Interview by Jimon
1. One word to describe Emmanuel Louis? Curious.
2. Where do you currently live and create? Los Angeles, California.
3. When did you first realize you wanted to become an artist? As early as two years old, I knew I wanted to make art, after seeing my brothers and father create art. It was something I did when I had nothing else to do—it kept me busy and engaged. 
4. Did you have any formal education or training? Yes, I’ve been trained in art from elementary school through college. In high school, my training became more intense when I attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts. I attended the School of Art at Cooper Union, where I studied sculpture and painting.
5. Who are some of the artists or movements that have influenced your style? I’ve been inspired by many renowned modern artists and movements. Specifically, I draw influence from Salvador Dalí (surrealism), Pablo Picasso (cubism and brutalism), and Marcel Duchamp (assemblage). Pop art has also been a major influence, with artists like Roy Lichtenstein and Andy Warhol who challenged the conventions of their time. Skilled sculptors such as Martin Puryear have also deeply inspired me. I’m motivated by a wide range of art movements, but ultimately, it’s the iconic artists who pour their soul into their work that truly inspire me.
6. Are there non-artistic influences that play a role in your creative process, such as literature, music, or nature? Yes, musical movements have influenced me significantly, particularly the 20th-century jazz scene, with artists like Alice Coltrane, John Coltrane, and Miles Davis. The frequencies and waves of genres like R&B, rock, jazz, techno, and house music all help me express the feelings I want to communicate in my art. I believe there’s a symbiotic relationship between what I’m listening to and what I’m creating. Nature also plays a large role in my inspiration, especially when I observe how things grow, exist, die, and multiply. My work is deeply intertwined with real-world concepts like spirituality, nature, and biology. These elements inspire me to create unique art.
7. What role does your personal background or culture play in your work? Being Haitian American and a servant of God with strong biblical beliefs and a spiritual foundation, my culture and beliefs inevitably find their way into my work. Through storytelling and forming connections between various facets of our world, I express what I believe and reflect my experiences. It’s essential for an artist to be true to themselves, to look in the mirror and delve into their beliefs. This introspection creates a unique tone and voice within my art. The work reflects my personal thoughts and the current state of the world.
8. Can you walk us through your creative process, from initial concept to finished piece? Every piece is different. Sometimes I begin from the top or the bottom, sometimes with a single piece that I carve until it's complete, and other times I combine multiple pieces to form the whole. Sometimes, I focus on drawing various facets of a piece to capture the details. In other instances, I let the material guide me and dictate the final result. Each new piece benefits from my growing skill set and new perspectives, as well as fresh questions I aim to answer through my work.
9. Do you follow a daily routine or ritual when creating art? After making art for so long, I’ve realized my approach often shifts from broad to specific analysis. Sometimes I need to focus on particular details that I've overlooked, while other times, a new idea requires an entirely different method to execute. I view the creative process as a journey; it’s rare that I can predict the exact path a piece will take from start to finish. There are always new thoughts and inspirations that emerge along the way, influencing how I approach the piece.
10. Is there any reality behind your creations? Yes, I see my works as poetic abstractions of reality. They explore concepts, social structures, and conditions that reflect both subjective and objective aspects of the human experience. My work is deeply grounded in reality, not fantasy. While I use abstraction, there are elements in my pieces that allude to functionality or mechanisms. As an artist, you must be flexible and able to reference reality in various ways—broadly, specifically, or even not at all. I enjoy working within this spectrum, drawing from different dimensions of reality.
11. What is the most challenging part of being an artist? The most challenging part is keeping up with my ideas while constantly being inspired. At the same time, I have to nurture my past ideas, questioning whether my work is relevant and if the message I’m trying to communicate is being understood by those without my biases. It’s important to continuously challenge myself both conceptually and materially. The challenge lies in balancing all aspects of the practice—creating a signature style while pushing forward with new ideas, and ensuring my work is both personal and socially relevant.
12. What do you find most rewarding about being an artist? The most rewarding aspect is transforming an abstract idea into something tangible. It’s a deeply fulfilling process when materials come together in a way that brings your vision to life—something that couldn’t be articulated in words. As I work through the piece, I often uncover things I didn’t expect. It’s cyclical: I learn from my past self, while guiding my future self and reflecting on my present. It’s like the artwork is a mirror, offering a rare insight into myself.
13. How do you balance the commercial aspects of art with your creative vision? I try my best to separate the financial pressures from the creative process. While I consider the commercial aspect, I always focus on creating work that allows me to explore ideas further. I don’t make art with the intention of selling it for a specific price; instead, I think about expanding my concepts and pushing the boundaries of my materials. The commercial side is necessary, but it should not overshadow the artistic vision. Ultimately, I want my work to reflect the world and have a meaningful relationship with it, rather than being driven by market demands.
14. How do you measure success as an artist? Success, to me, is having the freedom to create without limitations. It’s about autonomy—being able to explore your ideas fully without being constrained by the market. If you can help other artists create platforms to express their ideas. That’s also a measure of success. If your work challenges people’s thinking, inspires others, and allows you to make a living, then that’s another indicator of success. Art should contribute to society, push conversations forward, and remain a genuine expression of the artist's vision.
15. What are some mistakes or lessons you’ve learned along the way? Not everyone has your best interests at heart, and some people will take advantage of your youth and ambition. I’ve encountered promises that weren’t viable and worked with people whose tone changed once they got what they wanted from me. It’s essential to build solid relationships and not rush through ideas. Sometimes, I’ve been overly inspired by outside sources and missed the chance to form cohesive statements. Money management and budgeting have also been crucial lessons. I’ve gotten better over time, as I invest what I earn back into my practice, which has helped me achieve things I wouldn’t have otherwise. It’s also important to avoid getting caught up in the distractions of the art world. Staying focused on the value and meaning of the work is key.
16. How do you stay motivated over long periods, especially when not actively exhibiting or selling work? When you’re not showing or selling work, it can feel like things are stagnant. It’s important, then, to focus on developing your craft and language. I see this as an "off-season," a time to work on weaknesses and reflect on what you’ve done in the past while preparing for future opportunities. When deadlines approach, the focus shifts to producing work you're happy with in the present. But in the quieter moments, it’s about contemplating where you want to go and setting up an environment that can support new phases of your art.
17. If you could collaborate with any artist, living or dead, who would it be and why? I would love to collaborate with Martin Puryear because of how he manipulates wood—I’ve admired him for a long time. Thaddeus Mosley, another master in wood carving, would also be a great collaboration. I’d love to learn from them and understand their processes. I’d also enjoy working with Roy Lichtenstein. Outside the visual arts, I’d love to collaborate with musicians like Michael Jackson, Kanye West, Playboi Carti, André 3000, Miles Davis, Alice Coltrane, and John Coltrane to incorporate sound into my art. I also enjoy collaborating with the fabricators and people who help me bring my ideas to life. Nature itself is a great collaborator too, and I’d like to work more with it to capture the elements that inspire me.
18. Do you create with an audience in mind, or is your work more personal? I definitely create with an audience in mind—myself, my family, my friends, my ancestors, and individuals of the future. I think a lot about how my work communicates with others. I often think about the conversations I want to have through my art and how I can incorporate elements of our world into those dialogues.
19. How do you feel about the role of galleries and social media in showcasing art today? Galleries and social media are essential platforms for showcasing art. Art shouldn’t be exclusive or limited to those who can afford it or who fit a particular mold. Galleries should be open to the public, creating approachable spaces for contemporary art. We shouldn’t only be exposed to art from centuries ago. As contemporary art continues to grow in interest, it’s crucial for galleries and social media to expand access to art and allow a wider audience to appreciate it.
20. What role do you think art plays in society? Art is a crucial part of society—it’s like a gear in the machine of our world. Every aspect of life, from dining to nature to our subjective experiences, involves art. It’s essential to society’s development and will continue to advance it. We rely on art, and we need to invest more into it to improve the welfare of our society.
21. If you weren’t an artist, what do you think you would be doing? I honestly can’t say. Art has been my life, and I’ve always wanted to be an artist. I’m grateful to be doing this now. If I weren’t an artist, I might be pursuing a career in music or just trying to get by. I don’t come from an affluent family, so art has served as my bridge in this world. Without it, I’d probably feel lost.
22. The future is _________. Bright and promising.
23. You have unlimited money to buy one piece of art, what would it be? I’d buy the bronze harp created by Augusta Savage. It’s one of my favorite pieces— a harp with human heads, beautifully blending instruments and people.
24. How would you like to be seen as an artist years from now? I’d like to be remembered as an artist who stayed true to his beliefs and people—someone who communicated the various conditions of life. I want to be known as an artist who progressed art in society and as one of the greatest artists of all time. I also want to be known as a thinker and a vessel who speaks to the children of God. That’s how I’d like my legacy to exist.
25. Do you have a place/person/thing that you visit for inspiration? The Bible and life itself are my biggest inspirations. The interactions I’ve had with people and human history continuously inspire me. I’m always seeking new ways to speak to the future by weaving together elements from the present and the past.
26. Name three things you can’t live without in your studio? A chainsaw, oil paint, and wax.
27. How would someone find you on social media? Instagram @turboglitchy