Today we’d like to introduce you to Alex Stock.
Alex, please kick things off for us by telling us about yourself and your journey so far.
I’ve been making art my whole life but started taking it more seriously about a decade ago when I started studying studio art at UNT. However, I wasn’t interested in the constraints of art school and preferred taking a more self-taught method. I ultimately ended up pursuing a career in environmental science and recently graduated with a biology Masters from UNT. My passionate feelings towards the natural world are what links my studies with my artwork. I don’t feel that my story is particularly unique; I just feel compelled to keep pushing myself to make weirder and bigger artwork.
I’m also involved with the artist collective Spiderweb Salon, a group of artists working together to provide a community for artists of all kinds. I’ve been involved with the collective for about six years, and first got started by submitting illustrations to the “Children of the Candy Corn” zine. Since then, I’ve done a set and prop design for their shows and continued to provide illustrations for the zines. Our most notable adventure was when we took a mini-tour with 20 artists to do a show in Santa Fe, NM. I brought a truckload of sculptures including a 6.5ft long, giant teethed wolf mouth and a 4ft wide plaster cake.
Can you give our readers some background on your art?
My art is inspired by our conflict with the frustrating, often stifling dynamics inherent in social conflicts and its parallels in animalistic predator and prey relations. To this end, I often juxtapose heavily stylized macabre imagery drawn from nature with pastel and bright colors. These conflicts are often illustrated in the violent power of the animal kingdom and the fight for survival that accompanies it. I’ve worked in large scale sculpture, drawings, and paintings, but I’m working on incorporating new technologies into my future practice such as augmented reality, microcontroller programming, and electronics.
Do you think conditions are generally improving for artists? What more can cities and communities do to improve conditions for artists?
Working conditions for artists can vary wildly, depending on their financial dependence on their practice. Social media has made it easier for artists to reach their niche and operate outside of a traditional gallery space, but with the same hand, it has increased competition. To encourage art, the biggest thing communities can do is financially back artists and artist community groups. Buy someone’s art; that person worked very hard, and it’ll make your home look way better than something from the home décor section from a big box store. Events and galleries that “pay” in exposure or require artists to pay to play definitely aren’t helping and people shouldn’t support anything that expects artists to work for free. Also, I’d like to see more grants and paid opportunities for both individual artists and collectives from the city.
What’s the best way for someone to check out your work and provide support?
I’ve got several big projects hopefully coming up in the next year including a large scale interactive work and an augmented reality project. Aside from that, I’ll continue to work with Spiderweb Salon, providing art and prop fabrication for shows as well as workshops and illustrations for the zines.
You can find my artwork and any information on upcoming shows on my website at AlexStockArt.com. I also have an Etsy store, Alex Stock Art, where I sell original work, prints, and apparel. I post work in progress updates and new works on my social media platforms under the name Alex Stock Art.
- Website: alexstockart.com
- Email: firstname.lastname@example.org
- Instagram: @alexstock
- Facebook: facebook.com/alexstockart
All images are original artwork and intellectual property created by Alex Stock.