CZECHWUN
NO PAIN
NO GAIN
NO PAIN
NO GAIN
WHO ARE YOU?
My name's Iya. I'm an illustrator currently studying at FIT. I've been doing illustration my whole life.
HOW DID YOU GET INTO ART?
I think I got into it in kindergarten because when we started doing arts and crafts, I never really let go of it. People kind of found their own things that they liked, but that was something that I kind of stuck with.
C: Growing up doing art and living in like Lowell Massachusetts, how was it like growing up as a black person who is also creative? I know there are a lot of struggles with that.
Yeah. Um, damn, it was a lot. Like, I was very quiet and reserved 'cause, like, just 'cause, I didn't really have a lot of friends growing up because the school that I lived in was very racist, like, you know. I had one other friend, but I was on the internet more than anything at a very young age. So, that's how I found my interest. Especially now, as an adult, I still have the same interests as I did as a kid. And, um, I kind of just dealt with it. That's how I dealt with it; I focused on what I liked most.
E: What made you set your sights on FIT specifically?
To be honest, because it was cheap. That was probably the most affordable art school I've been to, especially since I've been to art school in Massachusetts, and even FIT is cheaper than the one I was going to. I think the tuition is like, I don't know, 30k or 20k.
C: In mass?
Yeah.
C: Wow.
But the program here is like $3,000 or something like that, and the professors are pretty good. So I've enjoyed my time here so far.
E: Given that you were speaking about how bad your environment used to be, do you think that if you had gone to FIT, you would have tried to make it to New York?
I didn't think about moving to New York until I was 21. And, I don't know, it was just very sudden. I didn't really even think about it. I just did it. I didn't really know what New York was like when I moved. I mean, I had visited New York before, but only briefly. Um, it was kind of a risky choice, but I don't regret it. I've met many wonderful people here, and I've made more friends than I've ever had in my entire life. So, it kind of feels like a reset of my life, the life I should have had in high school.
E: What was the most difficult thing about moving here?
I knew that I'd be very far from my family. The hard part was looking for a place, but I guess that goes for just living here. That's very common now. But it was definitely just like leaving my family and the little friends that I had. And it was kind of scary thinking about being in a completely new environment on my own.
HOW DOES YOUR FAMILY FEEL ABOUT YOUR ART?
C: And you mentioned the importance of family. What do your parents or immediate family think of your art career? Do they know? How do they feel?
My mom has always supported it because she's also an artist, but that's not like the career that she got to choose. So, she always pushed me to, like, kind of discover it on my own– making art. But she always pushed me to keep doing it. And she'd always buy me art supplies when I was younger. And she let me go through art school, so I'm very thankful for that. She's probably one of the few family members I like who understands me. I came out to her, and she was fine with it. So, she's definitely been the most supportive person in my life.
E: How often do you see her?
I try to see her on holidays or just at random. Like, I saw her this summer. I don't see her as often. I don't know; it's like the train ticket, which can be expensive. But I will try to visit when I can.
IMPORTANCE OF DRAWING BLACK PEOPLE?
C: Living in Lowell, Massachusetts, and being from a racist town, and now that you're an artist and you're predominantly drawing black people in an anime style, is it because you want to show other people that black people have a space in that style?
Well, basically just like, yeah, it's like how I see black people, but also just like growing up, like a lot of people would say, "Oh yeah, like black people don't fit in like that style." It's just because they don't know how to draw black people in their style, you know? And, it's not that hard, especially if you actually sit down and study what people look like in general, you know? And I didn't, honestly, like in my early childhood, I didn't draw many black people. And it was just like a random anime character. And then, I incorporated that into my style more as the years went on. And now, I only like drawing black people, honestly. Like, it's just easier for me. But it's been fun experimenting with that.
E: Yeah, the Panty & Stocking reboot got announced this year & Garterbelt is still drawn with large pink lips. It's a really easy thing to change to make the character design not racist. But it's like being rebooted this year in 2024, and they're still keeping it which is so crazy.
Yeah, that's the thing with that studio. Anytime they draw black people, they rarely do, but anytime they do, it's just like, they just make them look crazy. And it's really crazy seeing that now. I especially used to watch that show. I love that show. But the way they draw black people, especially the background characters and stuff, it's kind of crazy. But I've honestly stolen that style since I still love it so much that I just translated it my own way to remove that negative stereotype.
INSPIRATIONS?
E: What would you list as some of your main inspirations? Since you said Panty and Stocking is one of them.
My main inspiration? This guy's name is Koji Morimoto. I always keep art books on me because I can't remember people's names off the top of my head. And he makes, I don't know, very sketchy, but also clean graphic stuff. And he's an animator. He worked on Kiki's delivery service. He worked on Akira. He's just a very solid artist to look at. Every artist should have art books or magazines they can look at. It's nice to skim through it, especially if you're feeling stuck creatively. There is another artist, though, that I follow. They go by Dodleyz or something. And they've been a big inspiration to me lately. I really like their art styles. It kind of looks like 3D, but it's illustrated, if that makes sense. Yeah, so I have many people I'm inspired by– Tatsuyuki Tanaka, Masaaki Yuasa, Alphonse Mucha, Ralph Bakshi, and just a general love for animators and the art community I'm in.
FAVORITE MEDIUM OF ART?
C: Then I saw in your portfolio that you do other things, such as animation and graphic design. Oh, you're also a DJ, and you sing. So, what would be one of your favorite mediums right now?
My favorite medium right now? I've been liking graphic design because I have like one of my friends, Ciela, who's crazy good at graphic design. And like she's like made over like, I can't even tell you how many flyers she's made. But, like, she's made so many flyers, and I'm actually inspired by her, too. And yeah, and definitely singing, too. I've definitely been focusing on music stuff a bit more. And yeah, illustration will always be my main thing. But it's like I like trying different things because I get bored really easily.
C: And how is that for you? Are you switching from graphic design to illustration to music? Is it like is it in would you call it in the same vein, or is it like, oh, I got to turn off this side and then turn on this side?
I feel like it's all the same thing to me. Like you're still making something. It's like how I'm an illustrator, but I'm also heavily involved in the underground music scene here. And I try to incorporate that by just like, you know, I have a ton of friends that make music like I'll make art for them or I'll make merch for them or I'll just like always be like carrying stickers on me and like I'll give them out at shows and stuff. So that's kind of how I like contributing, but also, at the same time, being in it got me into focusing on music more. It's just something I've always loved to do since I grew up around many musicians.
E: How did you break into the music side specifically?
How did I get into the music side? I have a friend named Quinten, and we have become friends. We actually became friends on Tinder, and we both thought, oh my god, you're so cool– And he introduced me to his friends, and in turn, became friends with his friends.
But he kind of introduced me to my now-friend. Their name is Rugi, and they commissioned me to create a flyer a year ago. And that was the first flyer I ever made. That's kind of how I got into it because I started making flyers for people, and then that's kind of how I met more musician friends. And it's gotten me a lot of really cool opportunities, I think. I'm really grateful for everyone I have ever met.
MAKING MONEY OFF ART?
C: So you mentioned doing commissions and making flyers. Can you talk about the process for a commission?
The process would be first, I would ask you what the exact idea that you want is. Sometimes, many people come to me and don't know exactly what they want. So then it makes it a bit harder for me. But I try to be like, just tell me, give me a mood board or something. And then they'll give me that. Sometimes, they pay upfront. Sometimes, I let them pay in installments or whatever. And I'll just give them a sketch. They'll wait a bit, and I'll give them a sketch. And then I'll keep updating them, basically. And once it's towards the end, I kind of think that's where revisions start. It's just like a whole like thing. It's just like a big, big process of communication. So I always want people to tell me if they don't like something. Sometimes people don't. Sometimes, people don't use your art. But it's okay because at least you got paid. But yeah, that's one thing I learned: sometimes, people aren't going to use what they paid for. But that's kind of a part of it, too.
C: Along the lines of commissions, you were vending at a...
Yeah, I was vending at Bodyhack.
C: How does it put a monetary value on your art? Is there a struggle between, oh, I want people to purchase it. But I also wanted it to be accessible.
I mean, I feel like so I started selling my artwork when I was 17. And, like, I started making prints and stuff around the time I was like, maybe 20, 21. So, I don't entirely have a problem with it. Now, more than ever, I don't care about money that much. So I just like giving out shit too. But I think just like vending, it can be fun, but also stressful at first because the first hour, like everybody's just gonna like to look at your stuff and not really buy anything. And then, maybe, like, the second hour, a couple of people buy things, and, maybe during the last hours, we'll get a ton of sales. But I've noticed that people prefer clothes overprints. And that's what I usually sell. So, I'm still trying to figure out what people like so I can make a little extra money.
E: You said money doesn't matter to you right now. Why do you say that? Like, what changed?
I don't know. I guess. I recently made friends with someone, and she's just like, very, I don't know, she's very inspiring. She's very giving, and she does a lot for the community that I'm in. And I guess I'm getting older as well. I'm just like, I don't know. I'm just starting to care less about money. Just like everything going on in the world is really fucked up right now. And like everyone's broke. And I'm just like, you know what? Like, I just want people to enjoy my art more than anything, you know?
E: But off of that, is this your soul hustle, or do you do something else to keep yourself afloat?
Art is the main thing that keeps me afloat. Commissions, especially, help a lot because I charge way more now. I used to undercharge my commissions, and now that I charge more, I'm getting more people who take me seriously. So it's nice having that.
E: Damn, so you know, got like a nine to five?
I need one.
I've been looking for a job. It's just really hard. Nobody's hiring, so low-key, I've been struggling. But it would also be nice to have a day job to fund my art and make better things.
OWNING BEING THE ARTIST
C: Recently, you made a tweet in which you basically said that you want to start introducing yourself as the artist because you feel like people carry a certain type of respect when they know you're the artist. Is that something you've been struggling with recently?
I always change my mind. I'm so iffy about it because I recently had a conversation with someone, and she told me, like, you know what, people don't need to know everything about you. You could just say you don't always have to talk about what you do. It shouldn't matter, you don't have to put a value on yourself, you know? So, I would love to tell people what I do more, but at the same time, It really doesn't matter. I'm still indecisive about it sometimes.
E: I think it's a good conversation to have now, specifically because so much of art is the face nowadays, especially because you have people that you know. Designers will also be on TikTok talking about their designs, and a lot of art now is less mysterious than it used to be.
Doesn't it? People don't like leaving it up for interpretation; sometimes, you just have to shut up.
E: I think it's like a mirror, though, because at the same time, it's like there are probably people like you who maybe have the same upbringing who may find your art easier to latch on to if they had known, oh, this is a person from Massachusetts, or this is specifically a black person from Massachusetts, that it's like they think there's pros and cons to it.
C: Because when I find out like an artist is black, I'm like, man, I fuck with it way more now.
No, when I found out the PinkPantheress is black, I was like, yay.
GALLERY OR EXHIBIT?
I did that last year, actually. That is drawing up there. I showed that one. That one? Yeah, that one and that one. And there were a couple more, but I think I gave them away or sold them.
E: Did you give away the originals?
Yeah, just one. Just one original. I don't know why I gave them away.
E: How was that experience? Do you want to talk a little bit more about it?
No.
*A few moments of silence*
E: Oh- The gallery experience? You don't want to talk about that? Or do you mean giving away the original?
Oh, the gallery. Oh yeah, I do want to talk about that. Not the giving away experience. So, the gallery was for the WedgieMag pop-up. It was a three-day thing. And they showed people's art like they did every day. So, you just come and set up your stuff. People would come in and walk around and look at it. It was very underwhelming on my part. I wish I had done more with the exhibit. I want to make it more interactive the next time I do. Because I think it would be cool if the characters I made were real. Kind of like you can't even touch them.
E: Like on, like, some paid actors on some shit?
No, like maybe like a sculpture. Or maybe like a cardboard cutout type shit. Or like maybe like building a little world of things happening around you.
E: Because I guess my question was more about the space itself. Do you feel your art was received differently, given that it was in a gallery? And if so, is that a feeling that you enjoyed?
I don't know how my art was received. Some people stopped by and messaged me, saying, "Oh my god, I saw your art!" That's pretty much it. Or they'll see this and say, "What?" But I feel like people's reactions to art are so different now. I feel like it needs a different crowd.
E: Do we like your work specifically? We felt that way before like we had ended up at an event that was not our crowd.
Yeah, sometimes I feel like maybe I need a different crowd, or I don't know, or maybe I need to do something differently. But it's not like you can control people's reactions. It's just like—and it was like a very last-minute thing. I got all those drawings out the same night because I procrastinated.
E: So, how important do you think the reception is to you for your work?
People can perceive it however they want. I mean, like, sometimes people tell me. They'll just say, "Hey, this piece made me feel a certain way." And they'll say something really nice. And that's always nice. I like knowing how it makes people feel because I don't get much of that.
IMPORTANCE OF BUILDING COMMUNITY IN ARTS
C: You mentioned how you're in many different communities, from the illustration community to the underground music scene. What would you say about the importance of building community in arts? Building community in arts.
For me, it's just been like keeping people close… Wait, that was a good question. It's literally just like literally going out and supporting your friends, based on my experiences. Like going to their shows, talking to them, reaching out, and checking in on them. And like helping people out with whatever they need. I feel like that's like a community. Obviously, it goes so much deeper than that– ensuring people are safe, knowing harm reduction, coming to agreements, and even disagreements. Doing things for my friends will always be out of love and care for them. I want my friends to continue doing what they want, give them access to certain things, and do the same things they do for me. Many friends have given me access to a different world I'm still navigating and figuring out. And it can be anxiety-inducing sometimes, just like meeting new people. But it's also just been really fun. It has also been helping me figure out how to handle people and talk to them.
C: Is there a specific moment while living in New York or anywhere else where you really felt a sense of community? Is there a specific moment that you would like to share?
Ah, okay. So I think recently. So they had, like, around the 4th of July. We had a festival down the street. It was called Fuck the 4th Fest. And it was just like a performance and a benefit. So, it was a bunch of artists, and I was volunteering– people were helping load in the artist's equipment, and I was working the door– we would switch shifts. I've done that maybe 3 times now. There was also another event that my friend had. It was like a 14-hour show. And it was like 2 different locations. So it started at one location, and we had to move people to another. I think that's just recently, from the top of my head. I guess that's what I can remember. It felt familial sometimes, and everyone was so kind to each other.
C: Like people don't do stuff out of love anymore. Everything's so like everything's transactional.
E: I think creating community spaces removes the monetary value of art.
It becomes less like, "Oh wait, I charge this person that much. It's more like I will do this for you, and then you can do this for me. It's not as expected or anything. Everyone likes sharing, especially when my friends are going out to perform. They'll be like oh, does anyone have this weird cable that no one has? Someone probably already has it.
FAVORITE PIECE
C: So what would you say is your favorite piece that you made and why?
God damn it. Let's look. Wait, wait, wait. Honestly, I think this one. It flopped, but I love it. I have always loved it from the bottom of my heart.
E: Talk a little bit about it. Give us the title.
"NO PAIN NO GAIN." When I started it, I was in a lot of pain. It was crazy. And it took me forever to finish, but it was definitely inspired by one of my friends who's like a boxer. Also inspired by Street Fighter. Cause I really love fighting games. And just like how I was feeling around the time I made it. And yeah, it was like a labor of love. It was just me creating for no reason. And I hadn't done that in a while; I had been doing a lot of commissions, so it was nice making something for myself.
GOALS?
C: What are some goals for you now, personally and as an artist?
Like what type of goals?
C: Any goals! I know you're trying to create a horror zine.
Yes!
Oh my god, that's my goal right now. I'm making a horror zine about the genre. I love horror. I've loved it my whole life because my dad exposed me to it at a very young age. And another goal. I guess I have one other goal: I want to keep collaborating with my friends. That's what I want to do this year.
WHY DO YOU CREATE?
I feel like it's just something that is not what I was made to do, but it's definitely something that I feel drawn to. It's like a lifelong hyper-fixation for me. And I don't think it's something I'll ever let go of. And you know, I grew up with other artists, and I feel like that's something I was always naturally drawn to because that's what my mom was doing, and I liked mirroring her.
C: Alright, any shoutouts?
Ooh, shout out, Ciela. Shout out to Rugi, Quinten, Zac, Nita, and Jungle Network. Um, that's it.
C: Fuck everyone else, huh?
Wait, no, no, wait. Shout out to Gabby, Cade, and the unemployed group chat!! And literally everyone else in the entire world.
E: That's like everyone.
Shout out to the haters, the lovers, everyone, and the people who feel neutral about me.
E: Shout out to the neutrals. I'm thinking about you.
(E’s very skeletal hand)
IYA IS SO TALENTED, FOR ALL YOUR ILLUSTRATION NEEDS COMMISSION THEM! WE LOVE THEIR WORK SO MUCH THAT WE WOULD BUY A HUNDRED PRINTS AND HANG THEM ALL OVER OUR WALLS. GO FOLLOW THEM FOR REAL... -e&c*
PHOTOGRAPHER : E&C* @acediastudios
MODEL : Iya @iya.isonline
EDITOR : E&C* @acediastudios
TEXT : E&C* @acediastudios