ton of subtle tricks, like a hidden roll cage, mildly sectioned body (to relieve a bit of bulk and visually lower the car without a super-slammed stance), and the ability to swap engines in and out quickly to run different classes… But something that kind of creeps up on you at a stop light, and scares little old ladies. Bigger steel wheels with dog-dish caps, and some beefy sidewall on the tires, and a simple interior that you could cruise in comfortably, but not lose sight of the fact that it’s a hot rod. Perhaps a bit rough around the edges, but all business, and super-reliable.
…and a copy of Fuel on the front seat!
Thanks for your time, and for contributing to Fuel. Keep up the great work.
To see more of Brian’s awesome work, head over to his website right now.
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