“I started out drawing ninjas, turtles, and Ninja Turtles over and over and over,” says artist Rod Ben, aka Killamari. “Had my face buried in comics, and glued to Saturday morning cartoons just like any other kid; I just never grew out of it and never put the pencil down.”
Originally from DC, Killamari is a freelance illustrator and designer now living in Atlanta. Specializing in character-based illustrations and designs, he builds colorful worlds by mashing together Khmer (Cambodian) culture, street life, monster flicks and fun foods; washing it all down with a shot of whiskey.
Killamari has developed a dynamic aesthetic that is immediately recognizable, bursting with invigorating characters that bridge the gap between innocent and sinister. Not one to play favorites with mediums, he uses a range of tools to suit his needs, from the essential ink pen and paper to spray paint. He creates illustrations and designs for animation, broadcasting, branding, storyboards, apparel, packaging, editorial, gaming, mobile apps and more. Throughout his journey, Killamari has always credited the power of community, infused with some live art battles for good measure, to fuel his creative fire .
Here, Killamari chats with CommonCreativ about the role Russian nesting dolls have played in his most recent era of work, tapping into harmonious vibes with clients, and his advice for artists looking to break into the game.
CommonCreativ: What brought you to ATL?
Killamari: I moved to Atlanta from DC about 10 years ago to continue school. I studied for my masters in Illustration here at SCAD, because I knew eventually I’d like to teach at some capacity. I’ve recently dabbled in that, teaching a couple of workshops in character design and vector illustration over at Kennesaw State University with a great bunch of kids.
CC: How did you find your path as an artist?
K: I feel like I’ve been on the path since the get-go. Drawing and doodling were the first and last things that stuck with me since being a kid. I never really had many other interests outside of drawing as I grew up, and if I did, it was just more inspiration for what I would want to draw or what I wanted to draw on.
CC: What is your medium of choice?
K: Oh man, there’s so many fun ones… I would have to go with good ol’ pen and ink though. I love it all, I love my spray paint, and I love my Cintiq. I try to dabble across the board — it’s always fun to play with different toys. But when it comes down to it, I love what I can throw in my backpack and have with me at all times. You can’t beat a sketchbook and a pen when an idea or mood strikes. There’s also comfort in just drawing for fun and not worrying about turning it into a finished piece.
CC: Your work is dynamic, fearless and fun—how have you developed your style as an artist?
K: Thanks! My artwork has always been character driven, because I have the most fun with creating characters. I like fun silhouettes, and wonky characters with goofy faces. I want the lines to be chunky and the colors to look like candy. If I make myself laugh while I’m drawing something, then it’s probably going to be a piece I’m happy with.
When I was younger I wanted to be as good as this guy, or as good as this other guy, not really expressing myself, but instead trying to be as technically able with a pen as these other artists. I was always happy drawing and creating, but I feel like I didn’t really find my style until sometime during school here in Atlanta.
I had this one assignment where we had to choose a fairytale to create an illustration for. I chose a Russian story, and started playing around with these Russian nesting doll characters. It was the first time I tried to draw something “cute,” and I was really feelin’ it. So I started doing more and more simplified and rounded characters, [with] beady eyes and happy faces. I was experimenting a lot at this time, trying to create characters that I was happy with, but wasn’t quite getting it right. Then I started mashing up all this new stuff with my previously more harsh and aggressive style, and found that happy medium. Just a couple weeks ago, a buddy of mine described my work as happy, but sinister. I really dug that, and I feel like I had finally heard the right words to describe what I do.
CC: What have been some of your favorite collaborations to work on?
K: I’ve recently had the opportunity to participate in two Secret Walls challenges, and those were a blast. If you’re not familiar with it, it’s this live art battle between two teams, creating large-scale black and white pieces with a time limit [that are then] voted for by the crowd. Time flies when you’re up on stage, and it’s fun to see and be a part of a collaborative piece where sometimes you and your teammate(s) aren’t even speaking, but just vibing each other and creating in sync. It’s super rad. It’s a fun collaboration project because there’s not really a lot of time to plan, so it’s a very impulsive experience.
CC: What are some people, places and things that inspire you?
K: Oof, that’s always a big question. As far as people go, I’m more inspired by my peers than people I come across online or in books. I feed off that energy that comes from collaborating and working alongside other artists. It’s important to me to have a sense of family and community among artists, because it just feels like I’m hanging with my friends, making art. That’s how I got creative growing up, and that’s how I intend to keep doing it.
I recently grabbed some studio space at Mutiny Artwrx, over in the West End, with some really talented buddies of mine. Our space is the Lotus Eaters Club, and we’re among many other spaces, with many other amazing artists, all under one roof. I love it there. There are painters, screen printers, illustrators, musicians, carpenters, sculptors, glass blowers, videographers, etc. The amount of talent and great personalities there keeps growing, and we are quickly becoming a community of our own. I would say that this is the place, and those are the people who inspire me.
CC: You’ve designed for a wide range of clients—do you have any that are particularly memorable?
K: One of my favorites was a piece I did recently, for an up-and-coming [recording] artist that recently signed with Atlantic Records. What was great about it was I got to work with a fellow up and comer, both excited about each other’s work. We spoke about what her thoughts and feelings were about her album, and then I was given full freedom to interpret that and play with a design. It was awesome to have that freedom, and almost felt like a no-brainer because of that, so the sketching came so naturally. The discussions back and forth were very smooth and we just seemed to be on the same page along the way. That’s not always the case with clients, so this project was a blast.
CC: What are your thoughts on Atlanta’s current arts scene?
K: I think it’s an exciting time to be an artist in Atlanta. There are a lot more opportunities popping up that I didn’t see here five years ago. Also, I’ve personally been experiencing a greater sense of community among artists in Atlanta. A lot more collaborative opportunities have made their way into my lap, and I’ve been having a very busy and eventful year.
CC:Do you have any advice to share for artists who are starting out?
K: Be prolific; be anywhere and everywhere as best you can. Have an online presence; make use of social media; reach out to galleries, restaurants, and shops to display your work; don’t be scared to meet people and network. I guess that’s what anyone would suggest, but it’s because that’s how it’s done. It’s all about the hustle, and not letting up. Competition can be fierce, even among peers, so you have to make sure your work is being seen by as large an audience as possible. The more your work is being put out there, the better chance you’ll have of reaching the demographic you are looking for. Don’t worry about egos, ’cause you’ll meet some artists with great attitudes and you’ll meet some with bad attitudes. Just focus on what you want to be doing, and do your thing.
CC: What’s up next for you?
K: I’m currently working with my Lotus Eaters Club on a public art project that we hope to release in the fall. We plan to use #FAFATL as a catalyst to help spread this new project, and hope to bring a new way to experience public art in Atlanta, and a new way to experience the city itself. It will involve collaboration with illustrators, animators, musicians and programmers, to bring a unique art experience to the streets of Atlanta. That’s all I’ll say about that for now. Stay tuned for the rest on that, and follow us at @lotuseatersclub as we work our way to releasing this project.
CC: Lastly, why do you make art?
K: Simply put, it just makes me happy.
You can see more of Killamari’s art on his portfolio and Instagram.
