Houston Artist Makes Poignant Art From Bits & Pieces of Houston's Past
This morning Boxing Chicks Arts had the pleasure of interviewing an artist that has been part of the Houston Art scene for many years, Ray Dunlap. He, like so many artists, is an interesting ‘guy’. His latest work takes remnants of Houston homes and turns them into expressive art.
We have included photos of 3 of his recent pieces. Be sure to check out his art and read the transcript from the interview, below.
Transcript:
Hello everyone. Today we are visiting with local artist, Ray Dunlap. He has done some exciting things throughout his career. He has had his work shown in galleries and museums, over the years.
BCA: Hi, Ray. How are you?
Ray: Hey, good morning, Sherlene.
I’m doing fantastic.
BCA: Wonderful. I understand that your involvement with art began at an early age when you starting helping your parents at their sign making business in Palestine, Texas. Tell us a little bit about that.
Ray: Yeah; the business did things for local businesses, convenience stores and things like that, like for Christmas or Halloween, and Valentine’s day; doing little illustrations and doodles. It was a lot of fun.
BCA: Good training.
Ray: Yeah, totally, it really was. They were prepping me for what I’m doing, now.
BCA: Definitely. So, when you went to HS you entered art contests and received many awards. That must have sealed the deal when you were considering becoming an artist, huh?
Ray: It was, and it just kind of came naturally. And, one of my things was, maybe it was ego or whatever, but, I was wanting to buy a motorcycle. My dad wanted me to earn the money. So, I had an art show going on in my mom’s and dad’s restaurant. I sold enough to buy that motorcycle. I sold a ‘grand’. It put that trigger in there, because it is, also, about earning money.
BCA: Well, yeah, definitely, it has to be. It’s about the art first, and if you can make a little something, then, hey, why not.
Ray: Oh yeah. It was a lot of fun, it was great.
BCA: Do you remember any of the kinds of stuff you were doing back then?
Ray: It was always a lot of illustration stuff. You know, being from the countryside. Walking through the woods from sunrise to sunset, a lot hay bales, and cow bones. Also, after it rained sometime, you could always find arrowheads and pottery where I grew up. It was very influential, you know what I mean?
BCA: Yes, in a very sort of organic way. Right?
Ray: Yeah, totally. The land was beautiful.
BCA: I’d love to see some more of that stuff going on, too.
Ray: Totally! I understand.
BCA: So now, previously, you told me that out of HS you went to work for the EPA and was traveling a lot. How did this affect your art?
Ray: I think it affected it by, um, I was always doodling and drawing. And, uh, I’d be in a city. I’d be in Chicago, I’d be in New York for a little. It always felt it was an interest and passion, but if I can do this, I can pull this off. I was making really good money and thought if I could pull this off AND make really good money . . . Well, I thought, if I can go to New York I didn’t want to be a starving artist. So, I went to Tokyo to be a starving artist. You know as for those Leos, I’m just going to go for it! No parachutes. (laughing)
BCA: Right on! So, you moved to Japan in your 20’s and you were working for Golden Artist Colors. Is that right?
Ray: When I first moved there I wasn’t working for them. I was just doing odd jobs, and, uh, this and that, word of mouth. They were looking for working artists to be in that area of Osaka, where I was at. And, for ten years I worked for the University of Osaka making demos.
BCA: Nice. Ah, that’s fabulous. So, you said that you became one of the youngest foreign members of the art group, Niki Ten, while living in Japan. How did that happen?
Ray: I was in one of the, like I said, one of the artists gathered in that area. And, we drew paintings in downtown Osaka, and a lady came and said, “Hey, would you like to have a group show?” I was drawing these pictures on cardboard boxes, and she said, “How would you like to have a group show?” And, I said, “Yeah.” And “What gallery is it going to be at?” She said, “It’s not at a gallery. It’s at a museum.” I said, “Yeah, that would be perfect.” Not in those words, but . . .
BCA: Right.
Ray: (Laughter) There were a lot of artists gathering, so yeah, I became a member of the Niki Ten artist gathering there, and, uh, they just scooped me up and took me under their wing, and . . I don’t know if you’ve ever heard of the Gutai, Sherlene? They were all in that area.
BCA: That sounds familiar.
Ray: The Gutai artists, you’ll have to look them up. There are only, like, 4 remaining artists on this earth. And, they just kinda took me under their wing and it was beautiful.
BCA: That must have been very informative for you and formative.
Ray: It totally was. And, one of them actually had a movie (showing) called Cutie and the Boxer, here in Houston, a couple years ago and I got to translate for them in Japanese.
BCA: Wow, how cool!
Ray: Yeah, it was very cool. You’ll have to look up that, Cutie and the Boxer.
BCA: Yeah, I sure will. You’ll have to text that to me.
Ray: I sure will. I was like their little rebel child or something.
BCA: (laughter) Right, stuck out like a sore thumb, I’ll bet.
Ray: Totally! There’s not any other way.
BCA: So, now, with this new series of work, Awakening of the Whales, you’re doing more of a mixed media style. Would that be correct to say?
Ray: It is a more mixed media style. It’s still acrylics and a lot things, just like a ‘do it yourself’ sort of thing. A lot the bungalows in this area are being torn down, and refurbished. So, a lot of the wood, I’m using and, uh, the wallpaper. And, some of the wood is so beautiful.
BCA: I’ll bet!
Ray: It’s good, you know, like we can feel things as we are, as artists. Sometimes you can just feel things from the wood. You can hear the voices from the families, you can feel the families that use to live there. It’s powerful.
BCA: Absolutely! It is! I totally agree. I can’t wait to see more of that, also. Well, now what was the name of that piece that I really liked. It was a pole with an iron something, and . . .
Ray: Oh, that’s, uh, that goes back to the story, like, well I’m not going to steal that story. So, there’s like two wolves, here. But, you’re gonna be like the good wolf or the bad wolf.
BCA: Yep, yep, right . . .
Ray: That’s what it is it’s like a, a . . .
BCA: A struggle.
Ray: A struggle, a situation sometimes, we put ourselves in.
(Laughter)
BCA: Yeah, that’s the truth! Usually.
Ray: Yeah, the more we think to ourselves, then we’re like, “Oh, okay, I understand, now.”
BCA: We’re our own worst enemy.
Ray: Totally. It’s (the piece) very beautiful. It’s mainly got this wire piece hanging down on the right, there’s a piece (motioning the design) . . .
BCA: I like the colors. You’ve got a lot of colors in there. That’s fabulous. I really like that piece. Okay, well . . . So, Ray we really enjoyed talking with you; and I appreciate you taking the time to talk with Boxing Chicks Arts. We look forward to some more work from you.
Ray: It’s been a pleasure. Thank you, Sherlene.
BCA: Hey, you want to tell us, before we go, where we can view your art and how we might, those who want to purchase it, how can they do that?
Ray: On Instagram it’s Dunlapean, on Instagram.
BCA: Say that again.
Ray: Dunlapean.
BCA: Yeah, okay, uh huh.
Ray: And Ray Dunlap on Facebook and it’s . . . I did have a webpage, but, um, the best way is Ray Dunlap of Facebook and Dunlapean on Instagram, at this moment.
BCA: I think we can Google you, too, and somethings will popup.
Ray: Yeah, they should popup. You should be able to, Sherlene.
BCA: Well, awesome. Awesome! Well, thank you so much. It was really a pleasure.