We got to speak with David again and learn even more about his wonderful work. To start, the artist shared how his style has evolved over the years: “Hopefully, I am making different mistakes. I’ve started to see more real animals (e.g. squirrels, raccoons, possums) among the imaginary monsters I more typically draw, and although I struggle a lot with their accuracy, I think that struggle has given my imaginary friends more anatomical heft.”
The illustrator explained that over time, some characters have become more central to his chalk doodles, while others no longer appear as frequently in his work: “Nadine (the mouse in a blue dress) comes around to visit at least once a week. This is probably because she represents a bold spirit of adventure that I have never possessed, even less so since the pandemic. I enjoy living vicariously through her adventures.
I draw Sluggo less often than I used to, presumably because he’s off visiting the imaginations of other people; I have seen photos of him in playground drawings all over the world, so at least I know he’s making friends.”
Zinn added: “I will always have a soft spot for flying pigs. They strike me as a perfect representation of the earnest ungainliness of hope.”
David’s work has a playful quality, and we were curious whether the artist has ever explored darker or more serious themes in his chalk art. He shared with us that: “I try to avoid focusing consciously on anything when I’m making art, and the only thing I’m exploring is excuses to be outside on a nice day. If my chalk art tends to be light-hearted, it’s for one of two reasons: 1) I’m having a good day and want to celebrate it, or 2) I’m having a bad day and want to change it. There are many artists who are skilled at addressing dark and serious subjects, and I’m honestly relieved that I’m not one of them.”
When asked about locations he frequently returns to for creating new artworks, Zinn responded: “Revisiting locations is unavoidable; approximately 95% of my chalk art is drawn in my home town, and most of those happen on the streets between my house and main street. At any given moment along that route, I can point to at least three former 'canvases' within my line of sight.”
The artist shared that seeing those spaces without his work is a heartening experience. David continued: “Every location becomes emotionally significant after you’ve spent time and energy drawing on it, and knowing what existed there previously creates a nostalgic aura. It’s like walking past a house where your best friend used to live.”
Finally, we asked David if he views his work as part of a larger movement in public or street art. The illustrator told us: “By continuing to create improvised art in public with childish tools, I hope I have successfully encouraged more people to express themselves without shame. Visual art in particular suffers from a drop-off in participation after the age of five; as toddlers, we all draw pictures with and on everything, but as adults we fall into a flawed belief that only serious professional artists should be allowed to make art – while sometimes also mocking what those professionals choose to make. I believe that the pleasure and benefit of creativity should be set free from expectations of income or popularity; even just doodling on a napkin (or the sidewalk) is healthy for your brain and good for your soul.”
