About: (Expurgated  Version)

OK, so a few words about this guy. Mainly, you would say he is a creatively insane person. Went to SVA (NYC) for Illustration, spent huge swaths of time learning the art of visual communications, typography and well as making a general nuisance of himself throughout Manhattan's seedier circles.

Then, this idiot gets pushed into the workforce.., REAL world of commercial illustration and design. Many years of this, media management and direction has turned him into the juggernaut of commercial illustration and fine art you see here ;)

Currently enthralled in some maniacal trance involving painting robots.

He can be reached at:

*illustration/Design/DAM Clients: Warner Bros, Macy’s, Simon & Schuster, NYC Department of Health, NYC Department of Sanitation, Cognizant, Honda Motorcycles, Kawasaki Motorcycles, MSNBC, Sirius Satellite, MTV and The Smoking Monkey  among other lucky clients.


About: (Extended version)

So how to begin this perfunctory ‘about’ page jibber-jabber?  Ok lets start off with what the hell is a Gilosan, well actually I have addressed this before in detail here (LINK: Just what the hell is a Gilosan?).  Suffice to say it’s my moniker…Jupiter Thunderballs, Pip Esqualante and Antonio Sabato Jr. Jr. (yeah, that’s a double jr.) all had nice rings to it…but Gilosan.  Well, I didn’t make that up and those usually are the best nicknames, right?

There.  Now I have explained the silly name. Kinda.

Anyway, let's give you an academic rundown.  I’ll do it in the 3rd person if you don’t mind…because it's funnier that way. Since I’m the one hammering out this twaddle on notepad, I gotta do something to keep me laughing. Oh, and before you take your red markers out and start in on my grammar. (LINK: Grammar, Syntax, Strunk & White and the Fucking Chicago Manual of Style)

Where were we?  Oh yeah, Gilosan.

Gilosan went to Manhattan's prestigious SVA for Illustration with a minor in computer graphic design after a two year stint at Bergen Community college in Paramus,NJ. There he began basic studies with the adamant desire to become a microbiologist. 

It was during the first semester at BCC when the desire to pursue a purely scientific career had been replaced with the notion of becoming an artist. He pinpoints the exact moment this realization occurred in his forthcoming autobiography “Robots, Delusion and my Sexual Manifesto”. (Side Note to Harper Collins…there is a  SOLID 2-3 page treatment available for review...which you are currently reading.)  

Excerpt from Chapter entitled “What in the Sam Hell was I thinkin?’”

…I was walking towards the main campus building (BBC) when I spotted this incredibly gorgeous girl, followed by another, then another.  All headed towards the adjacent building. Turning to my friend I said;

“Holy cheese monkeys! Where the hell are THEY going?”
“Uh, they are carrying sketchpads and look like hippies…artists bro.”
“Look at that one with the incredibly long red hair she just got outta that car with the…is that a plastic lobster tied on to the grill?”
“Yup…told you, artists.”
“What was that? Dude, where are you going?”
“Going to the Admin office to change my major.”
“Ha ha. Dude? Where are you…are you serious….Dude?…Ron…you’re not serious. Idiot.”

Following the switch to fine arts and graphic design Gilosan proved himself to be more than apt at the curriculums challenges and gained the attention of a large number of his instructors and classmates. Both of whom suggested that he apply for Rhode Island School of design, as they knew he would easily be accepted. Also, that they had personal friends in the admissions department and he would be a shoe in.

Following that urging by his peers and during the summer break of his second year Gilosan had attended the college recruitment fair at campus. It was at this fair that several prominent art college reps looked over his portfolio and offered him acceptance providing he could pay the tuition fees.

With several offers and the guaranteed recommendations for RISD. Gilosan then curiously chose SVA as his next academic tier. He mentions this change in institution again in his autobiography;

“I chose SVA because out of all the colleges it was the only one that informed me I could take out student loans. Which I didn’t even know I could do. Also, the other ones required some form of up front fee. This wouldn’t work as I was dead broke.”

Thus began his financially truncated tenure as an SVA student. Sources indicate his attendance was barely two semesters and he did not graduate.  He had publicly stated that although he enjoyed this time - learning anything that helped further his career as an illustrator or graphic designer was nil to marginal. Collected reports, colleagues and tax returns all seem to verify this statement.

According to an interview with himself and his ex-girlfriend's cat;

 “All that @#$%-ing place taught me was how to hold a paintbrush, act pretentious and despise the bursar's office. Ugh, I don’t have time for this nonsense! Where’s your @#$%&*! water bowl.” 

Upon exiting SVA, Gilosan had manage to find suitable work in the new field of computer graphic design, utilizing skills learned at BCC and privately as an amateur photo-editor. The following is an excerpt from his recently discovered private memoirs entitled, “Strathmore 11”x17” 70lb sketchbook”.

chapter entitled: “My first real job”

After SVA I applied for a job as a photoshop retoucher.  This was early in the days of digital graphic design. Actually, here wasn’t even a solid term for what is now an entire industry.  I responded to an ad in the NY Times for a computer graphics person specializing in photoshop 3.0. Now, I had used photoshop extensively at Bergen. Primarily as a tool to graft photos of my professors heads onto scans of pornography that I was calling “Nuanced Digital Artistry” or “I don’t really like you all that much”. So in my CV I had placed extensive use of Adobe Photoshop to manipulate photos under software experience.

I was invited to interview with a burgeoning software company whose goal was to digitally provide information on all office buildings in Manhattan for real estate purposes.  The office was in a dusty and poorly lit office sublease somewhere in the ass end of midtown. Upon meeting the receptionist and being led to an even dustier and darker closet of a room with what looked like broken computer equipment. My future boss walked in and asked me if I knew mac software. I responded that I used them in school but currently was working on the PC version involving portrait photography with artistic themes. He then asked me if it there was a difference in the Mac version of Photoshop. “Not really” I mentioned casually. “You’re hired then”, was his response. Ending the interview with a point to the relic of a PC and a gigantic stack of photos he was standing in front of ,”You can start by scanning all these building pictures.”

This was to be Gilosan’s working environment for the next 3 years. After which his experience lead him to various other positions in the design industry as both staff as well as freelance design positions for some very well known firms. After a long and marginally lucrative career he began to seriously remove himself from the design industry. As he mentions in a brief passage in his memoirs, this time complaining to his niece’s chihuahua:

“...Man! @#$% This! @#$% Helvetica, @#$% Adobe and for @#$%’s sake I am NOT doing another imbecilic powerpoint pseudo design campaign for these corporate @#$%ing vampires! Now where is your @#$%ing chew toy so you can stop your incessant goddamn yapping!””

In 2008 he began a serious career shift involving painting and Asset Management. The reason for this shift remains a mystery. His current role is (DAM) Digital Asset Management for a well known fortune 500 tech company.

Ok...enough on that... I’ll stop using the 3rd person here because it's beginning to bore me now. Ok, so.

Why Robots? 

I get asked this a lot.(So far as you know.)

Robots are the main subject for my work. Why robots? I like robots…it’s somewhere in here: "Larping Robots Project"-Kickstarter. Anyway, I’d suppose you would rather a more complete answer. Some people paint birds, flowers, landscapes…what have you. There you go. Explained.

No? Don’t like that? Were you looking for a thesis or some kind of dissertation on the subject of automatons? Really? You want me to drone on in some inflated art-speak about the disintegration of humanity through the ever increasing and seemingly eager adoption of technology?

Perhaps I should entrance you with the notions of an  introspective revelation and how culture has numbed us into sexless machines that put themselves in movies, tv shows, comics or fringe cultural behavior(i.e. larping).

Or…listen to this; the unflinching eye of progress will evolve humanity into a new state of consciousness without the need for biological sustenance. Casting off the needs of mortal existence so that pure pursuit of exploration and knowledge will be paramount. All at the cost of what makes us human.

No good? Fine.

What do they(robots)mean? I think about that a lot when asked this question.  Generally it comes from  people who are in the artworld and they are looking for some damned dissertation or some such on theme.

Publicly, I  propose not to have one. Mostly because I don’t think it really matters all that much.  The driving force behind these things is pure instinct and pleasure. There is a reasoning, but I don’t wanna bore you.

You actually want some rationale? Fine then, prepare yourself for a droning diatribe on the reasoning that spins around in my brainpan;

So. Robots in my opinion are the next evolutionary step for mankind.  Humanity aspires to be free from hunger, pestilence, war, etc -  this kind of stuff. We hope to extend lifespan, travel to distant worlds and solidify our permanence in the universe for the foreseeable future.

Here's where my nerd badge come into play. Are you familiar with the term Occam's razor?  If not, it is often cited as; the simplest answer is usually the correct. Which is not exactly Mr. Occam's  intended definition. It  is more correctly aligned with the phrase: "Entities should not be multiplied unnecessarily." Either way, it fit’s into my belief that robots are already our evolutionary successors making us (humanity) the unnecessary entity.  We are just waiting for artificial intelligence to signal the final step. Nerds in lab coats are feverishly working on this problem as we speak. They should have it sorted by next week Thursday, I’m told.

So, Just what does this have to do with a painting of robots in a scene from Point Break? 

I told you it was boring…want more? Whats wrong with you...stop reading. More? Ok, fine.

Take the previous notion of evolution and expand, yeah? As humanity has disappeared from the universe entirely, possibly through our own doing via climate change, political conflict, zombies what have you. Robots will be left and with them the collected entirety of our culture. What would they do with that? 

My thinking is that since we are gone and being robots, they would lack creativity (i.e. Cmdr. Data from Star Trek TNG). This will probably have them emulating activities in our past in an attempt to capture that spirit of ingenuity. Larping, cosplay, movie re-enactments - basically the themes in my paintings, see how I did that? 

Good. Were done here...or just ask me. Depending on my mood, I’ll make up any rational that comes to mind. Gonna quote Bender from Futurama on this one. Look.“I can guarantee you anything you want.”