Everyone has, sometime, doodled in a boring class. Evan Meister made art out of our little drawings. That's true, of course, if we were indeed disturbed children that believed in conspiracy theories.

Maybe the memory of the trenchcoat mafia is now too associated with certain Michael Moore’s film. Nevertheless, they are the first thing that comes to mind when watching Evan’s work. This childish drawings –with kinda grotesque imagery– bring memories of silent characters, school’s dead hours and the shear horror that the worst of monsters might be living amongst us.

Eric Harris also draw brutal scenes in his math’s sheets of paper, but that’s where we shall abandon the comparisons with Evan. This artist uses the language of childish violence to speak about horrors hidden in plain sight: capitalism, consumerism, etc. A little bit as a charade, a little bit serious, he depicts –on his notebook or printer papers– the threats of a millenary empire, mirror of our owns.

There’s some kind of school-like feeling in your pictures. When did you start drawing?

I started drawing at around the age of eight, but it was this real copy and paste type drawing that I got pretty decent at but was never very fulfilling. Except in this fleeting, look-how-well-I-drew-Allen-Iverson’s face, kind of way. As a senior in high school I cast off my draftsmen abilities to learn how to draw without reference material, to both my high school art teachers’ dismay, and it felt really good. I was bad, but I never felt better.
 
You were really bored at school, weren´t you?

I actually really liked school. Sometimes compulsive doodling stole from it. Though, I wasn’t bored per se, I just couldn’t stop.



What’s behind the recurring theme of burgers and pyramids?

It’s an interaction with their cultural connotations (gluttony/ America , man-made marvels/ burials) as well as a commentary of them as current internet memes. I feel they start out as being relevant, then they get so overused that any cultural relevance is forgotten, and they become devoid of anything but style. I don’t know if I am helping or hurting this, but I hope I am bringing something new to the table with how I choose to display it.

Speaking about that, what is in your opinion the real deal with the so called "new world order" and all this climate change bullshit + 2012 paranoia?

Fear mongering from the left to the left? I’m not sure what to make of it all.
 
Have you heard about those FEMA coffins? How would you like yours tobe or what would you like yours to look like or who would you choose to share it with you? 

FEMA coffins are fucked up, but it wasn’t surprising at all to find out about them. Mine would be black and I would share it with the profiteers.



What´s your favorite kick start point for getting inspiration to flow?

Usually music kick starts everything for me. And caffeine. It feels like such a pure place for me to create visual art. I started drawing spaceships and futuristic buildings during a time when I was listening to Drum’s Not Dead by the Liars on repeat and watching VHS copies of sci-fi movie classics without the sound. When I get my kick start from other artists I run the risk of being too derivative of somebody else and not realizing it until I’m already way into it.
 
What´s the worst and filthy-funniest-thing you have ever done in a sacred or super serious place, like a church, bank, or any of this institutions.

I’ve done a very good job thus far in my life avoiding these places.
 
Which was your favorite action-figures series as a kid?

Dino-Riders. Hands down. It’s a cartoon about a humans and aliens battling for supremacy on an alien planet by harnessing the power of dinosaurs and new technology! I couldn’t get over it when I was six and still can’t. The scale of these figures has greatly influenced the scale of the drawings I create as well.

 
What are your favorite materials to work with and why?

Printer and notebook paper as well as relatively cheap felt tip pens. I like knowing that I am using easy to find supplies and attempting to get the most out of them. Expensive materials feel so alienating and foreign to me that I can’t bring myself to use them. I’ve had the privilege of experimenting with tons of mediums at school, but it never felt appropriate for what I wanted to draw. I’ll stick with my watercolor-for-kids paint set and #2 pencils.  
 
On the subject: videogames. Which one was the first you remember playing and which the first you remember beating?
 
The first game I remember playing was Super Mario Brothers II for the Nintendo. My grandparents bought a Nintendo for my aunt and it basically had its own room so it made it feel really special to play.

The first game I remember the actual ending of was Streets of Rage for the Genesis. I feel like some games were beaten prior to that, but I didn't care because they weren't two-player cooperative games. The feeling of teamwork was there to amplify the importance of defeating the Last Boss.


 
Talking again about Egyptians and your series on Egyptian mythology/comic book: are you reimagining the narrative or just screwing around with the theme as you go along?

A while back I was flipping through this Keith Haring book of my brothers and I found myself being really inspired. I wanted my images to take another step in being more direct and symbolic. What came to mind was to revisit the Ancient Greeks, the Egyptians, and Mayans. This was in an attempt to achieve a more pictographic look as well as embody the look of comic books.   
 
Who are your greatest influences? 

Saul Steinberg, Geoff Mcfetridge, and Ben Jones are the big three. They all have a certain simplicity about their work that feels incredibly complex. The word “mastery” comes to mind.
 
What would you be doing now if the world ends tomorrow?

I live right next to a popular parasailing point, so I would probably see if I could muster the courage to do so. Then have a few beers and listen to micro-house while in the hot tub with my family.