The first time I met Ray Young Chu he talked a lot of shit about my eyebrows.

This threw me initially, but once the topic of conversation turned to ice cream, then back to eyebrows (a friend’s this time), then to PBR, I figured that Chu wasn’t really talking shit, he was just full of shit — the really, really weird kind that helps people make amazing art.

It’s been just over a year since Ray slammed my facial features, but in that short time he’s made some serious headway. Read on as Ray slows down long enough for us to catch up.

Joshspear.com: You found your way to canvas like a lot of today’s most awesome artists — through graffiti. Tell us about your arty history.

Ray Young Chu: Things kicked off with a spiral notebook in elementary school full of Transformers, Spiderman and Garfield. Graffiti got me back in to art when I was in high school. From then on, art history taught me about fine art. I learned a lot in college.

You can definitely see a lot of influences from other artists in my work. My favorites in art history are Rembrandt, John Singer Sargent, Leonardo Da Vinci, Roy Lichtenstein, Jean Michel Basquiat, Norman Rockwell, Ralph Goings, Girard Richter, Jeff Koons, Takashi Murakami, Yoshitomo Nara and the list goes on.

JS: You’re in L.A. now, which is an entirely different scene. Pop contemporary (et al.) is both more popular and more pursued out there — have you felt that in your transition?

RYC: Definitely. There’s just a big population that’s down for contemporary — and more specifically urban — type of art. They’ve also had their education (as in getting to see it first hand, as opposed to seeing it in magazines and on the web). Some of the trendy art can be overwhelming though ’cause there’s a lot of redundancy out here.

I’ve learned that the idea behind the art is pretty key. The one that stands out are the originals. The epic. The quality-filled, well marketed, or all of the above.

JS: Your style has certainly evolved since we first met. Back then it seemed like you were much more anime-inspired. Today you’re still in that game, but in a more subdued manner (especially by way of color palate). Was there anything in particular that drove that change?

RYC: I guess it’s just growing, learning and getting bored. The anime “studies” I did were just studies. I wanted to replicate and learn how to paint anime large. I just like learning different techniques and knowing how to do it well. I was thinking of eventually mixing the animation style with photorealism but we’ll see — but Jeff Koons is doing it just fine.

I’ve always had trouble sticking to one type of color palette as well as one particular style or subject matter. I guess it’s just my personality. I’ve learned to accept it and use it to my advantage. However, I see more and more artists emerging with multiple styles (like Girard Richter and the Vitamin P artists). A lot of conceptual artists do it all the time (Jeff Koons and Damien Hirst, for example). I predict that more and more people will have an array of styles due to the fast-paced technology of internet and technology.

… But as far as emotions, sometimes I’m happy and sometimes I’m down. That’s what I paint. My focus seems to change often but I’m trying to stick to something long enough to create a larger, more committed body of work. Right now I’ve been doing movie style poster artwork so I’ll be on that tip for a bit.

JS: Some of your paintings have your little dogs, Poopie and Rosie, in them, and they just … ugh. They rip my heart out. Why so sad?

RYC: Hmm … you’re one of the very few that have said that about my dog paintings. I’ve always thought they were pretty happy, though there are some that I’ve done after I felt pretty down on life. I’ll relay that in a Rosie painting ’cause she seemed (rest in dog heaven, July 2008) like she was bummed being blind and old. She finally died at 19.

But then there are the dog paintings that express a happy outlook on life. I’ll usually use my other spunky dog Poopie for that perspective. She likes to wag her tail a lot.

JS: You worked on a pretty huge mural with Christian Rex van Minnen not too long ago, and it’s interesting for me to imagine your two crazy imaginations working together. What was that experience like?

RYC: I was surprised how awesomely well Christian got the concept of The Yummies. It was to paint a certain style under one of the concept characters of The Yummies–like how people paint under Murakami, Koons, Kostabi, Warhol, Caravagio, etc … but under a fictional character or idea. By the way, this is random but did you know that Ron English painted for Mark Kostabi?

But Christian is a great, hard working painter. He’s really humble, passionate, and extremely talented.

JS: For awhile, you were very focused on The Yummies, a great collective that let you express your style in a few different ways. You still do this — though less lately it seems — but it’s been really awesome to watch you develop all those different sides, then bring them together. What has that approach done and what does it continue to do for you?

RYC: The Yummies allows me to paint as different monikers to explore various styles and interests. It’s been great and been one of my most difficult conceptual art pieces to accomplish. I enjoy it ’cause it’s challenging to me and it’s an idea that hasn’t really been explored.

I want to bring out The Yummies to L.A. with a more complete approach in the arts. Like how I did it in Denver — I want to have paintings, musical performances and clothing represent The Yummies so people get the whole idea that’s it’s kind of a collective. With that, it’s hooking up with the right people. People that are talented and down to get retarded. I think I’ve found a Ninja Nate that can DJ and be funny in a ninja costume.

I’ve been painting as just “Ray Young Chu” lately ’cause I’ve been wanting to paint things that don’t fit The Yummies’ messages. It’s easier for people to digest as well. It kind of takes work from the viewer to understand The Yummies’ concept as a whole. I’m looking forward to doing shows here with their artwork up (along with their marketing schemes and rap performances).

JS: You recently got into more commercial work, and you’re kicking tons and tons of ass. You have pretty free rein, creatively speaking, when you take those kinds of clients on … correct? Is that a usual thing, or are you just that good?

RYC: Thanks. Yeah, I’ve been working with my partner Quang Le doing some rad projects that are pretty creative. I don’t want to do anything that’s not that.

I’ve been honing my skills in my fine art with ideas and improving my technique. Quang’s been awesome in plugging me in to interesting yet challenging projects, like doing a high school stylized drawing of Murs as a wizard with flying dragon and Steve Aoki on it’s back.

And right now, I’m working on the single “Guilty as Charged” cover for Gym Class Heroes. It’s kind of a blackxploitation movie style poster. It’s also going to be painted for a show in L.A. next month!

JS: Now that you’re in CA, have your goals developed? Hotel Des Arts? Copronason? Any particular place you’re dying to be?

RYC: Recently, I got to help out Kelsey Brookes at New Image Art Gallery. I was incredibly challenged by his work ethic and seriousness in his craft. I really like what New Image does and who they show. I like Honor Frasier, Blum and Poe, Roberts and Tilton; pretty much where all my favorite artists are showing at. I’d be honored if I could sweep their floors and clean their bathrooms.