Unconsciously Intuitive Artwork by Davon Foots

by Paul Weiner

Davon Foots, A.K.A GX-4000, was born in 1993. He is a self-trained, contemporary artist based in San Francisco working in numerous fields and mediums of art including digital design, illustration, and collage. Davon incorporates a wide variety of historical art inspirations to create his own distinct artwork. More of his artwork is available online.

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Paul Weiner:
Do you view your artwork as a conceptual or intuitive process?

Davon Foots:
I often find my work to be somewhere in the middle ground of conceptual and intuitive. I say that because my pieces start with a groundwork concept due to the collages and images I lay out first, but the design work and hues are formed unconsciously. That’s where the intuition comes into play, conveying the psychedelic side of the art. I feel as though I rely more on my imagination and creative ability in each piece rather than mechanical skill and execution.

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Paul Weiner:
Tell us about how you begin a new painting.

Davon Foots:
Well, basically, I sort through a couple of magazines, find some images I like, lay them out, get a nice composition and format, grab the pens, and add a couple of comprehensive lines. Then, I lay in watercolors and ink, detail, and a final outline is directed to allow the colors to burst more. My work is all constructed based on impulse, so no piece starts with a sketch or set idea in mind.

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Paul Weiner:
What style would you say your artwork is in?

Davon Foots:
That’s always the toughest question I often get asked by viewers at shows because I try to touch so many different areas in my art. I’ve always been inspired by surrealism, graffiti, 90’s cartoons, pop art, and vintage decorative art. I try to convey distinct aspects of each style simultaneously to create my own unique style. Although it’s really hard to categorize, if I had to break it down, I would say it falls between the lines of underground lowbrow art, and contemporary pop art.

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Paul Weiner:
How do you like the Bay Area art scene?

Davon Foots:
I would say the major things I love about the bay area art scene is the underground heritage, the diverse cultures, and just all the positivity of living in a big city with the small town vibe. The number of indie artists is on the rise and more galleries are starting to open up to emerging and contemporary styles, allowing artists to showcase their talent in a nice setting.  The bay is a dwelling for so many unique individuals, your bound to discover something new from any person you meet. I’m pleased to see that the art scene is still young and fresh,  and is growing fast, and soon to give big markets like L.A and NYC some stiff competition.

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Paul Weiner:
Where is your ideal place to show your work?

Davon Foots:
Well, I’ve shown in a number of distinct settings, art fairs, street events, live collaborations with DJs, boutiques, pop-up shops, and even cafes. The best thing about doing various events is that you get a certain vibe and gathering at different venues, and it allows you to test your work’s versatility, to see if it reaches out to all different types of people in all age groups, genders, races, and demographics. I plan to work my way up to more mid-level galleries and maybe some urban fashion shops around the bay, just to get a better platform to show and market works.

So, if I had to answer this directly, I would say my perfect location to display would be an urban clothing shop or up to date contemporary art gallery in the inner city. However, had you asked me this question a year ago, my perception would have been a lot different.

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Paul Weiner:
Do you like the gallery art system?

Davon Foots:
Personally, I have a lot of dislike for the gallery art “SCHEME” only due to the mass number of artists competing to get space, which usually leads to galleries being booked months to years in advance. There’s also this new trend of galleries that prefer you to pay to show your work, which I think is wrong because, without the artists work and the backing of his or her followers, you would have no show, just a nice, empty lounge to relax in.

I think the good things about the gallery system are that it allows you to get a bigger network, connect directly with artists and art enthusiasts, and bring out your competitive nature. You’ll see another artists doing some of his best work in order to get into shows and fill the space, and, in turn, you get motivated to create and do some of your best work.

I think the gallery scene is a love/hate relationship for any creative person, depending on the situation. Without the galleries, artists would have no place to take their work to the next level. Without the artists, galleries would have a hard time getting a crowd and making money. So, essentially, we need each other to thrive.

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Paul Weiner:
What is the largest piece you’ve ever made?

Davon Foots:
The largest piece I’ve created was only about 5ft x 3ft. It was a huge, trifold collage piece I made specifically for a group art installation called The Asylum. The Asylum took place in May of this year, the same month I featured works in Catapult Art Magazine.

I usually don’t go larger than 2 feet in my work because I focus a lot of attention to detail and line work, and its also more time efficient. When I do decide to make larger pieces, I usually focus a lot more on color and abstractions, losing lots of detail. I do plan to gradually make my works larger as I begin to grasp and get a hang of my style.


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