Sustainable Sonic Sculpture: Sherwin Banfield's Unique Artistic Approach

Swell AI Transcript: Sherwin Banfield.mp3
Rob Lee: Welcome to The Truth in This Art. I am your host, Rob Lee. Thank you for joining us for these conversations as we explore art, culture, and community connections. Today, we're joined by a Queens-based multimedia contemporary artist. Their recent work delves into identity and ancestry. deconstructing the human experience through expressive sculpted figures. His innovative use of light, sound and cultural references highlight hyper-realized identities, creating a dynamic projection of attitude and lived experience. Recent projects like Skies to Limit and the County of Kings fuse mixed materials into what he terms sustainable sonic sculpture. Please welcome the great Sherwin Banfield. Welcome to the podcast.
Sherwin Banfield: Thank you. Thank you. Yes. Pleasure to be here.

Rob Lee: Pleasure to have you on.

Sherwin Banfield: And yeah, I'm excited to just, you know, have a conversation.

Rob Lee: Yeah. And you can tell, like, I was looking at a video like not too long ago, and I was like, I like the way he introduces himself in his video. So I had to circle back on it. So with that, Hmm. This was a this was a video on YouTube or what have you. I'm blanking on me. I can look it up real quick because it definitely, you know, gave a little extra insight because, I mean, you can read like descriptions and all of that stuff. But, you know, until you like hear it from, you know, the person, like how would they introduce themselves? You know, I'm looking at this joint on BRIC TV and this was the Brooklyn Made piece.

Sherwin Banfield: Oh, yeah. OK, yeah. I love that piece.

Rob Lee: Yeah. So, you know, in starting off, I like to, you know, get sort of that that introductory thing out of the way. Like usually it's, you know, sort of what are those like early art or creativity experiences that, you know, kind of set you on your path. So when you think of, you know, early memories, it doesn't mean it doesn't need to be like when you first started making your work. But one of those earlier moments where you're like, OK, I like this creative thing. What was something early in your childhood or maybe growing up that kind of set you on this path?

Sherwin Banfield: I spoke about this a few times, but it's the truth. It really just answers the question. And that pretty much memory is one of like sparring with arts, like competition with art. And the person I'm sparring with is my brother, who's two years older than me. So when you have a brother that's two years older, you're always looking to challenge them to something. And the challenge was to draw a complete car. And this was back on the island of Trinidad. We would sit out on our front porch, but we call it the gallery. And the road was just right next to the house. there were only a few cars that were popular in Trinidad. So he had the Mazda and I had the Datsun. And when that car would drive past, we would, you know, try to draw, you know, a part of it until we have a complete drawing and finish first would be the winner. So, you know, it was joy. It was camaraderie. It was I'm building a relationship with art, with my brother, you know, so there was a lot of things in one that made that an anchoring memory for creativity.

Rob Lee: Being a being a brother, I'm on the older side of it. I have a younger brother and I noticed that competition thing that comes up, you know, is shade more than anything else. It's like, You know this podcast, podcast kind of whack, but then he's like my biggest fan at the same time. So and then wanted to dive into the podcast space as well. So I see how you younger brothers operate. That's that's a really. That's right.

Sherwin Banfield: That's right. It's an opinion followed by an action.

Rob Lee: So also, I read and I know I heard this in there a bit about used to create your own toys. back in the day in your childhood. Could you share a little bit more about that and like maybe how that also sort of informs maybe your artistic inclinations these days?

Sherwin Banfield: Yo, it's so wild you ask that question. So wild. I just had a conversation with my brother about that. And the reason I had a conversation with my brother about that, actually, hold on one second. I'm actually going to show you the reason, right? Yeah. All right, we got the, okay. I see the car, yeah, yeah. All right, there's a, you know, because of the, what is it? The background image that's virtual. Yeah. Causing you to not see it completely, but this is a cardboard car. Yeah. Made by my six-year-old daughter. Oh, wow. When I picked her up from after school, she showed me that. She made that at after school. And I was floored because it took me right back to that. that young, impressionable, creative version of myself that was creating these cars out of cardboard, right? And, you know, scotch tape. I think she has a little more contemporary material. She has, you know, stronger cardboard. The glue is more contemporary. But it pretty much, you get the same result, right? This idea of creating something three-dimensional with just the objects that you put together to make this. And my brother and myself used to do that as well. So that conversation was just recent because this car just kind of came into my life via my daughter. So it was a direct reincarnation of what I used to do as a kid. And I'm like, wow, it's crazy.

Rob Lee: I'm Floyd. I love that. That's really dope. I used to, I got in trouble for doing this, but, you know, you go to the department store back in the day and you have these little things like the little clips, you'd have like the little hair clips, you'd have the little like tags and things, those things that, not the ones that are the sensors that you need a device to take off, but I used to collect those, right? And I would make my own little transformers out of them, like the old, like school toy. I was trying to figure things. I wanted to be an engineer at one point. Wow.

Sherwin Banfield: Okay. Yeah. That's creative. Yeah.

Rob Lee: So when I came across that, it definitely was like, okay, this dude gets it.

Sherwin Banfield: Yeah, you know, it's it's it's it partially came out of just that appearance, not being able to afford something. And but your hands and your imagination is able to compensate for that by making something that may not be as as as refined as the toy, you know, but you still making something that's, you know, that that's comparable. And you find joy in that process.

Rob Lee: Yeah, it's like when you have, you know, I watched a show on Netflix called The Toys That Made Us, and you'll see these different things like this was the mockup. You'll have like some guy who's probably some art dude that didn't go on to be like a professional artist. He ended up taking a job at this like toy company. And I remember specifically the one for like the He-Man toys. And they're talking about scale. And the dude's like, I don't care if it's not the scale. He's like, just put a saddle on it. And you got some guy sculpting that's probably has a background of sculpting. that's making this toy that's not to scale and knowing it from artistically, but it's like, this is what I'm doing now.

Sherwin Banfield: Wow. Wow. Wow. Wow. Are you hearing this water?

Rob Lee: No, I'm not.

Sherwin Banfield: Okay, good.

Rob Lee: So I want to move a little bit towards, cause I see Parsons, right? So I want to talk a bit about sort of that experience and, you know, sort of any, you know, impact that, that has like some, you know, like I'll use this as an example, like, I went to a business school, right? I didn't go to an art school, I went to a business school. So I had very few opportunities to do anything radio related or creative related. It was just like, hey, you're going to do the spreadsheet. So that's where I get some of that knowledge from. But in those few instances where I was able to present or even able to be on the radio, that has a lasting impact. And that's probably five percent of the time I had in undergrad. So, you know, you being an artist, you have in the Parsons background. So tell me a bit about like sort of experiences or something that comes to mind that kind of shaped again where you're at now, sort of this trajectory where you're at your career.

Sherwin Banfield: Wow. Well, Parsons. All I can say about not all, but one of the things that stand out really is experiencing. Hip hop in the forefront, in New York, while in my art school. So it was this freedom of being outside of the box. The box comprises of your family life, your neighborhood, your friends, just everything that I grew up with. no longer being present, it's just me, this new school, this new city, nothing new completely, and just a new perspective. And, you know, this music that I loved, you know, it was, I was free to just move around, do what I need to do, go to class, go to Tower Records, you know, go to clubs, go to, hip-hop cypress and, you know, these just be present in hip-hop in the 90s. And that was just a beautiful thing, you know. The past was class. It kind of reminds me of Miles Davis. Miles Davis, when he left his hometown and he went up, he went to New York at Juilliard. He was really out there just you know, experiencing the clubs and going to see who was playing and fill it in for who he can. And the experience of the city, the nightlife, the culture. That's what really was, you know, the those years really was filled with with that experience. That's the same for me. Like I'm at Parsons. It's like Parsons is like my day job. Right. And I'm there. I'm doing it. I'm learning. I'm getting exposure to various forms of art. But in reality, the bigger part of it was just living on campus and just being in this new world and experiencing it. So Boston was great. New York was better, was greater.

Rob Lee: That's a great answer. I feel like, you know, the five New Yorkers that listen to this podcast, they're only going to listen to that part. And the funny thing is, my partner is from Brooklyn, so she's going to be like, hell yes. OK, so in this in this vein, this is what I like to call a two dollar Segway. Right. So in thinking outside of the box, you know, in looking at some of these these interviews and just some of the research I've done on your background, instincts come up and, you know, allowing things to like unfold organically. Talk about that as it relates to your artistic practice and your process like, You know, I have this inclination of when opportunities come my way to ride that wave, you know, and going into a conversation, you never know what you're going to get and how it's going to go. So you just try to present yourself and let the conversation go where where it goes. And that's why, as I said before, we got started like it's just a conversation. So for you, instincts and in kind of like operating in an organic way, how does that relate to your artistic process and how you go about your work?

Sherwin Banfield: Well, this is my personal of feelings and process. Hi, sweetie. I'm on the call, OK? Yes, thank you. My personal journey has really been about recognizing and just being present when, like you say, opportunities, when situations happen, that is an indication of moving forward in a free, you know, in a free, open manner, right? Like you are, you could be, I have people in my life who, you know, live in the past and they can't get past a situation that has happened to them, whether it's in childhood or whether it's in, you know, a part of a relationship recently. That's not how I operate. My art kind of takes its own journey, and I'm kind of following the path as it's happening. So that's the organic aspect of it. It's almost as though it's just kind of holding my hand and just leading me, even though I'm participating and I'm driving the subconscious part of it. I guess what I'm saying is that just picks up on on the opportunities and the windows of prospects and recognizing who is here to help, who's here to usher in the next phase of my work. The instinct is, OK, just make it and let it just let it happen, let it unfold as it should, right? Not that I'm leaving all control to some higher power. It's just, no, you are actively participating in the journey by working. And through that, things will happen. Things will happen. And I guess the great example of that is when I was making the LL Cool J statue, I didn't have a place to work. I didn't have a location to show it, and I didn't have the funds to make it. What I did have in my control was my pencil, my hands, my imagination. And I started drawing and actively participating in getting the idea out onto paper so that I could show it to someone on open call that came up. So basically it was just being open to knowing that the resources that I am in contact with or that's in my circle via the internet is just signing up for open calls. Like an open call would pop up for a studio space as I'm looking. And it's a competition. You have to be picked. I was picked, along with others, and then the opportunity to find a space in Flushing Meadow Park. That was an open call. I submitted the idea with the drawings. It was a selection of two artists. Of all the applications I was sent in, mine was selected, as well as another artist, who happened to be my collaborator. I didn't know he was applying. So it's like, OK, so when you start seeing these things happening, you're like, all right. Something else is working in your favor. Sure, there'll be negative things that pop up as well, but keep in mind is where the end result will end up.

Rob Lee: Yeah, I like your mindset when in that regard, like, you know, well, overall, obviously, but I definitely like what you said there, because it's it's similar. Like I've gotten pieces of advice of just like doing whatever you're doing, you know, just work on your stuff. Like because it's almost like when you get whatever that blessing is, right. Are you going to be ready for it? Are you actually doing the stuff? Do you have the idea? And too often, in the way to do the execution around that idea. But too often, you know, we get caught on this, this notion of it is no funds there. There's no opportunity. Why would they pick me? But in the reality of it is it's like, but are you doing it, though? Because that's the thing that I try not to let really prevent me. Like, I'll have an idea. Like, you know, when I say, look, I'm going to put out a bunch of podcasts with, you know, just different creative people. Not everybody says yes. Not everybody is good interview. You know, not every interview actually makes it to this, but you know, you set out with a plan and then you work towards that plan. It's a goal. And, you know, when it comes to these these opportunities, you know, you're touching on a bit like I'm related to that as well, where, you know, it's like, all right, I'm going to get this funded and I'm still going to do it, though. You know, I've had this this thing where people were rejected because they're not getting the idea or it's a little too fast for them, a little ahead of their like, you know, perception. And then somehow six to eight months later, they come back to me. But at that time, I don't really see it working, bro. It's like, well, I'm still going to do it, though.

Sherwin Banfield: Yeah. Yeah. Yeah, exactly. Exactly. You know, because one person experience is not yours. You're not going to go up against the exact mirror obstacles that the other person is going to go up against. Because you're bringing another different set of ideas and you're bringing yourself to the table. And people will respond to your energy, your work, which is your energy. And your belief, you know, so things happen to line up when they line up. What are you gonna do? We're gonna do what traffic lights all green, just gonna keep on going right through 100%. Yeah, happens maybe two or three times a day. No. But if it's happening to me at that time, it's just happening to me at that time. That was the LQJ joint. It just it just happened the way it happened. And when it was when it was, you know, put up, I happen to make the video. I'm like, I'm gonna make this video. And I'm opposed to it. Turns out, when I installed it, it was finished right at the golden hour. Right. So the light is the sun is going down. Perfect for the backlighting on the inside. Perfect for you know, the dynamic range, you know, photography, you know, but that's to work in my favor for the best possible photograph and video. And those are the images that circulate on the internet. It's like, damn, it is what it was, you know.

Rob Lee: Yeah. And it's again, like, you know, those things line up and it's, you know, some people say serendipity and all of that stuff. I just look at it like you're you're you have something you have it and just things just lined up. But the key point is like you have it, you have the idea, you have the sort of wherewithal and you put yourself in a position to be able to do that, to have that synchronicity, if you will, kind of line up. Yes.

Sherwin Banfield: Yes. Hundred percent. Yes.

Rob Lee: So, yeah. So I think a lot of times we we look back and we think about stuff that we've done. Like you had a little bit of that reincarnation moment as you were just driving earlier, thinking about, you know, your car. Do you see your child's car? You see your daughter's car? It's like, oh, OK. Yeah. So when you look back at some of your earlier work, compare to like sort of where you're at now as an artist, as a person. Describe that feeling when you look back, because there's always sort of a touchtone where, you know, you might have been you might have been doing like a piece and you're like, I remember this was what was going on in my life at this time. Or, you know, now it's like, you know, this is going on in my life. My perception is different. My mindset is different. My living situation is different. When you think back on an earlier work, you know, talk about that feeling.

Sherwin Banfield: Um. That's an interesting question. And the answer to that is when I look back, I see the same person that I am today in terms of skill and idea generation, right? You know, to generate ideas. The only difference is the resources, right? and the access. So the drawings that I did back in high school, it's all there. The ability to make it, the ability to craft it, and the ability to bring it to life, it's all there. The only thing that's different, which I guess you can consider growth, is my exposure to other techniques of other artists techniques is, and also exposure and practice of different materials. Right. So this informs me that, yo, I was nice back then. Yeah. I'm still nice. The core foundations is, I have the core foundations, just a matter of what. It's like my mom, right? She just understands and knows how to cook. It's an understanding, right? She's connected in that way. She's just bringing in new ingredients to make other things. She doesn't know how to make that. It's like the alchemy happens in the mind. Like, I'm able to make it in mind, just a matter of just understanding what new material I'm working with. So yeah, so I look back on the work. The work is good. It's great. And I'm just thinking, man, that person that made that back then, who me, if that person was in a different environment with a different set of resources, that could have all generated something impactful. To me, that's what it is. It's like you grew up in an under-resourced neighborhood, you're nice, but the people around you, It's not going to work because you don't have the surrounding, you don't have the team. You're MJ, but you don't have the bulls, you know, you don't have, but you know, you're still nice. You can carry any team, but you still got to have a certain level around you.

Rob Lee: I like this New York Confidence. It's just amazing. I love the reference. I mean, it's there. And I feel like that same sort of vibe. I say it, you know, when I'm talking to people about this, I've been doing this for a long time. Right. And, you know, when I talk to folks and it's in that same vein, but I like the way that you said it, because it sounds much more crisper. I'm going to like really ate that and copy what you said. But it is this thing where it's like folks like, wow, you get so much done. You're so good at this. And I was like, yeah, you should see me with a budget and a team. Yeah. And it's just like sort of the different resources and, you know, being able to do all of this to to the point that you were making. It's like, I already know I'm nice. I already know I'm good at it. And You know, having having those extra resources and having that access, like looking at the caliber of guests I'm able to reach out to, like a lot of times I don't know anybody. And, you know, I would just reach out and then it's like, oh, yeah, I heard of your work. I'm like, oh, wow. People know about me. Great. And then I'm able to have a conversation to satisfy. you know, this curiosity that I have, one. And, you know, put put on a really cool conversation. That's really what comes out of it. And it's the same through line from from when I started doing this.

Sherwin Banfield: Right. Right. That's what's up. That's what's up.

Rob Lee: So obviously, we talked a little bit about, you know, and again, you know, it makes a lot of sense, sort of your connections, your deep connection with hip hop. And, you know, obviously, 50th anniversary this year as we're recording this, you know, again, for those who didn't get it in that initial, like, you know, piece, you know, talk about how it has had a really big impact on like, your career, because I know that the sort of move into, you know, from from Trinidad to New York and, you know, that being a part of it, you know, having the whole the Parsons thing, but also being able to be out there within New York and, you know, birthplace of hip hop and all that good stuff. Talk about how like maybe the culture, you know, around hip hop has been like influential for you.

Sherwin Banfield: I think it's it's it's you know, it's a feeling, right? It's a feeling it's it's Music is a feeling and it's organized chaos and it's a recipe that either suits you or not. For me, hip-hop really suited me and for many others and the culture that came with it is just infectious and I really related to it. And it's related to the creative aspect of it, you know, the art aspect of it. The poetry, I marveled at the educational aspect of it, the ability to paint images with pictures. I mean, to paint pictures with words, right? And, you know, that's something that I do, but in a different medium, which is I paint, you know, pictures with pencils and paints and all that good stuff. So hip hop really, the art form of it, the language of it, it's just infectious, man. The style of it, young black kids, young people of color just having an opinion, voicing themselves and having fun. It's relatable. It's It's like the pure essence of expression, you know? It's young people doing it, it's not old people. So that means a part of it is just instinctual, a part is hopeful, you know?

Rob Lee: And a lot of times it's, it has the DIY thing too, right? Where, you know, looking at just maybe documentaries and old works, you'll see like, yeah, we don't have a producer yet, you know, going to like sort of the roots of it. We don't have a producer, but we have a DJ. We got these records. We're going to make a song out of this.

Sherwin Banfield: Right. Right. Yeah. You know, you don't have the refined studio But you still make something, you know. I don't have, you know, my daughter don't have, you know, the Legos or the or the, you know, the materials they used to build like the model that you say, the He-Man, right? But she made something out of cardboard like I did. And you have this thing that that brings more joy and it's more relatable because folks are not going to be wearing you know, spaced out outfits like, you know, the R&B singers of the of the 70s. But they will be wearing, you know, Kangols, jumpsuits, you know, Adidas. I was waiting for you to say Adidas. And you see that image of them, you're like, oh, man, that's me. You know, that's that's someone representing me. And that's what a statue is supposed to be. Right. It's supposed to be that that that image that represents you, you know, not some distant general that fought for a cause that you may or may not believe in that you don't have no control over. But but it's there in your face when you, you know, catch the train at the junction or, you know, catch the train at the square.

Rob Lee: Yeah. Yeah. It's like that thing that was going on on social media and that holiday. It's like the only Christopher we acknowledge is Wallace. Let's just be honest. And when it comes to those statues and all, and which is another one of my two dollar segues, let's let's reflect a little bit on Skies, the Limit and the County of Kings. So it's about a it's about a year since the unveiling. You know, if I have that correctly, could could you elaborate on sort of the, you know, response that's been and, you know, it's a it's a tribute to to notorious B.I.G. And what are those reactions like, you know, sort of that that feedback from maybe other artists and so on? Because one, I really dig it. I love it. I even love the you know, like each piece of yours. I've seen this in this sculpture. And I'm just like, how how does this get done? It's amazing. But, you know, tell me a little bit about that sort of with this this year since, you know, with having it out there.

Sherwin Banfield: Yeah, well, you know, it's It's a feeling, man. The thing is, sculpture is not, I was saying this last night at a talk, an artist talk that I was invited to speak on. A sculpture is not something that is well known. It's not a discipline of art that has a a curriculum built in for an educational system. You may have pottery. I mean, that's, I can't talk like that, sweetie. You may have pottery and that's how you may get some version of sculpture reference, but sculptures are something that not many folks have a reference as to how it's being made, right? But they know that it's there in their space and there's a certain certain power to it. And the response to this sculpture has been more positive than negative, because it's so different. And it's unlike what is out there. Folks don't know how to respond to it, right? And that's the intention. the intention is you have a recognizable. OK, let's put it like this, you know, you're making this, you're making a song, but you're going to put the drums in it that have a sample from another song, right? OK, that's I know that drums, I know that song, that drum sample, but you put all these different let's say, Star Wars sounds on it, like these sounds that that kind of makes sense, but it don't. But you look at it, you see a structure there, you can see that, you know, this song has a layout. And that's what the sculpture is. It's there is a recognizable bust, you know, traditionally sculpted on the top. Right. But you look at this body, you don't understand what this body is. But it's a body. It's a what is it? Is it armor? Is it something from the future, you know what I mean? I see a Coogee sweater, but is that really… How does it come together? But it makes sense in a way. It doesn't make… That's the instincts, your subconscious is telling you that it makes sense. Why does it make sense? Because a human made it. That's why it makes sense, you know?

Rob Lee: I mean, when I look at it, I see a throne. You know, and that's just my novice approach, but I see a throne and it echoes the king sentiment, you know.

Sherwin Banfield: Nice. Well, yeah, good. And, you know, I appreciate everyone's opinion, including, you know, the people who have something bad to say. You know, that's it's still an opinion and it's still valuable, you know, so. So when it came on the scene, because it's a sculpture that is in Brooklyn, it had key points, right? It's a sculpture that's in Brooklyn, near the Brooklyn Bridge, right? And you notice a New York skyline that's there. You're like, oh, wow, that's incredible. You may want to hit on it, because it's not traditionally what you expect it to be. Right? But you can't, because the face is so well done, you can't hate on it completely. You can't hate on it completely, because it's so well done. And you know, it's like when you look at an architecturally, modern architectural building, you're like, wow, that's incredible. But you know what I mean? That's what it is. But you know, when the press got a hold of it, It went by wildfire. It went by wildfire. People responded to it in a huge way. It was highly popular. Folks wanted a piece of it. Everyone wanted to write about it. I've met members of the family, our biggest family as a result.

null: And they've been really receptive to it.

Sherwin Banfield: you know, members of the Junior Mafia has been really receptive to it. So that's the thing, man, you know, but it's still art. It's still sculpture art. What do you do with art? What do you do with sculpture? Like, what do you, you know, what do you do with it afterwards? Like after the initial impression, like what? So that's that's where we are. Yeah, that's what, you know,

Rob Lee: So thank you. Thank you. Wow. That's that adds so much more texture to it. So I got one last real question and then I got a few rapid fire questions that I got to ask you. So here's the sort of last one. And I want to frame this in a way because I think I have a sense on what your answer might be, because, you know, you're nice with it. But How do you, how do you stay motivated and you can overcome these, these like creative dry spells? Like, you know, I've heard everyone from like someone that's emerging to someone that's like deep in their career of trying to find ways to cope with those moments where it's like, I'm a little discouraged or I don't know, what have you. Am I still good? Whatever that thing might be. How do you kind of like cope with it? Or do you even experience that?

Sherwin Banfield: Don't experience any of that. No dry spells. Zero. I think the best way to answer that is, I think folks might get the definition of art maybe a little backwards, right? Art is the process. The art is dreaming and then manifesting. And that manifesting involves a ton of problem solving. It involves different types of execution. I just happen to be in a world, in a discipline, I should say, where there's no room to be bored. So many aspects of it that allows it to come to, that you have to go through to bring it to life. You know, there is, The sculpting aspect of it, I'm actually sculpting out of clay. I'm getting a photo reference. I'm hoping to get the right photo reference. That's part of it. When I find that reference, I'm like, all right. I won this particular journey. Well, not journey, but this battle. I won this battle. There's so many drawing aspects to making the measurements, the contacting fabricators, the contacting of the bronze foundry, if they can make it. It's getting the materials. It's getting the engineers to make the solar system work. making sure the measurements all fit, and it comes together like a Boeing 727. That's part of it. And when you put it out there, you're like, all right, let's wait and see what people say. It's a two-year journey to make that, a two-year journey. So I didn't design it on a computer and press print. I designed it in my head. I used the computer as an aid. Not to say that that's any, you know, not to having a pain on that. I'm just saying my process involves the traditional sculpting way of making it in clay, making a mold, casting it, making an actual copy of it, and sending it to the foundry, having that relationship, meeting other artists at the foundry, you know, And then making the sculpting the hands, you know, making the the Coogee sweater out of resin, coming up with an idea how to make it, seeing it actual work. You know, there's a risk, you know, there's a risk in placing the CD inside of it and making sure there's no bubbles. There were bubbles on my eye. Well, it still looks like, you know, so it's I mean, my hands are in every aspect of it. So that's the journey, and that's the art. The art is the process of making it. How can I be bored doing that? Then as a family, I got to, OK, when the family sets me free to go work, I'm like, OK, I have this amount of time to work. Let's make the most of it. So I don't really have time to get bored. I got someone behind me trying to get my attention.

Rob Lee: That's a, that's a great answer. And thank you for that. I think it's, it's one for a lot of folks to really, really think through, like, you know, there's things within doing this that aren't particularly great. Like, I don't like the admin stuff. I like that this part of it, you know, the actual like, oh, the execution, you're having a conversation, you're sculpting a conversation as we go along. And you get to learn from a person, you get to, you know, interact and have fellowship with them and all of that. That's the part that's really cool. And I'm always busy. So the notion of getting discouraged, it doesn't happen a lot. But It's parts of it that feel kind of weird, but the way that you were describing it, I like that energy a bit more of like, there's so many things I have within this. I don't get discouraged in having this sort of fount of creativity and skill that's sitting there that you're always trying to figure things out. You don't have time. You don't have time to get discouraged.

Sherwin Banfield: That's right. Don't have time to get discouraged. I really don't.

Rob Lee: So let me hit you with these last few rapid fire questions. And as I tell everybody, don't overthink these. These are like, look, I said what I said. Brevity is key here. All right. So here's the first one. Do you prefer to start your day off with tea or coffee?

Sherwin Banfield: Tea.

Rob Lee: Now, you mentioned earlier about your mom throwing down in the kitchen. What is your favorite meal?

Sherwin Banfield: Uh, that would be, um, traditional Sunday food, traditional Trinidadian Sunday food.

Rob Lee: Okay. Um, now I got to ask this one because you know, hip hop, hip hop. I was going to say top five. I'll go top three because I think, you know, that's a little, you know, people get like, I don't know. I don't know who's on my route. Mount Rushmore. Who are your, your top, your top three artists of all time, huh?

Sherwin Banfield: Yeah. Okay. Top three of all time. Now this is hip hop artists. Yeah. Okay. This is this is art, which is like lyrics and music, like sounds and melodies and, and feeling. Yeah. Kanye. Okay. Pharrell. A gangsta.

Rob Lee: Okay, it's good. It's good. This is the last one. In three words, they don't have to be a sentence or anything, but in three words, what do you enjoy about being an artist? Or why do you enjoy being an artist?

Sherwin Banfield: Just quote three different words?

Rob Lee: Yeah, just three different words.

Sherwin Banfield: Freedom, joy, and inspiration.

Rob Lee: Thank you. That's great. Wonderful. And I'm glad we were able to get this. And, you know, one, I want to thank you for coming on to this podcast and spending some time with me to think back about, you know, your career, your work. And in these final moments, I want to give you the space to let folks know where to check you out. Check out your work, social media, website, all of that good stuff. The floor is yours.

Sherwin Banfield: OK, I go by Sherwin the Artist. You can find that on Instagram, Sherwin the Artist. You can also find me sherwinbanfield.com. Basically on Instagram, I have a link tree and the link tree gives you, you know, portals into different aspects of me. And that's where you can learn the most about my work.

Rob Lee: And there you have it, folks. I want to again thank the great Sherwin Banfield for coming on to the podcast and sharing a bit of his journey with us. And I'm Rob Lee saying that there's art, culture and community in and around your neck of the woods. You've just got to look for it.