It’s been a long time since we’ve had an interview with an artist here on the website, but now we’re continuing the interrupted series in a worthy way with illustrator/artist Richard Kilroy. Cover picture: 70’s guy.
Could we start with some background information about you? Can you take us through the timeline on how you became an artist?
Well I was the usual little white gay boy who loved drawing everything and the resulting validation of being told I’m good at something. I would draw most things, I gravitated towards fighting game characters a lot; all the outlandish half-naked outfits and theatrics.
Alphonse Mucha was my first big influence, his eye for composition with natural forms still resonates in all my work.
Reading The Face in my teens introduced me to a world of exciting illustrators working in fashion publishing. I was excited to see illustrators like Julie Verhoeven, Sylvia Prada and Jasper Goodall creating full page works and editorials alongside Steven Klein and David LaChapelle. It was not meagre little horoscope or accessories illustrations. I fell in love with fashion photography, layout and graphics. All the elements of putting together a magazine. It was never just about illustration. I loved the whole package.
I started receiving commissions during university after Richard Mortimer, creator of Boombox and Ponystep Magazine saw my work on Myspace. I created a zine where I interviewed and featured some of my favourite illustrators alongside doing my own artwork.
Most of the jobs over the first few years that were paid were requests to depict women or womenswear. I’ve never enjoyed any of my womenswear illustrations, it’s quite clear the interest isn’t there. I can’t create a strong visceral image of a female, I’m yet to be convinced that I have it in me. I became known as a menswear illustrator. The clothes were usually secondary but integral.
How do you describe your art in a few words/sentences?
An appreciation and stylisation of male curves. Occasional clothing.
It is said that as long as one doubts one’s own art, one is capable of progress, one who is full of oneself is stuck at the same level. What do you think about that?
I agree. Everyone is their own harshest critic and insecurity breeds creativity. If you fall into a habit for too long without change then eventually things become stagnant.
This is the tricky part of being an artist versus an illustrator and why many wrestle with these titles. Illustrators are paid to create work based on what they have produced already. It’s highly unlikely that you will be given creative freedom to create something new. Artists work for themselves without as much constraint. Therefore some see being an illustrator as inferior and derogatory. I just don’t care anymore, I’ve read too many boring articles about what it is to be a fashion illustrator in modern times and where they exist in today’s industry. I’m over it. I just want to create images I like of guys and see where it lands for now. I do feel lucky to have been able to gradually retire a previous style of drawing that I was earning money for, and forge a new expression in my work. It has been liberating. I was never full of myself, ever, I have imposter syndrome, but things did get stagnant.
Most often you only use a couple of colours for your pictures. Which are your favourite colours?
It changes although turquoise and crimson red are always a safe bet for me. I think a lot of 80s colour palettes are always in my subconscious.
Your characters and subjects are often erotic. Do you find the ideas for the pictures from your life or some other way?
Various. Years of drawing and teaching fashion illustration means I know the body from the inside out and I can create my own poses and figures, which I do, but re-interpreting source images and finding muses can help inspire a lot.
References of hairstyles from the last few decades usually help me construct my little fantasy guys. Mullets and moustaches, curly hair, earrings. Photography by Karlheinz Weinberger and George Platt Lynes, 70s porn mags. I’m beginning to work with subjects to photograph and draw them exclusively which I used to do with my old photorealist work, but this time around I don’t feel the previous stress of being committed to accurately portraying them in great detail and can change it as much as I want. Menswear designer Alled Martinez created a fantastic collection for SS21 with many gay 70s references. I draw the mens collections I gravitate to that are sexy, perverse or just colourful so I enjoyed that one a lot. I’d like to create a series of drawings of porn legend Chad Douglas next.
Do you think erotic art should be showed on social media? What is your opinion about the growing censorship on Instagram, Facebook…?
I do believe in censorship but I just don’t know quite where to draw the line. It’s very subjective. I’ve clearly benefitted from using Instagram to share my work. It also depends on how explicit the work is and how representational it is. It’s a very grey area. I don’t ever think it should be outright banned. It does seem like many queer artists are bearing the brunt of social media censorship which is not fair. Maybe some more effective age restrictions in place?
You’ve been exhibiting regularly in the early years, what do you expect from 2022?
Fuck knows. I’ve been ill for most of 2022 and I am just looking forward to having the energy to draw again. I created a series of limited newsprint zines in 2021 but I want to look forward into other avenues and ways of applying my drawings. Going bigger in scale is one consideration.
Aside from drawing, what’s your favorite art medium? / Are you interested in other arts?
I was told throughout my education that my photography and layout skills were much stronger than my drawing. I got rejected from two universities who said they would take me for graphics but not illustration. And I agree with them completely, but I just don’t have the passion for these areas as much to make them my mainstay. I use them as part of my process and as ways of curating my work.
What do you do when you have time for yourself?
Occasional exercise classes where I pay good money to exercise in a dark room with really loud music and intense lighting while someone watches over me and forces me, otherwise I will never do it.
What is your motto to live by?
Mottos are excess commitments that I don’t believe in.
Please finish the sentences:
Deeply in love with… the two foxes I feed every night. I don’t wish to give them names and anthropomorphise them though.
My morning routine is… Nothing fascinating. I hate mornings. Anyone who brags about going for a morning run makes my eyes roll. I get up, crack my back, piss and eat some cereal.
The best to do tomorrow is… the tax return.
Thanks for the interview Richard!
Artworks by @richardkilroy / www.richardkilroy.com
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