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The Q&A: Alfredo Gadberry

By Peggy Roalf   Monday August 27, 2018

Q: What are some of your favorite things about living and working in New York City?

A: I was born in Montreal, Canada. When I was two years old my mother decided to move back to Caracas, the capital of Venezuela. Growing up in the Caribbean sealed my love of the ocean and my pride in being Latin American. 

I moved to New York five years ago. From day one, I loved exploring the city—taking in the skyline and the incredible architecture, hearing five languages (or more!) on the train, bringing a croissant from the corner bakery to the park (and watching the pigeons eat the crumbs). I love New York. I sometimes miss the perfect weather and the panaderías of Venezuela, but I also secretly love the cold weather and feel excited every year for the blizzards that come through New York.

Q: Do you keep a sketchbook? What is the balance between art you create on paper [or other analog medium] versus in the computer?

A: I've carried a sketchbook with me since I was a kid. It's second nature. It helps me to record my thoughts, references, ideas, concepts, meetings, and schedule. It is basically my assistant, my memory, and my most personal space. 

My design process is mostly analogue, from conceptualization to final designs. I use the computer to animate and to vectorize and seal final art or, for design clients, the final materials. 

Q: What is the most important item in your studio?

A: The most important items in my studio are still my sketchbook and my fountain pen: my studio is always with me. 

Q: How do you know when the art is finished—or when to stop working on it?

A: When I was in architecture school, I learned to design buildings through a sequence of specific design steps, each of which had its own value and had to be fulfilled for a building to be conceived. I try to follow these steps in spirit when I work on art, illustration, and other design projects, too—though I have to say that sometimes knowing when to stop means listening to a feeling.

Q: What was your favorite book as a child?

A: My childhood was full of books. I used to pore over a collection of books in my grandma's library, which featured the permanent art collections of the most important Western museums. I also devoured comics, including The Charlie Brown Encyclopedia, which I used to read almost every night before going to sleep. And I still love, and am inspired by, the comics of the great Argentine illustrator Quino. 

Q: What is the best book you’ve recently read?

A: Two months ago, my partner was surprised when I mentioned that I hadn't read any Haruki Murakami, so, she gave me one of her old favorites, Norwegian Wood, which touched me and shook my heart for days.

 

Q: If you had to choose one medium to work in for an entire year, eliminating all others, what medium would you choose?

A: Ink on paper. It would be a year of studying hues and saturation, I suppose!

Q: What elements of daily life exert the most influence on your work practice?

A: I think of my environment as providing my most exciting references. I always try to look at the places I see everyday with fresh eyes, finding in that process new references, ideas, images, and colors. I've been starting work on a new series about the urban landscapes of New York; this means looking at the city (its buildings, its colors, its textures) and trying to find its soul. I also take inspiration from books, movies, and, of course, art.

Q: What was the strangest/most interesting assignment you've taken that has an important impact on your practice, and what changed through the process?

A: Several years ago I was commissioned to develop the album cover for a post-rock band (which I had loved even before they contacted me). After a few meetings the project pivoted from only one cover image to a full rebranding and full books of illustrations. Every two weeks I met with the band, heard the rehearsals, and discussed their music so I could picture their vision. It was the first time I had worked with sound and music, and it made me think more about the relationship between audio and visual and the role music and sound play in my own work.

Q: What would be your last supper?

A: I must have Venezuelan food, which would consist of:

  1. One cachapa con queso telita.
  2. 10 tequenos.
  3. One passion fruit smoothie. 

I have no doubt that it would be the best pre-death dinner. 


I am a visual artist and cat fancier based in Manhattan. I was born in Montreal, Canada and grew up in Caracas, Venezuela. I received my BA in Architecture and Design at Universidad Simon Bolivar, one of the top universities in South America. I specialize in graphic design, brand development, and illustration (print, digital, and by hand).  

As a former architect, I pay close attention to spatial concepts and the rigor of design processes. As a visual artist, I take inspiration from science fiction, graphic novels, and, of course, the amazing city of New York. When I am not designing or painting, I am often exploring the city, throwing toy mice to my cat, taking photos, training in Aikido, or riding my bike. I am always looking for new artistic inspirations, opportunities and creative endeavors. 

Upcoming events:
During September-October The Garment District Arts Festival is organizing and installing posters across the district with the work of illustrators based in New York. One of my illustrations was selected for this event, called Art Elevated
In addition, my work is featured in the 
Latin American Fotografía and Ilustración 6 container exhibition at Photoville 2018, from September 13-23, in Brooklyn Bridge Park.

WEBSITE https://www.catronaut.com

INSTAGRAM https://www.instagram.com/thecatronaut/

 


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