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The title says it all.  Alex Oliver is up there with some of the best in the world.  What's even more amazing than his work is his background.  Growing up and still living in Brazil, he has had virtually none of the access to the same teaching and raw materials that we enjoy living in the United States.  He is also one of the nicest and most humble artists you will ever meet.  Very friendly and gracious.

 

LMC: How did you become interested in sculpting and drawing all these fantasy characters?

AO:  My interest began as a teenager.  I watched horror and and sci-fi movies.  I really wanted to know how those things were done.

 

LMC: Any favorite movies growing up?

AO:  Return of the Jedi was a great inspiration.  Greystoke I learned all about Rick Baker.  Dracula with Greg Cannom's makeup made me fall in love with vampires, and Predator taught be all about Stan Winston.

 

LMC: What do you attribute your exceptional talent to?

AO I study very much.  I still study all the time because I have so much to learn.

 

LMC: Where there any artists that inspired you when you were young?                               

AO: My first inspiration was Carlo Rambaldi.   I learned about Rick Baker and Stan Winston in '86 when I first read Fangoria.

 

LMC: Have you had the chance to meet any of the artists that inspired you?

AO: Unfortunately, no.  If I ever get the chance to go to the US, I will try and meet these makeup artists I admire.  I would really love that.

 

LMC: Did you get formal training growing up, or was alot of your skill good old hard work?

AO: No formal training.  I learned mostly by myself and still learning.

 

LMC: Did you grow up in Brazil?  Talk about your upbringing.

AO: I grew up in Brazil.  My upbringing was very hard.  I had no money for materials like clay or latex and no information from books or magazines.

 

LMC: What did you use when you were young in place of these expensive and hard to find items?    

AO: I will never forget because I always dreamed of having the books and magazines.  I used to study videos frame by frame.  I used to use potters earth or mud, now times are a little better and I can get latex and some clay.

 

LMC: Is there a lot of work in Brazil for sculpting and drawing? 

AO: Unfortunately, no.  There really is no field for this work in Brazil.  All the work you see I have done is mostly for samples, no commissions.

 

LMC: What about getting exposure for your work.  Is that more difficult in Brazil than if you were an artist in the States?

AO: Work with sculptures and drawings in Brazil is very hard.  I dream of living in the US, but I would need a sponser.  In the US, I could take classes, buy books and magazines.  In Brazil I can't really do that.

 

LMC: So if you had the opportunity to work in the US, would you move here?  Do you find it frustrating to have such talent, but not the opportunities you want.

AO: Oh yes.  To me it is very frustrating.  I know in the US I can find all the information I need.  If I had the opportunity to move to the US, I would be very happy.

 

LMC: What are you and Al Rio teaming up to do?

AO: We are working on concept art for books, companies, halloween masks and movies.

 

LMC: Is this work within Brazil, or are you hoping to attract clients worldwide?


AO: We are trying to get work worldwide, but I don't know if it will work.  All we can really do is try.

 

LMC:  Talk about Al as an artist.



AO: Al Rio is amazing.  I met Al in '93, when he was drawing GEN-13 comics.  He works very hard and has amazing skill.  He has drawn for Spider Man, Purgatory, Captain America, DV-8, Exposure, Star Wars.

 

 

 

 

 

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