JOROKO-Loaded Art!

The artist who is known as JOROKO grew up in Denver, Colorado, and, aside from a few years in Baltimore, calls Denver home. He comes from a family of creatives. Both his mother and brother are artists. Though he considers himself introverted, when it comes to his art, he is passionate and persistent.

The type of art JOROKO creates is called “LOADED ART!”, and it has evolved from the anarchy of punk rock groups he was associated with, to the assemblage techniques that combine found object, stenciling, and a plastic/gauze wrap. The idea started forming in 2001 when he was working on his senior college thesis statement for his class. His classmates were all doing something similar, and he wanted to be different. At first he used upholstered items and metal. Then it evolved into the use of stenciling He was drawn to American Flags in many positions, the decayed-look of stained gauze/plastic wrap, and punctured holes. When JOROKO used the flags, the work made an impact on the public, which some associate with the politics since 9/11. After the 2004 elections, “LOADED ART!” was born. Some viewers were angry, some were touched. The idea of protest art--art for change, and not profit--was formed.

The minimalist colors used in his work reflect back to his Punk roots, where most of the images were in black and white. Even in college, he preferred working in black and white, and hated using pastels, enjoying charcoals instead. Now, “Loaded Art” continues the narrow color palette, with the stained gauze background wrap that is a light coffee-tan color, stenciled lettering (again from Punk and graffiti artists background), and black images. The piercing or punching of holes are stained in black. There may be a touch of color, but nothing to distract the viewer from the impact of his statement, which at this time is anti-war, anti-big business financing the war, and anti-Bush.

JOROKO discovered galleries are reluctant to show his work because most are conservative. He finds he works best in co-ops and collective galleries. It is apparent that in those venues, the artists seem more passionate about their work. But any time JOROKO has an opportunity to show his art, he will hang it. Some of the more popular sites are restaurants, because there is more exposure in the restaurant than in a gallery opening night.

His art has evolved, from more abstract upholstery and vinyl materials, to stained gauze with shapes, of what it is today. He finds, if people see the work and connect with it, there is an emotion. If someone is offended, they move on, although galleries have been told to take JOROKO’s work down, and some have put a disclaimer on their entrance, nothing really extreme has happened. JOROKO recalled in Baltimore, a man punched one of his pieces, impacted by what he saw.

Does he make money? Yes and no. JOROKO states that he does have a day job, which pays his living expenses. Again, with the Punk influence, he believes that making art for change, not profit, would defy his core beliefs. The sale prices of each work is affordable, although in some higher end galleries, where there is a higher commission and a minimum selling price, JOROKO has been known to raise the price a bit. These sales, and those from other sites, enable him to make enough money to construct his pieces. Traveling expenses comes out of his day job’s wage. When he lived in Baltimore, JOROKO could drive his artwork up and down the east coast, as major cities were close together. Now that he lives in Denver, he must connect his work to galleries by mail. Shipping costs add up quickly. The nearest art town to Denver is Kansas City, Missouri, about 600 miles to the east. When I met him in Portland, Oregon, he was 1250 miles from home. But he tries to make every show if possible.

JOROKO recalls one of the most interesting shows he was involved in took place in 2004 in Washington, D.C. A group called Art-O-Matic (www.artomatic.org) took over a 100,000 square foot building that was going to be gutted, and brought in 700 artists. The artists could do anything. For three and one-half weeks, the all volunteer organization ran the show. There were even bands and poetry. It was amazing.

So how does he make contact with people? JOROKO is always looking for venues for his work. He scours the internet, reads newspapers and magazines, responds to calls for art, juried shows, and solicit to galleries who have ongoing shows. Whenever possible, he tries to make personal contact with gallery owners who can place a face with the name. But the one source that seems to work the best for him is his place on MySpace (Myspace.com/j0r0k0). Someone else had the O’s in his name, so he substituted zeros for the O’s. He has a following in Denver and on the Internet, however he doesn’t know of any other similar artist in the Denver area.

In fact, the Democratic National Convention will be coming to Denver in 2008, forty years after the violence-proned convention was held at the same sit. There is a push for a Recreate ’68 Group, an organization which is recruiting protesters for the 2008 convention (www.recreate68.org). JOROKO is looking online for alliances for his protest art. He is concerned that because there will be extensive security, his art will not be seen within miles of the site. Even the galleries in Denver are reluctant to show his art at that time. JOROKO believes they want to capitalize on the convention.

I asked him if he could meet with anyone about his art, who would it be and what would he talk about? He said he would like to talk to the jurors who make the art selection decisions in the higher, more prestigious galleries and museums. However, upon reflection, he admits that this idea seems a bit off. He feels if he is accepted into a more prestigious gallery, his art would suffer; it would be polluted.

His current project is about four foot square. It incorporates telephone poles, holes, and backwards US flags visible through punched out holes. A teenaged female suicide bomber is positioned up front reading her last will to the viewers. These more figurative pieces are getting more recognition. JOROKO’s art is evolving, and seems to be more recognizable to more viewers. To them, each object has a meaning. There tends to be stronger viewer interpretation, which is good for his protest message.

JOROKO has not been shown overseas, however he is involved with the New York based Antagonist Movement (www.antagovision.com) whom he met online and saw in New York City, and who plans to put together a traveling show that would go to Berlin, Germany. JOROKO will ship some of his art to New York to be apart of their show, and then include his work as it travels to Berlin.

Something that is scratching the back of his mind is the 2008 election. He figures he has about 1-½ years of good protest art going before the national presidential election. After that, he is not sure what he will do. He began his art using vinyl, upholstery, and found objects. Perhaps he will go back to that.

JOROKO invites you to view his website, www.JOROKO.com. Comments are always appreciated, as he reads his email daily. And, of course, he is always looking for gallery space.