This post is made possible by Lexus Hybrid as a new part of the Fresh Perspectives series that focuses on featuring disrupting and innovative transmedia artists around the world. Every week, the program focuses on one of the six amazing artists involved in the Fresh Perspectives project.
If you must give Augustine Kofie something, give him something old. “There’s so much out there, in the past,” says the 37-year-old artist. “We live in an age where there’s so much new technology and new information, but there’s still so much old stuff that’s great, too. That’s my whole life, being a vintage futurist. I love my new stereo, but I also have a reel-to-reel player.”
Triangulations Off the Beaten Path
Old habits die hard
interview by Geoff Carter
And even though Kofie owns a computer and has easy access to all the sophisticated illustration tools it offers, when it comes time to draw a circle or square, he reaches for his vintage drafting tools and uses them to produce otherworldly abstractions like none you’ve seen before.
A Kofie piece can be a mass of sharp interlocking forms floating on a background of muted earth tones, with more vibrant colors trapped in soft, rolling shapes — or it can be something else entirely. Kofie’s art has personality enough to change its mood, sometimes while you’re looking right at it. And it does indeed look futuristic while also seeming old, like snapshots of a forgotten World’s Fair.
“I like combining things that don’t seem like they’re supposed to be mixed,” Kofie says. “I’ve been drawing in this style for so long now that I can just kind of go off my head and build something from the ground up.”
Kofie builds his pieces in a variety of settings. More often than not he’s working in his studio, which sits on a hill above Los Angeles (“It’s really quiet; it’s amazing”), but sometimes you’ll find him plotting his beguiling abstractions on city walls. While not as active in the street art community as he once was, he remains committed to it.
“Street art is just a really tough art form for people to digest sometimes, and I’ve held with it and kept it and I really believe in it,” Kofie says. He’s a bit cagey about his street work — “There’s still a risk factor in doing it out there, and I’m well aware of it, the illegal activity of it” — but he does confess to his love of transforming abandoned buildings and drawing the occasional freehand circle on a nice, rectangular wall.
“You have to really balance yourself and have control of your arm — it’s called can control,” he says. “You have to pre-think of everything you’re going to sketch out. People can’t paint like that. I mean, I can because I’m six-foot-two, have a pretty wide arm span, and I’ve paid attention to the fact that my body can be, in essence, a compass.”
For Fresh Perspectives, Kofie was asked to use that human compass to create two pieces on the themes of empower and escape, both of which resonate through the whole of Kofie’s work and sense of being.
“I understand empowerment because I’ve basically empowered myself — I started my own business, I didn’t go to art school, I didn’t go to business school. And because my work is so involved and there are so many layers and so much depth to it, I feel like when I work on the pieces I shut out reality. I’m in my studio, playing music, and I’m just letting my work do what it needs to do. It’s still in the midst of everything, but my studio is an escape for me.”
The way Kofie speaks about his studio, it’s obvious that it’s his second heart. In his studio are paintings waiting to be begun or revised, and, of course, a bunch of vintage drafting tools he picked up at estate sales.
“I’m an old soul,” Kofie says. “I’m inspired by the things that people kind of forget about.”
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