Artist Spotlight: Ryan Rado
Ryan Rado’s art is a fluid mix of abstracted energy and concrete form, simultaneously wild and composed. His compositions swirl with masses of acrylic paint creating unique patterns of color and texture somehow more powerful than the sum of their parts.
The artist himself conveys a similar blend of vigor and cognizance. He speaks with a disarming stream of consciousness, jumping effortlessly between thoughts and complimenting each with the accent of his body language. The overall effect is that of a perpetual motion machine, an inexhaustible well of vitality.
We had the pleasure of asking the Nashville based artist a few questions about his art and his perspective.
What kind of role do you think art plays in today’s world?
For me, I think, art causes change. If there is something that needs to be realized in the psyche or whatnot I feel like a lot of times art, no matter what medium it is, can act as a brick on your head that may cause an emotional change or some sort of reaction that we may not be aware of at the time. I think art is able to change perspective or solidify perspective because there are some things that we may look at that are not pleasing.
One thing I don’t think art is is stagnant. I feel like at this point in my journey, it is constantly moving. I have a disease called Tourette’s Syndrome So I am constantly shifting and moving and it’s represented in the art I make.
Who are your biggest inspirations?
The people around me. The people around me in daily interaction — we engage in different ways and walk this life out with each other. The good, the bad, and the mundane. I enjoy learning about each other’s triggers and boundaries as well as what brings each individual joy and fulfillment. Interacting with folks in this way allows me to experience the same joy and fulfillment. I enjoy encouraging people. I enjoy creating a “safe place” or vulnerability zone when talking about deeper emotional struggles, behaviors, and goals with people.
Children. They’re weird! They are themselves. They aren’t as inhibited as adults. I enjoy the excitement of kids’ creations — a handmade wooden sword or two messy lines of paint that a trained eye would otherwise disregard. Maybe that’s telling of my own childhood. Movin’ on!
Is being original more important in regards to aesthetics or ideas?
Well, nothing is original, right? What is original? My friend Steve said one time: “something visual in front of you that is happening right before your eyes that is original.” But to create something original, that is an unneeded stress. But I don’t think you have to cheapen yourself or what you’re doing to gain the aesthetic. I feel like we get most creative when there are parameters when there are rules to follow. I used to think that if there was any structure, it would kill the creativity. But for me, so far, the real creativity comes when I give myself a structure when I operate within the confines of an idea.
How do you try to set yourself apart from the rest of the art world?
All I can say is that each one of us has a unique perspective based on the training of our parents and our grandparents, influence, growing. I myself have Tourette’s Syndrome. So I have different movements and that (our individual differences) is what sets us apart in the world.
But we are a part of one thing. We are living stones. We are not bricks in a wall to build a structure. We are all different in giving and receiving information. I think we are all kind of set apart until we can actualize that in a real way we are going to have trouble comparing ourselves to other artists or other people.
How does the art scene in Nashville compare to other cities you’ve worked in?
I’ve not worked in other cities! My two year long journey as a visual artist hasn’t led there yet. Nashville is remarkable at supporting folks in new endeavors. I am thankful for that. My best friends live here. We’ve been walking with each other for a long time. To quote [musician] Trevor Hall, “One cycle goes around and another one begins.” Very thankful.
Do you think movements (i.e. impressionism, abstract expressionism, surrealism) still exist in contemporary art?
I don’t know about art! I know a few things, what I like to look at, what hits me in certain ways. I saw a Degas painting (The Dance Class) this last weekend at the Met in New York City that was unreal. Then I saw a Van Gogh painting (Cypresses) and those paintings were alive. Do I think those things still exist here? Yeah! I mean how do you separate them? Clearly, you’re defining those things.
When we hold too rigidly to definitions, we put ourselves in these boxes that we are trying so hard to get out of. We thirst for definition. But, intention and definition are two different things. It feels impossible to separate these definitions from current art understanding. But we get caught when we get sucked into this intellectual art vacuum then we become aloof. We can’t be afraid of understanding other perspectives.
What are your biggest struggles outside of making art?
Comparison. Jealousy. Lack of confidence. I’m looking forward to learning more about my own specific path.
Are you particular about the mediums in which you work?
I’ve been rockin’ for two years and acrylic is my main medium. I’ve mixed sand, eggshells, and sawdust into my works, too. I enjoy using different types of stain as well. I recently bought some Prisma colored pencils to mess with — branching out.
I primarily paint on wooden surfaces: quarter inch inlay board mostly. I like it because it’s not as fragile as canvas and if I need to get physical while making a piece, it can work with me.
Which mediums that you don’t currently work in interest you the most?
Oils, watercolor, and more wood stain techniques.
How has social media impacted your process of making art or marketing art?
Social media is a wild animal. Either run away from it or learn to tame the beast. I’ve connected a lot with buyers on Instagram and Facebook; and I’ve also allowed myself to get sucked into the struggles I mentioned previously.
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