My name is Isaac Palau. Check me out on the Botlet kV podcast.
Yo Boutlet cav podcast. Man special guests in here. My guy Isaac Paleo is in the building. Welcome, Welcome, Welcome, Thanks for having me. For people who don't know, this guy is an incredible artist, incredible painter. You've seen his works. If you are a fan of Griselda, would you say that your because you have like a signature style, it's like it is it realism with your own twist, because I don't I know that there's like, you know, words for certain styles of painting.
Well, the foundation of my work is definitely realism. It's a figurative, but in the last like I don't know, four or five years of it, introducing more street contemporary modern stuff towards you know, mixing it with the realism.
Like you'll have like a real like like some realism and then like the smiley face.
Yeah yeah, yeah, yeah, that's part of like you know, that's a spin of contemporary mixing with the classical realism that I do. I do a lot of Renaissance type of imagery or religious iconography, and I'll mix out with some street shit, you know, it's mixing it with maybe some spray paint, oil pastels, kind of introducing a new element to it, giving some layered depth and texture. That's that's been in recent years though, But the foundation of my work is definitely realism.
How long have you been a full time artist?
I would say since since the beginning of twenty twenty.
That's when you were like, all in, Yeah, there was there, you are you're making money before twenty twenty.
Though, yeah, for sure, but twenty twenty was like that was the pivoting moment. That's when things really cracked off.
Was that because because obviously for people who don't know you, uh, if you have seen any of these paintings that you've done, there's like the third eye and yeah, it's kind of like a signature Isaac thing, right, And we were just talking you just dropped the Tupac print. How long would you do that painting?
I did that painting January of twenty seventeen. That was the first piece that I did incorporating a third eye, and it kind of like started. I ended up doing a whole series based off of it because it became really copy and then so I did a whole show a whole body of work surrounding that didn't think it was going to take off as much as it did. But you know, when West picked up the concept, it really blew up Westside Gun.
For people who don't know, ye yeah, yeah, the Westside Gun saw that painting and then just contacted you. And you know, he's got this condo in Phoenix that's just like a little art museum. It's got so many of your pieces in it. Yeah. Man, I've been at Buffalo to the store and your stuff's in there.
Yeah, he's got a gang of my shift.
For how many paintings has he got off you?
Probably worth of thirty now, damn, yeah, he's probably he's got a lot. He's got a few sculptures, a couple of small pieces, a ton of prints for.
You, Like uh, you know, like I feel like when you when you do something like the Third I think you didn't know obviously that it was going to change change things for you.
No, not at all. It's funny because I get I talk about that situation quite a bit, and still to this day, I had no idea. I was just so The story the way it goes is, I was in college in Vegas and I dropped out to UNLV. Yeah, I was going to UNLV. I was technically studying art, but you know I lived right by UNLV. Their art programs are assa.
I lived off of a damn like right by the Blueberry Hill restaurant off of Trop Okay, I was on that was on Flamingo and it was over there somewhere shout outs of Vegas.
You're you're more like northern, You're like more northern, right north northeast.
I was not. I was like right behind you and LV. So I was like Flamingo, like right by Blueberryhill, that restaurant. It's like I was.
I was. I was living in south though, like like Moore Henderson. Okay, I lived on Eastern and Sunset Okay. It was right across the Straight from mccaren.
Yeah.
When it was mccaren, I think they call it something else. Now I think it's still mccaron no, because I try to look it up really and it's like some other name.
Yeah, you were going to school for art, which is a weird thing. I feel like when people say I go to school for.
Art, I'm like, really, I was majoring in fine art, but when I got there, I quickly realized that their art programs aren't really shit, you know, they got it.
Was like a hustle, yeah, not a purposeful hustle. But there's certain people when they say that they like this is their major. I'm like, I mean, do you want to be an artist? Because are they going to teach you how to be? Like like I might teach you like technique or like history or something, but like I feel like you either got the sauce or you don't.
Yeah, you know, I I wasn't even planning on going to school. I wanted to go to Pasady and Art Center. That's where most people aspire to go to when they want to learn, you know, more contemporary stuff kind of further and expand their horizons. But I went to please you know, my excess parents, my parents, and it was just I just sort of fell into it. I was like, all right, fuck it, I guess I'm going to go to school.
You know, I could my schoolt everybody up still kind of do what I want.
Got the little college experience. But you know, when I got to when I when I started going to school, I was already really proficient in drawing. My portraits in pencil were already pretty realistic. And I already had a sense of a backstory to my work. And you know, I had taken art history in high school, and I already I felt like I was already I had already built a solid foundation as as an you know, young art. Ye, I already had a style. I was already drawing pretty good.
I'd already been exhibiting my work. I mean, I started exhibiting my work when I was ten, So by the time I was eighteen, you were already great. Yeah, I mean I wouldn't say great. I just already had almost a ten year head start. So I felt like school was just kind of unnecessary. I already knew what I wanted. I already knew where I was for the most part headed. I just figured, you know, ifuck it, maybe i'll, I
don't know, maybe I'll learned the business side. I should have studied business management or maybe even you know, theater, because you know, I was doing acting too, so I probably would have benefited.
More from that.
But yeah, I was there for about two years. I dropped out, and when I dropped out, I started painting. I wasn't painting, yeah, because that's always you'll see people who are really get at drawing and then they end up getting into painting or tattooing. Yeah, and I'm always like, yo, that feels like such a far thing to be good at that.
And then like, cause it's different tools, Like.
Yeah, it's a different way of making art, that's for sure. But you know, my dad's a pretty well known artist too in the LA community, and his work is some of the real the most incredible pencil realism I've seen. Would I would argue he's one of the best pencil artists that I've ever seen. Yeah, So by the time I was eighteen, I was already drawing pretty close to that level where we would exhibit our work together side by side, and people would mistake my work for his work,
and I would kind of fall into the shadows. And so I already knew then that I wanted to veer off and do you know something different that made me stand out so that I had my own identity, And then painting seemed like the right fit. And luckily, you know, I did. Because it was the right fit. It was able to create big work, work that people responded to. People. It's so hard to sell pencil drawings. People respond more to paintings, the detection.
If someone's gonna spend money on something, Yeah, spend money on painting.
There aren't pencil drawings that, you know, are as coveted as paintings are. You know, if you look at the history of of the auction houses and all the pieces of art that has ever sold for the most amount of money, it's all paintings or sculptures. Drawings they fall short of it. You know. There's some drawings, I mean, if you're fucking da Vincian, you got like one.
If you're if you're that name and you're this is a da Vinci hand hand drawn thing. People are gonna spend money on that. Yeah, too many? You know, that's priceless. But yeah, pencil drawings aren't. They're really hard.
To sell in the in the in our world. So I knew, you know, painting was definitely my calling when I and I honestly it was pretty natural. I started painting, picked up a bunch of cheap tools from fucking Michaels I think, and just started painting my I painted it every day for a whole fucking year. Wow, And that was like my four year college experience on my own.
Right now, I painted every day with Bob Ross playing in the background, and that was like I had like it was like a you know, eight ten years practice smashed into one one year. So after one full year, I painted all every day of twenty sixteen, and then January twenty seventeen, I decided to paint the Poc portrait. I had always wanted to do a portrait of Tupac.
That's one of my idols growing up, one of my inspirations because I do music too, so as someone that was, you know, a lyricist enthusiast, That's someone that I've always admired, and I wanted to do a portrait of him that was different from everything else that I'd seen. My dad had, you know, had done a few portrait of Tupac that I felt were fucking beautiful. I was like, I wanted to do something that competed. And it didn't dawn on me right away to do a third eye. That just
happened midway. I was already halfway into painting it, and I was at the time I was going through it through a lot of shit with my parents, with my ex, I was struggling, dropped out of college. I was, you know, doing tattoos on the side to pay rent selling a couple of.
So you were doing tattoos too.
I've been doing tattoos since I was fifteen.
Oh shit, okay, yeah.
So, and I started doing that when I lived in Texas. I just picked that shit up randomly, So you know, I was doing that as a side hustle and selling drawings, doing commissions on the side, and working, you know, some part time jobs fucking asked doing like maintenance or hustling. That's work, fucking retail.
Yeah.
So dude, at one point, I had, like I got hired on it, like three different retail places at once. It was like fucking bed Bath and Beyond Cohle's and fucking guess work.
Did you work all three at the same time or did you just pick like a ship, which one do I go to?
Well, I did the training for each one, and I think.
I get paid off the training, right, Yeah.
I just collected like two three fucking weeks of pay and I just was like, all right, I'm out, Like they were all like what the fuck? Like, Yeah, so I did that before.
Yeah, call centers. I used to do that, call centers. I get the call center job and just do the training and.
Quick, yeah, it was just onto the next one. It was pretty easy for me to get hired. I would I would apply to like thirty fucking places at once get Pick, which you know, all backs, and then I worked at Guests and Steve Madden for a cool minute and then and then left that ship too. So yeah, you know, I was I was doing a bunch of side hustles just to pay rent and to support my my you know, and like my painting journey, because that shit ain't cheap. You know, can.
Imagine supplies, paint brushes, canvases are not canvases are what like twenty five bucks?
Oh no, dude, they go for yeah, I mean if you're buying small canvases. But my yeah, my large canvases are like two hundred bucks, especially when it's quality stuff.
And right, I.
Paint on wood panels, so it's a little more.
Because like you could probably get like a cheap canvas at Michael's and.
Yeah, but you could tell the difference. In art, it's important to use good ship. Like I'm always impressed by people trying to make good art with cheap equipment, you know, cheap brushes, cheap paint, that stuff matters, you know. I remember I was, I was using that stuff, and then when I started buying more expensive brushes, more expensive paint.
I really noticed the difference.
Oh dude, it's like the comparison I suppose is like microphone exactly, you know, using analog equipment versus like you know this, doallshit and then and then having like good like good good quality ship and then you you really can see it in the work. So yeah, for a year, you know, I painted every day, was using a bunch of cheap shit, started you know, immediately selling work. It was crazy because I had started selling paintings right away, like way quickly.
How much were they going for your first ones?
I want to say. The first painting that I had exhibited was a portrait of a skull with a sombrero, and I had shown it at one of my dad's events, a Day of the Dead events. Sold it for like five hundred bucks, and that was like the most I had ever sold a piece for in a gallery setting.
Because before you're doing the pencil stuff.
I was doing pencil stuff that was going for you know, two three hundred dollars and it was easy, it was it was easy to move those because they were so affordable. But then the paintings completely switched it up for me because you know, it was it was quickly seeing how they were going. And within art, you know, it's people always ask me like, how do you a praise a work?
How do you determine what work costs? I mean, I've been exhibiting my work since I was ten, so you know, I built my work up to what it is now at a very like early short priced stage. Yeah, where my work was going for you know, one hundred, two hundred, and every year it just goes up.
Well, it's also just like whatever someone's willing to pay, right that. Sometimes you see a piece of art.
And you're like, I mean, yeah, at the end of the day, art is really worth nothing, but to some people it's worth everything. So yeah, it's worth what anybody's willing to pay. But I'm talking about you know, in in the gallery setting on a secondary market. You know, someone buys your work and resells it.
So do people do that a lot with your stuff? They'll buy and flip.
Yeah, mostly with the prince, not not so with your Well you.
Know what, I see that too, because those Griselda fans, they love buying and flipping ship Man.
The Prey for Paris Joint that I did. You know that print went for one hundred bucks and it's sunny eBay for like three grandjeesu.
So you know, it's how many prints did you do? Well?
Whenever I do ship with Wes, it's you know, it's really up to him. I mean, well, it's it's really his choice. I have very say, like very little say in what he does. You know, at the first you ship that we did together, it was it was an addition of one hundred and then he quickly started doing editions of one eighty seven makes sense on brand, so you know, and I think it only recently he started doing like two hundred and fifty, you know with the with the Virgil stuff and the roll out with and
then you pray for me. But yeah, I mean that that that piece was extremely popular and you know it's going for you know, I mean so much more than what it actually.
I wondered like when you and like because obviously Westside Guns got so much to do with like giving you exposure. Yeah, do you like charge him if he wants a piece? Yeah?
For Thomas bro pays.
Okay, Okay, you know, I don't know.
Yeah, big broke. He pays.
You know.
I think my relationship with Wes Is is a unique one. And I think after the first year, you know, we we did stuff to other. I think it quickly became more family base than anything. It became tighter than I had expected. And you know, whenever we do shit, it's I don't we don't even talk numbers, you know. He He'll text me, you know, and I ney this by yesterday. I'm like, all right, I'm on it, and the numbers will be you know, we'll figure out the numbers later.
With everybody, with anybody else's it's different, you know what I'm saying, because obviously Wes's you know, my doctor Gray. I mean, like that's my you know, he put me on for sure. And I'll always keep that relationship like that because I feel like I owe it to him to just you know, I mean, whatever he needs, he knows I'm there. So but yeah, I mean, it's crazy how that that relationship even you know, came about. Like I said, after that first year of painting, I did
that portrait of Park third, I think cracked off. And then some of my homeboys who grew up with Diddy's kids hit me up and they're like, yo, you should do a portrait of Biggie and we'll move it to Puff. So I did a portrait of big I was at the time, I was living in Vegas. I fucking drove four hours just to drop that shit off in Homby Hills at Diddy's crib. So that was, you know, a stamp of approval.
So Diddy bought the Biggie painting.
It's a little trickier than that, you know, I'm saying. I actually never even met Diddy. A lot of people think it was like that.
Is it hung up at his house somewhere?
Yeah, No, for sure, it's it's it's hung in his studio in Hombie Hills. What the crazy shit is that? You know? I never met Diddy, but he has posted that fucking painting so many times. I mean that that painting is hung in the recording studio in his house. A lot of people have recorded in there.
So many people in the background.
So many people have posted my painting on Instagram. I remember Joey Badass was like raving about it. You know, this one was kind of this kind of sentimental. But when Nipsey was working on Victory Lap. There's a picture he posted with him and Puffs side by side and you see my Biggie portrait in the background, and I was like, damn. I was like, I felt like my
spirit was there a little bit during that process. And I never got to meet dude, and I would have loved to because you know that was one of my Well.
That's going to be one of your paintings. Eventually you got to do the nip one man.
Oh well, I did a Nipsey portrait a while back for the Real Street Fest.
Oh I was posting that, Yeah, I was.
I it was it was like I had a friend who knew the people over at A was it fifteen hundred sound? Is that what it is or fifteen hundred sound Academy?
Oh yeah, fifteen dred nothing guys.
Yeah yeah, and it's like George Pine. Yeah yeah. So they had a thing going on with like Fender, and I had did a portrait nip to put on display at their booth. So I had that. That was the only portrait I did of them. But you know, I'm not really big into doing like dead celebrities. I really only do that shit if it's if it at the opportunity makes sense if someone's commissioning it, I won't just I did that already. I did that so much early on that I realized I didn't want to base my
identity off of painting dead celebrities. It's not I'm not.
You've got you've done like shit, Josh Allen.
Yeah, you know that's that's on West. You know, that's like Wes's curation and what he wants. But I won't do that consciously. I've only done it a couple of times, and and if I do it, that's because it really means a lot to me to do it. You know, I wanted to build my career off of my own ship. I wanted to build my my art career off of an original style of work versus being you know that dude just paints. It's so easy because it happens a lot of celebrities. Do you see that shit all the time.
I'm not. I think a lot of people misconstrued me with other artists, like I'm not an IG artist, So if IG disappeared, I'm still going to be Like you know, it's.
Kind of like modeling, right, It's like you could be an Instagram model, but could you like do print work?
Yeah?
No, do you have an agent exactly? You know what I'm saying, It's different.
There's a lot of motherfuckers that don't exist in that world, but they exist on the social media platform. So if that shit disappears, it's like a lot of these TikTokers. You know, a lot of these TikTok motherfuckers had to find a path because when TikTok started to fall off, you know, they had to do something. So either they got into music, they got it to acting definitely started doing a bunch of that.
I was gonna say, have you had anybody who just straight stolen your style?
I mean all the time? Yeah, that shit happens weekly, you know what I mean, people tag me and shit that people will do this like third Eye ship or smiley faced shit. You know. I remember Fashion Nova had dropped the whole line and they dropped some third ie smiley shit, and I tried to hit them up. I was actually gonna go over one of their billboards they had down in Hollywood. I was gonna fucking blast that shit. But I got a fear of heights, so I'm not
doing that shit. That shit was way too high I actually went there like twice. It's on the second time, I was like, all right, I'm gonna go up there. But I was like the billboard was right above like a fence that had the fucking like the spikes and shit. Yeah, like if I fall backwards, yeah, I'm like, I'm not risking this ship destination. Yeah, I'd rather hit like one of the Homeboys to go hit this show.
They steal so much, Yeah, They'm sheene like all those companies, dude. They steal so much from like small like small artists, small creators, like small clothing lines. Even they'll steal a fucking clothing line design.
There's no way they didn't see my ship, dude. It was a third eye smiley face and where else are you going to see that shit with like with like like drippy like exactly my Red Trips. Yeah, everything was crazy. You know. It was like everybody was tagging me in it. I was like, these motherfuckers, you know what I'm saying, like like it's cool. I've had a lot of people, you know, try to bite this ship and maybe maybe you know, it's possible that motherfuckers just got the same idea.
It's possible that they you know.
You know what it is too, is your work so popular people will see it and not even care to see, like, oh what is this? What is this from? They just see it and then they're like, oh, we're just gonna replicate this, yea without they of.
You motherfuckers will get inspired and they'll run and through their own ship. I mean, I would have loved to even just you know, had the conversation of doing a legit collapse. It was like, bro, we can make so much more by just doing this legitimately, you know what I mean. But yeah, people bite the shit all the time. And it's funny when I when when Wes hit me up, you know, he he immediately responded to the third eye shit that was what he liked, and he goes, dude's
the craziest shit. Because I had read I had discovered who Wes and Conway was in an article about them shot signing the Shady And at the time, you know, I was following a lot of hip hop pages, you know, kind of trying to stay up to date with what was going on, because I started putting a lot of music out in like twenty eighteen, and you know, writing a lot, and so I was trying to stay up to date and I saw that article and I looked into their musics, like, damn, these motherfuckers are dope. I
had no idea who they were. I was like, this dude's obviously like I probably had the same impression as everybody else right away. It spoke Wu tang, but I was like, I thought these dudes were like some old heads that I just never heard of, right, And then fast forward that was like in June, June or July twenty seventeen. Fast forward to September. I get a DM from West because Hip Hop DX posted my Tupac painting. So he was like, yo, dude, He's like, I fuck
with your shit. He was like, you know, I just bought a new crib. I want to acquire some work. He asked what I had, you know, nothing really spoke to him at the time, and he was like, let me think about it. And then he hits me back up like a month or two later, He's like, I'm about to drop an album at the top of twenty eighteen, and I want you to do the cover. And I was like, all right, I bet like we could do that.
And it was the first time I had ever been, you know, offered to do like an album cover, like something legit h and I was like, what do you have in mind? And he goes, I want to do a portrait of Crisp ban Wan with the Third Eye. And I was like, oh shit, it's like, all right, we can run that. So and I was already building a body of work for a show that year. So when I did that cover and it came out, it just elevated everything, the whole body of work that I
was doing. Yeah, Hype Beat picked it up and they were talking about it. That was it was a crazy co sign And but nobody really at the time. I wasn't like I didn't have that big of an IG following. I actually I didn't have IG five. I probably had like ten thousand followers, so very few. Right, So when they saw my Third Eye series, a lot of people thought I was biting Wes. They just thought that I was there.
I realized that you're yeah.
Like I would get a lot of people in my comments being like, damn, this shit looks like west Side Gunship or this motherfucker's And I'm like, and I just like, at the beginning, I would I have to like explain to people, and then I just started now and when it happened, it still happens. When it happens, I'm just like, man, shit's funny because I'm like, these motherfuckers were stupid. They just don't know. But that but that's why it's like, you know, my ig is fucking like from top to bottom,
it's just build with West side of ship. So like, how do you not know? You know, like it's been six years now, like how do you how are you not caught up? But yeah, it's funny. So you know, a lot of people because West put that ship out, a lot of people started copying the smile, especially the smiley face thing. You know, I'll see a lot of people doing portraits of West with like a third eye,
with like smiley faces and shit in the background. And it wasn't like a conscious thing like I'm gonna paint third eyes and smiley faces and that's what's gonna that's what's gonna hit. It just it just happened, you know, and people responded to it really well.
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Joke piece. Like if somebody hit you, you don't have to give us your business, but like, like, what's the conversation start at if they want to commission a piece with you? Well, I mean yeah, I just say some dude off the street who just wants you to paint.
Yeah, I mean I'll put you on game. I mean, you know, I get hit up.
The art game is just so interesting to me because you hear like there's these apps. You can buy pieces of art, you can buy shares of art, there's the gallery game. There's so many like it's just like it's kind of like the music game. There's just so many different Yeah.
I think during twenty twenty, though, I kind of things change. I'm telling you, like a lot of shit changed for me in twenty twenty. There was a lot of things that happened that elevated everything that I was doing, and I kind of beat the gallery system, especially the galleries that I was working with at the time. Up until
you know, then, I had never had representation. I had exhibited my work in tons of galleries, in some museums, but you know, I kind of, you know, I kind of skipped a lot of steps during that time because when Pray for Paris came out I had a lot of attention having done the alternate cover that Virgil did, so a lot of people, you know, had their eyes on me, and I sold a lot of work by myself. You know, I never had an art dealer, never had
an advisor or any type of manager representative. So, you know, my my process was very like like it became on like on some trapping shit.
You know.
That's how like a lot of the shit, That's what it felt like like. I felt like the last four or five years I've been trapping my shit, just straight straight up, like there's no the formula is so simple, Like I don't even know how to explain it to people in simpler terms. You know, people think that there's some sort of crazy formula and I'm like, nah, dude, it just sort of happened where it was pretty it's organic.
You know.
We hit me when Wes hit me up. It was as simple as yo, dude, I want to work with you. And I was a fan of him. I was like, yeah, let's do it. You know. There was no contract, there was no business meeting. It was like what you do, what do you want to run? You know, it sent me some some images. I was like, all right, let's run this one. We did it and gave them a price and that was it. And then and that's just it's super straightforward, you know. Like so I don't do
projects for just anybody. Not anybody could just hit not no. Like in the beginning, maybe, but I quickly started to realize that, you know, I had the opportunity to say no to a lot of shit, you know, in the beginning, because.
What is like if you say yes to something, what is the time that it takes to put one of your paintings together.
It just depends on the project. It depends on you know, what I got going on at the time. If I'm already working on a bunch of shit.
I'm saying like in terms of just like hours man hours. Yeah, actual painting.
I mean, you know, it depends on how big the pieces, how much detail there is. I mean I can bust out of painting pretty quickly if I really put everything as well fat Joe is it's a five by five painting, five feet by five feet. I think I did that shit in like like thirty days, like a month's time, but I was taking breaks. There was stuff that was happening in between. But you know, it's like when West hits me up and he's like, yo, I need this
ship by yesterday. I'm like on a three day timeline, Like I gotta go tweak out and just finish, dude, straight twelve hour days, just back to back, non stop. Yeah, Like when I did when I did the Jordan and Virgil portrait, I did those both in like three days, like collectively. Yeah, Like Virgil took me like one day and then Jordan took me two days. But that's that's because I had to I don't think it really matters how fast or long it takes for someone to create something.
I could work very quickly just because I know. Look, once I start, I'm locked in. It's like it's like a rapper. It's like, you know, when they jump into a studio, it's like they already got the material laid out. Just give him a fucking beat, and once they're in there in you know what I mean, it's not like you know, and then you got some of these artists who take, you know, a year or two years to make a project because they're they're like taking their time,
they're reminiscing on it. With me, I could just jump into it. I'm already especially when West hits me up, because when West hits me up, it's like it's synergy, like that energy. Just I get locked into it, and then I'm already. I'm already on. I'm already on it. You know, there's no there's nothing that's gonna slow me down when I'm working on his projects. But yeah, I don't, you know, I don't take on just any projects. I quickly started to say no to a lot of shit.
You know, I keep the I keep the the the group of people that collect my ship is very tight. You know, there is a wait list. You know, there is a process, a sort of an evaluation process to get my ship. Now you know what I mean.
I mean, that's a good place to be in.
Yeah it is, but you know it all and I get it, you know, I know everybody wants it. But that's why I started. You know, doing the prints allows people to acquire of my work on a scale that's you know, it's like, now everybody's going to afford a thirty forty thousand dollars painting, but you know, the prince. It allows the work to be accessible for everybody. And that's that was you know, important for me to establish because I want everybody to have my shit. Yeah, you
know what I mean. But the the the original shit, it's like that's you know, that's reserved for you got to come. It's like you got to come.
Correct.
And I get a lot of people that'll that will hit me up and they'll they'll assume that the work is I mean, I really don't care what the price of shit goes for. But you know, it took me a long time to get to where I'm at, and you know, it's hard to explain that to everybody, and then when people hit me up and they're like, oh, what's your we're going for and I'll give them a number and they're like, damn, that shit's crazy, Like I thought, you know, I got to wait a while. And I'm like, well,
you know you it's cool that you didn't know. It's fine, but I'm like, you know, what do you expect? Like you're hitting me up because you see that West fucks with me, PS fucks with me. I'm doing shit for fucking Benny. I'm doing this shit for all these people and doing collabs with SO and so. I'm like, come on, what do you expect? Like, don't you know what I mean?
That's why I got certain things pinned on my page, so motherfuckers know, like, you're not going to go to so and so, you know, super established and just.
Yeah, you're not gonna go to like ask Timbaland for a beating and be surprised when he tries to hit chips out of head.
Yeah, And I'm like I wouldn't even you know, so, but it takes people to ask so they know, so you know what I mean. But that's why I'm like, you know that I don't know people. I guess they don't really do their research. I mean, you could find the price of shit. Unlike Artsy. You know, my ship's there. You know what's Artsy is that kind of like Artsy is a marketplace for to sell art, you know, I gotta I got a bunch of artists there through some of my dealers that sell my stuff. So you know,
there's prices there. I mean, and you know, it's the ship that I do with Wes. It's not it's not a mystery, you know what I mean. I mean, the prices are there. He talks about it, you know. But at the end of the day, I really don't think the price of shit matters. That's just what it is. But you know, I think it's what matters. More is like the projects that i'm you know, and I try to keep it very curated. Again, I'm not gonna just
do anything. I've had people come at me with, you know, a bag and they're like, yo, I want you to do an album cover. I'm like, I don't even know your music like that. I don't even fuck with you know, with I don't know anything about you. So I'm like, I'm not going to just do it because you're waving a bag in my face, like I don't need the money like that. You know, I'm more, I'm more.
What makes sense.
Yeah, I'm concerned about what exactly like does it does it align with what I'm doing? And you know, because some people will hit me up and they'll be like, oh, we want you to do some like Alec Monopoly type ship. I'm like, well, then go get a fucking Alec.
And that ship. I mean, shut out to that guy who's obviously really successful, but that that ship is so like what is that like? Yeah, I mean to me, like, you know, that ship is very like if you go to a scammer's house, you might see some fake Alec monopoly ship.
Yeah, for sure. You know it's like you're not gonna go different.
It's just different.
Yeah, you're not gonna fucking you know, no one's gonna ask Timbaland to make them a fucking you know, murder beats type saying different like for some ship. So yeah, you know I get a lot of that too, something like yeah, I get that all the time, or they'll I'll get a lot of like you know, if sometimes I will humor the situation you know, I'll always hear people out and see what they want, just because I just I don't know, I like, I just that's just
me personally. I always hear people out. And sometimes, you know, if the opportunity is something that pieced my interest or I believe in it, then you know, I'll consider it. But a lot of times I'll get some goofy ass like you know, idea that people want to do, and I'm like, yeah, I'm not doing that, like I'm not doing that ship, or like people will want me to do some shit like like I'm not going to say no names, but because I don't want to sound like
I'm hating or clowning. But I had a home homeboy hit me up to do a project and I'm a fan, and he was like, I want to do it. I want to just for his house, you know, I want to commission a piece. And he had this crazy ass like idea about doing a portrait of him on like some like Viking battle shit. I was like, dude, I don't paint shit like that, Like you know what I'm saying, You're like asking me to paint like Frank Frizzetta. I don't paint like that. Motherfucker. Like I'm you see my work,
you know what I'm saying. So, like, if you got something that falls into what I do, then you know, then I can do it. But you're asking me to paint some like fantasy mystery shit that I don't like even I'm not even on Yeah. So, and I think people who are aren't that learned about art and how artists, you know, operate, they just assume, oh, this dude can paint, he can paint anything. And it's like, I'm not gonna just.
Don't want to. You also don't want to paint anything exactly.
It's like asking fucking Tarantino to do like a love film or some shit.
To do like a rom com.
You feel me like, it's like you're not gonna ask it. Like, nah, he's gonna make what he makes, and because he's mastered that, you know.
So, what's been your favorite painting so far? Because you have so many dope ones that Mike Tyson when recently was hard. Obviously, Elizabeth Taylor one's probably my favorite. I got that on a hoodie. That shit's clean.
Yeah, you know, I think it's really hard to I have a a deep relationship with all the work that I've ever created. I think, you know, Tupac has a special place in my heart because of what it's done for me. I think the my Mona Lisa Master copy that I did, you know, was a big pivoting moment for me because I grew up studying Italian Renaissance. I grew up studying the Baroque period, Neoclassicism and all that shit. So Da Vinci was someone that I that's like my
all time favorite, That's like my Jesus Christ. You know, I prayed Da Vinci when I painted. So when I did that Mona Lisa Master copy, that was like a challenge for me to see if can I really push myself to paint? Am I just you know? Am I lying of myself? Right? Is this something that I can actually do? When I got there, I was like, I guess I can paint, you know, pretty good fucking good. So it was like, you know, it's for me. So then I started retracting my steps and getting more loose
with it. It was kind of like a Picasso thing. I'm not saying on Picasso, but you know, by the time Pacasto was fourteen, he was able to paint like Rembrandt, and then it took him a lifetime to fucking you know, find that style and it wasn't up until he developed cubism to what it is now. That took you know,
gave him his voice. And I think that, you know, learning the foundation of portraiture and figurative art and realism gave me the leisure to be able to go in the direction that I've gone and get so loose with my my breaststroke. You know, a lot of people, a lot of my aspiring artists homies, will ask me, you know, how do how did I find that you know, that stroke where I was able to get so loose and make it work Because a lot of people think that, you know, just because you can paint or draw real
that's that's what's going to make you successful. It's not the case. It's like rappers thinking just because they could rap fucking fast that they're going to be.
Or even like just because you're like super lyrical, if you if you are not, if you have like no flow or you're hard to hear it.
Feel me, dude. I know there's some fucking rappers that can spit better than ninety percent.
No, but the music's not palatable. Like you might be able to put some cool words together, but like that doesn't make you good at rapping, right, it's good at writing.
There's flavor, you know what I'm saying. You know, there's their soul to it. You can't for sure. I tell people all the time, like I'm not going to go around claiming that I'm an artist and I'm prolific and I'm making work that's going to be revered in five hundred years. I don't know. Maybe not, But what I do know is that art you can't teach that shit. You either got it or you don't, but you have to put in the hours to discover it, you know what I mean, You have to find it. I think
a lot of people can make art. I think they just have to live enough life in order to achieve that ability, you know. And again, I've been doing this since I was a kid, so I've had a lot of hours sharpening my blade, but I've also lived a lot of life in between them that gave me the experience and storytelling to talk about. Art is storytelling. So if you don't have enough experience, you're not gonna have
good stories to tell. You're not going to, you know, just because you can fucking draw or paint so good, and what are you gonna paint about? You know, you're just gonna be another one of these I G artists who are doing portraits of celebrities or shit that you know is is going to sell. That's like a commercial artist. I wouldn't consider myself a commercial artist because I paint what I want to paint, whether I think it's going
to sell or not. There is a narrative to my work, and fortunately, you know, if I've built a following that understands the story and they pay attention to the stories that I'm telling in the narrative, so they read into that and stylistically they like the work. Yeah, but yeah, I think I think, man, it's so hard. The first pay for Paris painting that I did really fucking holds a special place in my heart. You know, that really
changed everything. That smiley faced shit, like that's what really set my whole shit off.
I think I have that. I have that on a T shirt too.
Yeah, that's that's a sh that set everything off. Dude's it's like this in twenty twenty, when that shit came out, I sold maybe like I don't know, close to one hundred original paintings that year. I bought my house off of that year, and then the following year just developed even more. And you know again, I probably sold anywhere between two three hundred works every year since then. That's
a lot of fucking works. That's a lot of work that doesn't even include print sales, merch sales, commissions, or hand embellished you know prints, hand embellished prints are you know those are I don't know if you're familiar with, what you have is a hand inmbellished prit so that you know, holds a little more value than just the
you know, the large edition print. If I'm doing an addition of one hundred, I might do ten hand embellish joints and you know, touch it with pastel or spray paint, and those are super limited because I'll only do no more than ten, so that, you know, including those prints originals like yeah, the Hustle And since twenty twenty, twenty one, twenty two, and this year has been fucking monstrous.
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supply for free. Go to bluetoo dot com. Use the promo code bootleg right now. Thank me later. Let's get back to the interview. If can you share with us the most you've ever gotten for painting.
Well, the last supper joint, the one hundred thousand dollars painting.
That one was great.
That was from my show last year, you know, And but I had you know that bought that. That's why that's West Is paint. But I had spoken to West like six months prior to doing that work, and we already had the agreement that it was hit.
Where does he have it at? Well?
I shipped it out to Atlanta, but I think I think he I think he got a new place, and I think he pushed all the art out of Atlanta and took put it somewhere else. So I'm not really sure how big was it last I last I heard it it was at like Urban Necessities, so oh, Vegas. Yeah, I think they probably had it there on view some shit.
I don't know how big was that painting?
Fourteen feet fourteen feet wide? It's seven is seven feet by fourteen feet so the dements the original so big? Yeah, the original mural is fourteen by thirty like the original last original last supper mural is fourteen by thirty. And I wanted mine. Mine needed to be proportionate, so I just cut it in half and did seven by fourteen or seven. Technical should have been seventeen seven by fifteen, but the you know, I had to cut it down a little bit. Yeah, I had to fit in my fucking studio.
That's massive, dude. How long did that take you?
Four days? Four days? That was the last. So you saw the show that I did last year, the show called the New Renaissance, So I had.
Wait, it only took you four days to do that?
Well, it was the last piece that I was working on for the show I had painted. I had did seventy pieces for that for that exhibit, and that was the last one that I was working on, and I wanted it to be the last one because I needed to have all my focus on it. Yeah, I was working on five paintings at once, just you know, while one's drying, I'm working on the next one. And I didn't want to do that with that one. That one had to be painted at a certain pace. And yeah,
it was the same situation. It was like twelve hour days, NonStop, boom boom boom, just smash it out.
What is like for you? Like, I feel like there's so many talented artists, but there's you know, I've seen like so many people who I know who paint who are dope, but like, for whatever reason, you know, they can't pop, you know, or create the demand for their work for you, is there any advice? You know, you obviously were put in a position where you had a
light shine bright on you. But for somebody who's a struggling artist who's very talented, what would be the advice you would give them in terms of like how to kind of like try to their best to make a living off of their passion. You know.
Yeah, I mean it's tough. You know. I feel like a lot of it has to do with being at the right place at the right time. Yeah, because there's a lot of talented artists that I know, people that I've known for years and they're still you know, in a trying to pop off. Yeah, and I think I think a lot of you know, this is what I know for sure being a fine artist and having a career. Half the battle is making good art and the other battle is being a good networker. And like in every business,
it's not what you know, it's who you know. And like the gallery game comes in, well, it's just you know, what relationships do you have? Because as an artist, you know, there's a lot of people who do make art and a lot of people that you see on social media they have no idea how the real art world operates. They don't know nothing about the galleries, the art dealers.
Because like, will you have like an art dealer shop your pieces.
I mean recently I started working with multiple dealers. I've always had people that try to.
You know what they what do they do though, Like are they like they have a client.
They have a client this is yeah, exactly, they have a client tele list that you know, maybe they have clients overseas and those clients have built a relationship with them. And an art dealer or advisor's job is to advise collectors what they should own. You know what I'm saying. It's very it's very cure.
They're almost like selling it to them, like, hey, this is you need this, Yes, it's a good investment.
There's a lot of people collect art as an investment. I don't care for collectors like that because I'm not trying to sell shit just for a bag, and I don't want to see someone reselling my shit ten years down the road. I want my work to be in collections that are going to get picked up by a fucking museum with the you know, collections that are going to be alongside people that I admire, or a collection is is really storytelling. It's like someone who collects shoes
or cars. You know, there's there's a reason to collect all that shit. You know what I'm saying, there's a passion.
As opposed to someone who just buys shoes to flip.
Them, you feel me, or someone who you look at a lot of people's art collecttion today, they're gonna have you know, fucking Cause with Murakami, and they're gonna have like a fucking you know, print by. I don't know some you know, some random you know, contemporary commercial artists. And I'm not I'm not downing those artists. I'm a big fan of Murakami and Cause and Shepherd, you know all these guys. But just a lot of people buy ship just because of the name that's behind it. They
know what the value is. What I'm saying, like you go to a motherfuckers like you'll go to like a thirty year old motherfucker's house and they got everything is just dripped and like Bape and Cause and Murror commed yeah, And I'm like, bro, you have no knowledge of, like you know, curating your ship, Like your ship looks like everybody's house looks like.
Sneakerh it looks like round two.
You know, like the fuck is this so sure? I think you know a person who's a collector because I collect art too. I collect other people's work, and I collect ship that you know, I I you know, obviously have a relationship with. I look into the story of what it means stylistically, how it you know, fits in with everything else that I have and the relationships that
I built with those particular artists. So in my opinion, I feel like, you know, as a collector, yeah, I want or as an artist, I want my work to go into collections that are well curated and they are going to last or even be talked about, you know. You know what I'm saying, Like, it's like, it's like Jay Leno's car collection. How many times do people talk about that shit? Sure, you know, but there's a lot of people that own thirty forty cars, but no one
gives a fuck. It's like, you got is different people, That's what I'm saying. It's different, it's well curated. So that's the same concept, and I feel like, you know, yeah, so you know, art dealers, though, their job is to you know, talk to their clientele and advise them, hey, this is this is a market to get into. This work fits in your collec I mean a lot of it is you know, it's going to be cookie cutter,
and a lot of it is smoking mirrors. But you know, you can make fun of that shit because you ever see those like parody videos, like motherfuckers, like in the art gallery and they're saying some dumb ass random shit about some art. You know, like, dude, motherfuckers don't really talk like they do talk like that. Sometimes. Yeah, it's funny, you know, and it's silly, but that's how it works.
So I have a few people who who deal my stuff on the side, and and I don't just let anybody, you know, it's people who have a solid client tell brace. It's people that are actively working. You know. I have a dealer who has clients all over the world, and she's she sells my work pretty often, you know, and she has clients that I can't reach. And I mean, for me, I've been fortunate enough to get hit by
a lot of people. Like the work that I've sold over the last few years is people just hitting me in the DM being like dude, I want to I want to acquire your work. And again, in the beginning, it was it was so brand new that I had to say yes, to say no, right. You know, once I got to say no, I would say it a lot, you know what I mean. So like when I did my show last year, you know, I had It's funny.
I had some homeboy walk in with some hot ass chick, you know, and he was like, I work with this gallery. I work with this gallery. How can I you know, get into your work, blah blah. I was like, all right, well, there's a weight list, so if you want to shoot me an email, we can you know, evaluate and if you get approved and we could talk about some work. And he was like noah, but you know, like I want to like pick up someone. I was like, now there's a weightless on me. I'm like, I'm not gonna
let you flex in front of your girl. I was like, there's a weightless. If you really want it, you'll hit me up. You won't just flex in front of your chick, because if I tell you the price, I doubt you're gonna buy. So I'm not gonna even humor it. But yeah, so it's you know, in the beginning, you know, I said yes a lot, and uh yeah. You know, the dealers are cool, you know, they get the work out there.
But again, I felt for me. It's I've been fortunate enough to do a lot of shit on my own and wear that hat where people could just hit me up and be like, you know, I want to I want to acquire something, and then and then we go about it.
For you how because you know you just did the j Worthy Kamaya album cover for you. How often are you getting hit to do album covers because you just said you said earlier that you said no, you know to somebody.
I mean, I get I get hit up by a lot of upcoming artists, artists that haven't like even popped off. I get that all the time. I mean I've gotten hit up by some pretty big people, you know. I I mean not to name drop, but you know, over the last year, I was talking to Meek Mill about doing a project with him, and you know, yeah, it would be game changing. So you know, ship like that is, you know, it comes around, you know, peasy hit me up on just some I'm trying to collect some art
ship crib exactly, you know what I mean. I mean, he's a fan of West like everybody else, so everybody wants to acquire When when Wes really paved like the groundwork and like put a lot of rap motherfuckers onto.
Especially the period.
Yeah, you know, because you have a lot of rappers that have been collecting art, you know, uh statues, Well yeah, you know, Swizz Beats has a real.
Funck no Swizz Oh, there's like those. There's a few, select few that really.
Jay Z's collection is not even comparable that he's got fucking boscots and ship, Like his ship is blue chip art I'm talking about. Like, yeah, I mean, Swizz Beats work is even you know, pretty close up there. But I mean jay Z's probably got the best collection in the rap game as far as rappers go, Oh for sure, you know him, Kanye Swizz is right up there, and then Wes Is Wes has got a lot of fucking art, a lot of it.
I like, how like he'll like, you know, uh, gravitate to like an independent small painter like yourself or or what's her name.
Mario Marielle, Yeah, mary Ella, Squat dead face Kip.
Yeah, you know, like if you just go to his like you know, when we went to the spot in Buffalo, it's just like it was like it was like it's it's literal gallony.
But you know, I think Wes. Wes has a keen eye for what he likes. I don't think he cares whether something. There's certain things that he doesn't really uh care about, like the name behind it. If it's dope and that ship's raw speak, he's gonna fuck with it. And I think that that's how he really operates, like
that when it comes to art and curating things. Obviously, when it's like when he's on his fashion drip, like he's going to be wearing like the Kreme de la Creme, you know, the best ship that man can buy, you know. But with art, he's got a vision and if it speaks to him, he's going to run with it. And that's been kind of his his genius because you know, look how many artists he's worked with. I mean, I'm not gonna sit here into my my horn, but obviously I think I don't even think I know. I mean,
I've done the most ship with him. Because it's it gets to this, it's a come to this point where whenever Wes is working on a project or anything, the fans expect him to do shit with me. Right, They're like waiting, like when and then you pray for me? Came out. There was a bunch of people in the comments like, yah, are we getting alternate art from Isaac? And you know, so it's like it's right because we've so much projects together that people can't separate my work
from his work. They want the two together, right, So it's really hard for them to hear the music without seeing some Palaia ships go along with it. They want the merch, they want the prints, they want the vinyls of the cassettes.
So now the merch goes crazy. I see that shit everywhere. I was gonna say, for you, let everybody know, just kind of because people are gonna watch this there when I want to know where they can buy because you said you have some stuff on artsys.
Yeah, I mean all my ship is going to be listed in my my Instagram, my bio, you know, my websites there. I'm always putting out prints and merch I have. You know, there's there's my origin. I have a lot of original work available on Artsy. There's a lot of stuff that's not even online. They got to sort of hit me up, and you know, sometimes I'll bring people over to my studio, kind of show them around, give them a tour. What's not even what I'm saying. You know,
I'm working on three exhibits right now. I'm working on an exhibit, a private exhibit for a members club in downtown LA for the this month. I'm working on another exhibit in Boston, and then I'm working on a solo show for next year in New York. Oh fire, that's the first time. I just brought that up, so in New York.
So you're already kind of do you like when you do that and you know you have three shows coming up? Are you going to like It's almost like when you create an album, do you know, like, Okay, this is for Boston.
Yes, I'm already curating it like that, Like I'm already I've wrote for for the last six months, I've been developing a new body of work, kind of pushing everything that I've been doing and trying to take you know, put it, take it to a new give it a new identity, push the envelope, and hopefully, you know, people respond to it.
Well.
I'll rotate, you know, like some of the shit that I had in my last show, I'll probably exhibit in Boston because there's people there who hadn't seen that stuff. So I'll introduce them to that work. And I just kind of wrote hate and curate things a certain way. The exhibit that I have at the Private Members Club, they'll be in next an opening next year in January. That's gonna be featuring work that's never been seen before. Obviously. For the solo show in New York, that's gonna be
brand new work that no one's ever seen before. I haven't even started on that work yet. And I actually have my dad featuring an exclusive exhibit work as well. Yeah. Yeah, he's gonna be exhibiting like maybe like five your dad's names, Antonio Antonio Pale. So it's gonna be dope. I'm excited to put that out there. I mean I just did, but officially, you know, roll out and start inviting it
in New York. It's gonna be June sixth, got time, Manhattan, six months, well seven months yea, yeah, but do congrats, Yeah, thank you, it's gonna be. It's gonna be lit. You know, it's gonna be presented by INC Magazine, so they're backing it fire. Yeah, man, here it is.
Man, Well, I appreciate you pulling up brother, thanks for having follow this guy. Go buy some prints. You just dropped the Tupac prints. Are there any available or they sold out?
That sold out?
Dono, Okay, there'd be some more prints of something.
Yeah, I got some ship. I got some an extension of that drop coming out I think next month. So you know, if they didn't get an opportunity, they didn't get an opportunity to uh cop that ship that you know, they can get an opportunity to cop some other shit.
Last question, I always am curious, how do you scan a painting to where you can do the print.
Well, there's scanners out there that you know, scan super high rest, but I don't have that ship. I don't have. That's you know, that shit costs. That costs a lot of money. But there's other ways to go about it. You know. Sometimes you can take a high rest photograph. I used to have a guy years ago. I used to have a guy that would photograph my my pencil drawings and color correct it, make it a super high rest tip file that was good for printing. And then
eventually I started taking photos of my own work. So everything that's shot at all the prints, that's just me taking a high rest photograph of it. And then cleaning it up like photoshop. Yeah, make it printable, that's yeah.
Even I always wondered that because I was like, yo, like when people do prints, like where these scanters at?
Yeah, well, you know, especially the large paintings, you know, like things that are super huge that that's taken with a super high rest camera where there's.
Got to be specific angles to its flat.
Yeah, you know, the lighting has got to be like in a black room, so there's no you know, light reflection and you see like color, you know. So it's there's ways to do it. That's probably the most efficient way when you're taking pictures of large works. I mean, I'm gonna keep it real. I take all my ship on my iPhone really yeah. Yeah, but you know I'm I took like six months in photoshop, so I cleaned my ship up really well. Color, No, I have the
I have the I think I have the thirteen. Yeah, so I got to update my ship, you know what I'm saying. But yeah, there's ways to do it. All those files that West has, you know, that's just me taking the photos myself, cleaning it up, making sure that it's at the highest album yeah, yeah, and make sure it's there's no glares or any type of like, you know,
just weird weird imperfections in the photos. So well now you know, yeah, I mean, you know, people don't people don't know how to do that shit, and that's part of you know, being really embedded and wearing all those hats. So yeah, get your shit up.
Get your shit up out there, man, Isaac. I appreciate your brother.
Thank you so much.
Yes, sir, big dog boom fire Yo. We're wrapping up an interview, man. Of course, we want to shout out to our family at Hardean Baby Hardean, Las Vegas, celebrating their seventh birthday this month, So happy birthday to Hardean. I want to give a shout out to the whole family over there. When you're in Las Vegas, you got to pull up to Hardean, tell them that the Bootleg Cap podcast says you they're gonna take care of you. It is the craziest selection of premium cannabis in the country,
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