How Art is Born Season 3

Episode 3

Transcription

R. Alan Brooks:

I'm R. Alan Brooks. I'm the host of How Art Is Born.

Dele Johnson:

And I'm Dele Johnson. I am editor and producer of the show.

R. Alan Brooks:

Did people ever call you dj? Did you have a DJ period?

Dele Johnson:

Uh, yeah. Yeah. Um, so funny enough, I usually use that at restaurants. Oh, like fast food? Okay. Cat casual, cat, fast casual. Fast casual. Yeah. Well, what is ha I'm having a tough time with words today. Uh, I usually say dj. Okay. Um, for my order name, huh? Yeah. And at an old job, um, because of my radio gig, uh, at my previous job, they would call me dj. DJ sometimes. Yeah.

R. Alan Brooks:

I knew a guy who, uh, used to be, uh, uh, major in the military. His name was Fred Minor. So I was like, you were a major minor <laugh>. And he was like, yes.

Dele Johnson:

Oh gosh. Well, he brought it on himself. Right.

R. Alan Brooks:

<laugh>. Anyway, so, okay. So with, uh, the guest today is Thomas Detour Evans, uh, detour and I have known each other in the art scene around Denver for a long time. We talk about this a little bit in the interview, but there was a period where I was applying for, uh, a residency at the Denver Art Museum and, uh, detour Got it. Which was great. But, you know, at first I was like, who got this? Instead of me <laugh>, that's all it was him. And I was like, ah, yeah. Makes sense. He's the one, he's the, you should get

Dele Johnson:

It.

R. Alan Brooks:

Yeah. Um, but it's been cool to see him sort of build his art career as I've built mine. We've had sort of like this parallel thing, but, um, yeah, he's just a really cool and engaging brother. And, uh, his mind is always working like really fast. And you'll see it in the interview, like, you know, he just talks about a lot of different things that led to him sort of being who he is as an artist today. And I think, uh, that's probably one of the most fascinating things is just seeing how his mind works and all these things.

Dele Johnson:

Absolutely. It's like he lived like four lives before he became an artist. Right. And he's still been an artist at the level that we know him to be an artist at for like a decade. Right. And you're in for a real treat because you're gonna learn things that I don't know if anyone right knows about him. We'll

R. Alan Brooks:

Just call this one. The Evolution of Detour. You guys. Check it out. Welcome to How Art Is Born, a podcast from the Museum of Contemporary Art Denver, about the origins of artists and their creative and artistic practices. I'm your host, r Avin Brooks, artist, writer, and professor. Today I'm joined by Denver, based all around creative Thomas, detour Evans. Say hello.

Thomas Evans:

Hello.

R. Alan Brooks:

<laugh>. Hey man. Thank you for being on the show. Um, awesome. Can you tell us a little bit about who you are, what you do?

Thomas Evans:

Uh, Denver based artist? Uh, I go by detour. Uh, I do murals, uh, interactive work with technology. I do, I guess, uh, some like w I guess any coding type of web, web sort of application stuff too. I'm into that. Um, I guess a little bit of storytelling after I met with you Yeah. A while ago. Yeah. Um, so I guess a little bit of everything, man. So try to get,

R. Alan Brooks:

Everything's dope. Everything's dope. All right. Well, so for people who are listening, like, uh, there's this sort of constant theme that people that I'm talking to on this podcast, I've met them on the dance floor at Goodness, or one of those kind of things. And I feel like those were the kind of first times that you and I saw interacted with each

Thomas Evans:

Other. Yeah. Cause I was break dancing, like when I first moved there. Yeah. In Denver. I was break dancing, organized competitions, and then doing DJing as well, because I was into music and I always needed a DJ for my event. So Wow. I was into de DJing, so that was really

R. Alan Brooks:

Cool. Is that where the name Detour came from? Your B

Thomas Evans:

No, I mean, detour came from a video, our VHS tape to date me, um, a long time ago. It was like 2003, 20 years ago. Two-ish. Yeah. Even like 2002, 2003. Yeah. When I got to DV or VHS tape and it had the word detour in there and I liked it and I started using that and it was like, I guess, uh, the, well, the Crew Originality stands alone. That was the crew. Okay. And it was like Cujo Remind, I think Remind Midas, um, uh, there's a couple other cats in there, but yeah, there was just like different, so I like, this was,

R. Alan Brooks:

Uh, the B-Boy group.

Thomas Evans:

Yeah. B, yeah. Okay. Originality, standalone Bay Area. Um, so I got that and basically with loving the video and then started using the word detour the sign stuff. Yeah. And that was like when I first started like selling artwork, um, on like a larger scale. That was like when eBay was coming out too. Yeah. But, uh, that's where Detour comes from. Nice. Uh, and then my B-Boy name, actually, you know what, I think I did do Detour as like a B-Boy name too. Yeah. But I think I was also using Kool-Aid, DJ Kool-Aid. <laugh>, yeah. Cause I had the Kool-Aid T-shirt. It was like another free t-shirt that I got <laugh>, and it was a Kool Man. And

R. Alan Brooks:

You told him you were bringing the flavor? Yeah.

Thomas Evans:

It was someone, someone said Kool-Aid, and I was like, oh, shit.

R. Alan Brooks:

Busted through walls. What?

Thomas Evans:

Yeah. So I started doing DJ Kool-Aid, um, and break dancing as well as Detour, I believe, and Kool-Aid. So yeah, that's like where the names come from.

R. Alan Brooks:

Uh, actually, you might find it as interesting, uh, the original cast of breaking, you know. Yeah. Boogaloo Shrimp on, uh, they, they want to, they were going to do a, another movie, um, and I wrote it.

Thomas Evans:

Oh,

R. Alan Brooks:

Really? Yeah. They're trying to raise money for it now, but I just finished that writing that script. Like, oh, they

Thomas Evans:

Wanna do another one now? Yeah. Oh, they're

R. Alan Brooks:

Old man. I know <laugh>. It's gonna be, uh, that's shuffling. Let's see. So hos probably like in his late fifties, cause he was 16 when that movie came out. Yeah. But, uh, yeah, so this night they're gonna be doing a whole bunch of flips and then, and then, uh, du passed away last year. Yeah. Yeah.

Thomas Evans:

So then what they gonna do, like

R. Alan Brooks:

Raise money? They wanna do like a new generation, old generation kind of like Cobra Kai.

Thomas Evans:

Oh,

R. Alan Brooks:

Okay. Yeah. So I guess, so I wrote a script where they're kind of like passing it down to the next generation. We'll see if any, anytime, anytime you write a movie script. It could be, there's people I know in LA who write movie scripts that never get made and they make a full living. Yeah. They like, they get paid for script to script. They'll be there for 10 years. Nothing ever gets made, but they're make it, they buy a house, you know? Yeah. So that's kind

Thomas Evans:

Of, could they buy it and store it? Right. They just buy it and just like hold

R. Alan Brooks:

Into it. Well, so there's that. That's, uh, basically like they get the rights to it. Yeah. But then there's the thing of like, the movie is written, but for some reason, like, they can't get the actor they want or the studio has changed or whatever, but the writer still has been paid. Okay. Yeah. And so sometimes it just doesn't get

Thomas Evans:

Developed. Okay. Ah, yeah. Ah, I didn't know that part

R. Alan Brooks:

Of it. Yeah. It's a whole thing, man. Okay. All right. Okay. Let's get back on you. Rewinding to the early days. Yeah. What was, uh, what was like the first art that

Thomas Evans:

Spoke to you? Uh, I mean, I guess I kind of started, cause my dad's military Okay. West Point grad. So after they grad or he graduated, uh, my family moved everywhere. So that's like where I kind of get the, I guess the start of the art sort of journey. Mm-hmm. <affirmative> because I had to like, make friends everywhere. Yeah. So I drew to make friends. So I drew my friends. I drew teenage meat Ninja turtles. Nice. Which is like the, one of the first things I ever remember drawing. Um, and it's like I was selling that like a dollar in class. I think this was like third grade. So I was selling that. You

R. Alan Brooks:

Already understood early

Thomas Evans:

Commerce. Yeah, exactly. So it was like I was moving everywhere and then making artwork for friends and then started drawing my friends, um, and teachers in class. So it was getting really good. So it was like more caricature. Yeah. So like learning, you know, how to do proportions and all that. And then when I moved to Germany, that's when I really got into artwork because my homeroom class was in like an art the arts class. Yeah. And then that's when one of the homeroom teachers who was the art teacher gave or gave me access to like a, an airbrush.

R. Alan Brooks:

How old were you?

Thomas Evans:

Oh, this was like sophomore year in high school. Okay. Like sophomore in Germany. Ramine. Okay. So Ramine, Germany. It was like the largest military base outside of the us so it's like more of, it's like an entire city. Wow. So, yeah. They even have like a mall I believe now. So it's like an entire city of Air Force base. But my dad was Army, but we were living there, um, from my sophomore year to graduating. And then did like a half a year at, uh, Maryland University. Like online? Yeah. Sort of like satellite school? Not, well, not even online. It was like a satellite school that they had, huh? For a lot of the troops. Okay. And the families of troops. So it was like a class I was doing for my associates. And then that's when eBay also came out too. Right. So like doing airbrushing t-shirts on eBay who like helped me sort of like get the idea of, okay, this is how much a shirt costs mm-hmm. <affirmative>, uh, let me airbrush this shirt, let me send it out. Okay. I gotta worry about the fees. And then I have to worry about the shipping and then the cost of the shirt and then how much did I make afterwards. And then also gotta do customer service in terms of like, getting it on time. So it was like a really good lesson in terms of like a mix of art in business. Yeah. At like, I didn't even know about it. I was just like going with the flow.

R. Alan Brooks:

I was gonna say brother, it's really interesting cuz I got an artist, uh, learn their art stuff and then have to learn their business stuff separately. Yeah. But it seems like you were kind of figuring em both out at the same time.

Thomas Evans:

Yeah, I was like, I was at the same time. Cause I used to also sell candy in school. Oh yeah. I, so like, I would buy it at the local grocery store on the military base because I, it is cheaper on the military base sometimes to get, uh, food and like the commissary stuff cuz you don't pay taxes either. Right. On base. So it was kinda like I was getting candy and then selling it in class, so like Snickers and Right. Starburst and stuff like that. So I was always like hustling in, in school and like class and stuff like that. So it was like I had that mentality, um, to sort of like figure that stuff out. And then it was like a way of connecting with people. But then once it came to art, I started using that for the art stuff. Yeah.

Um, but yeah, it was like, I wasn't really even big into like, I guess making it a full-time or like pursuing it in terms of I want to be an artist. It was like, I always wanted to be like, I was doing football. Okay. That was like my biggest thing. Football and school and then track huh. As well. And then I didn't really do basketball. Um, was mainly like football and some, some baseball too. But, uh, yeah, I was like, like I wanted to go to D one school Huh. And play, but found out quickly like I man, like I wasn't growing anymore. Oh. It was like I wasn't getting any faster. Yeah. So I was like, man, this ain't, this ain't working out <laugh>. So I was like, you know what, that's, but that's also when I was getting into dance. Okay. It was like, ooh, sophomore year.

Sophomore year of high school. Um, because I was in Granite City, Illinois. Mm-hmm. <affirmative>, um, going to Granite City, um, high school. And one of the guys, Sal was a break dancer. Okay. And he was willing to teach me a little bit. Yeah. So he was teaching me a little bit. And then I moved to Germany, um, in the middle of my sophomore year. And then that's when I was in Germany. But luckily enough, uh, Germany had like the largest break dancing event. Um, during that time it was called Battle of the Year. Okay. They actually made a movie about it. Chris Brown was in there. Oh really? Terrible movie. <laugh>. Yeah. It was awful. I was like, why did they get Chris Brown for it? It's like he don't even spit on the hair like he can dance with. Right. Yeah. It's not that type of dance.

But yeah. So it was like, I was in the, in like, uh, living in Germany when they had that, um, uh, that event. And then it was getting a lot of, um, I guess what was the touch? I guess the whole dance culture was strong out there. Like hip hop is big out there right outside of the US when it comes to the, the graffiti, the arts and, but really the dancing mm-hmm. <affirmative>. So that's like where for me it was kind like I was able to connect with people I didn't even know how to con communicate with normally. Right. But through dance it was like we were, we knew each other type of thing. That's dope. Yeah. So it was like I was able to travel around so the different countries and like actually connect with people just through dance. Mm-hmm. <affirmative>. So that's like my sort of, uh, genuine when it comes to like really getting on a stage when it comes to expressing myself.

So like the, um, and then not only that, there was a guy, his name was ran Taine and he was from Brooklyn. And you could tell he is from, or or no he was from New York, but I don't know what borough. Yeah, I think it was Brooklyn or the, no, it was a Bronx. I remember him yelling it cuz I don't know. You knew New York people are just loud. Yes. And they always know, like to tell you what burl they're from, they make sure, you know. Yeah. Like I, that makes a difference to me. I don't like you're all

R. Alan Brooks:

New York? It's all New York. Yeah.

Thomas Evans:

Yeah. It's all New York. I have no

R. Alan Brooks:

Clue. But you know about 140 ninth Street son. Yeah.

Speaker 4:

Like what does that mean? Right. He's like, you know, that's the soft Bronx. Right.

Thomas Evans:

So Yeah. Yeah. So like he was in Germany because his wife was in the military. Okay. But he was teaching me, my friend Jeff, my friend Jed and my friend Jade, like break dancing and all this stuff cuz he was like a break dancer. Like he was doing windmills and headpins, like, so we would hang out with him all the time. Yeah. At the rec center and learn. So like when I moved back to the States, to Granite, or not Granite City, but uh, Bellevue, Illinois, which is like a couple miles away from Granite City. Mm-hmm. So basically, you know, you know Belleville, Illinois. Yeah. Bellevue, Illinois. So that's where I went to got my associate's degree. Okay. In community college. That was, uh, what was your degree? Southwestern Illinois Community College. It was just like associate's degree in like maybe business or something like that. Okay. Yeah. It was like the first

R. Alan Brooks:

Two years. I just wondered if you were going for art or you were just

Thomas Evans:

Kind of No, no, no, no, no, no. So like this was, uh, wow. This was like 2004 and five. Okay. Um, out there. But my friend Jeff, who I was in high school with in Germany, he went into the military and then he got stationed at Belleville, Illinois with me. Okay. So he was like, we connected and linked back up and like started doing more break dancing stuff and we were then ask you back

R. Alan Brooks:

And forth, let ask you, during this time while you're deep into the dance, are you doing visual art stuff too

Thomas Evans:

Or? Yeah, it's like I'm still air rushing, like air rushing, like selling that on the side. Yeah. So like, I was air rushing on eBay, like getting like tons of SpongeBob, tons of like people's names. Tons of Yeah. Any character Bart Simpson, you want to name it. Right. It's like that stuff. And then I did so many Tupac and Biggie pieces and this was, uh, this was also too when 50 cent was out. Yeah. And it was like, big Pun was cuz I think right after he passed away and everything. So doing a ton of that stuff, um, but also break dancing and then started organizing, um, at, uh, I think it was like 2005 we started organizing break dancing events. Okay. Um, but yeah, we were going up to Chicago, the compete and Cicero and Champagne and Nashville and stuff like that. And then I moved to Colorado. Colorado. Did

R. Alan Brooks:

You have like a, you have like a signature move or you just kind

Thomas Evans:

Of That was like all, I was like, mostly I wasn't like too much power. Yeah. It was like footwork Okay. And tops. Um, because like yeah. Cuz it's like these kids today, man, like they learn early. Yeah. And then when I was like learning, it was, it's like the smaller you are, the easier it is to carry your body. Oh. There's some people that are just super strong that's like, they can be six six and like do amazing mood, but like Yeah. A lot of them came from, you know, had like a background when it came to, you know, martial arts Right. Or gymnastics and stuff like that was able to do that stuff. So I couldn't do too much of that. Just a little bit, but like mostly tops. Okay. And what Tops? Tops was kinda like, uh, when you're on your feet dancing. Okay. And it's like, yeah, you're on your feet dancing and then when you get down to the floor with your hands and feet, that's like the, uh, footwork and then like when you're doing like, spinning on your head and like Yeah. Flying through the air that's like power moves. Okay. So yeah. So that was like more of the, the, you know, the tops, you know, up rock, uh, which is like the tops. And then

R. Alan Brooks:

Football had to earn some of this stuff to write that script. Yeah. But I was constantly, the, the producers are both B boys. I constantly had to be like, what's the name of the move for here? Yeah. Let's plug this in here. Yeah. I know more of the Mc stuff than I do. Uh, you know, like the Bboy or even DJ stuff, you know, like I just know those things kind of generally.

Thomas Evans:

Yeah. But like for me it was like the Bboy Jams wherever I went was like, uh, the way hip hop got out there. So it wasn't even like the music per se. Mm-hmm. It was like, like the music was big, but the, like the hiphop was like soul's a mischief. Right. Um, you know, NAS but then it's like you throw in like a Nina Simone beat you throw in a Babo band. So it's like all spans the gamut when it comes to the type of music that you're listening to. Right. But that was like how a lot of the hip hop, when I was viewing it, traveling around sort of like spread. So for me that was like an amazing thing cuz it's like a huge family Right. Where I go to. And then, um, yeah. That, but that's like when started organizing when I was in Belleville. And then when I moved to Colorado 2006, that's when I went to school here to get my, uh, bachelor's at, uh, university of Colorado

R. Alan Brooks:

Denver. And what was that in?

Thomas Evans:

That was 2006. Uh,

R. Alan Brooks:

What

Thomas Evans:

Was that? Business administration emphasis and marketing. And that was, yeah, 2006. And when I got here I was still like heavy into break dancing and, uh, organizing mm-hmm. <affirmative> the events and stuff like that. So

R. Alan Brooks:

NCAA Denver at the holiday theater is a year-round performance and event space that is an extension of the Museum of Contemporary Art Denver. The holiday is home to a spectrum of creative expression, including original productions, live music, film screenings, artist talks, and serial programming like Mixed Taste and Cinema Azteca, as well as performances and events presented by other cultural organizations. The theater's also available for private rentals. Visit MCA denver.org/holiday-theater to learn more.

Thomas Evans:

So yeah. But also too, before, right before I left, uh, Bellevue, Illinois, I got into standup comedy. Really? Cause that was when last Comic Standing was out. Huh. And it was, um, it, yeah, it was like I didn't even

R. Alan Brooks:

Notice, man, you got a whole

Thomas Evans:

Secret. Right? Yeah. It was like, it was last, last comic standing was out. But, uh, I forgot the show that was on that was like, got me really into it. Cause I always been into like, like movies and acting and stuff like that. Yeah. Cause I did improv and Yeah. Like a

R. Alan Brooks:

Top type five. You would like do like a five minute set kind of thing.

Thomas Evans:

Oh yeah. I mean I like, I have maybe a strong two minutes <laugh> and then I'm like, and then I just won her off <laugh>. So like Yeah. That's interesting. Yeah. Cause I did like improv a little bit, um, in school. Cause like there was a club and then one of my friends, um, Michael, uh, Michael Michael Malley, um, he actually moved to Chicago to try to do uh, second City. Okay. And so like we sort of, uh, got together and started doing like open mics in St. Louis. So we did like open mics down at the river and then St. Charles and a couple other places and then moved here and I was still getting into like going to school break dancing, organizing stuff. And then the first year was like doing a little bit of standup. Uh, so like the Squire lounge. Yeah. And then I did the um, comedy works and improv.

The comedy works had the new talent nights. Yeah. Or the shiny new talents nights. So like I would get past the first round and then the second round would be when I had finals. Oh. So I was just like, do the first round and then had to do finals. Cause it was like really all about my schoolwork too. But then it's kinda like you go on stage and you do, you do a set and then you go to the next club and you can't do that same set or you kinda do the set, but like you get the same people. Oh yeah. So you can't really do this, do it again. Cuz some, sometimes people go from place to place. And this was like really heavy when last Comic Stanley and Josh Blue, like Juan. Right. It was really big. And Denver's like a hot spot for, for comedy too. Hmm. So, but it's like you gotta, man you gotta be dedicated to that thing. That's so interesting. Yeah. Cause then I was not, and I was, I was like, I was good at writing initially and then I drifted off and I just like, I did not try to write or like jot down jokes I remember or like even work on it as much as I should have. And then, you know, you get those nights where it's kind of like no one laughs at all. Yeah. You're like, oh why am

R. Alan Brooks:

I doing this? Yeah. It's such a, it's such an interesting thing cuz I feel like comedy's the only, uh, entertainment medium where people are basically like, make me react. Yeah. You know? Cause like if you're on stage rapping, either they're into it or they're not. You know what what I'm saying? Yeah. Like, unless you're like, like it's rare even at a battle thing, you know, like battle I guess people more engaged, but in general, if you're performing like at a club or like a bar, they're just not into it until you bring 'em into it. Yeah. But they're not like, make me be entertained. Yeah. Whereas comedy people are like, you know, I dare you to make me laugh, essentially.

Thomas Evans:

Yeah. They pay to get in. Sometimes they got the two drink minimum. Right. They got So it's kind of like, you better make me laugh. I had a hard day's work. Yeah. It's like, you better make something laugh.

R. Alan Brooks:

It's, yeah. So it's a different kind of pressure.

Thomas Evans:

Yeah. I mean, yeah. So it was like I was doing that and then that kind of weaned off. I dropped off of like doing any of that anymore. Yeah. And then got into more of the organizing, um, doing events and starting clubs. And then Yeah. This was also too, like when there was the Democratic National Convention Oh yeah. In Denver. And it was like the hotspot of like politics and the Barack Obama. Right. So like that whole hype was like

R. Alan Brooks:

Here. It changed the rock bar to the Barack bar.

Thomas Evans:

Yeah. So like, man, it was just like so much energy out here. It was like people were just doing everything. That's when I was doing a lot of like get out the vote, stuff like that. Registering people on campus. So like organizing. Right. Like running that stuff. I even did like a, a a, what's that thing? The cold calls like, oh yeah. Who are you voting for? Like I would never do that again. Yeah. <laugh>. Yeah. It was like, that was awful. <laugh>. Yeah. I think a lost votes for some people too. Yeah. It was like the weirdest thing to call people up. Right. Like during, you know, their dinner and be like, who are you voting for, sir? Right. So, so stop. So that, so that led into, um, working on campus because some of the people in student life were like, oh, you're doing a ton of stuff.

You just want to have a job here. So I was like, yeah. Yeah. So then it was like, I was in student life working for a good three and a half, four years. Okay. Over there. Which was really good. So, cause I got to use all the school resources and then learn about how like a school works. Mm-hmm. <affirmative> and then like, if I wanna bring people on campus in terms of just like for student activities, I learned how to like, make a budget, you know, to figure out contracts Yeah. With some of the people. Cuz they would give me a budget to like, bring people on campus. So did that for, that was like my first official job. Um, it was like, uh, I got the, the, what's that? The fica. Oh yeah. Or coming out to check and all that stuff. So it was kinda like, oh, what's happening there?

So yeah. So there was a lot of that happening. Um, but yeah, so that's kinda like what I did on campus. And then graduated with my bachelor's. Took a year just to like, or it took about a year, half a year, a year just to work on campus and got, uh, enough money saved up for my mba. So, cause I didn't know exactly what I wanted to do, so I did the mba. Okay. Um, emphasis on marketing. And then basically same school. So like I worked more on campus as well. Um, and then kind of dropped off on the organizing break dancing events and stuff like that mm-hmm. <affirmative> and just focused on, okay, what's this next sort of part of my life is gonna look like.

R. Alan Brooks:

So, okay. It's interesting. I just wanna go back. Yeah. So we were talking about like, uh, you started out drawing caricatures people mm-hmm. <affirmative>. Cause you had to meet people, you were selling candy. Mm-hmm. <affirmative>, then you started selling the, the drawings. So you go from that point Yeah. To, uh, the dancing stuff. But you're organizing, you're traveling with it. Yeah. You're getting the business degrees. Yeah. Uh, so there's this whole, and then you worked in a business office at the college you started doing contracts and stuff like that,

Thomas Evans:

Right? Campus? Well, it was, it was like a student life office campus. Yeah. But it was kind of like more extra or what was it called? Like extracurricular activities. Okay. So like anything outside of the classroom. Yeah. We kind of like, were organizing.

R. Alan Brooks:

Okay. So like, but you were dealing with contracts there and Yeah. Yeah, yeah. Yeah. Yeah. And, and then you went to, to get the MBA for marketing. So there's this whole path of like, art is in your life. Yeah. But you're learning all the business stuff in a strong way. Yeah. Yeah. So I'm really interested about like, the point for you where the art became, like visual art became the main business. I

Thomas Evans:

Mean, it was always like, I guess equal parts to everything. Mm-hmm. <affirmative>, because during that time it was also doing, um, canvas work. I could move from t-shirts to canvas Okay. Doing canvases that I made myself, because then I could glue like broken vinyl records to the canvas because I was DJing. So I had a bunch of old vinyl, um, that I was like collecting. And then at the wax tracks. Yeah. The record store, they would have a pile. They still have a pile that they keep where people would donate records that they, you know, someone passed away and like, they clean out the closet. Okay. And they would just donate the records, but it's scratched, they can't sell it. So ends up in the pile and it's like slated to be thrown into the garbage, like, you know, every other week type of thing.

So I started learning about that and so I would grab those records and use that in my artwork. Um, and then, um, I guess a lot of people started recognizing my work. Mm-hmm. <affirmative>, uh, moving from airbrush and then into, I guess it would be acrylics. No, it was like airbrushing. And then I moved into adding sound to my work. Oh. Because Musa Bailey had the shoe shine, uh, event where it's kinda like the sneaker heads would like bring their shoes Okay. And showcase it type of thing. Yeah. But he would have artists, bro come in and, and he would bring backboards. He would give you the backboards of like this ba like basketball backboards. Okay. And basically you would just paint that, huh. And put that on display for like, the art part of the show. So I didn't wanna like do do what everyone else did.

So I, I did the broken records on my backboard, but I also added in a speaker to mine, which like different, yeah. And it was like, it was like the very simple circuitry of like wiring up a speaker that I took out of an old boombox and then the left. Right. I would just cut the auxiliary cord mm-hmm. <affirmative> and then connect those to the speakers and then you could plug it up to your iPhone, which had like the headphone jack back then. And then it was like it worked. Huh. But you couldn't really hear it. But it worked. And then I was like, oh. That was like the start of me doing a lot of the interactive and the music stuff in my work. Hmm. It was just like, just that was like the, the moment that happened. I don't know where that piece is nowadays.

<laugh>. Yeah. It was weird cause I like, I think I sold it or gave it away or something like that. But I started loving that concept and was doing it again and again and again. Um, for like the next, almost like three years I was doing that. Okay. And then figuring out how to amplify the sound mm-hmm. <affirmative>. So I was learning about audio engineering amplifiers, how to source the stuff, how to get it, you know, sort of the sound really good on a regular basis. So that was like a good sort of, um, moment to me where it's kinda like, oh, I can make my work different just by adding in something that I also loved on this side of my, uh, sort of like personality or life. Yeah. And then yeah, it was, it was just really a lot of that while I was going to school.

Um, but yeah, it was like doing that. But also, like I said, um, earlier, like working on campus, doing the contract stuff, doing events, uh, bringing people on. Like we, I got to meet, um, Chuck D Oh nice. Which is really cool. Got to, I didn't get to meet ice tea. I got to meet, uh, uh, it was Howard Dean. I got, I got kicked off stage <laugh>. Yeah. Cuz I was, I was, I was doing the stage. So CE when he was on campus, and a lot of people who don't know Howard Dean, Howard Dean was the one that did that. Yeah. Oh yeah. When he was, uh, campaigning. Yeah. So when he, he was on stage, did that, his whole campaign tanked. And then it was like years later he comes on campus to do some stuff. I'm ce to get, you know, students sort of like gathered in the area.

Right. And I was like, yeah, you know the guy who did Yeah. <laugh>. And they ran my ass off stage so fast, bro. <laugh>. Yeah. So I got, so I got to meet him. I got to Oh, you're provoking politicians. Yeah, man, Russell Simmons. I got to meet. Nice. Um, I got to meet, um, rev Run. Rev Run was the worst. Yeah. Yeah. He was like, he came in like a, a mink, chinchilla coat, <laugh> and yeah, it was like, it was a hot, it was a hot day in Denver. I was like, what is this dude doing on with this fur coat? That's, yeah. So he came on. So like he was, yeah. I can't get too much shit to it cuz I don't want Right. Run backlash <laugh>. But yeah, he, he was, he was like, he was the worst man. But, uh, Talib Quali was really dope.

Uh, he was really nice. Um, and then like, uh, Cornell West was amazing. Uh, quite a Michael Eric Dyson. Okay. I got, I got to meet Tom from Tom Shoes. Wow. He was interesting. Yeah. So there's a lot of people. But like, that really got me into like, the business side of stuff. Marketing stuff, getting buy-in and then mixed with like, trying to make my work, my work innovative. Yeah. When it comes to the art stuff. And then once I graduated, uh, with my master's, that's when I like, okay, I gotta get a real job. Mm-hmm. <affirmative> and then did advertising. Um, I forgot the company's name, but it was in, it was like off of Blake Street? No, off of Walnut. Okay. So what kind of company? It was like, it was like marketing. Advertising. Marketing. Okay. And what were you doing? So I was, I was with my degree Uhhuh <affirmative>.

Usually I would be on like the account side Okay. Management. But I wanted to do the graphic stuff. Right. So I applied for the graphics shop and Got it. Okay. And it was, it was like I was going to, going to work in a tie <laugh>. Like, he was like other designers, like, what are you doing? Yeah. So I was like, but yeah. But it was kinda like working there, um, helped me out in terms of figuring out like, I don't want to do this. Right. Because, uh, it was an advertising firm that did mostly tourism and sort of, um, healthcare. Okay. So like, our client was the Wyoming Department of Transportation. Hmm. And then it was like the, it's like the stop smoking for like people over 65 ads campaign. Right. It was like the, it was like non-creative. Right. Learning like an ad agency.

It's like you just do exactly what you're told or you do exactly what the client wants and no more. Right. Even if you think it's terrible esthetically. Yeah. Yeah. And you track your hours and everything, all that stuff. So I hated it. So I left that. How long did you do it? Maybe five months. Okay. Like four, maybe four or five months left that they gave me a parting gift. Um, it was gift card to mining ERs. Okay. So that, that allowed me to buy oil paints. Wow. And I bought oil paints like a first, my first set and it was like the cheap one, but it was like learning it Right. Was amazing cuz it was like, oh, I don't have to change colors. Um, by sort of cleaning out everything like you do with the airbrush. Yeah. It was like, oh, I can actually mix stuff together and just keep painting.

So I love that. And got into oil paintings for a little bit. Huh. Um, and then all at the same time I was donating artwork to a nonprofit called, uh, aade. Okay. And doing their gala, I would sell. So it was like, you know, 500 bucks there, a thousand bucks there once a year type of thing. Mm-hmm. <affirmative> I could always rely on. And then the last time I did it was after I did the, um, after I left that agency. And then when I did the gala, I sold some stuff, but also I was like, Hey, let me know the next time you're going to Tanzania. Cuz they did work in Tanzania. I was like, I would love to go. Um, and that was also the same time when I got into Juujitsu and I was like, cuz I'm big into MMA and combat sports.

So I was big into Juujitsu and during one of my classes I tore my lcl. Oh. Trying to choke someone. And Yeah. I to it happens, but the thing was like, I didn't, I tort by pulling my leg to my face. Oh. So it was like all on me. It wasn't like I stepped the wrong way. It wasn't like, you know, someone tackled me or sort of ripped my arm off or something like that. No. It's like I, I was on my back and I was pulling my feet to my face to try to choke someone. So I literally tore my own lcl. So it was, it was the, it was the worst feeling in the world, <laugh>, where I tapped myself out. So I had, it didn't, within a complete tear and learning about ligaments, just like, if it's not a complete tear, all you have to do is just like, lay off of it. It will grow back itself. Okay. But like, when it grows back, it grows back even thicker. Huh. So then you're less, less flexible. Okay. Um, so like, I'm less flexible now in my left leg. Like, so it was like even less flexible.

R. Alan Brooks:

Now I'll just say that's a sentence that's never been said in this podcast. Yeah. When I'm trying to choke someone out, I used the wrong

Thomas Evans:

Leg. I was use the wrong leg man. So, but I was a, but the thing was like, when I was throwing, um, the break dancing, it gave me like weird muscles in different places. Yeah. So I was like really good when it came to Jiujitsu. So I was like throwing competitions and everything. Huh. And, but that's like what a lot of break dancers say. Makes sense. Yeah. Cuz like a lot of breakdown, like Yeah, they're, they're really good when it comes to jiujitsu. So yeah. So I was like selling artwork at this gala and then I tore my LCL and then asked him, next time you go to Tanzania, let me know. And then like two weeks later, uh, Peter Lewis, this guy who founded an organization called Indigenous Education Foundation of Tanzania, hits me up and says, Hey, do you want to come to Tanzania? And then two weeks later I was like, on a plane to Tanzania. Wow. Got the vaccinations and everything. And then flew out there for eight months. Wow. Seven, eight months just to work out there at like a small school. And I feel just called our case law. Uh, it's like in the Maha region, Uhhuh. Um, but the town is called Duly. So it's like, um, so

R. Alan Brooks:

You were like teaching out

Thomas Evans:

There? I was doing the marketing communications for the nonprofit, but it was like basically me. Okay. Um, on the organization side mm-hmm. <affirmative> and then the teaching side where they also had volunteers. It was like quite a few. It was like maybe seven other people. Okay. There. Um, and then two other people came. The sale was the same time I came there. Um, but there were like maybe four other people that were there before. Um, but it was good. It was like a rural area. Um, the village was like mostly Maasai, traditional, um, pastoral people, chickens and goats and beans and corn. They would maze, they would sort of grow. Okay. So it was like, it was good. It was like getting back to basics and everything. But that was like a good time for me to just like to get away and just like think.

And then when I was there, it was like amazing just to try to learn Swahili. Yeah. It was like getting outside of my element, you know, getting away from like technology and distraction. Mm-hmm. <affirmative>. Um, this was 2014. Okay. Cause I left, uh, new Year's Eve. Landed New Year's Day. Okay. January 1st, 2014 in Tanzania. Um, so it was like a New Year's resolution too. So came back and that's when, no, while I was there, I would say that's when I was like, okay, let me figure out how to do art full-time. Mm-hmm. <affirmative>. And then when I came back to the States,

R. Alan Brooks:

Well actually I want to hear about this decision. Why did you decide that you

Thomas Evans:

Wanted to do art full time? Yeah. It was like over there when you're, when you're I guess living Yeah. And making decisions. Oh, I'll say this. Like, there's a big difference between like the opportunities that we get over here versus what opportunities people in Tanzania would get. Okay. So it's kind of like the, the options are limited in terms of what you can kind of be uhhuh. The education system sort of dictates that. If you don't make the grades, it's kinda like, then you're sort of capped in terms of where you can go. Mm-hmm. And you can't really do what you want to do. Mm-hmm. <affirmative> in life sometimes. So it was kinda like, oh, over here there's a huge safety net, so why am I not taking chances? Oh, I see. Yeah. So it was like, oh, it was like, oh, over there it's like, it's hard to take chances because if you fail Yeah. There's not a safety net that can

R. Alan Brooks:

So you were kind of, you were just inspired

Thomas Evans:

By that. Yeah, yeah, yeah. Yeah. I was like, oh, when I come back, what am I afraid of? Right. Because if I do fail, oh, there's a safety net to sort of help me out type of thing. And my family's supportive. So it's kind, there wasn't anything sort of like holding me back other than me.

R. Alan Brooks:

That's a really cool moment. Yeah.

Thomas Evans:

You know? Yeah. I mean, once you start to go out of the, you know, your environment and country and you're like, oh, this is why, you know, um, I guess some people are just a little bit tougher type of thing. Mm-hmm. <affirmative> or like, even over there it's like they really valued education. Right. So it was like, over here it's like, it is, it's like a running joke. It's like trying to get a kid to do homework or something like that. Mm-hmm. Or to do pay attention in class. But over there it was kinda like, they love class, they love Oh, that's

R. Alan Brooks:

Interesting. Attention.

Thomas Evans:

So yeah. It was like they really respected their teachers. It's like, I don't see any of their teachers on worldstar. Hiphop, bro. <laugh>. Right. It's like you don't, you don't see teachers getting choked out. Right. But over here it's like, you see that every day on TikTok or something, man. So I'm like, you're not kidding. Yeah. Yeah. So it was kinda like, oh, I see exactly the difference. So when I came back, had more of appreciation, like, okay, let me out. How to, how to make my dreams happen. And if I fail, it's like there's no big, no biggie type of thing.

R. Alan Brooks:

Okay. So this is interesting too because, uh, when you were kind of talking about the progression of things, some point you recognized that being full-time artist was a dream. So that was before that. Like, or was that just kind of always there and you just thought you couldn't go for

Thomas Evans:

It? Um, it was like, it was there, but it was kinda like, I, I had so much other stuff I wanted to sort of like get into as well. Yeah. Um, cuz like, I, like I said, like this time I was also doing, like, before that I was doing like comedy. So I was like, yeah, oh I can do like, I wanna do comedy Right. Be be on last comic standing, something like that. And then there a time I wanted to do like dance, like Yeah. You know, on America's best dance crew. Like I tried out for her, uh, so you think you can dance. Okay. It was like stuff like that. It was like I was all over the place. And then the thing that kept sort of coming back to was, uh, the art stuff. Hmm. So like when I was came back I was like, oh, let me just do full-time art and just see how that goes.

Yeah. Cause I did like one of my first murals in Tanzania. Okay. Um, at the school. And then, yeah, I came back and this time when I came back, that's when marijuana was legalized. Right. And there was skyscrapers everywhere. People moving to Denver just for the cannabis industry. Right. There was uh, I guess just like a whole new energy Yeah. In the city when it came to development. And then my friend opened up his restaurant, Miller Kitchen. Mm-hmm. <affirmative>, uh, Casey. Casey. And then, uh, Moosa and them opened up, um, their restaurant and bar. Yeah. So And Cold Crush. Yeah. Cold Crush. And then yeah, I was blinking on it. Yeah. It was then my other friend, um, Adam Gordon, uh, bought a building, um, and turned into artist studios. Okay. And he was like, Hey, you want really cheap rent and be in like the, the neighborhood?

So I was like, yeah. Um, so yeah. So that was kinda like the start of me figuring out full-time arts. Hmm. Um, but so it was kinda like a perfect storm Yeah. In a way because like I had a place to have my studio. I had a place to showcase my artwork when it comes to the restaurants. Right. And then I had, you know, the business background, um, just like in my, in my favor because I knew how to set stuff up. Um, but then it was like, actually okay, what type of artwork do I want to do? But it was the interactive work that I was like sort of doing at the beginning, which was like the artwork where you could actually touch the painting and it triggers a sound Yeah. Or a sample. And that allowed me to work with musicians and other people to turn my paintings into instruments. So that was like never done before.

R. Alan Brooks:

Yeah. That was a dope time. Yeah. I would say, because that's when I started to become more aware of you as an artist. Yeah. Especially with metal art kitchen and stuff. And then, uh, 2016 was when I was first starting to do comic book stuff. 2017. I was strongly encouraged to, uh, go for a fellowship at the Denver Art Museum. Okay. Which I didn't get, but you got

Thomas Evans:

And, uh, oh yeah, it was, uh, the residency. Yeah, that's

R. Alan Brooks:

It was residency. Yeah. Yeah, yeah. Said fellowship, but residency. Yes. Yeah. And so, uh, but when I discovered it was you, I was like, yeah, that's good. Yeah.

Thomas Evans:

Cause I brought, I brought in cause I got on the short list. I didn't think I was good on the short list, but I, for the residency Yeah. I, cuz we had to audition the second round or like doing the interview mm-hmm. <affirmative> and during the interview I like set up like an entire sort of interactive space. Right. I brought in my, uh, pieces, but I had Panama Soweto. Yeah. Um, JC Petrell perform his poetry on one of the pieces. Mm-hmm. <affirmative>. And then I had um, um, Michael Walker, um, DJ Cave.

R. Alan Brooks:

Oh yeah. Or

Thomas Evans:

Motivation. Yeah. He has like 20 different names. He does. Yeah. <laugh>

R. Alan Brooks:

You done something with Felix too, right?

Thomas Evans:

Yeah. Yeah. But I had them do Okay. The audition, the interview. Okay. So they came with me to do the interview stuff. Nice. So I set up all the stuff and like we did the like live performances and it was like up the alley exactly what they wanted. Yeah. Wanted for that space. Um, but yeah. And then like bringing in Felix and bringing in quite a few people, uh, like uh, Carl Corral and a few others

R. Alan Brooks:

Sort come in, man we got so much over overlap with that stuff. Cause you know, me and Felix did an album around that time. Yeah. And then, uh, Carl did uh, soundtrack for the, uh, for Anguish Garden, one of my coaching novels and you know, like both Felix and Carl world-class musicians. Yeah. And so talented, you know. But yeah. So it was really cool seeing you in that space and honestly, if I would've gotten a residency, I know what I would've done. Cuz even when I was encouraged to, I was like, really? What would I do <laugh>? And they're like, you should do it. You know? Yeah. But, uh, I think it was, and obviously I ended up doing other work with the Denver Art Museum later. Yeah. You know, but it was really cool to see you in that space, in the way that you were at that time. You know, like I was like, okay, this brother's doing some cool stuff. Yeah. I

Thomas Evans:

Mean it was fun. It was like a good almost, I think it was like, uh, three months or a month,

R. Alan Brooks:

I

Thomas Evans:

Don't even remember. Oh yeah. I don't remember. It was a long time. Yeah. But it was like being in that space, creating an interactive, um, sort of room where people can come in and interact and actually touch paintings and touch sculptures.

R. Alan Brooks:

Yeah. So what was that? Did that, so, you know, like, uh, as an artist we all have these sort of like hallmarks, like things where we're like, oh, this is another level or mm-hmm. <affirmative> like, these people believe in what I'm doing. Yeah. Was that the experience for you? Like being in different

Thomas Evans:

Was in Yeah, it was, yeah. It was like a good experience because before that I was mostly doing, it's like there's a big difference like when you start out and you're like, you're doing the pop art Right. And it's like the stuff that you like and then everyone likes cuz pop art type of thing. So I was doing some of that. And then once I got into, uh, I get, I did a show called, they Still Live where it's like paired with, uh, a collector Paul Hamilton. Mm. Used his African artifacts, paired it with individuals in the community, do day testing and like we had an entire show just about discovery. Right. And that was like going outside of like my normal pop element stuff. Mm-hmm. <affirmative>, that show got me into redline in terms of the residency that they have. Yeah. So that was like a whole different sort of ball game.

And then that residency kind of got me into the Denver Art Museum. Nice. Because it's kinda like, yeah. Cuz I mean there's, there's like almost like, uh, different communities even in the art world Right. Where it's kinda like, now you're more thoughtful. Now this is sort of like the, the thoughtful type of art that we want in this space. Like this cuz has a conversation type of stuff. Yeah. So that was like a big thing. And then having the museum sort of acknowledge it, the interactive part of it was really cool. Dope. Yeah. And then like started doing like more residencies and then trying to get more thoughtful with the work that I do. Yeah. Rather than just like, try to do stuff that has like a monetary value type of thing. Nice. Um, so yeah, so I mean that was like a whole journey, uh, when it comes to learning about that.

R. Alan Brooks:

Well, so, uh, and I, and I know you did like we did, you did so much stuff we didn't even have time to touch on Yeah. Like the five point thing and, but, uh, where are you headed now as an artist? Like where, what do you see for

Thomas Evans:

The future? Yeah, so I mean, I do like my bread and butter is like murals and um, yeah. That's I guess mostly just murals right now. Yeah. And then some other stuff. But now it's like getting into more sculpture, 3D public art. Yeah. So trying to venture into that realm. Mm-hmm. <affirmative>, it's like trying to learn more about materials and how to make things last and indoors versus outdoors because the large scale public art when it comes to 3D work is a lot more, I guess, uh, permanent Right. When it comes to the art spaces because that big blue bear statue Right. That we have in Denver is gonna be there for a long time. Right. You know, that horse Lucifer right at the airport is gonna be there for a long time. Yeah. So it's not just like a mural that can change, you know. And so

R. Alan Brooks:

That's a good, uh, transition into you're doing this thing at

Thomas Evans:

The Denver Denver International Airport. Can you talk about that a little bit? Yeah. So I won the call for concourse be east for a sculpture piece. So right now I'm working on that, that's like a three year contract, so it just takes a long time for that stuff to come to fruition. I've been learning. Yeah. So that is like a concept where I'm collecting bags from people Okay. And documenting the stories and like where it came from and then collecting all the bags and luggage and items and putting it together to form like this infinity shaped symbol. Hmm. Um, that sort of shows when you're sort of far away and then when you get closer it's like a looping shape. Okay. Um, so it's, uh, like a wayfinding sort of thing, but it's like a really colorful piece that has colors that represents the sun, sunrise and sunset of Denver.

Mm-hmm. Or just Colorado in general. Um, but also it's like this looping shape kind of talks about the journey that we're all on. Yeah. And like the bags are the things that we sort of use to carry the things that we hold most valuable. Right. Um, and just like traveling and just like growing as people and then the bags, like I said, like they're going to be, uh, documented in terms of like where they came from and stories about it. So collecting all those stories and sort of putting it together in a website where people can look at Oh, that's cool. And check out and learn more about the sculpture, but also about each story Yeah. Of the bag. So like, one of the bags, uh, that I got was from Henry from Moog Craft Brewery, um, who is right beside my studio and he's from Denver, but moved to Milwaukee.

But when he was nine, his dad passed away. His mom took him outta school to, uh, travel the world for a little bit. Yeah. And that's, that bag has been in his attic for the longest time now. He's like, oh, I would love for you to have this bag and be part of the piece. Part of the piece. So now, like when people read about the, the sculpture, they're also able to read about Henry and his story. That's really cool about you losing his dad and sort of like grieving and stuff like that. But also, you know, every, not every bag, but like a lot of the bags will have those type of stories where people are like, this is what I went through. Another one was like, uh, Mike who adopted, he and his husband adopted, uh, uh, a child, I forget the country, but he gave me the bag that he used to travel to that country.

Oh, that's, yeah. And sort of, um, you know, get his kid to build a family. Yeah. So, so it's like getting all these bags that have different stories and then it's gonna be, uh, a piece in the airport where it's not just like a, a piece of metal that you are disconnected from or any like, um, inanimate object that you're just not, you're not connected to because you just don't know the backstory or there is no backstory. It's like, no, these bags have been all across the world. These bags are actually real bags from people in, in Colorado. That's, yeah. And I just got, uh, it's

R. Alan Brooks:

Perfect man. I mean, for the airport and everything. Yeah. And as you mentioned, it's gonna be there decades. Who knows?

Thomas Evans:

Yeah. Yeah, exactly. So like, learning about that, like trying to get buy-in from people. So like I just got, uh, word from the nuggets that they're, you know, wanting to donate, uh, YOIC jersey to it. So like that was really cool. And then I got to the Broncos and working on the Rockies to donate as well. So getting all these different little items from everywhere around Colorado so people are able to still donate too. Um, but like even with that sculpture, it's like learning about how do I sort of build it where it's safe? How do I work with a fabricator who built the armature so all this stuff can hang on it, you know, what type of insurance do I need? Um, you know, the, the fire retardant coating I have to have on it so it doesn't burn if it does catch on fire. So it's like learning all that stuff is totally new, huh. Um, but it's like a new challenge Yeah. That I like and it's different than when everyone else is doing. It's

R. Alan Brooks:

So interesting,

Thomas Evans:

Man. Yeah. So it's kinda like, I Congratulations.

R. Alan Brooks:

That's

Thomas Evans:

What you do. Yeah. Thank you, man. So it's like I got away from sometimes, or a lot of the mural stuff because there's just like so many people in it now. Right. Um, so it's like harder and harder to have as much fun because it went from being, I guess like a, a gathering spot on the wall where you can just paint, turned it into, you know, I guess more monetary Yeah. Uh, sort of, uh, lens when it comes to public art and the murals. And I was like, I want to try to do something else.

R. Alan Brooks:

And Well, I mean, if there's anything from this story, like you sharing your stuff is that you always grow and expand as a creative. Yeah. Like, it's really dope to hear it all and to see it continue. Uh, it's about time for it to wrap up. So I'm gonna ask Yeah. Uh, two questions. Yeah. Uh, one of them is what's inspiring you these days? Creatively, you know, music, television, movies, whatever.

Thomas Evans:

I'd say like, new technology man. Yeah. Like the AI stuff got me interested, but like, more so just like learning engineering, learning the tech stuff was like, oh, when I got my first 3D printer, uh, and learned like how to do design work in a CAD program and like actually print it out and have it like in my hand. Yeah. I was like, oh, now I'm, now I'm dangerous. Now I can actually do a ton of stuff. So yeah, that was really inspiring. And like now it's kinda like I, if I have an idea or I need to sort of, uh, I, I need an item or I need something for my studio, it's like I'll figure out how to design it on this CAD program and 3D print it and, you know, in a couple hours I can have like a, a working prototype or even like a finished piece Nice. That I can use. So like that inspires me being able to actually just like, create my ideas from start to finish and I have to worry about, you know, buying something from Amazon or relying on anyone

R. Alan Brooks:

Else that's interest that's been happened to me with, with the comic stuff. Cuz you know, earlier on it was me writing and working with other artists who were drawing Yeah. But for the Denver Art Museum stuff and for, um, Denver Noir, which was an anthology book, like so many artists that flaked out on me Yeah. That I, I just drew those. Yeah. You know what I'm saying? And, and so now it's getting to like, I'm still working heavily with other artists Yeah. But, but I now I can do it from beginning to end. Yeah. And, um, that brings me a lot more sort of satisfaction and security.

Thomas Evans:

Yeah. I mean like even with like your work with comics and just like storytelling, like the story is like the biggest part of anything. Mm-hmm. You can have good visuals. Mm-hmm. You can have a lot of that, but it's like the story is what grabs people and keeps people interested. So like, if you don't have a good story, if like you, you just don't wanna bore people.

R. Alan Brooks:

That's the reason. Yeah.

Thomas Evans:

You don't want bore people. Cuz if I'm, if I go to a movie and I'm like, I'm sorry Michael Bay, but like, you know, <laugh>, his transformer movies, like, I can go there and like the graphics are great, but like, I almost felt fell asleep.

R. Alan Brooks:

Detour's out here saying names. No, no.

Thomas Evans:

Like

R. Alan Brooks:

The bay get took out. They run was Yeah. Howard Dean was,

Thomas Evans:

Yeah. It's like if you, if you have a story though that's really interesting, like people will always like get more into that. Like, I, for like, for example, I think I said earlier, like South Park, right? Yeah. Like South Park, very simple graphics mm-hmm. <affirmative> in terms of just like the aesthetics and like the, the the drawing. Yeah. It's like cuts out, cut out of like craft paper when they, I think they first started doing, um, the like a greeting card video mm-hmm. <affirmative>, but they cut it out and like didn't stop motion. Right. Um, but it's like very simple, but it's like the story behind it. Right. And you get in love with these characters and they bring, build personality, so like with you Mm. It's like, you don't really need, I guess the best artist is like, as long as the story is really good Mm. People will really buy into it. It's like you just can't bo people. And that's the same thing with art too. Yeah. It's like the aesthetics of a piece can be really great, but it's like if it's just there's no sort of substance

R. Alan Brooks:

To it or, or is the emotional engagement

Thomas Evans:

Yeah. You know, that's, that's like one, one of the things with like a art is like, there's really like, it's empty in a way. You gotta have something behind it. Yeah. And that's always like the key for anything performance wise. Hmm. Comedians like, there's gotta be substance behind the joke, rooted in reality, rooted in something that's like people can connect with and it can't just be a haha joke. Right. Then you're just like,

R. Alan Brooks:

Yeah, it's interesting man. It's so like, yeah. Like you, you know, you and I, I have talked a couple times before, but I definitely didn't know all of this stuff that you've done this journey. Okay. So then the last thing is, uh, where can people follow you online? Where can they keep up with your stuff?

Thomas Evans:

Yeah, I mean, I guess I'm mostly active on Instagram. Yeah. At, uh, detour 3 0 3 and then my website is imd tour.com. But, but those two places are the most active. And then I'm also on Facebook, um, my fan page is IMD tour. Okay. But that's like four people over now, like Right. 40, right. <laugh>.

R. Alan Brooks:

Then you do, uh, the, the art Tip Tuesdays on ig, right?

Thomas Evans:

Yeah.

R. Alan Brooks:

Uh, and then that's every Tuesday you give the art tip

Thomas Evans:

Every Tuesday, art tips,

R. Alan Brooks:

And then you, uh, you, you did that book, uh

Thomas Evans:

Yep. Uh, be the Artist, artist, artist. Yeah. So I did that as well. So you can get that on my website. Um, purchase a book and then Yeah, you come to my Instagram every Tuesday you'll see a whole new art tips. So I've been doing that for the past almost six and a half, seven years straight. Nice. Never missed a Tuesday. Not even for holidays or anything. Wow. So like, there's one every, so that's how people can actually see Right. You know, what I was doing. Um,

R. Alan Brooks:

They can follow the growth.

Thomas Evans:

Yeah. Follow the growth. Because every Tuesday you see that thing, that graphic or something, it's like, oh, that's, that's a week in between. So that's a really cool sort of, um, thing that I've been doing consistently. All right.

R. Alan Brooks:

Thomas Detour Evans. Thanks for being with us, man. Thank you.

Thomas Evans:

Awesome. Thanks for having me. Right on. Yeah.

R. Alan Brooks:

Special thank you to today's guest, Thomas Detour Evans. Thank you. To the listeners, if you're not already, please be sure to subscribe to How Art is Born, wherever you get your podcast, from our episodes. And if you can leave a review, it really helps us out. Check out MCA Denver on YouTube and subscribe to the channel to watch the video version of this podcast and get behind the scenes clips from the today's episode. Visit MCA Denver's current exhibition Breakthrough celebrating Red Line at 15 on now until May 28th, 2023. Our Art Is Born, is produced and edited by Deley Johnson and executive produced by Courtney Law. Additional thanks to Rachel for their work on marketing support for this episode.