An Interview with Two Unicorns

An Interview with Two Unicorns

The article as it appears on page 9.
Author	Clarence D. Meriweather
Genre	Article
Published	EF Issue 2020.3
Pages	4
Website	Full Issue PDF, courtesy of caricature.org

Interview conducted via email by Clarence D. Meriweather with additional editing by Craig Israel

Article Transcript

The article as it appears on page 10.

The article as it appears on page 11.

The article as it appears on page 12.

In the caricature biz, it’s pretty rare to see female artists and rarer yet to see black female artists. If women are the unicorns of our industry, black women must be… what’s rarer than a unicorn? A double unicorn? As part of this special issue, I reached out to two of these double unicorns who are just killing it, Arie Monroe and Krystal Simmons.

How long have you been a caricature artist?
ARIE: I have been a caricature artist since 1997-8, so about 20 years.
KRYSTAL: Since summer 2005, so 15 years.

Where are you based and who do you work for?
ARIE: Currently, I live in Kansas City, Missouri and I work for myself under Drawlikecrazy Studios LLC. I also work as a contracted caricature artist for events, trade shows and parties.
KRYSTAL: Allentown, Pennsylvania. I don’t work for anyone per se, but I am listed as an independent contractor on About Faces Entertainment and Goofy Faces.

What got you into caricatures?
ARIE: I loved cartoons and worked at an amusement park when I was 16. I saw a guy drawing caricatures and every chance I got I would talk to him and look over his shoulder. The next summer I got a job at the same park, but I applied to be an artist because I wanted to improve my drawing.
KRYSTAL: I always liked to draw as a child, particularly people and cartoon characters. In the summer of 2004, I started working retail (not caricatures, just park gift shops) at Dorney Park. On my breaks I would pass the caricature stand to go to lunch, and I became totally fascinated. I would go on to apply as a caricature artist the following summer.

Are you a member of ISCA?
ARIE: Not currently. I have always wanted to be, but I was always having personal issues that made it hard to afford the fees and to attend the ISCA Show (ISCAcon).
KRYSTAL: No, I am not.

What can ISCA do to develop more women/women of color caricature artists?
ARIE: Man, I love meeting women of color that draw caricatures! I guess it would be cool if ISCA could bring us together more often or introduce us to each other. Maybe show us where to find each other. I don’t meet them very often and have come across very few that take it seriously as a way to make a living as an artist. For a long time, I thought I was the only one, to be honest. I even tried training a few ladies that I met. But they never stuck with it. I think a lot of women artists of color don’t recognize that they can be cartoonists for a living and be very happy doing what they enjoy.
KRYSTAL: I can honestly say over the course of traveling with my art for 15 years, I have only physically met one other caricaturist who was a woman of color—maaaybe two. I think because as a black woman in general, I’m honestly not used to being given any type of special treatment. I don’t typically expect people to take my efforts as an artist seriously and I’m usually just happy and grateful to be a part of the conversation at all. I was very surprised I was reached out to for this article, but to be honest, it was bittersweet. I’m sure more opportunities like this just to speak on our thoughts/share our art, would be helpful in exposing everyone to other female caricaturists of any color and aid in raising awareness for their individual needs in the industry.

Do you think there is a need for a collective for caricature artists of color?
ARIE: I would love to see that, but I don’t think it is absolutely necessary. Artists tend to be naturally very introverted and independent people, so to me it is more important to have an outlet that allows you to have artistic community overall rather than just being based on racial groups. But having access to a resource that tells possible clients about people of color is a good idea. I have met a lot of people that want to specifically hire women of color or people of color to show support to their business.
KRYSTAL: Do I think there is a NEED for it? No. What would our role be as a group? Do I think it would be really cool and couldn’t hurt? Certainly. I’m here for it. I think it would be very inspiring and provide a place to feel even more related to in areas where white caricaturists couldn’t necessarily relate. We all share a lot of the same stories as caricaturists regardless of color, but in any industry the black experience will be different. That honestly goes without saying, in my opinion. Maybe ISCA could use a diversity team of sorts to give more purpose to a random but equally talented and important group of black artists.

What are your long-term goals as a caricaturist?
ARIE: I want to continue to grow my business and work with great creators doing shows and events and maybe even online events. I just love getting to work with them and have a good time. It feels like we are all a part of a caricature family, helping each other to progress and learn new ways of doing things and breaking the starving artist stereotype that I think holds a lot of people back from being the best they can be. Alongside my caricature work I am also a comic artist. So, I want to be able to nurture my other passion and fund it with my caricature business and lifestyle.

KRYSTAL: I love doing events, I’ll do them until my hands don’t work. It would be awesome to acquire the necessary tools and knowledge to get into digital event services, for remote or live entertainment—that’s a great place where [ISCA could provide support].

How do you feel about the Black Lives Matter movement?
ARIE: As far as social climate in terms of Black Lives Matters and racism in this country, I would say things have not changed a great deal for me. Racism just seems to be a sad fact of life that you have no choice but to deal with. I have in the past had people look at me and say I don’t look like I can draw, simply because I am female and black. Then they get a rude awakening when they realize the guy sitting next to me is a beginner and I have 20 years of experience. I feel like all I can do is accept that this is the world I live in and appreciate those that support my work and want to have me as their artist.
KRYSTAL: I feel as though it’s wildly misunderstood. I understand that violence and rioting are heavily associated with the BLM movement—especially because of the media—which is scary. But it’s also scary being black. And the movement isn’t always violent if you pay enough attention. And it isn’t “political” to me. However, certain facets could be politically driven of course because certain politics do play a role in the unjust and violent acts committed against black people. It isn’t a “movement” to me. It’s a fact. It’s as simple to me as saying “breast cancer matters so let’s do something about that,” or “premature babies matter, let’s help them.” It is a cause about saving people’s lives who are at a disadvantage in this world. It doesn’t mean other people’s lives or causes don’t matter. Saying “breast cancer matters,” doesn’t mean “testicular cancer doesn’t matter.” Saying “I love pizza” doesn’t mean “I don’t like Chinese food.” Simple concept in my opinion. If you don’t understand it, it’s because you are unintelligent or ignorant. If it makes you uncomfortable, the movement isn’t the prob.

How has the present social climate affected you, your work or your creativity?
ARIE: The biggest way I have been affected has been COVID-19 closing down everything. One of the things I love the most is traveling throughout the spring, summer and fall to shows and events in other states and I miss it so much. I miss all my friends that I get to work with, and I miss the opportunities to see and do new things while I am on the road. The financial effects are also very real.
KRYSTAL: It’s an emotional rollercoaster. I feel as a collective, a lot of black artists are extremely inspired right now, but some days are very difficult. I have been more successful as an artist during the pandemic than I’ve ever been and I’m grateful for that. I know how to hustle in the digital world better than I do in the physical, so staying home hasn’t necessarily hurt me financially. Obviously gig opportunities haven’t been as abundant for me as they have in past seasons and I miss that for not only financial reasons, but because I really love doing events. I’ve probably booked four gigs in the past six months when I’m typically busy every weekend from May-September. What I will say is it is hard to be in creative mode all the time when you’re simultaneously anxious and worried about your black family members all the time. When you log onto social media to share your work and you see another black person being murdered, it’s very draining. I’ve been feeling a lot of guilt between what more I can do as a black person and as a black artist. It’s hard to stay focused and I lose track of time a lot by dissociating from stress. And that comes with its own problems.

Have you experienced any racism or bigotry while working?
ARIE: Yes, and also sexism. I have had male artists get upset or jealous because I had a line of people waiting to be drawn by me and they were not getting anyone to sit down. But I notice they don’t get mad if it is another guy for whatever reason. They just ask the guy to help them to get better so they can be able to have the same reaction to their work. Or they show the guy respect and look up to them. But for me they get mad or say something rude or mean or even refuse to talk to me, as if I did something to them. Often times I end up preferring to work with other female artists because we talk about girly stuff and just have fun and dance around. As far as racism, that often comes more from the customers than the coworkers. I have been outright ignored by customers and overlooked only to have the person walk over to the white guy or even Hispanic guy I am working with and ask them to get drawn. I say it is their loss. They just aren’t my customer.
KRYSTAL: I would honestly be here all day if I addressed everything. I’ve always been the “token black person” at the caricature stand. I can recall so many times customers approaching me when my white male peers were busy drawing and asking me if I was the cashier, even after me asking them if they’d like a caricature. I’ve had to say so many times, “I’m the artist. I draw too.” Hey, maybe it’s not a racism thing, but it’s certainly annoying and stands out the most for me. I’ve been expected to answer questions on behalf of all black people for other caricaturists a lot. Not like in this interview, but really ignorant questions that always start out with “Why do black people...?”. If you’re reading this, and you do that, stop doing that. I’ve been the butt of many stereotypical jokes that I brushed off for many years. My actual butt has been the butt of jokes—don’t get me started on sexual harassment in the art industry. I’ve found out that I was being paid less than the artists around me. Been accused of stealing when other artists around were not being accused of stealing. I always get nervous going to events because I wonder if they know they hired a black person and what their guests will be like towards me.

Which artists inspire you or do you follow on social media?
ARIE: I follow a lot of artists! There are so many people whose work I really admire and I feel proud to also be able to call them my friends. Sam Seller, Christian Meesey, Beeyjay Hawn, Candy Briones, Damion Dunn, Alex Casanova, Garret and Cece Holt, Tom Richmond, Javier Gonzalez....the list goes on and on. Such wonderful, inspiring people. I feel blessed to have worked with most of them and call some of them my best friends. All of them are hard workers and amazingly talented. KRYSTAL: Tim Reed was the man who hired me in 2005 and I will always look at him as a mentor, an amazing artist and friend. Amanda Hackert and Dennis Hart are very good friends and amazing artists. Who doesn’t like Tony Sobota? I’ve also had the pleasure of working alongside great artists like Nick Mitchell and Sean Gardner. There is a very talented and respectful black caricaturist named Reggie Ferguson in Atlanta whose work I enjoy and who I appreciate.

Do you have any words of encouragement for aspiring artists?
ARIE: Don’t give up on yourself, especially if you are just starting out. I remember being extremely self-conscious about my work for a very long time. I compared myself to a lot of others around me constantly. Then one day I decided I needed to accept the way I drew because a person’s style of drawing is ingrained like a fingerprint. No matter how one tries to mimic someone else, it always comes back to your underlying style no matter what you do, so just be yourself, work with what you’ve got and ask others who you love for tips and help so you can improve on your God-given talent in your own way. Then get out there and share it with folks and have fun making money! In the end, beauty truly is in the eye of the beholder. One person might hate how I draw while another person sheds tears of joy over it because it moved them so much. Be yourself, work hard and reach high. Only you can set your limits.
KRYSTAL: Consistency is key. Don’t compare your work to others, just aspire to always learn from the people you admire and to improve.

See Also

• Arie Monroe
• Krystal Simmons

External Links

• Join ISCA

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