Lemonade Magazine
Lola
by Peter Nicholson
August 2006

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Quaint but creepy, arresting but perplexing, the art of Lola takes us to a place just off Main Street in Wonderland. There's something familiar about her figures, but what's with that chunk of meat? And aren't those characters connected by a rope tacked to their throats? Things are not quite as they seem...

Born in 1975 in Riverside, CA, Lola is a largely self-taught painter who worked as a tattoo artist and painted during the slow times. Gradually she shifted to focus completely on non-human canvases and has steadily been catching the fickle eyes of the L.A. art world with her shows. Why does she do what she does? Let's ask Lola herself.

What was the first piece of art you sold? For a couple years I would just give my paintings away. I had no storage and always painted from morning to night, so it seemed necessary. I actually sold my first piece at an art show in Riverside about 4 years ago to this boy named Matt. The painting was titled, "The Stranger." It was the face of a girl staring at a man as he held a hammer up to her neck. It also was the first time I had ever inset a painting into a painting. Now I frame them, but for experiment's sake, I just painted it on.

How did working as a tattoo artist differ from working as a painter? For me it was always much more difficult to draw on skin as opposed to the flat surface of canvas or board. I used to wear a wrist brace to do long jobs. It was killer! Then there was the deep void of creative imagination. I found it baffling how many times I would tattoo the same flash images over and over. What do you say to someone you see with the exact same tattoo? Maybe it's a bonding experience? Ha ha, I don't know. I just knew that for me, I needed to create on my own terms.

I started bringing in my painting supplies to work. When it was slow, which was 2 seasons out of the year, I would just take advantage of the 10 hour day with some constructive therapy...'cause that's what it is. Tattooing was a great experience, no doubt, and I have great shop stories to prove it, but the best thing it did for me was open this path to what I was really supposed to be doing.

Did you ever think to yourself, "This is a really bad idea, they're going to regret this," as you were giving someone a tattoo? Oh, plenty of times! I can't even begin to tell you how many really strange and awful things people would bring in. But you know, who am I to judge? Most things people want are very personal and there is always a great story. And then there is the other 50 percent of the spectrum, tattoo flash. These are the ones I would try and persuade clients to steer from. It's a big thing to have something permanently etched into your skin.

Do you feel part of a Los Angeles scene and does it feel different than what's going on in other cities? I do! I am part of a rare occurrence. There is an amazing thing evolving here in L.A. that is quickly making itself noticed. The art is getting stronger and the community is growing at an alarming rate. Every time I look around, there are a handful of new galleries opening.

I don't think that I have the full sense of a movement, though. I've been quickly noticed and have been taken into this strong sense of family that illuminates the entire scene here. I can show up at an opening and see the faces of artists I admire and enjoy, and now appreciate on a personal level. Like the great Anthony Ausgang...just two years ago I was merely a fan in the shadows. Now I am fortunate enough to find myself in his presence at almost every show!! And we always have the best conversations, such a treat! Things like this are more amazing than anything I could have dreamed!!

Drop some names-who around you makes you excited about painting? Oh, well firstly, the great and talented artist Nathan Spoor. He and I have had great talks. Learning new things always sparks the inspiration!! Not to mention before he and I had even met, his paintings opened the door for my giant step back into childhood. Seeing his work took me back to story time when my dad, my brother and I would curl up before bed in my brother's room. And suddenly this wonderful path surfaced. This is what I had been needing to paint about all along! What a gift he gave me.

Then there are the talented artists I'm lucky enough to be showing with. One of my faves, Ms. Audry Kawasaki; my buddy, Josh Clay; Sean Christopher, Scott Musgrove and Michael Hussar. I'm extremely grateful for them. Tim McCormick, the first self-taught artist to inspire me. The list can go on and on, really.

Many of your pieces include unusual frames-where do you find these and at what point do they come into your work? Frame finding is a full time job, actually. I have the Melrose flea market, antique shops, thrift stores and the best-yard sales. I'm finding it harder and harder to get my hands on frames, though. I wish people would just send me great, weird, gaudy frames. That would be easy!

The frame is the core of the work. It sets the tone for color, composition, subject (though not in its entirety). The frame is essential to each piece.

Your work, including the titles, seems to take energy from children's stories-when and why did this begin? My only exposure to art has been children's books. As a kid I fell into these stories through the illustrations. I swam in the imagination brought forth! They were powerful and this has stuck with me through the years. I've had the creative itch since birth, I imagine, so story time was always my favorite. And now I'm now a huge children's book collector.

You have a very distinct and recognizable style-does this ever feel constraining, do you ever secretly long to do realistic portraits in pastels? Not in the least! I am having fun in this world. But of course, now that you mention it, I do wish I had the ability to paint portraits. That would be interesting. I could just paint this gorgeous, realistic face trapped in my bizarre little characters' bodies. Oh, now I need to go to school. Thanks, Peter!

What keeps you going as an artist, when you're stressing about not having shows lined up or a particular work is just not coming together right? Definitely my girls. They keep me focused and add to the imagination. I have been more than fortunate with a great lineup of shows. My schedule is set for the next two years, so I only have to worry about painting. I concentrate on creating good work, and helping myself evolve a little more with each piece. I'm forever learning, so I strive to make each piece better than the last. I think because each one is significant for something, it is easy to move on a steady pace. If something is just not coming together, I'll paint over it and start all over. I tend to work on three or four things at once, too, so I can rotate and stay fresh. It's more of a mental tactic, I'd say, but it works! And I'm humbled each day, that people just enjoy my work! This to me is surreal...