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“The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents.”
– H.P. Lovecraft
Deep dreams, psychedelic visions, cosmic horror. These are concepts that our minds find too hard to grasp. While some of us may have experienced these things in dreams or in altered States, sometimes the concepts of them are simply impossible to express in the medium of words effectively. Instead, we may look to the visionary arts to find these ideas shown to us before our very eyes. Infinite fractal observatories formed into that which we can merely begin to comprehend. Limitless familiarity the shapes and icons found in this genre of work awaken a state that we have all seen yet cannot place. A primordial truth and fear are on clear display within the confines of simple drawings. Dare you look for too long, you too will see something with clarity, the understanding of our realm of reality is simply just a small window of the true spectrum of the universal experience.
In this vein, it is the honor of the BAE curator to introduce you to LASERGUN FACTORY. The hypnotic nature of these images can only be matched by their quality. Influences in his work stem directly from Lovecraftian horror and as the artist explains, intricately designed paper flyers that were handed out to promote warehouse raves.
The first series this humble platform wishes for you to bear witness to is that of laser guns love craft series. The series is a beautiful and maddening look into the dark heart of the Lovecraftian world. One of infinity confined only by our own ability to comprehend the true scope of the universe.
To own a piece of cosmic infinity, follow this link https://mybae.io/profiles/lasergunfactory
Below you will find a full interview with LASERGUN FACTORY.
How did you get into art?
My fascination with art began at an early age. Due to my father’s employment, our family moved a great deal. Every two years or so we would end up in a new neighborhood and my sister and I found ourselves attending a new school. For me, it was extremely challenging to make and keep friends because there was always the possibility that we may move again. I believe that art became a kind of anchor through the constant transition to new places.
As time went on, I began to draw more and more. At one point in my elementary years, my Uncle and his daughter lived with us for some months. She was a very talented artist. I would sit next to her and draw while she painted, usually with watercolor - She would copy an album cover like Aerosmith’s “Toys in the Attic,” Van Halen's 1984, or other rock bands she happened to like at the time. Simply watching her draw with such precision and seeing the picture jump from the original onto a blank sheet of paper was a magical experience.
What is your history in the arts?
Around middle school, I started collecting comic books and began drawing the human form and more abstract visualizations. This went on into High school and I strongly believed that I wanted to draw comic art professionally until I fell in love with techno music and started attending rave parties in the early 90s’.
In relation to art and design, a friend had given me a paper flyer with artwork, unlike anything I had ever seen. At each party I attended, I was able to collect more flyers. I couldn’t help but stare at the radical worlds depicted on a single sheet of paper. The images were usually created with computer-generated art from old 3D programs like Bryce and early photo editing software. They were mostly 3D geometry in the form of human figures, spaceships, planets, and alien landscapes colored with glitchy textures along with stylized typography announcing the titles of the parties like Love-Bomb, Dreamscape, Warp, Aqua, and Sunday Mass at Fever. Later I realized that I had unwittingly discovered graphic design and found myself enamored with work from Airline Industries, Todd Baldwin, and the Designer’s Republic. The visuals completely changed my trajectory and so I decided to gain a degree in visual communications.
In 2000, I moved to New York and began working as a graphic designer in a small studio for brands like Reebok, Nike, Adidas, NBA, Rawkus Records, and Dassault Systems. Later, that position grew into art and creative direction working as a freelancer at night and McGraw-Hill full-time during the day. All the while I continued drawing, painting, and refining skills using 3D and animation software as I focused on personal projects.
What artists inspire you most?
Honestly, it changes daily, but there’s always a permanent catalog I keep in my mind -
Comic book artists like Frank Miller, Geof Darrow, Moebius, Katsuhiro Otomo as an artist and director, Todd McFarlane, Jae Lee, Simon Bisley, Shintaro Kago, and a host of others.
Conceptual artists and traditional illustrators from the likes of Omni magazine are frequently referenced especially when I work on personal material - Syd Mead, Takashi Koizumi, Sorayama, Shusei Nagaoka, Martin Hoffman, Ash Thorp, Maciej Kuciara, Jama Jurabaev, etc. And lastly, music plays a huge role in deciphering imagery for video or themes in general - any and all genres depending on the project or mood.
My main influence usually derives from cinema however. Richly conceived films from directors such as David Cronenberg, Ridley Scott, Steven Spielberg, James Cameron, George Lucas, Tobe Hooper, the Wachowskis, Stanley Kubrick, Mamoru Oshii, Satoshi Kon, Hiroshi Teshigahara, Akira Kurasawa, Carroll Ballard, Penny Marshall, Chris Cunningham, John Carpenter, and more.
Why the name laser gun factory?
Personally and professionally, cyberpunk, future-noir, and sci-fi, in general, are usually the genres my work and style tend to lean towards. For the naming process, I wanted to use something that represented that space. To me, the idea of laser guns specifically felt symbolic of the sci-fi genre from recollections of childhood memories obsessively watching films and animation.
My personal work also delves into the relationship between technology and society and while the idea of a gun has violent connotations, I focus more on the visionary aspect of science fiction – what could be, where are we going, why do we exist, etc. Essentially, laser guns play a part to evoke imaginary stories through fantastical scenarios, and the latter word factory, relates to the process of construction via art and design.
How did you get into crypto?
I’m so new to crypto it's embarrassing, but first and foremost for my ignorance of the phenomenon, I have to say that it has been a rather positive learning experience. It’s very technical and can be absolutely confusing to a complete novice, but the community has been very welcoming and open to assist with any issues I’ve had. As I learn more and dig deeper, it fascinates me even further. I hope to gain the capability to help other artists as well.
How did you find crypto art?
Throughout my artistic journey, I now focus mainly on digital creation. Whether it's an illustration, animation, or directing a piece for a brand or my own project, no matter what it happens to be, it usually lives as a digital entity first.
An old friend and colleague reached out to me to create some illustrated assets for the Chanel brand. They were looking for drawings that had a sketchy feel and texture, similar to fashion design ideation you might see from a clothing designer. Rather than using traditional tools like markers and watercolor, I had to accelerate the process due to the timeframe for the given project. I ended up using an iPad Pro and a pencil and did everything in Procreate. I hadn’t drawn anything from scratch for a few years because I focused on advertising - layout, and direction, so it was an absolute pleasure to be so free and create organically.
After that project ended, I just kept going, drawing more and more. As for my initiation into the movement, after posting some work on Instagram @jasonscuderi, a crypto-art platform called ‘MakersPlace’ reached out and asked if I would be interested in adding to their library to sell some pieces. When I realized that there was actually a space for the digital work I was doing and furthermore, collectors interested in it, I was hooked.
Any advice for new artists?
First and foremost, follow your intuition regarding style and subject matter you’re passionate about. This is especially true if you’re creating non-commercial work. And frankly, regardless of working for yourself as a visual artist or as a commercial artist working for a brand, or studio, or agency, there’s always room to inject your point of view and flavor into the work.
Lastly, art has never been more accessible than it is today due to social platforms and the internet in general. We’re able to view work from artists all over the world in a matter of nano-seconds. Any genre or niche is available and new ones are continually being conceived. Be curious, be inspired, and be inspirational.
