When we think of great automotive art, it’s usually painting, photography, or another two-dimensional medium that comes to mind. Bernardo Corman’s work brings another dimension, literally and figuratively, to the automotive art world. His pop-surreal automotive sculptures are as uncommon as they are striking.
Bernardo’s work provides a unique twist on the automotive form, with a healthy dose of implied wordplay to make it even more interesting. He was nice enough to take a minute to share some insights about his work and about art in general.
AutoandArt: What got you into doing automotive art?
Bernardo Corman: I started making Automotive Art in the mid 1980's after a friend of mine brought over a beautiful and unusual book about Concept Cars from the 1950's through the 70's by Jean Rodolphe Piccard. It was called 'Dream Cars'.
A&A: Who is a favorite automotive artist of yours?
BC: I have many friends that are automotive artists. I admire them all. Dan McCrary does astonishing watercolors. Tom Hale, Bruce Wheeler and Stan Wanlass from the AFAS (Automotive Fine Art Society). Ed Newton, Von Dutch and of course Ed 'Big Daddy' Roth were influential on me when I was growing up. The late, great Dave Mann. It's a very long list.
A&A: What inspires you to create automotive art?
BC: I like to create automotive art for various reasons. I like taking artistic liberties with the image of the American Car and using it to illustrate my offbeat, Pop-Surreal ideas. You could say I find it to be the perfect…'vehicle' for them.
A&A: What are you doing when you’re not creating? What (other) hobbies do you have?
BC: When I'm not making art I like to listen to and collect all kinds of music. I have a motorcycle I ride and maintain. I love going to the movies and I'm a pretty good cook.
A&A: Do you have any tips for aspiring automotive artists?
BC: To be any kind of artist nowadays requires a lot of commitment and discipline. You need to be well versed in many styles and ways to produce art so going to a good art school is a must. Having diverse interests that bring you in contact with different cultures and ways of looking at things. Having a day job while you follow your passion is also important. Doing commercial art for a living (while you make your own work during your free time) at least keeps you close to your chosen field.
We invite you to take a look at more of his work over at www.bernardcorman.com.