Today we’d like to introduce you to Sean McGuinness.
Hi Sean, so excited to have you with us today. What can you tell us about your story?
During the rise of the webcomic era, I learned digital photography and Photoshop. Through a growing collection of kaijū (怪獣 from Japanese “Strange Beast”) collectibles, I was one of the first artists to use toys as a medium in his webcomic Twisted Kaiju Theater. It would run for over 16 years. It would get me invited to I-Con 24 in New York as a guest, where I would meet my future wife. She encouraged me to move forward from his webcomic to become a full-fledged artist and became known along the Main Street community of Columbia, South Carolina. At the Columbia Museum of Art, I would have over 30 pieces on display. I would learn about art movements through art shows, self-education, and working within the art community. I have been invited to local schools to talk about art and to influence young minds on the importance of the arts. All my experiences, I will never forget that the 1954 Godzilla movie started as a protest film against nuclear arms. I drew influence from propaganda art and moved into becoming an artist-activist. I use my art to rally for social justice, which would get me targeted by the South Carolina Secessionist Party, an incident documented in The Free Times weekly city paper. My KAIJU PUNK philosophy is that while a good foundation in art education is important, a lack of it should not be a barrier to entering it. Most importantly, I teach that enthusiasm, honesty, and a good relationship with your community will carry you far. I continue my foot to the street conversion of one new fan at a time to teach the relevance and importance of the geek and street arts.
Alright, let’s dig a little deeper into the story – has it been an easy path overall, and if not, what challenges have you had to overcome?
Having to teach me the art of photography and digital manipulation has been a tough road. I made a lot of mistakes, but I learned from those experiences. Some don’t consider what I do to be art. Those people are entitled to their opinions, but they’re wrong. Over the decade-plus journey, I have slowly refined my rough edges and honed my craft. I could be more successful if I didn’t focus on Godzilla or toy art. But I’m more interested in continuing to answer the call of what I enjoy.
As you know, we’re big fans of you and your work. For our readers who might need to become more familiar, what can you tell them about what you do?
I take my collection of kaiju toys and insert them into various art movements. I don’t limit myself to one style. If I see something that catches my fancy, I go for it. Doing a weekly webcomic helps keep me engaged through rough times of depression or lack of activity. I’m most proud of being one of the first and most successful toy artists and for getting my work into galleries and museums. I enjoy transcending expectations by being extremely political, even if it turns off potential fans. I am not content with appealing to a wide audience. I’m more interested in speaking truth to power and confronting the disenfranchised.
In terms of your work and the industry, what are some changes you expect to see over the next five to ten years?
I don’t look that far ahead. I live in the moment of the movement. Technology is advancing, and AI art is a threat to our craft. It’s important to educate the public on what art is and its legality, and to stay engaged in social justice art.
Contact Info:
- Website: http://www.neomonsterisland.com
- Instagram: @neomonsterisle
- Facebook: facebook.com/neomonsterisland
- Twitter: @neomonsterisle
- Youtube: https://www.youtube.com/@NeoMonsterIsland/featured
