The work of Los Angeles-based artist Hannah Stouffer is not for the faint of heart. Luscious, seductive, and lascivious, her creations are all black gold heart, blood red lips, and snake-bitten senses: Nothing short of spellbinding. I first met Hannah four years ago when I responded to a craigslist ad for an artist seeking an assistant. That artist was of course Miss Stouffer and the rest is history. I’ve never met anyone like Hannah. She’s a full time hustler and because of her energy and commitment to her work, she’s found herself at the top of her game. I recently aksed her to do an interview for Argot & Ochre so that I could provide A&O readers with a window into the heart and soul of this princess of darkness. I hope you enjoy!
"You Can't Win", 9"x9", 2009
Argot & Ochre: You recently got back from a month-long trip through Europe. What was your favorite place?
Hannah Stouffer: If I could combine the beaches in Barcelona with the top of the Eiffel Tower at sunset with a glass of champagne and some cured meats from Paris, that would be my favorite place.
A&O: What’s your average work day like?
HS: Everydays a work day. The hustle is constant. I wake up around 8- depending on how my night before went- make some tea and jet. I try to work at least 8 hours on a good day. I’ll either drive or ride my bike to the studio- and draw or sit in front of the computer by myself and hustle it. Its pretty solitary and isolated most days… which I don’t mind- its just very quiet- minus all the gangster rap.
"Black Roses Tell a Story", 20"x20", 2008
A&O: What’s in that little notebook you always have with you?
HS: My life? My life. Mainly lists. Lists and lists. To do lists, daily lists, monthly, long term, hourly… grocery lists, want lists, need lists… lots of words, words that I find attractive..phrases, addresses, the names of the people I meet… things I need to see, movies I should probably watch- resources, galleries, stores, a few sketches… though its mainly just scribbly, all in black, all in caps. I go through one every 6 months or so… but I also keep a similar calender book, and a sketchbook, multiple sketchbooks, I’ve never been good at that. I keep all of them- I’ve kept them all my life- I probably have 20-30 or so- stored in different locations. If I go back into them I’m sure there are some really good ideas, and things I’ve forgotten to do.
A&O: What role does music play in your work?
HS: Music is huge, it drives me. I’m not necessarly a music conesseur- nor do I have time to be- but I know what I like, and I do constantly listen to music. Usually hip hop, rnb thug jams, some metal… having gangsters yell at me all day to hustle makes me hustle. It keeps me working. Sometimes I’ll throw on some really epic metal trilogy- the product of my work is deiniatley influenced by what I listen to- if you ever want your work to be a certain way, this can be controlled a little bit through music. I can’t work in silence. It seems so dead.
"Clash of Unions", 36"x48", 2008
A&O: You recently moved from San Francisco to LA. How do you like it? Is it inspiring your work in any new ways? Any plans to become a Scientologist?
HS: I love LA. I love SF. I love this life… I swear to god. I love a good change of scenery… Scientology is actually really fascinating. I’m a sucker for weird cult-like subcultures. I’ve actually read and own a few of the books- just out of curiosity- I like my research… its so bizarre and amazing that people fall into something like Scientology, just to feel comfortable. But, if I ever reached the highest level of Scientology- I can guarantee that I would pay whatever the price in order to abolish those invisible aliens that are clinging to my body. Goddamn right I would.
A&O: What moves you to create? Where do you go to find inspiration?
HS: If I had to, I could find inspiration in the inside of my eyelids, in fact I think I have. Try it. Close your eyes, stare at the sun, press on your eyeballs and its like the dawn chasing solar flare in the northern lights- its gorgeous. I’m really easily affected and attracted to so many things throughout the day- every day… I find a lot of it at flea markets, thrift stores, old paper goods, vintage magazines, google images when I’m searching…. I usually get really good ideas when I sit down to watch a movie, or ride an airplane- my mind just wanders… I’m constantly moved though… thats the easy part.
"Leaving the Crusade to Fate", 20"x20", 2008
A&O: Describe your work with the first word that pops in your head.
HS: I’ve been stuck on Decadence, Wrath and Fate for the last few weeks. I can’t get those words out of my head. I want that to define my work. They are so powerful, so gorgeous- exponential. I think the combination of the 3 is also perfect in describing my entirety.
A&O: Talk about your upcoming shows.
HS: Group show at Thinkspace July 10th with Stella Im Hultberg and Catherine Brooks, a show in Aspen, CO, my home town in August, 111 Minna in SF in October, Art Basel in December- and a solo show at Thinkspace next March. I’ve been wanting to focus time on creating big solo show and installation entertaining the idea of Surrender and Sacrifice- I want to dedicate a lot of energy into doing something like this for myself, that can then hopefully be shown somewhere when I’m ready.
"The Climax of a Species", 48"x36", 2008
A&O: What’s the new work like/about? How do you feel about it?
HS: I feel anxious. I’m really antsy to get it all out. I’ve been travelling in Europe for the past month and am so overwhelmed by all of it. I always am…all of the thoughts I’ve been gathering for months, I could just combust. I feel like I’ve become more and more interested in emotion and connecting everything back to fate… I really like how imagery effects us- and the connotations different elements have. I’m consistently interested in macabre themes, darkness and contrast, and the beauty in all of it- contrasts between light and darkness. The greatest human conflict is dealing with constast. I love that. Decadence, Wrath and Fate.
A&O: What have you never been asked in an interview that you would like to be asked?
HS: To talk about color… to talk about what it feels like. To talk about my fears. I’m so attracted to light and color, I’m attracted to things I’m afraid of. More than most I feel… and imagery- the imagery and elements that define us and span history. Maybe all artists are this way, but its so bizarre to feel it. Like color combinations hurt my heart. I don’t watch current media, television or movies- I’m not de-sensitized at all. I feel my chest contract by saturated palettes, rays of light, stormy weather, emotion, it all hits me very hard… its difficult to describe. I could cry just thinking about it.
A&O: You’re one of the hardest workers I know. How do you get it all done? Do you see yourself easing up on the hustle at any point in the future?
HS: I never get it all done, I never will. I havn’t even started… I just try to do all I can. There is never enough good time. There is plenty of time to work and do bullshit computer stuff, but putting in quality time is difficult- it dosen’t come all the time- that good time- when I feel really driven, and can sit down for weeks at a time and draw, put down ink- that is the most important. Its hard to do it all the time… but I try to be ready for it. I love my friends as much as I love my work… there is never time for all of it… I try, I party and kick it and work as much as I can with still alloting time for things like eating and showering… I’ve gotten better at that part.
"Island of Fire, Sea of Flame", 20"x20", 2009
A&O: Who or what were you in a past life?
HS: Probably an old black man. Probably. Definiatley.
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