Nate takes mushrooms and discusses the creative process, life, and the state of the Ann Arbor art scene. Getting this interview out was an arduous process and took way longer to complete than it should have. Nate is an incredibly talented and industrious creator, and is also very private. It took some convincing to release this interview in full. Trauma in my personal life also delayed this for a couple of weeks. Here it is, though – finally – the Nate Weaver Interview. Enjoy.
NATE WEAVER – What do you mean it’s going?
MILES LARSON – It’s recording.
NATE WEAVER – Ok
MILES LARSON – Yeah. It’s recording, go ahead.
NATE WEAVER – Sure, I mean how long can it go for?
MILES LARSON – Uhh, three hours.
NATE WEAVER – Ok perfect.
MILES LARSON – As long as we need it to go.
LOLA – 3 Hearted?
NATE WEAVER – Thank you.
MILES LARSON – I think we’re gonna start.
NATE WEAVER – Can we start it with “hey I took some mushrooms, just a few caps”? This is cool, though: you slowly building these interviews. I mean, what do you learn?
MILES LARSON – I learn a lot.
NATE WEAVER – But like is there something each time that you think to build off of?
MILES LARSON – Just the way that people approach things; the way they see the world. I guess I never really understood what it’s like to really *be* an artist. Like, what does the artist see?
NATE WEAVER – I think it’s different for everyone.
MILES LARSON – It is. But you have to feel like an outsider in order to actually do something like that. I feel like an outsider all the time, so how do other people handle feeling like an outsider?NATE WEAVER – I think just doing it all the time makes you an outsider. It’s like a continuous loop.
MILES LARSON – Have you always felt like an outsider?
NATE WEAVER – Well I’m just naturally like that. I grew up in the country. Well, not the country country, but I grew up really secluded. Just with my siblings, yeah I was pretty damn secluded – compared to most kids.
MILES LARSON – We have that in common.
NATE WEAVER – Yeah there’s a lot of kids that deal with that, but if you consider ‘most’ as far as a spectrum of – I don’t know what the fuck I’m saying, never mind.
MILES LARSON – There’s not a lot to do in the country, I know that and I can relate to that.
NATE WEAVER – Yeah, exactly. But the thing with – I don’t know – shit. Topic. I’ll go with whatever you ask me. Are you putting together a story of progression? As far as what I’m doing? Art itself? I was considering talking about my opinion on artists.
MILES LARSON – Go ahead.
NATE WEAVER – Ok, so though it’s easy to relate to artists in general, because artists are all artists – which is a huge fucking bullshit blanket term, which allows too much under it – I’m more about keeping things pure. Pure as shit. Though you can all relate because you’re all creating something, everyone has different intentions than others. Everyone is trying to say something different. Basically, being an artist is just being a human being. Easy to relate to any human being as it is an artist to an artist. You could have totally different missions, approaches to life, or what it’s doing for you or not doing for you, but you still continue to do it. It’s different for everybody. For myself, it’s about discovering things and keeping things pure as possible. Obviously, I’m influenced by other people; I choose to be influenced by other people. I enjoy other people’s styles, and what-not, but I definitely try not to gradually progress too much with other people’s influence and to just try to bring things out of myself. I do characters – and I don’t reference things – sometimes I’m doing literally an animal and reference a specific angle, but I hardly reference things. I keep it as ‘for me’ as possible.
MILES LARSON – You draw yourself.
NATE WEAVER – Sometimes it’s not conscious at all. Really, my goal is to reach the level – I don’t know what I should call it – but it’s safe to say that there are books about reaching this creative realm in which things just come out. It’s like you’re transcending yourself, but still you’re obviously aware that you’re creating something. Sometimes that takes me an hour or two to get into, which I probably shouldn’t complain about – then I feel okay. It’s like getting your footing and getting in that zone. It’s like repeating a mantra to yourself and mine is moving a pencil around ‘til I hit that state. And then I’m just lit – I’m on. And in that – I don’t know, there’s not a lot of – I don’t know what to say about that – it feels like a field in which everything’s connected and you can relate and understand things. I’m talking like I’m on mushrooms. But the thing is – what were we talking about? I’m not used to just rambling.
MILES LARSON – You aren’t rambling. Have you ever been met with self-doubt?
NATE WEAVER – Oh of course! All of the time! That’s a big thing.
MILES LARSON – That’s a big part of life.
NATE WEAVER – Of course. I mean, I’m 27 years old. Why do I continue to do this? Most artists and what-not have a scene, or live in a community in which they’re nurtured. I don’t have that. I want something bigger, something outside of a self-nurtured little pocket of whatever. It’s not about being appreciated. I want to be in the bigger, real world eventually. Fuck, what am I getting at? Um um um um sorry. Ok, so the reason I’m doing a lot more graffiti. I’m doing a lot more graffiti and it’s really exciting. There’s all this culture to it. It’s this connection of artists which I’m not used to. I call myself an illustrator, but I don’t know, I just make weird shit, but I don’t know anyone else who really does that. So it’s really hard to have conversations about what I do, the purpose of what I do, because I don’t have shows, I don’t print things, I just do this. And it’s not with an end goal. It’s not really smart to have an end goal, because the end goal is death.
MILES LARSON – I can see that fitting with the culture of the graffiti scene; anonymously writing your name everywhere.
NATE WEAVER – I love that. Even when you can’t, you can’t put your name everywhere, and you start to love this alter-ego. And I’ve always been into having and cultivating this alter-ego, and that’s what I jump into when I draw. Do you ever consider alter-ego states of yourself, and enjoy them?
MILES LARSON – I do. Actively.
NATE WEAVER – That doesn’t surprise me. Who doesn’t? Sometimes you have to be certain things at certain times and that requires an alter-ego. So I crafted that for myself.
MILES LARSON – You create a character that creates characters.
NATE WEAVER – So with art, I think art is a reflection of the times. You can’t help but reflect the times regardless of what your motive is; because you’re still just a single cell within a leaf that’s aging, that was born at a time and dies at a time. It’s all we are. So of course, we are affected by everything that happens around this leaf within ourselves. So regardless of your intentions, you can’t help but be a part of current culture in some way or another.
MILES LARSON – Intentions are different than goals.
NATE WEAVER – My goal as an artist is to be known outside the mainstream. If everyone knows about you, you’re not actually appreciated: you’re being sold. You need to be discovered, which requires people’s intentions to seek that out. And that will happen, because the backdoors of an alley you just stumble across because you’re the adventurous type to do that. With my art, I want to appeal to that sense.
MILES LARSON – Cigarette?
NATE WEAVER – Huh? Cigarette? I meant to bring a bowl. Of weed.
MILES LARSON – Bazaam, it’s going.
NATE WEAVER – Ok well it’s going, but where do we start?
MILES LARSON – How do you handle criticism?
NATE WEAVER – Very well and I wish I had more. I hate to have people following me, if we’re talking about social media, that are friends and family. Because I don’t want support, I want heavy criticism. And I can shuffle through it and understand where people are coming from. I enjoy real perspective. I don’t know, I don’t really get enough criticism. I welcome it.
MILES LARSON – People are too fucking polite here.
NATE WEAVER – I guess my criticism is my lack of sales. There’s the real answer on criticism. I had an art show recently, and I couldn’t believe – I mean, I could believe – how many people walk past and don’t even look at my work; and how many people are more likely to buy something related to what they already know. Not that I’m trying to sell anything; I don’t even think I had price tags on anything. But people want to see what they expect to see: what they already know and what’s safe. I fell that’s what’s driving the ‘bullshit’. Perpetuating feeding of the influence of people who are actually doing shit and are real. I welcome criticism.
MILES LARSON – Criticism is good.
NATE WEAVER – I feel like I’ve just started taking art a lot more seriously. I’ve always thought I had a mature sense of ‘serious’… I did start by saying I took some mushrooms so it’s hard to say that I’m a very mature person, but… no it’s not, never mind.
MILES LARSON – Maturity is a fallacy.
NATE WEAVER – It is and it isn’t. Maturity is basically – I don’t need to describe the definition of maturity – I’m going to create art forever and be the same person, which is nurturing my childhood self and my imagination; and feeling independent and free. I think it’s important for artists to continuously do that. You don’t need to settle on this route to death. I don’t know, I shouldn’t speak for everyone.
MILES LARSON – Having control over your life.
NATE WEAVER – Art gives me purpose. I love the idea of having a vision and seeing it through. If you don’t have a vision of your own, you’re only following somebody else’s mindlessly. So I’m a ‘dream advocate’, I really encourage people to let out whatever the fuck it is and fulfill it; just to know that you can take some serious grit.
MILES LARSON – True grit.
NATE WEAVER – Yeah! Which is a reasonable term for this: to fulfill a dream. And until you do, a person can’t really understand what it takes to feel that. It’s really necessary.
MILES LARSON – Nate the Dreamweaver.
NATE WEAVER – I used to think as a kid that I should be really good at weaving because it’s my last name. I remember I tried to out-weave the other kids in art class, because I thought that was my purpose. It’s just funny how we as kids try to secure ourselves using our history or ancestry; whatever you can grasp onto and identify with. What am I getting at? The concept of identity isn’t bullshit, obviously. Ego is important because it’s a drive for yourself. It’s important to balance yourself from the inside before putting things out on the outside. I don’t know, I think the shrooms have really taken flight here. Sorry, it’s gonna be a moment.
MILES LARSON – Where do you see yourself going?
NATE WEAVER – Going? Probably to a bigger city. Ok, most people our age move to bigger cities to enjoy a lifestyle. But unfortunately for me and what I do, it requires me to go to places like that. So I can play off the whole lifestyle thing. Being an artist is like being a culture creator. It’s what we do, we create culture. So it requires all the people who leech off of that and enjoy it and absorb it and move to the same places. It’s a cycle. It’s like the bird that cleans the ears of a rhino or something like that. It’s necessary. I see myself doing a lot of freelance work. Really just being entirely secure in my art and regaining control of my imagination. Taming the wild horse of my mind. That’s my goal. What would bring me the most happiness is to have control of myself.
MILES LARSON – Makes sense.
NATE WEAVER – I don’t see myself working for just one company because I love my independence.
MILES LARSON – You’re doing stuff for OkCupid right now, right?
NATE WEAVER – Yeah, so my brother works for OkCupid and he’s hired me to do some illustrations that are going to show up on the dating app. The “factcards” that appear while you’re swiping. Things like “80% of the time, when you say ‘hey’, you’ll get no response!”. The one I’m illustrating is “’Would you ever sleep with a serial killer?’ is the most talked about question on OkCupid!”. It’s kind of complicated, because it works for me because it’s darker; but then I can’t have it be too dark. I would have almost preferred it to be a happy, playful topic. So that’s cool that I’m gonna have a drawing that’s going to appear on people’s phones. It’s an interesting thing. Like Alice, I think that’s who sends you your first message. She’s like the Tom of OkCupid. My brother knows her; she shows up in the office from time to time. She’s married. Whew! I wish I had taken more shrooms at least.
MILES LARSON – Do you have any visuals?
NATE WEAVER – No not at all. That’s why I can even be here.
MILES LARSON – That’s good.
NATE WEAVER – I usually get visuals, but –
LOLA – You doing okay on drinks, guys?
MILES LARSON – I’ll just have a PBR.
LOLA – What’s up?
MILES LARSON – PBR.
NATE WEAVER – Can I score another one of these?
LOLA – I heard DVR and was like what do you want me to do here?
MILES LARSON – What influences you?
NATE WEAVER – So with my art, I’m really into the idea of trying to be good, not trying to be different. Because as you develop anything, the difference will show based on experience as an individual. If we go back to the idea of identity, people try so hard to be a certain type of person without realizing that they are the most unique person that exists just by being their own self. But we try so hard to relate to what looks cool and seems cool. With art, it’s really important to just be true to yourself and not try to do what other people want to see. You’re more likely to experience a real interaction with yourself. There’s going to be a difference with how you move a pencil or pen based on your own hand in relation to your brain. That’s a unique experience. So I focus on that instead of trying to replicate someone else that I admire. Just look at someone you admire and find how you can do something similar in your own way, with what you have around you. Originally, I focused on European graph art; but later moved on to Japanese artists. I started to use brushpens as a way to make a varied line, which is more common in Japanese art.
MILES LARSON – You’re using something that was outside of your comfort zone so that it creates a unique style.
NATE WEAVER – Without trying to sound cocky in any way, I do not have to try to be unique. I have enough issues which force me to be. If I were to try intentionally to be unique, I would be a whole nother psychotic animal. I like adventuring with my brain.
MILES LARSON – I’m misquoting something I read: replicate what your idols do and fuck up; and your fuck-ups will become your style.
NATE WEAVER – With visual art, there’s this issue that I’m starting to discover, which is – I’ll use myself as an example: I’ve been influenced by artist’s wild characters, which has immediately forced me to make wild characters. But I didn’t get a background in art. I didn’t originally have a structure in which all these greats did: developing line quality, observational studies. It took me ten years to realize how important that is, if you want to actually be a real visual artist. You need to have a foundation. And as soon as you immediately become influenced by the end results of your favorite artists, you’re eliminating the foundation; and you’re going to have to put it there at some point. So foundation is crucial – I went backwards. For instance, Picasso was a photorealist painter at 14 years old, and it wasn’t until his later life that he became loose and ridiculous – is that bacon?
MILES LARSON – Chicken skin.
NATE WEAVER – Chicken skin! Or batter. Looks like bacon. [laughs] Like shitty, dried bacon. Some animal part. What were we talking about?
MILES LARSON – How did you develop your style?
NATE WEAVER – Characters were the big thing. Originally, I started making characters, and I’m not sure what that means or the purpose of it. I hoped that it would lead to character design in animation; and that’s my secure, totally positive thought process, without any worries is that my drawings would lead to me working for Pixar. Because I capture human emotion well, and I know I can; and I don’t always do it now, but that was my drive – to capture my own teenage struggling angst: the traumatic pull of muscles in the face represent expression. And by studying people and trying to relate to them and trying to capture other people’s pain – just because I felt it. That’s why I started smoking weed. But then you become more interested in other things as you draw. When you draw for so many hours of your life, you start to open your – this is going to become a three hour interview I should cut this down.
MILES LARSON – Whatever you’re comfortable with.
NATE WEAVER – Should have taken an Adderall, that would have been better. It’s more predictable. [laughter]
MILES LARSON – Is that your water?
NATE WEAVER – If it is, I didn’t drink it.
MILES LARSON – It’s probably Blake’s I’ll just take it.
NATE WEAVER – Who? Malik?
MILES LARSON – Blake.
NATE WEAVER – Oh, I thought you said Malik. I’m like ‘who’s Malik’?
MILES LARSON – I do know a Malik, but he’s not here.
NATE WEAVER – There’s this whole idea I have that people are like ‘oh this woman checked me out’. But like, of course she has to look at you first to check you out. Can’t she just look at you? What is that?
MILES LARSON – Chicken skin. What motivates you?
NATE WEAVER – I’ve had a lot of motives in my art, I can’t say they’re all pure and not selfish. Definitely, the biggest fantasy that I drift off to is future interviews. When you start a path and you intend to finish it, you are going to see things that you expect. I’ve definitely often thought about the future. I’m a very reclusive person and spend most of my time alone; and it’s not always intentional. It’s just that I have a really hard time relating to people. I understand people, other people just don’t understand me very much. I’ve gone through that cycle a lot of times. A lot of people don’t do what I do, and it’s not special, it’s special to me. So it makes it hard to relate to people who aren’t doing similar things; living a risky lifestyle by throwing your eggs into the wind.
MILES LARSON – Do you feel like you need other people?
NATE WEAVER – I want to tell myself that I don’t but obviously I do. I’m into really personal relationships. I really care about what’s real. But like as an artist yourself, the idea of eventually doing all of your shit and knowing you independently pushed yourself to this thing, and knowing that all those people who did support you through this- We’re not making bread here, but that story of the goose preparing the bread and no one wants to help. Let’s just say instead of ‘help’, ‘appreciate’ the craft of the bread, but all of a sudden this goose makes bread that everyone appreciates. Your friends all want to come to these events because it’s this cool thing to be a part of; but the goose is like ‘fuck you, I’ve been doing this whole goddamn thing alone’. I don’t know. That’s not good though, that’s not a healthy thought. I don’t need to tell you this. Do you know that feeling, though? I’m not constantly getting compliments ant shit; I don’t need it, but I feel like my friends look at me like I’m this oddity, with what I do. Especially my old, close friends. Like I’m this weird guy that makes these weird drawings. And that’s cool, but I just know how things go. When I know where the fuck I’m going, I know what’s gonna happen. People are gonna want to enjoy that or be a part of that all of a sudden, and they weren’t a part of this shit before, so fuck it I don’t give a shit, I’ll just pretend it exists. That’s how I feel about it and that’s cold as shit. I don’t know why I nurture this cold self, it’s not healthy.
MILES LARSON – Don’t worry about whatever the fuck people think.
NATE WEAVER – No fuck em, but I do. You can’t help that. I’m no god. I say that because I was recently thinking about the Christian God. To believe in the Christian God always comes back to our purpose. The idea of creating us was so that we worship Him. We were created so that He could be paid attention to. A god that needs validation is less than human potential. A human can grow beyond needing validation and affirmation from others. So how could we worship a god who’s reliant on that bullshit? I don’t know man I’m just a fucking bum digging through the trash. I’m just a raccoon. A raccoon digging through the trash trying to make greasy art.
MILES LARSON – Art rat.
NATE WEAVER – I’m an art rat. You should put that down as my profession: Nate Weaver – Art Rat. How are you?
MILES LARSON – How am I? Doing what I usually do.
NATE WEAVER – Are you and Andrei getting that studio?
MILES LARSON – He wants to wait until he gets equipment before he thinks about getting a space, which makes sense.
NATE WEAVER – Well yeah, you wanna have a serious plan. You want to create a balance between your excitement and reality before you start putting out actual money. It’s tricky, I know that feeling. I’m all about trying to make things happen. I get that.
MILES LARSON – Yeah, change is good.
NATE WEAVER – For me, it’s a pain in the ass. My bedroom is the studio now. It’s a studio with a bed.
MILES LARSON – How are you able to work in the same place you sleep?
NATE WEAVER – It’s only a sleeping place and a working place. I have headphones and I play music. It’s easy for me to zone out into that shit.
MILES LARSON – What are you listening to right now?
NATE WEAVER – For the past month, I’ve been going through the entire Swans discography a lot. Drawing to it is nice, because of how long the tracks are. It’s easy to zone out into.
MILES LARSON – I feel like they reward you. It drones for a few minutes and then leads to a sick swell later on in the song.
NATE WEAVER – It reminds me of this Lucky Dragons album I fell in love with a few years ago. They have these long, continuous albums and one of their tracks, one of the dudes says something about how all of this isn’t enjoyable, but the unenjoyable parts bring you into the enjoyable parts; just like life. You don’t look to music for one particular feeling, it’s about discovery too. To experience something that you haven’t; and that’s what an album like that does. It takes you along the roller coaster ride. A roller coaster isn’t all drops, then you’re just free falling and your body will adjust to that stupid shit. So you need to have that anticipation; waiting in line and going through the stupid things that you’re not enjoying to really enjoy that burst of awesomeness. Would you agree?
MILES LARSON – Yeah, you aren’t supposed to be happy all of the time.
NATE WEAVER – It’s like this thing – “Alex injects meth and sits at a TV and jerks off for 10 to 12 hours.” It’s like a True Life. I imagine you could do that, but you can only do that if you’re smoking meth; because that’s a serious waste of a person’s time.
MILES LARSON – Jesus.
NATE WEAVER – That’s a long session.
MILES LARSON – That would hurt.
NATE WEAVER – I can’t imagine you’d have much sensitivity in your penis after that.
MILES LARSON – That would hurt.
NATE WEAVER – Or develop some serious callouses.
MILES LARSON – It would actually be a snake at that point.
NATE WEAVER – I should have brought a bowl or something. So I know you were involved with this woman, I don’t know why I feel it’s related. I think we both have this thing where we continuously date people. It almost becomes as bad as an addiction, because if you continuously date people and enter into this cycle, you end up relying on the high of that, and you think of the possibility of a future. Do you do that? I do that shit.
MILES LARSON – I do.
NATE WEAVER – I get where I’m like ‘I need to make lots of money’. What am I doing? That’s not me. All of a sudden I need to go back to school and become a neurosurgeon. How are you?
MILES LARSON – How am I now? Honestly, things are pretty hard. I’m coping by taking pictures and interviewing dudes on mushrooms.
NATE WEAVER – Well that’s good. That’s purposeful.
MILES LARSON – There are worse ways to cope.
NATE WEAVER – Positive connections are never a bad way to cope.
MILES LARSON – Cliché’d question now: what is art to you?
NATE WEAVER – Art for me, creation, whatever you wanna call it has become an addiction. It is definitely synonymous with the word ‘addiction’. Maybe I shouldn’t use that word. The only way I feel accomplished is when I create what I intend to create. I feel more accomplished when I impress myself with what I didn’t intend to create. And impressing myself all I give a shit about anymore. It’s good to have feedback and you want people to see it, but it’s not about that as much as it is about knowing that you did what you set out to do. Half of it is what you envisioned, and half of it is what you didn’t expect; and that’s the cool thing about creating something. I’m just obsessed with that whole process – vision to final product. It’s like an adventure with yourself. The whole fucking world has already been discovered, you know? We don’t know shit about the human mind. Just the processes.
MILES LARSON – We know the ‘what’ and not the ‘why’.
NATE WEAVER – So I’m interested in discovering what you don’t know. For me, drawing is about exploration of the human mind and the imagination. And we’re all doing that, I just think that there’s more to discover.
MILES LARSON – What do you think of Ann Arbor?
NATE WEAVER – Well, ok – I took the shrooms earlier today so I wouldn’t have too negative of an approach on Ann Arbor’s ‘art scene’ because I don’t believe Ann Arbor has an art scene. I think Ann Arbor pretends to be this cultured town; but honestly, Ann Arbor is generally an educated town onculture. That’s not the same thing. You can relate, but that doesn’t create a culture. Admirers of a culture are not a culture. Admiration is like a mirror. It’s not the same. Ann Arbor washes itself away from any weirdo grittiness. That’s why any mural projects in this town are all done by the exact same person. Or a person who hires teenagers to do it. Because we don’t take it seriously. Because if we had serious shit, things beyond the typical person’s imagination, it would start to question too much – which can be disturbing for lots of people. They want Ann Arbor to remain safe. There aren’t any art stores, there aren’t any music stores. You have to drive fucking 40 miles to the closest music or art store.
MILES LARSON – It’s bad.
NATE WEAVER – It’s bullshit! How are you to call Ann Arbor a progressive town when you don’t even have artists? Where are the art stores? Obviously, if there aren’t any art stores, there aren’t any real fucking artists. It’s safe. It’s very safe art.
LOLA – Another amber for you?
NATE WEAVER – Uh, how much are those a piece?
LOLA – Five.
NATE WEAVER – Five. Yeah.
LOLA – Five dollahs.
NATE WEAVER – Sound’s good. I almost want to say that, if Ann Arbor is so educated and so concerned about growing creatives, then it would create safe spaces for people to paint whatever they fucking want. Not just what’s safe for the community. There are no restrictions. There shouldn’t be restrictions to what you create. Regulation in art is an oxymoron. But I’m also against the concept of pure shock value. I think that good intentions are important, and putting out shock value shit is lazy. If you really want to stimulate emotion, something to actually make people empathetic, that’s gonna take some skill. To just make someone feel sickness, you’re obviously going to get that reaction. But is that reaction important? Everyone knows what people are disgusted by. To me, that’s not art. If your art is for anything other than your own well-being, do something relevant. Say something empowering. That’s making a difference. That’s a reaction. Like when you’re watching Finding Dory. Yes it’s a kid’s movie, but it’s created by people who have done everything we’ve done. It’s created by adults who are trying to take the best of a person and put it into an animation. People aren’t willing to understand people the way they are so we have to turn it into a fucking octopus. It sucks that artists are forced to do what they do, but it’s really a gift to everybody else.
MILES LARSON – It’s the human experience.
NATE WEAVER – We submerge ourselves in the depths of awfulness so we can give back a representation of what it is. You can make a powerful fucking difference as an artist. That’s an ability that most people don’t have. That’s an ability that scientists or pharmaceutical manufacturers have. But we don’t take that in. We force people to understand things by showing them things they think they want to see, but there’s really something awful behind it that they don’t want to see and then they’re forced to fucking see it. And they should be forced to fucking see the fucking world they live in.
MILES LARSON – The savagery of life.
NATE WEAVER – Life is savage. That’s how life continues to evolve. It’s savage as fuck. I’ve never heard of life evolving based on innocence. Ten animals have to die so that one animal can be born out of that scum that they dealt with. I think we relate on this. We relate on suffering, self-deprecation. If you aren’t comfortable with where you are, you are driven to progress out of that. We constantly need that. Fuck comfort.
MILES LARSON – I did comfort once. It made me depressed.
NATE WEAVER – That’s why smoking weed all the time made me depressed. The more numb I made myself, the less active my mind was. Everyone needs an active mind. Satisfaction is not good. We shouldn’t experience pure satisfaction at our age. It’s damaging.
MILES LARSON – It is.
NATE WEAVER – Life is struggle, life goes on. Art is doing what is uncomfortable and doing what is uncomfortable will never feel right so just do it. No one wants struggle, but struggle is what brings happiness – it doesn’t always, that’s a privileged thought. It’s a privilege that struggle can bring happiness. Art, for me, was a vehicle to prove that I could do things beyond what people told me. That’s a huge thing. I always wanted to prove that I was something more than my uncle or my step-dad that I was compared to: who were both pieces of shit in my parent’s eyes. So I wanted to push beyond their conceivable reach of possibilities. And I have. And I will continuously. And they’ll never get any gratification that they had any influence on that.
MILES LARSON – What message do you have for the young people?
NATE WEAVER – It’s all about origin. Create what originally inspired you to create. And keep that pure, as difficult as that is. If you want to create what you set out to do, it’s going to be the hardest thing imaginable. Don’t be susceptible to being liked. If you want to do it, do it, and your effort will show through, or you will be weeded out.