The in-between phase after you graduate, where you’re looking for a job, or maybe bouncing from job to job — trying to make sense of life while embarking on some sort of career — that’s the phase Colton Berretta has been experiencing. After graduating from Memphis College of Art in 2014 with a degree in illustration, Berretta worked all sorts of jobs. He was an admissions counselor for the College, traveling around the country and recruiting budding artists to enroll at the school. He worked as a prop designer, making you-name-it for various theatre productions. Now, he builds guitars at Gibson Guitar Factory. In his spare time, though, he delves deep into a realm of fantasy, sculpting and illustrating Vikings, robots, and adventurers. He’s created a cast of characters, “Underdogs” with a mission to prove. He’d even like to make a children’s book someday. I spoke with Berretta about the world he’s built outside of this one, and how he brings his characters to life.
What was your first attempt at art and how did your passion develop?
I actually didn't until middle school. In 6th grade I had to choose between choir and art, and I had no desire to sing. Mrs. Weintraub, my teacher through middle school, really is the reason I am an artist today. She would let me stay after school and throw on the pottery wheel, give me specific artists to look up for techniques, and get me to help her with props for the school plays. More than anything, she pushed me and made sure that I never settled for one medium and always tried new materials.
How did you gravitate toward sculpting? Would you say it's your main outlet?
The first time I ever tried sculpting was for a school project, we either had to write a paper on a scientist,or make art about them. I ended up making a bust of Isaac Newton and really fell in love with the process. That was also the first time that I had messed with Sculpey, a clay you can cook in your home oven. Sculpting is definitely becoming my main focus. I went to college for illustration, but during my senior year I began working with my ideas in three dimensions.
What is your process from beginning to end?
No matter the project or medium, I always begin with sketches and thumbnails. I've tried jumping straight to the final project first, but it generally yields less success. I'll draw a few quick versions of my idea first, taking the best of those sketches and adding color. If I am doing a painting or drawing, I'll use that sketch as a guide, while I start my final piece in a separate panel. If I am sculpting, I usually draw that same object from a few different sides. Although for sculpting, I usually don't spend as long sketching, but might spend more time doing a tiny practice piece out of clay.
What kind of jobs have you worked since graduating?
I graduated in May 2014. Since then I have worked an array of different jobs. I've worked as an admission counselor at Memphis College of Art, a prop and prosthetic designer, and I currently work as a neck fitter at Gibson Guitar Factory. I am most satisfied with a job that is hands on and project-based.
Where do you draw influence and inspiration? Are there any lifelong influences that form a narrative through your work?
Inspiration comes from many different places. My first place of reference usually comes from film. Movies like Hellboy, The Lord of the Rings, and classic monster movies are constant banks for creature ideas. For more human characters, I go people-watching. The absolute best place is the airport — I make sure to always have a sketchbook when I'm flying out for a trip. I recently found that the DMV is a pretty great place as well.
How did the fantasy world come to inform your art?
I really like the idea of making something that is suppose to be tough or intimidating — like a Viking — and making the character goofy, or even wimpy. Humor is generally something that I strive for, but I have also found that this is a challenge to be taken seriously as an artist. When I do work narratively, I really like "coming of age" or underdog stories. Movies like The Goonies or Sandlot are definitely narrative styles that I try to repeat, just in more fantastic environments.
You also illustrate. How is the process of that work different from your sculpting?
I've been sitting on a few ideas to illustrate. This process really brings out the more narrative side of my work. My sculptures tend to lean more toward character design, where as my illustrations try to tell a story with just a few images. I've been interested in turning these ideas into children's books.
What are you currently working on?
Currently I've been working on a collection of sculptures, putting a humorous spin on the seven deadly sins. So far I just have a fat ogre for gluttony, but am currently coming up with ideas for the sloth.
What's your dream job?
My dream job is to work as a character designer at Laika. They are the animation company that made Coraline, Paranorman, and most recently Kubo.
