Travis Louie was born in Queens, New York, about a mile from the site of the 1964 World’s Fair. His early childhood was spent making drawings and watching “Atomic Age” Sci-Fi and Horror movies. There were many Saturday afternoon trips to the local comics shop and noon matinees at the RKO Keith’s cinema on Northern Blvd. Where he marveled at the 1950’s memorabilia: the rocket ships, the superheroes, the giant monsters, and old pulp art covers. He did thousands of sketches of genre characters like Godzilla, King Kong, and a host of creatures from Ray Harryhausen movies.
After high school, he went to Pratt Institute in Brooklyn, New York, and graduated with a degree from the communication design dept. with the intent on pursuing a freelance illustration career. The work wasn’t as rewarding as he had anticipated. After a few years freelancing, he created a body of paintings and began showing them in local art galleries. The response was very encouraging. He stopped actively pursuing illustration work and began taking on more private commissions and concentrating his efforts on gallery shows.
The visual style of his work is mostly influenced by the lighting and atmosphere of German Expressionist and Film Noir motion pictures from the Silent Era to the late 1950’s. Films from directors like F W Murnau, Fritz Lang, Orson Welles, Robert Siodmak, Robert Aldrich, Jacque Tourneur, and cinematographer, Greg Toland, had a great effect on the way he wanted his paintings to look.
To achieve the dramatic “mood” in his paintings, they are produced primarily in black and white or limited color. He uses acrylic paints over tight graphite drawings on smooth grounds, like “plate” finish illustration board or finely sanded, primed wood panels. When he is not painting, his time is spent writing in his notebooks and journals. Many little drawings and sketches are made from those writings, most of which are less than 10 centimeters square.
The influences for his work are many; the genre films, his fascination with human oddities, circus sideshows, old Vaudeville magic acts, Victorian portraits, and things otherworldly, are all blended together to enable him to bring life to the characters and stories he writes in his journals.