PAUL ROUSTAN
In the beginning we didn't know who you were and then suddenly we knew who you were. Where did you come from and why are you in the Southbay now?
I was born and raised in Chicago. I met my wife at The School of the Art Institute of Chicago. After completing our bachelor degrees, we ended up moving to the east coast to be closer to her family. I follow her wherever she wants to go. I took advantage of my time in Rhode Island, learning to surf and getting my graduate degree at the Rhode Island School of Design. But then came the day she asked me “Do you want to move to Southern…” And I was packed and ready before she could say, “California.” But yeah, wherever I am, I tend to leave a mark whether people like it or not.
You went to an art school. Did you head into that process knowing what you hoped the end result would look like, or were there twists and turns?
I’ve always been skilled and passionate about drawing since as early as I could remember. I spent a lot of time drawing comics and caricatures of my teachers. This passion eventually led me to art school where I began to explore various techniques and concepts with the intent of being an illustrator. The School of the Art Institute actually didn’t have a place for me as an illustrator. It’s more of a school for painting and design. So I carved my own path taking a variety of classes that I could apply to my own taste. I think carving my own path has always been a thing for me, motivated by desire. I seem to always find a way. I think I’ve always unintentionally taken the road less traveled.
But really, the best schooling I had was as a caricature artist at a Six Flags theme park outside of Chicago. It taught me all about working under pressure, how to fix mistakes without erasing, and producing quality content very quickly. It also really introduced me to what it is like to be commissioned to draw someone.
The biggest twist came when I was a freelance illustrator for an adult magazine. I pitched the idea of doing a body painting for one of their photo spreads. I was just curious about it, thinking nothing significant would come from it. But once I finished the first one, I was stunned at how rewarding it was, like I was zapped into consciousness and found what I was meant to do. I was obsessed. And I haven’t stopped since, over 15 years now.
The fast pace, lack of room for error, it’s not something you can set aside and finish later. You have only a few hours to complete the artwork on a human body. And you have to find a way to make it look good. I’ve never been a fan of the process, always preferred the result. Any way I could get to the result faster was great by me. But, the most beautiful part was that once a person is painted, the painting comes to life. They can move around and it transforms into a completely new artwork. This thing shut down my inner critic, and I could look at the work as if someone else made it. I learned that I only wanted to paint on people, not canvas, or paper. I no longer enjoyed traditional drawing of any kind.
Speaking of art school. Having done that you aren't really and outsider but being a body painter sorta jumped you back into the outsider gang. Do you work better when you have mountains to climb?
I’ve always been an outsider, even in art school. “I’m a loner, Dottie, a rebel.” I feel like I always have a chip on my shoulder. In addition to love, I receive a LOT of judgement and hate. I thrive best when people tell me I can’t do something. And I’m not deterred by fear. But, definitely! I enjoy challenges and risk. When I’m producing art, I tend to lose sight of consequences. All I care about is getting the shot. I’ve put myself in danger many times, broken a few minor laws here and there. But it’s always worth it. I think part of the draw of my work is that I always do what I want regardless of what people think. Sometimes, I feel like I’m missing a screw. That inhibitor that tells most people you’re not supposed to do that.
Your work is full circle, meaning you are the shot caller from conception all the way through photographing your models and creating prints, video, books and content. What is your favorite part of the process?
I have always been fascinated with people, how they vary in so many ways. First, as a child drawing people all the time, and now collaborating with them, directing, and getting to know them. I like completing the vision each time, making something from scratch. But, I most love the one on one relationship with the models. It’s given me great insight into the human condition. I’ve painted over a thousand people easily, and many of them are close friends now that have opened up candidly to me. It’s allowed me to empathize in ways that a lot of people are not privy to.
This experience is ephemeral so documenting it every way I can is just mandatory, or else did it ever really exist? And in this current social media world, content is king.
You've been an instrumental figure in helping build the current art scene that is growing in the Southbay. What is your observation of how that is unfolding?
A few years ago, I had this epiphany that I didn’t want to keep driving to LA or further to show my art. It was just too much trouble. I remember one night leaving an art show in skid row, racing to another show in the South Bay. And it occurred to me, I felt like most people would really enjoy seeing art by the beach vs. the urban jungle. They are both valid cultures, but for me, I thought how cool of a night out to catch an art show and then just walk to a nice beach with great restaurants nearby? In LA there are always concerns of where to park, or sometimes even, will my car get broken into? I made a decision that night to put all my energy into my own town, and with a little luck get people to come visit us.
And over the years now, it’s been growing beautifully. I think artists can still continue to push themselves harder, challenge themselves to really step outside the box (or into the “boxx”, haha). I think the less traditional an artist can present the work, the more attention it will get. There have been several shows that have stepped to the plate on Cypress Ave already. It’s a grand thing to see.
You make a living as an artist. Any tips for the young guns?
I think success sneaks up on you, and sometimes in unexpected ways. Money is not the main definer of success. In fact, money complicates everything. Just keep plugging away and remind yourself to appreciate your accomplishments no matter how small you think they may be. You are doing things that most people don’t. And those small things are big in other people’s eyes. It’s important to say to yourself, “Good job on that one! You did good.” And just keep on doing the work, people will notice.
