You have seen him all over the San Diego Comic Con for years, and his art everywhere from concert posters and galleries to Dogfish Head ale bottles. We love Jermaine Rogers, and we thought we would pick his brain for a moment.
Jermaine Rogers (born October 14, 1972 in Houston, Texas) is an artist and designer in the field of modern rock/pop poster art, also known as ‘gigposter’ art, as well as serigraph and fine art production. Rogers began his career in Houston, Texas as a member of the 1990s Texas poster-art scene, which featured fellow artists Frank Kozik, Uncle Charlie, and Lindsey Kuhn. Since 1995, Rogers has designed posters for a wide variety of musical acts, including Neil Young, Tool, Deftones, Tori Amos, David Bowie, Morrissey, The Cure, Mars Volta, Public Enemy, Them Crooked Vultures, and literally hundreds of others. His work is viewed as influential in the modern resurgence of the art form, “continuously crafting images that push boundaries, whether social, cultural, or aesthetic”. His work is cataloged among the permanent collections of the Rock And Roll Hall Of Fame in Cleveland, Ohio as well as the Experience Music Project in Seattle, Washington. His work has been featured in various media, including print, television, and feature film. Rogers currently divides his time between Brooklyn, NY and Houston, TX. USA.
KR – Your Apocalypse Dunny was a huge hit.How did you finally get connected with Kidrobot?
JR- It could be a myriad of things. Sometimes it’s something in the news, or something I’ve recently heard or read. Sometimes, it’s something that’s been gestating in my mind for a while. Some ideas work that way: they need to marinate. Other times, it’s just an ambient thing that’s kind of there, floating in the ether. That’s the wonderful thing about ‘art’: the initial seed can come from so many places, and combine with the present state of your mind to create that elusive ‘spark’. In my other career of designing artwork for rock and roll bands for years, I’ve gotten a lot of practice in balancing ‘brain’ with ‘gut’. There’s a certain amount of brainstorming involved in the creative process, but many times it’s a hunch…and it takes a while to really learn to trust your gut and just go with hunches. After a while, your gut will either justify or condemn itself: you’ll know which it is by looking at the body of work that you are building. And even then, it all depends on your point of view. If ‘success’ is viewed by whether something sells a lot or gets lots of critical praise from the community, then certain ideas and pieces of work that you produce might be viewed as ‘failures’, to some extent. There’s a lot of compartmentalizing, you know? Like, ‘THIS over here is to pay the bills…but THIS right here is for ME’. I think the longer you work and the more practice you get, you can meld the two into the same thing. But yes, there’s a certain kind of vacuum that you have to exist in. An insulated, private place where every one of your initial sparks of inspiration is given a fair shot, regardless of the ‘will this sell’ aspect. Did I answer you question?
JR- OK, so GODZILLA…you know, I’m really looking forward to it, surprisingly. I like GODZILLA: I still have my SHOGUN WARRIORS ‘Zilla in the box displayed in a case in my home. But, I’m always a skeptic when it comes to Godzilla reboots: that last thing in the 90’s really sucked. But this looks good: seems like it’s handled very seriously. The trailers look heavy, the way that shit would really be if it did go down. Plus, ‘Walter White’ is in it, so I’m in.
Now, Star Wars…dude, when they announced that Luke, Han, and Leia were back, they had me. The original trilogy is like religion around here: I’ve got an entire childhood invested. That stuff was foundation material for me, determining a lot of who I am and how I processed fiction and fantasy and storytelling and all of it. I’ve got a lifetime of man-love for Han Solo. My first hero ever. And I’m glad about the new mgmt. on those things. It seems the saga is in capable hands. So yeah, I cannot wait.