Arts IN Focus on PBS Fort Wayne is funded in part by the Community Foundation of Greater Fort Wayne Coming up, we'll talk with painter Tyler Toole and photographer Rolley Navarro.

It's all next on Arts IN Focus.

Welcome to Arts IN Focus.

I'm Emilie Henry.

Tyler Toole stumbled into painting by accident after buying some paint and experimenting with it just for fun.

He created a few paintings and, to his surprise, ended up selling one of his pieces.

That's when he discovered he was an artist.

Tyler has been producing artwork nonstop ever since and has developed his very own pop art style, using paint mixed with collage to create highly colorful, abstract pieces.

Tyler Thank you for having me here today.

I cannot wait to talk about your art.

It's so cool and different and.

But first I want to know, were you always an artist?

Not really.

I just didn't even know I was going to be an artist.

Like, it's crazy.

How did it happen?

Like, how does this happen?

Like, bought some paint.

And then I was like, I'm going to see what this does.

And then I, like, sold a painting and I was like, Okay, I can actually do this.

and it was only like a 12 by like six canvas.

Okay, so when you bought paint, clearly you must have had something in your brain that you were like, Okay, I can put this on canvas.

Just seemed like natural.

And it seemed like, okay, maybe I should be doing this more and like, maybe I can, like, do something with this.

And then after that first painting I sold, I was like, kept selling more and more and I was just like, All right, I was going to keep doing this like, full time, but like, part time, you know?

Okay.

Now, in terms of your esthetic, was did your first painting look like your work now?

No.

No, for sure.

Not really.

This one was actually one of my first paintings.

And I just, like, painted over it because I wanted to bring more life to it, feel like it was kind of dark and it needed more life and more positive energy on it.

So I was like, alright yeah okay, I want to fast forward a little bit to all of the mixed media you use, because I look around and I'm like, Well, first of all, in your studio, yeah, there are I mean, there are tools.

There are there's spray paint, There's like, you name it, it's here.

Yeah.

So how do you decide what you're going to use to create?

I dont know, I just just buy a whole bunch of random stuff and it just comes together and I only started using acrylic, and then I, like, move to, like, oil and like, paper and, like, collage stuff.

And then I guess it just, like, worked out for me.

So I just kept going with it.

But I like acrylic and spray paint because spray paint like quick dry.

So it's like I can use that and then I'll come up with something crazy.

So how do you come up with your work?

I don't know.

I literally don't know.

It just like comes natural and some of like the abstract faces I've been doing, they just come naturally.

And when you start a piece, do you do you know what you want it to look like?

I mean, to an extent.

Like, I like.

I'll pick some certain colors and I'll be like, All right, let's go for this color scheme.

And then just like, work from there.

And then I really don't like, draw it out.

My stuff is abstract, but it's like my own abstract style that sticks out from other people's.

Okay, so when I was researching you, I was like, these are major Picasso vibes.

Yeah, for sure.

Yeah, that's totally.

But then you add all the layers on top of it and then it turns into like, my own style.

Yes, it's really cool.

And to be completely honest, if you had asked me if I were a Picasso fan, I'd be like, you know, But I look at your stuff and there's something about it that I really love.

Yeah, my inspirations are like Banksy.

David Hockney.

There's this dude called Stuart Davis.

He's really good.

I like, look at those guys art And I'm like, All right, how can I, like, incorporate that in my art?

And then sometimes that would be like a good seller because like, I sold this one and that was like this David Hockney water looking thing.

And this guy like, recognized it from Chicago and he's like, Dude, I want to buy that.

And I was like cool.

Crazy.

I know.

So how much of the the marketability plays into what you make?

Are you are you making things now with the intention of selling them?

Yeah, for sure.

Honestly, yeah.

I'm building connections right now with like, people that want to do like art shows.

Some people want me to do murals and I also display at Chance Bar, which I work at as well And I also did a mural there.

So I'm like getting a lot of opportunities and a lot of like people from hair salons want me to like display their art there.

So yeah, that's I'm excited.

But are you finding that there is a market for your work here?

Yeah, Yeah, for sure.

I'll do like yard sales and then I'll throw some art out there and then people will stop by or walk by and talk about it.

And it's crazy because there was another artist who stopped by and he was like, Hey, can I bring my art over and like, try to sell some art?

And he did.

He sold a piece here.

And I was like, Dude, that's awesome.

Yeah.

So in the wild landscape of the artists here, do you feel like you are learning from them?

How do you feel like you fit in to that?

I feel like I'm learning from them, but I'm also wanting to like stay in my lane and do my own style, but like more colors and just just kind of, like, stick out.

I don't know.

So how do you describe your style if you had to, like, distill it down and just give somebody a quick description, just like poppy, abstract, colorful folk art, stuff like that.

Especially like the furniture paintings that I do.

Yeah, like the layouts and stuff that's like folky collage art that I like to do.

I love those.

And again, the collage aspect I love.

So it's like you have these mid-century style couches and then there will be like, That actually came from my old landlord.

He like, used to make chairs like mid-century, like chairs and furniture and stuff.

And like with the abstract, I'd just like go and then that I like will draw it out and paint it and it turns out the way I want it and I don't know.

And does that come easily to you to just draw something that is very clearly unmistakably a couch So like most furniture paintings, though, sometimes be like backgrounds or like living rooms of other people's places.

Ok.

So it's like through your eyes.

Through my eyes.

What their living room would have been like when I was hanging out with them.

Like, say, they had a plant and like.

Like a chair.

All right, I'm going to probably put that on that.

Yeah, but I mean, that's not anybody's specific living room.

But maybe it is out there like somebody can relate to it and be like, Oh, I have an orange couch with a purple wall.

Yeah.

or just like, yeah, for me, when I look at that, it just I don't know what it is.

It's just cool.

I just it's like esthetically pleasing the colors and all of it.

I don't know.

The simplicity of the couches.

It's super cool.

But then I'm also really intrigued by how different it is than some of your other stuff.

So behind you also you have a really cool Tupac painting.

Yeah.

How how do you go about creating faces that are so recognizable?

I actually have a projector screen, so that helps a little bit.

So I'll just like kind of draw out the shapes and then I'll make my own shapes as I go, and then I'll just pick the colors that I like.

And then I had a leftover like comic book and I was like, That'd be a cool background.

And so I just like did that.

And especially because you, you didn't feel like you were always an artist that just sort of you sort of happened upon it.

Yeah.

What do you feel like is the best part?

Like, do you wake up every day and go, Oh my God, I didn't see this coming, but it's pretty cool.

Is it?

Or what is what is the best part of it?

Just like free range of like, expressing myself and just having other people appreciate what I do and like, love the art that I produce.

I don't know.

It's wild.

It's.

It's great.

I walked in your front door and took, you know, two steps and was inundated by art.

You create so much.

How much?

I've been busy.

How long?

Start to finish does it generally take to create a piece?

Sometimes it takes like a week.

Sometimes it takes like a month.

But like when I feel like it's 99% done, then I'm like, All right, cool.

Like, let's just let it go.

And then if it doesn't sell from a year from now, like normally, I'll just paint over it.

Some of them I haven't paid enough painting over and others I have painted over, and they turn out way better after I painted over them.

Yeah, it's like everything that I have.

I make it work.

Yeah.

Because I don't want to, like, waste money because I'm like trying too hard to, like, produce something that's not gonna, like, work out and just, like, just make something positive from something that I already have or just, like, reuse things.

Yeah.

Yeah.

What's the hardest part?

You make it sound really easy, and I can't imagine that it actually is the hardest part is just trying like, get your art out there.

Like, try to sell it.

Like, just you got to find the buyer.

You got to find that one person who's, like, actually interested.

Yeah.

Like, it's got to be a certain size.

It's got to be a certain color because like, people that are just buying a home, they want to they want an art piece that is like, Oh, okay, that'll fit there like, okay, that color would go good with this background.

Yeah.

So it's like.

Are you surprised by the success you've had?

Yeah, I'm like, Holy cow.

Like, I can't wait for it to be like, I'm actually full time and I can, like, quit my other full time job.

Yeah, well, I had a blast going through your Instagram, looking at all of your stuff.

It's so cool.

Its colorful right?

Its colorful, and it's.

It's like you can look at the same piece 15 different times and see 15 different things.

Yeah, you know, but that's not my intention.

Like, it's just like, that's what's cool.

Like about art.

It's like everybody has like a different outlook on like what it is or what it looks like.

Yeah, how it speaks to them, you know?

Cause people say that they're like, Oh, it speaks to me.

And I'm like, alright.

Yeah.

And I just keep thinking depending on which one I'm looking at, I'm like, Oh, that's really cool.

That's really fun.

And again, it was just a real pleasure.

Like, it was a joy to research you so thank you for making the world a little bit more beautiful and thanks for taking the time to sit down with me today.

Thank you.

For more information, find Tyler Toole on Facebook.

I'm joined now by photographer Rolley Navarro.

Rolley, welcome.

Thank you for being here.

Yeah, I love your work.

It's so cool.

But I want to know about the first time you picked up a camera.

I think the first time I picked up a camera was probably eighth grade.

But I've always grown up with photography.

My mom was a photographer when I was younger, so I've kind of always grown up around the atmosphere and stuff.

Were you interested in her work?

Were you intrigued in a way that you thought, Oh, maybe that could be an outlet for me?

Or did you just was it just sort of part of your surroundings?

I don't think I really, like found it too interesting when I was younger and stuff just because I was little and like she would always use me for like little photo projects or something for her school.

And no, I didn't really I really didn't find it too interesting until I was like in sixth grade and wanted to become a director.

And then I became interested in doing directing, and then it kind of became an outlet for me to be like, Oh, maybe photography, and then kind of just picking up a bunch of other things like screenwriting and all that, you know.

So when you picked up a camera in eighth grade, I'm assuming it was a digital camera It was my phone camera, actually Oh, wow.

Okay.

Just use my iPhone camera and then you're such a baby.

Yeah, yeah, yeah.

I love that that was your first camera, Was it did it feel right away, like, Oh, yeah.

Okay, I I'm good at this.

It wasn't really good.

It was just more like it was kind of just fun to do and then like, uh, freshman year, somebody was like, Hey, can you take pictures for me?

And I'm like, I really don't have a good camera.

And my mom's like, you can use my camera.

And then it just became, became bigger.

Then it just became something more.

than I thought it would be Tell me about the learning process.

Were you learning kind of the logistics from your mom?

Were you learning at school?

Were you learning on YouTube?

Like, how are you picking up techniques?

Yeah, just a lot of YouTube, just like a lot of self teaching and making sure like, like I would get critiques from my mom and stuff, but it was a lot of just being like this, this look right?

Is it like, is it supposed to be this way?

And if it wasn't, I mean, I would just use I would just, you know, keep trying to progress at it and stuff.

And yeah, YouTube was definitely a big, big help and stuff like all the the photography YouTubers like Peter McKinnon or Northern Borders.

Yeah, I would definitely watch them a lot because it was like they gave good advice that was quick.

And I have ADHD, so it was like it was like I couldn't pay attention for a long time.

Yeah, but it would just be like, okay, okay.

And then I would just try to do it on my own.

And then if I can do it, I would keep trying to do it.

Yeah.

Okay.

So in looking at your work, I feel like I see a lot of playing with light and filters and that kind of thing.

What do you if you had to describe your esthetic, what what would it be?

I would probably go for like, probably like an editorial or moody kind of look just to kind of give it like a like the way I'm trying to, like, make my photography look now is kind of comic booky because I grew up with like a lot of, like, superhero book, like superheroes and like comics and like DC and all this.

And I don't know, I think it's I'm trying to make it comic booky, but I think it's kind of in that like atmosphere already and just kind of having like those like super like poppy colors and like poppy shadows and stuff.

Yeah, Yeah.

So I was noticing lots of like saturation and yeah, the shadows and the light and lots of faces.

Yeah.

I love your, the, the photographs of, of different faces.

You really capture something cool.

Yeah.

So how do you feel?

Like I read that you've only been doing photography for, what, three years?

Yeah, three years?

Yeah.

How is your photography evolved over the last three years of doing it professionally?

I think it's evolved by just me understanding the fundamentals of like business side of photography and just the fundamentals of lighting and posing and all the other components that go into it, like taking good like a good picture.

Let's talk about mental health.

Mm hmm.

I read that your photography is is a way for is an outlet for you.

And in a way to express your thoughts and feelings regarding mental health.

How does that work?

How are you using photography in a way that's beneficial?

I think.

I think for me, photography, like art in general, has been always like a way for me to push my mental like, like express my mental health in a healthy way instead of a lot of other ways people do and stuff.

And I think it's just a way for me to deal with like depression and anxiety and stuff.

And like with ADHD, obviously, and my anxieties and stuff, it's a way for me to just focus on the one thing that's at hand and then I can, because I do a lot better with my anxiety, like I deal with it a lot better when I've kind of taken a second to do something else and I can address it with a more logical sense instead of an emotional sense.

I think also with like my mental health, it's like expressing colors like put, like putting the colors I'm feeling into my pictures and just putting like, I mean, there's a lot of random stuff, but it's it's just I love that.

Tell me more about the colors.

So if you are feeling a certain way, if you're feeling anxious, is there a color that that always comes to mind for you or is there is does it just depend on the situation?

Probably like by like a blue.

I don't I don't know.

Blue is kind of like I don't know.

I'm not sure why Blue is kind of.

Okay.

You're having an anxious moment.

Blue is coming to mind.

How do you then execute a cool photograph or series of photographs with that blue at the forefront?

Yeah.

Like, logistically, how do you do that?

I think.

I don't know.

I think when.

When I'm anxious, I don't.

I don't know.

Sometimes I'll also just feel the emotion out and stuff and then be like, okay, maybe I can actually make something cool out of what I was like thinking about.

Because a lot of my anxiety also comes from overthinking and stuff and it goes into like this like spiral of, like thinking of one thing, go into another thing and keep going and like, it's just like an ever growing cycle of just a lot of random thoughts.

And I think a lot of my random thoughts I can put into my own pictures and stuff.

When people say separate the artist from the art, it's like it's like I am my art because it's it's how I am and it's me that are like in those pictures, like, and how I'm feeling.

Yeah, it may not be me as, like the person in the photo, but it'll be me as the colors and the composition in the shot, like the shadows, because it's just how Im seeing something in my head and it's like, it's like instead of like in my anxiety and stuff and overthinking, I imagine, like images and it's like it's not like, it may not be like image, like super images, but it's like, it's almost like an abstract, like drawing and stuff was just I kind of just imagine, like random random patterns and stuff.

And I just incorporate that.

When you imagine those, those random patterns and that kind of thing, and then you start taking pictures, do you know when you got it?

Can you take a photo and go, okay, Yes, that's that's what I was that's what was kind of in my head.

And it's all come to fruition in this photograph, I think.

Yeah.

I think it's a little bit of like I think yes and no.

Sometimes it's like sometimes I can't get what I'm imagining, but sometimes I will just get like, those, like, like, Oh, yeah, I got it.

I finally got it.

But it's like, I think I'm always seeking the kind of get that, like, perfect.

Like what I was thinking in my head and then what I'm trying to make and stuff.

I imagine that can be really frustrating.

Yeah.

And it can be.

But I think I think over time I've learned to, like, accept I'm not gonna be able to get every, like, good, like, image and stuff.

Right.

But I think, I think now it's like, it's like I'm trying, I'm definitely getting to the point where I'm like, okay, I can actually kind of get close to what I was thinking.

Yeah.

Because obviously as like in, like if you're thinking of an abstract like image or drawing or, you know, painting in your head, it's like, it's like you're not going to get the exact exact thing and make it in the real world and stuff.

Sure.

Yeah, it won't be literal, but you can at least get that feeling that you were after.

Yeah.

So what's next?

What do you hope to continue to learn or what do you hope that people take away from your work?

Um, I think, I think what's next is kind of definitely pushing my capabilities and making it a lot more and, well, not like by a lot more.

I think making the making some like making my pictures a lot better and improving my skills because eventually I would like to work in like magazines or like just doing a lot of editorial work because that's that's pretty much all my work is.

And so I think I want people to take away from my, like, images that they're like cool images and they also have a lot of like components.

And I think I think I want to just I just want people to recognize the emotions and stuff and that go behind the photos.

When I look at your photos, I, I want to know more.

There's a depth there that you go, Oh, okay, I see what this image is on the surface, but I know there's more to it and I'm interested to know more.

Yeah.

What do you think art and and your art in particular has taught you about yourself seeing the beauty and, like, the the world.

And so I think I think especially with street photography, it's like you got to you got to see the beauty in this.

Like, every little detail and stuff, and you got to seek out like or look for the small, the small, like beautiful things and stuff and like anxiety definitely sucks, but it, it can also be beautiful and like, like I think looking at people, like through street photography, it's like you're seeing the beauty in people and you're seeing the beauty in like a fire hydrant or a piece of paper on the ground.

Like you don't just see a like a person walking.

You see them like in an emotional state.

You see them trying to do something.

They have a purpose.

And it's like if there's a little piece of paper on the ground and they're like the sun is hitting it perfectly, it's like you don't just see a piece of paper.

You see the shadows and the composition and the texture of the paper and everything, you know?

Yeah.

Rolley, the conversation about mental health is, is so important.

And I think that when you describe your work that way, it's it's so beautiful because you're right, it's it's hard to to navigate emotions and the world.

But if you can really see the beauty in everyday mundane things I mean that's that's the secret, right?

That's the goal.

So thank you for your work and for and for putting it that way, because it really does reframe things.

So hopefully we all can start looking at the world through that lens.

Yeah.

Thank you so much for taking the time to.

Yeah.

Yeah.

All right.

Thank you.

For more information, visit Rolley Navarro dot com Our thanks to Tyler Toole and Rolley Navarro.

Be sure to join us next week for Arts IN focus.

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And in the meantime, enjoy something beautiful Arts INFocus on PBS Fort Wayne is funded in part by the Community Foundation of Greater Fort Wayne