The delightfully fucked up world of Haarlem, Netherlands-based artist Jim Mooijekind is a punk menagerie of psychological and spiritual reference points—but mostly deranged Dutch cartoons from the 90s with full frontal nudity and violence. In his works, figurative, nearly autobiographical avatars make tortured grimaces in a cauldron of pop cultural symbology inspired by Freemasonry. On the occasion of his solo LA exhibition "The Entertainer" at Face Guts, presented by White Box, we asked Mooijekind some questions. 

AUTRE MAGAZINE: How did you get your start as an artist?

JIM MOOIJEKIND: I have always been drawing, but when I went to the art academy I chose to pursue a career in the arts. After graduating, I kept going, and gradually stuff started to happen. It’s cool to see how art can lead you towards all kinds of people and places.

AUTRE MAGAZINE: What led you to the kind of distinct imagery you work with?

JIM MOOIJEKIND: It’s a huge salad of all kinds of things crossing over into each other. A big part of my practice is deconstructing and reconstructing things until I feel it's mine. These elements can be borrowed from art history, counterculture, spiritual symbolism, and symbols that articulate my emotions and unresolved thoughts.

AUTRE MAGAZINE: How has your artistic style evolved with time?

JIM MOOIJEKIND: Before, it was more playful and youthful. And I see it now more as going to a place where I can be more poetic and unapologetically strange.

AUTRE MAGAZINE: What were the cartoons you watched growing up and how have they influenced your work to this day?

JIM MOOIJEKIND: A lot of cartoons on late-night Cartoon Network and Nickelodeon. Weird and creepy shows used to fascinate me. Shows like Ren and Stimpy, Cow and Chicken, and Courage the Cowardly Dog all had this vulgar and strange aura around them. Dutch television used to be crazy as well. We used to have this morning variety show for kids called “Villa Achterwerk.” It had the most insane cartoons with full frontal nudity, very dirty and grim jokes, and crudely made most of the time. I used to love to watch that show. Some of these shows were: Purno de purno, Ffukkie Slim and Eefje Wentelteefje. The combination of all these shows ruined me in a good way.

AUTRE MAGAZINE: Your work mostly centers itself on the autobiographical avatar…can you elaborate more on what this means? What’s the difference between this and a self-portrait?

JIM MOOIJEKIND: Self-portraits in the classical sense focus on the likeness of the artist in the work. The autobiographical element in my work focuses on how I feel. Not how I look.

AUTRE MAGAZINE: Can you elaborate on the symbolic imagery you use in your work? A lot of it is inspired by the way Freemasons use their symbolism.

JIM MOOIJEKIND: They use quite mundane objects like construction tools. To visualize very deep, spiritual themes. Every different combination of symbols has a different meaning. This way of working with abstract themes to make something figurative speaks to me.

AUTRE MAGAZINE: How does philosophy play a role in your art? Are there any philosophers that you get inspiration from?

JIM MOOIJEKIND: When studying in art school I received a copy of “The Myth of Sisyphus” by French philosopher Albert Camus. Because they saw the absurd element in my work. I then looked a bit more into the French lads of his era. Furthermore, I like the work of Carl Yung, and Manly P Hall. Guys that go nice and wild in the spiritual department.

AUTRE MAGAZINE: How does living in Haarlem influence your work? Especially now as an international artist, do you see yourself incorporating some formal or aesthetic elements native to your home as you approach a bigger audience?

JIM MOOIJEKIND: Stylistically, I’m not very sure what Haarlem brought me. But as a home base, I am very happy with my city. I always call it a village-city hybrid. It allows me to dose the chaos. It’s a bit like Amsterdam without the nonsense.  

AUTRE MAGAZINE: Your work seems very emotional, and incorporates opposing emotions into one piece. For example, your upcoming exhibition “The Entertainer” @ WhiteBox.LA/Face Guts showcases statues “dedicated to the human condition, icons to sadness, love and humor.” Can you elaborate on this?

JIM MOOIJEKIND: Yes, what you are quoting is an excerpt of a cool text fellow artist and friend Darius Airo wrote about my work. He’s talking about the fact that the compositions in my work are pretty dense and straightforward. Like a statue. What these “Statues” symbolize are mostly abstract and poetic. Like the juxtapositions that are found in the human psyche.

AUTRE MAGAZINE: It seems like the beauty of your work is that it is capable of doing more than one thing at a time. It feels like your work pushes your viewers in multiple directions, all at once. How would you describe your work?

JIM MOOIJEKIND: I really like to be a shapeshifter. Fluctuating between positions and thematics in my practice. As I change, my work changes. Keep them guessing!

Jim Mooijekind "The Entertainer" opens March 16 at Face Guts Presented by Whitebox.LA, 4136 Verdugo Road Los Angeles 90065