I’ve always been curious about his approach, so I reached out to him with a few questions. Does he sketch things out by hand first? Does he dive right into exploring techniques? I was specifically intrigued about his process with The Decemberists poster because it appeared quite authentic in it’s execution. Freeman responded, “I like to build up these images as much as possible with actual shots. I find that working more in that way allows an organic process to the work, and in turn an organic touch to the artwork. I do love happy accidents and using the camera—really playing with the material in question is the best recipe for that.”

He says his starting point varies with each project, but that “sometimes it’s easier to grab the camera and get stuck in.” His sketchbooks are filled, but mostly with notes and ideas. I find it impressive that he has such an acute sensibility for type, especially the more organic forms, without putting it on paper first. 

Freeman tries not to leave too much in the way of post-work, noting, “The majority of the work is quite hands-on and I love it that way. Although life does seem to be spent lost amongst layers in Photoshop, I enjoy working with materials and keeping things true to the material. I really try to use Photoshop to piece everything together and not meddle too much.” 

As you pan through the work on Freeman’s site, you have to ask yourself if there is anything he can’t do. And if he can’t now, I reckon he will figure it out. Art direction aside, he’s going to come back with something that pushes the limit of what you’re looking for with each project, and that’s an exciting feeling.

Below are few quick samples that give a sense of Freeman’s range. To see more of his work, visit his website.

An excerpt from the exhibition’s press release helps explain:

“The ‘material’ (as comedians say) is, of course, the writing. Hand-transferred to paper at the base of each work, these tragicomic, Tweet-length statements that form the backbone of these works are Kuo’s lyrics, giving resonance and meaning to the melody of painted color and form. They are proof of his commitment and ability to connect with his audience—the ‘you.’”

As a result, I often find his work oddly comfortable or familiar, and I was fortunate enough to view it in person for the first time at the exhibition last month. What I found the most compelling, though, was an almost-immediate shift from gaze to engagement amongst the many viewers as the small text near the bottom of each painting demands your eye. Subtle smiles and nods abound. I was able to capture a few images (above and below) of onlookers, which I found quite telling. Most looking downward, often from their knees, away from the color and toward its equally-if-not-more-important counterpart: the words.

You can view his ongoing work for The New York Times’ Arts Beat blog here, as well as a great piece on Kuo by Dan Duray of GalleristNY here.

MOCAtv also produced an Artists Talk with Kuo and Alia Shawkat that takes you inside his studio.