David Bowie and Artistic Influence

David Bowie once quipped, “The only art I’ll ever study is stuff that I can steal from.” This playful remark contains a kernel of truth: art is inherently about borrowing, blending, and transforming influences. Few contemporary artists embody this sentiment as vividly as Fin DAC. While many creatives attempt to obscure their inspirations, DAC boldly showcases them in his latest endeavor, HomEage. This series presents captivating “half-and-half portraits,” where his distinctive style merges with the artistry of legends who have inspired him, including Pablo Picasso, Andy Warhol, Frida Kahlo, and Sex Pistols artist Jamie Reid.

“The artwork is divided down the middle, with the second half reimagined in the style of another artist,” DAC explained from his studio in Mile End, London. “It creates the impression of two distinct versions or personalities of the same character.” He elaborated, “With this project, there’s no concealing of influences—it’s all laid bare. It’s intended to honor the artists who have shaped my journey.”

About the Exhibition

Renowned for his larger-than-life outdoor murals across the globe, HomEage marks DAC’s first solo exhibition since 2021, taking place at London’s St Martins Lane crypt gallery on the 25th and 26th of October. Additionally, the project is available in book format through the West Contemporary Editions website.

Euronews Culture had the opportunity to sit down with DAC prior to the exhibition’s unveiling to discuss his artistic journey, the implications of AI in the art world, and the intricate process behind his monumental murals.

Journey to Becoming a Full-Time Artist

Euronews Culture: How did you transition into being a full-time artist?

Fin DAC: My journey into the art world began quite late, around the age of 40. After emerging from a particularly stressful relationship, I found myself seeking a way to occupy my mind. I had drawn as a child and cherished memories of being alone in my room, completely absorbed in my craft. So, I thought, why not draw and paint again? It served as a form of meditation or therapy, providing an escape from the chaos around me.

Initially, I was content working as a web designer and developer. However, as I delved deeper into painting, everything transformed rapidly; within two to three years, I became a full-time artist.

Exploring ‘HomEage’

Euronews Culture: Can you tell us more about your latest project, HomEage?

Fin DAC: The project revolves around the concept of split personalities, with each artwork divided down the middle. The other half is reinterpreted in the style of another artist, showcasing two variations or identities of the same character. It all began as a temporary project during the first pandemic lockdown in California. Being away from home and unable to see my family prompted deep reflection on the idea of home.

The first four pieces centered on my favorite artists who have inspired me over the years. Once I completed those, I found the process so fascinating that I continued it over the next few years. The subsequent batch focused on New York artists from the 1980s—think Warhol, Basquiat, and Haring—figures whose names resonate even with those outside the art world. I kept expanding the list of influences.

Numerous artists try to present their work as entirely original, but no one truly creates in a vacuum anymore. Everyone draws inspiration from somewhere; it’s about how adeptly you disguise those influences. In this project, there’s no pretense; it’s all transparent, meant to celebrate those artists and their impact on my work. I aimed to see if I could meld both our styles in a magical way. I’m not entirely sure I succeeded, but I embraced the learning opportunity.

Significance of the Venue

Euronews Culture: The exhibition is set in an underground crypt. What does that signify?

Fin DAC: The venue was chosen by West Contemporary, the hosts of the exhibition. We sought an old space rich in history, as this project fundamentally engages with art history. We wanted to select a location that resonates with the themes of history and the repurposing of an old building for a completely different function. This transformation mirrors my own art process—creating new characters and narratives.

Audience Takeaways

Euronews Culture: What do you hope audiences glean from this exhibition?

Fin DAC: Honestly, I’m not sure what to expect. The exhibition is primarily an opportunity for people to view the artworks. My approach to my career diverges from the traditional paths most artists take. I’m not particularly invested in the gallery circuit or high-profile events like Basel or Frieze Art Fair. If those opportunities arise, great; but my focus is on creating art on my own terms, and I hope people will join me on this journey.

Transitioning from Large-Scale Murals

Euronews Culture: You’re well-known for your large-scale murals; how has working on smaller canvases been?

Fin DAC: Ironically, I find the larger pieces easier to execute. When creating for a gallery, I know that viewers will scrutinize the details up close, which demands a greater level of perfectionism compared to a wall mural. Typically, with murals, people tend to appreciate the overall impact rather than the finer details. They’ll snap a photo and share it on Instagram, and that’s often enough for them. Once you master the technical aspects of scaling your work, the larger pieces become more enjoyable.

Defining Style and Aesthetics

Euronews Culture: How would you characterize your style and the visual elements of your work?

Fin DAC: I refer to my style as “urban aesthetics.” This term stems from a movement in the early 20th century where creatives believed art and design should prioritize beauty over socio-political commentary. When I began painting, most surrounding works echoed a Banksy-style—rich in social commentary and political humor. I wanted my work to diverge from that path. The aesthetics movement resonated with me because I aim to focus on portraiture and beauty, particularly in how women have been represented throughout art history.

The Mystery of the Mask

Euronews Culture: The mask appears frequently in your work. What does it signify?

Fin DAC: I can’t divulge that. Or, as the saying goes, I’d have to kill you… In reality, only two individuals know the true meaning behind the mask. Its shape relates to themes of superheroes and hidden identities, but the specific elements within the mask carry particular meanings that I choose not to reveal. I believe that art should be open to interpretation. If a mystery exists, it remains intriguing. Once the answer is disclosed, the allure diminishes, and people often move on.

The Creative Process Behind Murals

Euronews Culture: Can you describe the process of executing these massive murals, from conception to completion?

Fin DAC: I prefer to work in environments where I can either adapt the building to the art or vice versa, allowing architectural elements to inform my design. However, such opportunities are relatively rare. When it comes to concepting, I typically avoid extensive planning ahead of time, as I want the environment and light to influence my creation.

In terms of execution, different artists have various methods, but I utilize a technique known as the squiggle method. An Australian artist named RONE introduced me to it, and it has greatly improved my work. Essentially, the squiggle method involves painting random lines, smiley faces, letters, and numbers across the wall, then taking a photograph. I import that image into Photoshop or another application and overlay the image I intend to paint, using those chaotic lines as a distorted grid to map out the portrait’s placement.

When tackling a 200-foot wall, it’s impossible to ensure that your lines remain perfectly parallel or horizontal. The squiggle grid offers a point of reference for features like the nose, allowing me to gauge its relationship to nearby elements. For instance, I can determine where the nostril is located based on its alignment with a specific mark. If I relied on a traditional grid, the entire nose might fit within a single square, losing the connection to other, smaller features. This method has proven clever and effective every time.

Largest Mural Accomplished

Euronews Culture: What is the largest mural you’ve created to date?

Fin DAC: The largest one was a portrait of Frida Kahlo that I painted in Guadalajara, around 2018 or 2019. It’s approximately 200 feet tall. What I love about it is that if you photograph the wall and crop out the background—the buildings and skyline—it could easily be mistaken for a canvas piece.

Motivation Behind Large-Scale Murals

Euronews Culture: What drives you to create such large outdoor murals?

Fin DAC: The scale itself is secondary. Initially, I painted smaller pieces in London; my goal was to present art in a manner distinct from galleries. Many individuals feel uncomfortable in galleries and museums, often believing they must purchase something if they enter. Public art allows for open reactions—both positive and negative. You have to embrace that.

I enjoy being in public spaces. While I spent a significant portion of the last four years focused on studio work, I miss the travel that comes with mural painting. It has taken me to places like New Zealand, Australia, the US, and Japan, where cultural differences abound. Meeting people with varying sensibilities is invaluable; what may seem normal in England might not resonate the same way in America.

In street art, every artist has an equal opportunity to showcase their work. For many, it’s about overcoming the fear of placing their art on a wall and facing potential criticism.

Thoughts on AI in Art

Euronews Culture: What are your thoughts on the rise of AI in the art world?

Fin DAC: I see AI as merely a tool. Some will embrace it, while others will resist. Many claim it poses a threat to art, while others disagree. The film industry faced similar fears when special effects emerged, yet the highest-grossing films since then have proven otherwise. I believe we have more pressing concerns regarding AI, such as its implications for warfare and global affairs. Personally, I’m neither for nor against AI; I don’t worry about its effect on my work.

I’ve cultivated a specific brand, and while one might assume it could be easily replicated, I’m not particularly concerned. If an artist isn’t evolving, they’ll inevitably encounter imitators, whether they utilize AI or traditional methods. That’s simply the nature of the art world.

Career Achievements

Euronews Culture: What are you most proud of in your career so far?

Fin DAC: I’ve said it before—just being an artist is my greatest achievement. I didn’t start until I was 40 because I had convinced myself that I had nothing of value to say. Growing up, when you express a desire to be an artist, many will tell you to pursue a “real” job.

But what could be more real than doing what you love? Not only making a living from it but also positively impacting others along the way. I had to overcome significant mental hurdles, persuading myself that I could never be an artist. In a low point in my life, I decided to paint, disregarding the negative chatter in my head.

Painting became my path to finding calmness, and it truly worked!

HomEage, hosted by West Contemporary Art, will take place at London’s St Martins Lane crypt gallery on 25 and 26 October.