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David
Dees began his illustrious airbrush art career in the fast paced world of
corporate
advertising. Begging his way onto a staff position at an Atlanta
sweatshop, GraphicsGroup
studio, boasting some of the top ad agency accounts, Dees was soon dealing
with
cutthroat art directors from New York to Chicago, creating the eye
catching visuals that
sold everything from cartoon package designs on kids cereal boxes, to
billboards of dazzling
electronics, to the newest soft drink ads.
In the eighties, setting up freelance shop in Los Angeles, Dees had
success with the movie
industry, painting hundreds of video covers, movie ad campaigns, and store
displays for his
clients Paramount, Hanna-Barbera, and Walt Disney Studios. Having his name
attached to
movie projects like Beverly Hills Cop, Disney's Alladin, Friday the 13th,
and the Flintstones
was pretty heady stuff to happen into, but adding to the client list
Billboard magazine, Westwood
One radio, and Geffen Records David would rub shoulders with the recording
industry giants
of the time, Guns-N-Roses, Heart, and David Lee Roth. But that decadent
era of Hollywood
would soon come to an abrupt end with the mid nineties economy, and a
darker outlook for
America.
Then, an interest in childrens book illustrations led to a long standing
association with Sesame
Street, where his colorful and wacky illustrations of Cookie Monster, Big
Bird, and the muppets
were featured in Sesame Street Magazine nearly every month for the last 15
years, including
seven covers, and recently, four Sesame Street children books for Random
House and Readers
Digest Publishing. As Dees once put it, "I have painted enough fur and
feathers to gag a maggot."
These days, long since replacing the liquid airbrushed acrylic paint with
photoshop
digital art, high technology has revitalized the look and feel of his
artwork. Now Dees
explores the hybrid mix of an edgy drawing style combined with the texture
of photography,
attempting to create a whole new visual look that might be described as
cartoon
super-realism, somewhat similar to imagery produced by the CGI movie
company Pixar.
Then, in 2006, Dees came up with an original style of political art
commentary inspired by
the 9/11 truth movement and a passion to fight the New World Order agenda.
David began
creating and releasing an endless barrage of aggressive, and sometimes
disturbing,
photo-illustration images throughout the internet in an attempt to wake
others up about the
onslaught of the elite's power hungry world government plan of domination.
Sarcastic to the
extreme, funny in the approach, but most times visually horrifying, this
wild new style of
illustration screams out our serious world crisis situation in a visual
instant. Every influence
in David's background of advertising art, science fiction, movie ads,
childrens book art, and
philosophy of life have combined together into a blistering visual impact
where no topic is
too controversial to depic. Subject matters including genocide, voting
fraud, toxic vaccines,
illegal wars, economy collapse, genetically engineered food, 9/11 being an
inside job,
psychiatric drug horrors, chemtrail spraying, police state brutality,
holocaust investigations,
secret societies, fluoride toxicity, MSG and aspartame poisoning, obesity,
the illegal IRS, the
illegal state of Israel, world government, the North American Union, and
on and on. Each
art piece with a strong visual message, often a dire warning about
dangerous waters ahead,
or sometimes just a laugh, a lighthearted celebration of the absurdity of
our world. But, if
occasionally misunderstood in the heavy use of symbols, Dees points out
the art is
Pro-Jewish, but extremely Anti-Zionist.
Patriot heros like Hollywood film producer Aaron Russo who produced
"America: Freedom to
Fascism", radio talk show legend Jeff Rense, and the world renowned David
Icke have all
commented on this socially conscious illustration and were not shy in
throwing around the
term 'genius'. Dees has said that to have such appreciation in this stage
of his career came
totally unexpected, and it is quite amazing to express such abstract
concepts and then to find
so many people worldwide sharing his viewpoint and cheering him on.
What irony that all of David Dees' years of designing for big corporations
trained a monster
who would now turn his creative power back against that very corrupt
mainstream media.
R. Winters
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