Reprinted with permission. By Jessica Carol. Portrait by Grady Clark.

During the late nineties, Kelley Lucas moved to Los Angeles to pursue his art career. It was during the Fall of 1998 that he began to meet and exhibit with many well-known artists for which Lucas held much respect. He was exhibiting nationally  with artists such as Robert Williams, Mark Ryden, Todd Schorr, Colin and Sas Christian, Van Arno, Glenn Barr  and Skot Olsen to name a few. As quickly as his career was rising he abruptly stopped.

Now Lucas resurfaces, with new work, a new attitude, a willingness to explain what's going on in his life, and what the hell happened.

• After a several year hiatus, you are creating new work. What was the inspiration to start up again?

It just felt like it was time to get back into it. It was probably long overdue, as it felt odd not to be creating art anymore. It was foreign for me to not be an artist because as I had always defined myself as one. An artist is what I am on a molecular level. Someone told me that since I wasn’t painting any longer, that I was just a guy who dressed funny. Just making a commitment to myself to begin again was very therapeutic.

• Why did you stop painting in the first place?

It was a series of things that led to my taking a six year break. I was burnt-out and tired of all the assholes who permeate the art scene. I’d had several friends die around that time. One very close friend committed suicide, and it really impacted me because I feel like I saw it coming and didn’t do anything to stop it. Also, I’d had problems getting paid from a couple of gallery owners compiled with some personal issues. After all that mess, I just said, “Fuck it.” So I took some time off to basically have a complete mental collapse.

• How are you doing now?

Well, I was eventually diagnosed with bipolar disorder type II and subsequently put on a pretty formidable cocktail of mood stabilizers. My brother passed away in 2007, which was very difficult for me. I'm still having a hard time with that. All in all, I'm doing OK.

• Do the prescription drugs affect your creativity?

No. The side effects of the meds are brutal though. They've pretty much zapped my short-term memory, and I can't focus on things mentally. The weird part is, lots  of colorful items together really get crazy to me. If I look at a bunch of items on a shelf at a drug store, the colors all blend together and start twirling and moving around. It takes me like ten minutes to find a bottle of Tylenol. Another bad side effect is that I sometimes slur and can't find words when I'm trying to speak. The meds are just slightly better than being crazy.

• Was it difficult for you to start creating again?

It was. I’d been keeping sketchbooks of ideas, so I did have concepts from which to work, but I’ve struggled a bit deciding how to approach the new work stylistically. I’ve moved away from straight painting and have settled into a new style that involves painting, collage and some non-traditional techniques such as utilizing computers  in a mixed-media format. I wanted my new pieces to show signs of being more mature than my earlier work but still being close enough to my older style to register with people who know my work. The current series are large originals that are digitally output onto archival media. I'm quite happy with the impact these pieces have when you see them in person. As with some of my previous works, I like to combine bold color mixed with minimal imagery, to create visual punch. The decision to allow myself the freedom to experiment and try anything that comes to mind was very liberating. I am allowing myself the freedom of no boundaries.

• Your new pieces seem to have a common thread of darkness that ties them to your previous work. Is this intentional?

It’s funny, but I don’t see them that way, although I do understand what you’re talking about. I think you’d be surprised to find that if you cut me open I’m filled with daisies, pink bunnies and cotton candy.

• Do you have plans to go back to painting on canvas again?

My new work involves a good amount of painting, some of it on canvas. So I haven't really stopped. I will go back to traditional painting eventually, but for now I'm really excited about my new work. I have lots of  solid ideas and am going to exhaust all of them before I go back to the brush full-time. Either that, or I'll change my mind and start painting on canvas next Tuesday. I'm funny that way.

• Was there a turning point or a major event earlier in your art career that was a landmark to you?

I’ve been lucky enough to meet and exhibit with many artists who were heroes of mine for a long time. But I’d have to say that seeing my work hanging in a museum really made me feel like I'd accomplished something. I’d go into the museum about four times a week just to look at my work hanging on that big, beautiful white wall. Once I anonymously mingled into a group of seniors who were being shown around by a docent. It was surreal standing in a group of folks as the docent explained my work to the group.

• What' does the future of your career look like for you?

Hard to say. I have been encouraged to get back into the art world by friends, fellow artists, and a couple of my old collectors. I've also been approached by a couple of galleries and am working out when I'll be ready to exhibit. I'm happy to feel again that indescribable sensation of having limitless  imagery swirling around in my head again. Things look good.