The official website for Daniel Louis Rivasô



*** 2009,12th December ***

Family Guy: Something, Something, Something, Dark Side
DVD Release Party



*** 2009,3rd December ***








*** 2009,16th November ***

New Show announced!



*** 2009,2nd October ***


BlackBook.com Interview


Correct Culture:
Daniel Louis Rivas & Tony Ward

Daniel Louis Rivas and Tony Ward make really awesome art together when they're not modeling in music videos or acting in really rad alternative film fare. On the heels of their recent NYC gallery premiere, cover of TrendyTokion Magazine, and posting for the straight issue of Butt Magazine, I asked the boys a couple of questions and you'll see I got the expected, colorful results. What I like about them and their art is its complete lack of bullshit. Everything they do is off the cuff and correctly casual.

How did you and Tony come to collaborate together?
Weíve know each other for eight or so years, and we started hanging out everyday a couple years ago, Brain storming for hours in my small Valley Village cardboard box. And one thing lead to the next, and we started co-producing and starring in a feature film together called One Lucky S.O.B. thatís going to be directed by Betty Kaplan...Itís loosely based on some of my experiences when I first moved to Los Angeles. As you know, producing a dark independent feature film in Hollywood is a grueling process. Itís never ending. Everyone hates you and no one invites you to Thanksgiving dinner until after itís in the can. As we;re waiting for that to be greenlit, we started investigating the possibility of having a show of my paintings and Tonyís photoís at Ghetto Gloss gallery in L.A. That led to collaborating on the same canvass and leaving the ego in the closet so to speak.

What is the inspiration behind your work?
Life, death, sex, re-birth and the meaning of why we are here. What we feel and what we think and the juxtapose of that combined on one work or art. Living lives with many masks on. The art brings us back to being flesh and bone.
one foot in the grave and one flying angry fist in the hope of living forever in truth. The hilarity of heartbreak. Tradition, Family, heritage and the DNA of our ancestors that lives in all of us. My sister inspires me. Tony inspires me. Gerard Rudolf inspires me. The great American dream inspires me. When life gives you lemons, you paint that shit gold. Not being an underdog, but an archetype. Shakespeare!

What do you like art wise?
Francis Bacon, The Thundercats, Early French Graffiti. Caveman art. Herman Brood, Diego Rivera, Marlon Brando...(even though Tony told him that he was a fat ass and he couldnít hurt him). Oscar the Grouch. Shakespeare!

Does anything else come into play? Like music, fashion, street art, etc?
Everything influences me and nothing influences me. I am a an old dusty am radio looking for a channel thatís not fucking static y. Quieting heroin influenced me. Being able to express my feeling and inspiring others to do so inspire me. Being in the moment. Music inspires me most of all..From The Carpenters to Black Flag. Bob Dylan to The Ghetto Boyz. I like Levis Jeans & Calvin Klein underwear. Shakespeare!

Tell me about how your acting and modeling has influenced you, if at all and how do you balance all these things so well?
I have a lot of time on my hands...No: none of that really influences my painting..I was was just tired of eating Top Ramon with Ketchup. I needed another gimmick. I canít even balance my checkbook.Acting is in my blood and painting is my groin. I have no choice but to listen to what my body tells me. I hope Hollywood catches up. I find Hollywood very racist and close minded. Iím lucky if I get a job where I donít play a Mexican Junkie pimp male hustler doorman serial killer gang member. Come on, Steven Spielberg, I am also a Jew from the upper east side of New York! There are some amazing open minded people that hire me here that can see past my last name..But those movies are usually low budget. And I continue eating Top Ramen.

What is coming up in the future for you are wise, acting-wise?
Tony & I are developing a TV show on our art and our relationship. Itís going to be sort of reality and semi-scripted. ďJackassĒ, ďCurb Your EnthusiasmĒ meets fine art...But better. We have been currently filming that in LA and New York. Itís being pitched to the networks in September.

What do you do in your down time or are you always working and creating?
I always work and create and think of new hustles. Even in my dreams. I donít know how to have down time in my mind. I canít live like them. What is down time? Getting drunk at a lame Hollywood night club and banging a million of chicks with daddy issues, give me a break. Only bored people are boring. I am just reacting. Blow anybody?

*** 2009,13th September ***


First FILLER Online Magazine out!


While Tony Ward and Daniel Louis Rivas were waiting for their independent film, One Lucky S.O.B., to get green lit, they started investigating other creative avenues. Daniel, a painter for many years, knew Tony had been keenly involved in art and photography, so he arranged for them to have a show.

ďWe just decided that we have a good time hanging and laughing and contriving the next fiasco,Ē says Tony. ďIt only seemed right that we stop wasting precious seconds of our lives and make some paintings, make some money, make some new friends, and live fucking life like true artists Ö loudly!Ē

Herewith is an artistic conversation of loud proportions:
How has the experience of painting helped you make any sense of life?

DANIEL: I try and stay in the moment. Itís the connection in all things living & non-living that makes up the vaults in our mind. You donít want to hold on to the perfect moment forever. Itís letting it go that gives this its real value. We are just documenting the experience of existence. We were here, trust me.

TONY: Doing these paintings is like a swift kick in the balls that sucks your breath away. I am a mad person when I paint, when I create. I want to shove my cock into LIFE and fuck the daylights out of it and serve it up on a tray for the world to gaze upon!

Uhh, okay. What were the challenges of collaborating on this project and sharing a single canvas?

DANIEL: No unique minds are similar. The more we disagree and see each otherís point of view, the longer we can maintain our creativity together. The harder it, is the longer we can sustain the freshness of the always-changing world.

TONY: Danny is faster than me at doing his thing. I am much slower and have to meditate and find the images in my mind, and then I am so damn anal about my technical and how I will achieve a specific image in my mind onto the canvas. I was never schooled for painting so every time I step to the canvas I am giving myself a great challenge, like realistic cadaver parts, reptiles, or, of late, a giant Dodo bird.

DANIEL: Painting on a canvas is a moment and passing feeling that you have to act on, or it forever vanishes. I am an action painter.

TONY: We are two totally different humans. He uses mainly one brush, his favourite, I need many, and have lots, and I am always complaining I need more. He jerks off fast, I jerk it slowly, methodically. He attacks the canvas, I stare at it, stare it down hard!

You got to paint over one anotherís work. How did you handle the emotions?

DANIEL: Thatís when the ego has to take a backseat to creation and revelation. At first, it was frustrating, but Iíve learned to accept and trust this experiment of ours will reveal more truth in the end. I pace a lot when itís Tonyís turn at the canvas, or I take a nap, and hold my breath and pray for the best.

TONY: I got over it, especially because itís mostly me doing the over-painting and him pacing around behind me. Now, I just donít give a shit. I think it shifted to ďwhat-the-fuck-ever!Ē when Danny varnished over one of the paintings I particularly loved with a dirty brush and fucked the motherfucking painting up. That has become a part of the art now.

DANIEL: Sometimes itís like birth or rebirth, and sometimes itís like going to the dentist. But having the dentist be a really rad, hot chick with double Dís and thick extraterrestrial lips.

You definitely have some distinct approaches to the canvas.

DANIEL: I am trying to shed the lizard skin and become the man I was meant to be, putting the pain back in painting.

TONY: Everything kind of disappears when I paintójust a brush, colour, and sweat dripping down my forehead into my eyes. I want to believe I can do anything; as a matter of fact, I know there is nothing creative that I cannot do. I just have to wrap my mind around it and step to it!

Is the collaboration why your paintings often explore the notion of identity?

TONY: Identity is liquid, gaseous, vapour trails, itís perfect like that. Like a smelly wet fart! If I am trying to say anything in my art, itís STOP with the identity thing, itís killing you! I donít self ID, I think it is crippling and self hatred. I LOVE MY QUANTUM REALITY!

Are the masks in your paintings another form of identity?

DANIEL: The masks represent our transitions from what the world labels us to what we really are at the core. What you think of me is not really what I am. Are feelings facts or fleeting ego? Iíve always been obsessed with masks from every region & time period. Aztec masks, African masks. The everyday masks we wear to get through this experience. The world is trying to kill us. The cigarette companies, the alcohol companies, the fast food companies. Where do we draw the line and just be us in a world of ignorance? Is the mask permanently glued on our faces? Thatís why we titled a painting, and called our last New York show, ďIs That Your Real Meat Face?Ē

TONY: Everybody mentions masks. They are not masks! I reveal what is under masks!!!

How has this project unmasked the relationship between the two of you?

DANIEL: It has made us more in tune with what the other is going through at the present moment. Being an artist, actor, model, hooker, waitress, itís all time. Tony and I are hustling and trying to have fun, feed our families, staying one step ahead of the landlord and the law and surviving the best we can.

Moonlighting is a part of the hustling game, do you consider yourselves more artists now than actors or models?

DANIEL: I think any good, interesting actor is an artist and writer regardless. When you hire me for your movie or your TV show, you get a perspective, a point of view. I live my life with a box of colours that I drag from mystery to mystery. Iíve never been straight off the bus from the mid-west. I am not an L.A. fuck doll.

TONY: Fuck all that model and actor bullshit!!! Itís a monkeyís job, and itís getting to be just as glamorous as working at Der Wienerschnitzel.
I was born an artist, I just had to give myself permission to go for it. I have lots to do while Iím still sucking air, and Iíd like to leave some hot form of legacy for my children. I look at living life as an art formó itís not just the obvious, ďHey this is my art thingy!Ē I am an artist in every minute of my existence. I could be painting, making clothes, gardening, cooking, acting, sexing, taking a crap, whatever. I am an artist.

A crap, huh? Well, speaking more figuratively, what does the creative process drives out of you?

DANIEL: The hilarity of heartbreak. Travelling around the world making movies. In love, in hate, awake or asleep. With money and without money. How come Iíve always been so fucking weird? Figuring out what I am going to do with the rest of my life. The demons! The hope and the regret.

TONY: Vomitous layers of gut, bile and plaque! I believe in the exorcism of the creative process, especially while painting. Iíve gotten so worked up I have cried while painting, jerked offónot on my paintingósang, laughed Ö Really, the best is the shit it drives out of my head!!!

Once itís all driven out and itís there on the canvas, what do you see as being beautiful in both your art and art in genreral?

DANIEL: I think beauty is a feeling. I find beauty in the action of the moments, movements, and the attack on the canvas. Have you ever been punched really hard in the face? The first thing you see is whatís most absurdly beautiful.

TONY: Beauty is when someone is screaming their feelings out in the art. I just know beauty when I feel it!

Last question, what do you hope your audience takes away from viewing your collection?

TONY: I hope it inspires you all to speak, loudly, your mind. Whenever, wherever, and to stir up the muck!!! PEACE, YOU HOT FUCKERS!!!


*** 2009,4th September ***



Butt magazine - The Straight Issue - is out!
You wont find my butt, but my paintings in it!



*** 2009, 20th June ***









Photography by Mr.Ward



Tokion July 2009
Article + Full unedited interview with Mr. Tony Ward and Daniel Louis Rivas
by Takeaki Yamazaki

Permission: To give ones self the consent and allowance to freely explore the infinite array of experience that life offers. Artists Tony Ward and Daniel Louis Rivas aim to scream this message directly at the audience with their new collection of paintings. Embarking on a  collaborative journey of creativity together, theyíre making it a  point to explore the relationship of two artists, one medium, the  process of creation through autodidactic means, and inspiring everyone  they come across along the way, somehow, in some form.
Having found success in the worlds of modeling and acting, both Tony and Daniel are discovering how their past experiences have shaped the creative minds they are today. Exploring the notions permission, identity, relationships, and the magical act of transforming energy from our emotional spectrum into creativity, they evoke a unique world that surfaces from each canvas. This most recent endeavor of theirs, collaborative painting, sends them preparing for an upcoming European tour.

This sort of collaborative painting is relatively unheard of in the art world. The process in each individual, which meets on a canvas together, creates an interesting situation.
Tony Ward
I love our art, I love what we do, I love the energy we have.  Itís awkward, itís uncomfortable; weíre painting over each otherís shit [work], mostly me. And not everyone is going love what we do, there are always going to be people who hate you, without reason, without even knowing you, theyíll hate what you represent, hate what you do and what you stand for. And then there are people who will love you and love what you do. And to me, theyíre all the same. I donít care, It doesnít matter what anyone has to say about what we do. Bottom line, Iím vomiting on a canvas, Iím getting rid of my garbage, and Iím processing. That is the process! Thereís my process, maybe it sucks for you, but there it is.
Daniel Louis Rivas
And we have fun. We have a good time doing it; we have a good time collaborating. This is just another, very important, avenue that we decided to journey and travel down together. Weíve developed a
friendship and it feels really natural. A lot of things in this world feel unnatural, and you know it, you know it in your heart. You know when something is off.
How did it feel when you two first got together? How did you first get together and decide to collaboratively paint?
Tony Ward
I got a part in this movie and we hadnít seen each other in about 5 years and I asked him if he knew an acting coach to help me to prepare for this film. His acting coach lives downstairs, so we hung out more often and one day he called me about this show for Ghetto
Gloss [a gallery in LA].
Daniel Louis Rivas
It all started in here [in this room]. Just brainstorming for hours. Iíd always been painting, I just called Tony and said lets have a show. It was getting close to Xmas, why not? I knew Tony had done some photography so I thought Iíd show my paintings and heíd just show his photography. But then from that, it became thisÖ
Tony Ward
It was his suggestion. He said, ďletís do some paintings!Ē I had my hesitations about itÖ
Daniel Louis Rivas
It all just led to this, it evolved quickly too. From the early paintings to whatís happening right now. And itís amazing. Itís magic because it really hasnít been that long.
You both start on this entirely different path and suddenly end up here.
Tony Ward

I think its genius. Itís a ploy of sorts and itís quite weird. I donít really like Andy Warhol, I mean I respect the entity and the energy of that period in time, to launch pop art, itís impressive, its pretty amazing. Iím not saying that weíre doing that, but this is pure energy. His energy and my energy, combined together. Saying weíre artists and weíre working on the same canvas. Here we are.
That says a lot about your process, which is not just a solitary venture in each of you separately, but rather the meeting of both, the collaboration, which results in some interesting art. Can you elaborate on this unique process?
Daniel Louis Rivas
Itís inspired thought. Often we second-guess ourselves. When it comes to acting and painting I try to be there, in that moment, and  not think too much. In the rest of my life, Iíll see a pretty girl and hesitate and Tony will tell me to be more like I am when Iím creating art with life. Itís what Iím trying to figure outÖ
Tony Ward

Yeah, and the whole thing is that thereís no figuring it out. You  just have to do it. I view it in a more primitive way. Iíll look at it [a painting] and read it, tune into the feeling of whatever is going on and then I see it. Sometimes Iíll start painting around it and itís so awkward. Like a sculpture, you just keep chipping away because you know the masterpiece is somewhere inside of it, so you keep chipping away. Iíll look at something, and every time I feel like I canít touch it. I question, where do I go? What do I do? And then this guy, he just attacks it, heíll put a face right in the middle of the canvas, BAM!
There are bound to be people who will have a certain perspective of you two for not having certain credentials or training from institutions. On your website, you speak of the autodidactic ability and process you both explore. Knowing that your art comes from a autodidactic process that youíre capable of discovering, does this empower you and your art?
Tony Ward
Itís a bit crazy, I know itís powerful because I believe in whatís going on inside of me. I believe we all have it, weíre all artists in some way. Whatever weíre working on, I believe that that is our art. Weíre like little bombs, compressed. And if you allow yourself to open up and to be open to a number of things, then you donít confine yourself to one specific thing, one specific way of thinking. I think...I think I think a lot. [laughs]
Knowing you have this autodidactic capability gives you the ability to approach creativity from a different vector than someone who is simply classically trained. Creativity has always come from the process of problem solving. Youíd never confront these problems and
experiences without having chosen these particular paths.
Daniel Louis Rivas
All thatís happened in our lives has brought us here, to this moment. The art world politics donít really bother me. Those people who may question our process, about it not being classically trained. Well, were the cavemen? Artists I love like Francis Bacon and Basquiat and the idea of Schnabel and Diego Rivera. I just have a healthy belief in what weíre doing, in our art, in what weíre creating. The politics donít really bother me.
Tony Ward

I look at his [Dannyís] stuff and might see and say that it may be a bit like Basquiat, but the more I get to know him, the more I see that its so purely him, itís ridiculous. I love Picasso, Iíd read about people like Tulus Lautrec, Egon Schiele, and Bacon, I was really moved by these kinds of artists. They were insane. They lived this crazy tortured life where they just had to do it [create art]! Now I donít like looking at inspiration at all, I donít like looking at other artistís works. I want it to come from visions from inside my own mind. But whatever moves you. Whatever you gotta do, you gotta do it. What strikes you. Iíll never look at one thing and say this is me, this is what I do, this is how I do it. My interests fall so vastly wide that that exploration feels more free to me. Thatís the way I want to go about and do it. Iím also such an anal perfectionist that that can also get in the way of me, if I start thinking too much. And itís like what you said about the autodidacticism, that process of how to do things, it can be such an agonizing process, [at one point] it was hurting my stomach trying figuring things out. Like how to paint this fur for this painting [a painting of a Civet with a mask titled, ďCivet doesnít know the masquerade is over].
Is there any real identity connected to the paintings?
Daniel Louis Rivas
There is, itís that imprint from our parents, from our DNA. My dad is a singer and an artist, I just started forming a relationship with him, I hadnít seen him in about 20 years but thereís something Iím channeling that I donít even know that I know. And why Iím attracted to crosses, and this Aztec imagery. I grew up Jewish, I had a bar mitzvah. Some of my earliest memories are of being in churches and being fascinated by Jesus and often we donít even know. Itís backwards its forwards.
I read that you spent some time as an Ďartist in residenceí at Herman Broodís atelier. What did you bring back from that experience?
Daniel Louis Rivas
I brought back a lot. It was a privilege to be the only American artist to be allowed to paint in his studio after he died. I didnít know much about him, then I spent more time in Holland. I had a lot of encounters with his ghost. It changed my art, just from research and being in that space and talking to people who knew him.
Did it change your technique or your vision? Or have an entirely different affect on you?
Daniel Louis Rivas
Not really the technique, more so it changed my vision. A lot of what weíre talking about is how he actually lived. He was this freaky guy, he was a drug addict and a rock n roll guy, and he was out there, walking around with a parrot on his shoulder, he lived it. Iím still processing that whole experience, thereís something I find very kinetic, thereís a deep connection between me and Herman somehow. Even though itís such a different culture and such a different life, being there, painting at his studio with his paintings and his bed and his porno collection. It was wild.
Tony Ward
I donít know much about Hermanís art work but I like what Iíve seen. But talking about vision, Danny showed me this article about Dash Snow and it talked about his creative process, about his alternative lifestyle. Itís an odd dichotomy because we donít use drugs as part of our process. And I look at artists and would think you have to suffer or you gotta be crazy. I went through a lot of my life thinking I was crazy. My dad, my brother, both a little off, so I thought I was crazy. I was reading this book by Osho, ĎJoy,í and it basically says that there are certain things that we do, certain affirmations that we have to STOP. NOW. These such expressions of
ourselves, we manifest. So I stopped calling myself crazy, and stopped caring what other people thought about me, just stopped. And I knew other crazy people, really crazy people. How this relates to the art, Van Gogh cut his own ear off; Iím not going to think such things are going to affect my art. In my head I think I have to be this weird eccentric artist and wear my pants backwards, wear only red hats everyday, or have a fake puppet on my shoulder. Do I have to be that dude to be taken seriously as an artist.
Both of you being actors, Iím sure youíre aware of the mask play that is a very significant exercise to explore identity in  theater. Having masks in nearly every painting, what do these masks have to say for you and about you as artists?
Daniel Louis Rivas
I wear so many different masks and even I still have the question, who the fuck are we? I love masks. Aztec masks, Mayan masks, African masks; and weíre always wearing masks, all of us.
Tony Ward
[we wear] Masks on masks, layers of masks. We wear different faces all the time. Itís the facade weíre giving to the world. Different parts of our personality come out over that initial facade. Layers of crud over other layers begin to build up. In the work, it comes out. Underneath all this, this is who we are, and itís really not cute.
Daniel Louis Rivas
Iíve learned a lot from Tony. No matter what situation heís in, heís himself. Itís tough to be like that in this world. Weíre always here and there. We constantly change but stay the same. Heís his own greatest work of art. We both hang out and act like little kids, we have fun. Sometimes you hang out with friends and have to put on this mask for this person or that person. Itís always fun to rediscover the joy and freedom in creativity.
Tony Ward

Iíve been stone cold sober for going on 5 years now. More than ever I want to be a freak. I want to be freer than Iíve ever felt before. And I feel it now. Itís about fighting against the ideology of who and what I am. This came from my mother. You have to not hate and just be free. Just express yourself the way you have to express yourself without worry of others opinions. Weíre so caught up with eating right, looking right, smelling right, itís crippling. Everything is very PC now. We have facades when itís actually really grim today. I donít want to ignore that, not with myself, not with my art. I have loved ones I care about, I want to inspire and go out and be inspired. Iím a cheerleader for insanity. And Iím fascinated by kids, they need guidance.
Daniel Louis Rivas
and kids need real hope.

Where would you say this art comes from to display such an open nakedness? Are you taking off your masks?
Daniel Louis Rivas
Itís straight from the heart, for sure. It comes from places weíve all been some only some of us have been. Iíve been through addiction, heartbreak, love, a family dinner. Acting is someone elseís work, itís going to change in the editing room. this is ours. Theyíre moments, theyíre experience, theyíre priceless. Thereís this magical thing thatís happening right now with our art and our paintings. Itís a mirror to nature.
Itís sensation. Itís death, its happiness, its love, its disparity, all at the exact same moment.
Tony Ward

You hear artists talk about this. We do a painting. All the joy, the bliss and fucking frustration, all that effort, is done once you put the brush down. Then itís freedom, itís there. I did it. Maybe itíll burn but the joy of it is that itís there. As an artist, I hope that this piece of art moves someone so much that they want it on their wall.
Daniel Louis Rivas
I believe in magic
What would you say magic is to you?
Daniel Louis Rivas
Magic is a chain of accidents and coincidences that become something tangible. We get together and create magic.
ony Ward
That book, ĎMany lives, many masters,í says something like, Ďeverything is a message.í Birds in the sky, bombs falling, people dying. Everything is a message, a mirror, to show us ourselves. When I was painting this baby it got real heavy, I started to cry. I started thinking of the real child in this picture I was looking at, the guts hanging out of its side, the skull flayed open. When I hear about people murder and unconsciously harming others, itís a mirror. I know the pain. I relate to the anger, I get them, I relate to them. I can be judgmental at times, itís an ugly trait Iíve been fucked by society and people. But thereís also this immense magical universe that conspires to make things happen. I believe in energy, I believe in the universe. Itís a candy store and I get to choose what I want to dip into. I am free to do what I want to do. And thereís a direct response from the universe. I was in Japan; I was walking with my pregnant wife. Thereís this little old lady coming towards us down this narrow street and Iím in a rush, Iím frustrated and I step out into the street. Iím hit by a bus, knocked out of my wifeís hand, and sent flying 15 feet. I get up and start yelling. But then I took a second and realized what was really going on, that it wasnít the lady or the bus, but rather it was me. I learned to take that second to look, to learn to really slow down and pay attention. We all have to take a step back and look at life, see it.
Putting yourselves through such a process riddled with sensations both good and uncomfortable while pushing the edges, the limits; how do these movements affect somebody? How do you intend for them to affect us?
Tony Ward

I want it to give us all permission. If anything, I want it to show people that if these knuckleheads [us] could do it, so can you. Good luck too. If anything, be a doer, have a goal everyday and work towards those goals.
Daniel Louis Rivas
ÖAnd being unique. A lot of people donít have their own voice, and weíre these two guys with our own voice, collaborating and making
this unique voice.
Tony Ward

Especially kids these days. We have our family, our town, our society, and kids are being pounded with information these days. Their brains are like little networks, I canít imagine how they think. And this permission is educating. Weíre all here to learn, forever. And I can split off and take whatever idea I have and create. Itís a big lesson and a good lesson, to share yourself 100%, let that inspire other people, be excited that its inspiring other people and donít be afraid that people arenít going to like you.
To simply let go.
Tony Ward

Yes. The key is permission. Iím a free human being, and if Iím not free, Iím living like this. Its so simple, but we donít know that, we donít know that itís that easy to simply let go of ourselves. I did the Belvedere vodka photo shoot with Terry [Richardson] and heís like, get naked. Iím in a restaurant and next thing Iím naked in this restaurant pouring vodka on me. And my mind is saying yeah its fun, but is my dick small? Weíre born naked, its how we are. Itís unnatural to be worrying about my length. But when you just do it, itís in front of everyone. Itís right there, itís permission. Next thing you know thereís 10 people naked too. 23 years down the line of time, the unborn audience: What understanding would you hope for them to gain from your creations?
Daniel Louis Rivas
That love slays the darkness.
Tony Ward

I like that. Itís true. The essence, when itís boiled down, life is about teaching and learning. When someone looks at this in 23 years, someone might look at these and wonder if thereís anything
political or social going on. But itís in the permission you give yourself to be free, to create. You look at the artwork and say, I can do this. I think about this entire conversation, you get permission, you get permission to have a goal, and then to work towards it with a focus, you can go off but you can get back on, thatís part of the permission to be free. But to be on that journey and keep going.
Your art tells a story, the story of that journey, of your lives, here, today. Thereís been a few paradigms in art that are only part
of the story, part of the evolution of what youíre telling, what youíre creating. What would you say that story is?
Daniel Louis Rivas
My first thought is that, I want to walk in the light. Iíve walked in darkness for so long, a junkie, a liar, a thief. And now its important for me that I walk in the light, fuck the darkness, Iíve been there, its in my closet, I donít want to live there.
Tony Ward

Iíve talked about it concerning art. Itís an extension of the idea of not needing other artists to be inspired. The fact other artists are doing, if I like the outcome or not doesnít matter, the fact they did it is what matters. I believe, what I want to believe, is that Iím a recorder in my time, today. If someone asked what my art was about, I want it to say, Ďthis is my experience, here, today, in 2009.í Iím not reaching back, other artists had their time. Artists like Da Vinci, they were recording what was going on in their lives, then. Itís transformation. Iím going to listen to metal and skate and paint until Iím 90. I want to do until I drop dead. My last expression, hopefully, will be me taking a picture of myself on my deathbed, the ultimate self-portrait.
At this point in time everything is possible. Everything is potential. How do you go about capturing a moment? Transforming the potential into the actual?
Daniel Louis Rivas
There are times where I wonít paint for months and times when Iíll finish 5 [paintings] in a week. Now itís more disciplined working together. Capturing is about not thinking about it, being in it, in the present moment and not so much in your head.
Tony Ward

Thatís when it can get to be annoying. In the action of doing this, people react quickly. We did this bunny painting and people suggested we do a series of them. Suddenly weíre influenced and Iím trying to tell him how to make these bunny paintings. But what I try to do is close my eyes and see something. Confront whatís in front of me and not let my thoughts get in the way. And I have fuck-all technique, the process of the autodidacticism is rough, heís seen me get frustrated.
Daniel Louis Rivas
But he can paint shit that I canít even imagine. Itís awesome!
Through your collaboration and the shared relationship, creativity has taken everything to a place where ego has all but vanished. How would you like to take things to another level?
Tony Ward
To really start to deface one anotherís work. Because honestly, itíd really hurt. Iím really detailed and anal and to think about working on something for a while and then just watching Danny splatter over it would hurt for a second, but then itíd settle in and weíd feel it and itíd be okay. I think that would be an interesting process to explore. I appreciate what a lot of artists are doing, I like it, but Iíve never really seen anything like what weíre doing. It doesnít make it better or worse than anyone elseís [art] but Iím grateful. It makes me feel easier to know that weíre doing something, to know weíre doing this.
Daniel Louis Rivas
We like what each other is doing, weíre pretty good at that, at liking each otherís stuff. Itís magic.


From the Making Of.


*** 2009, 6th June ***





TOKION Magazine Cover -
Exclusive Preview!

Heres a first look at the upcoming issue of TOKION magazine from New York that will hit the newstands on the 17th of June, 2009.

The cover shot feature Mr. Ward and Mr. Rivas recreating one of their collaborative painting called GIVE ME HEAD.

Give Me Head  
Mr.Ward and Daniel Louis Rivas  
Mixed Media on Canvas  
30" ◊ 40  

*** June 2009 ***
CK Party NYC


*** 2009, 18th May ***


Magazine No.1 is out!
Edition Spring Summer 2009

Find out everything about the Art of Mr. Ward and Daniel Louis Rivas.
Read GLOBAL ARTSHOW e-Magazine
click image to start

*** 2009, 6th March ***


by Joshua von Brown
starring Daniel L. Rivas and Tony Ward
2:45 min

Out getting Ribs is quote and a painting from Jean Michel Basquiat and the title of this new experimental short film by Joshua (von) Brown, director of the award winning Movie Altamont Now. Its making happend by pure chance while doing a photo shoot.



2012 2011 2010 2009 2008
Copyright © Daniel Louis Rivas, 2011