Embarking on a mesmerizing journey from fanhood to becoming the artistic visionary behind The Mars Volta’s iconic album covers, Adán Guevara shares his captivating story in this exclusive interview with Clouds Hill.
Clouds Hill: Adán, your journey from being a fan to designing The Mars Volta’s album cover is remarkable. Can you share with us the moment you found out that your fanart had caught the attention of Clouds Hill?
Adán Guevara: It all began during the pandemic when I was excited about the release of Omar Rodríguez-López’s ‘Roman Lips’ video. Motivated by my admiration for The Mars Volta, I created fanart and shared it on social media. This caught the attention of the Clouds Hill team. Johann then contacted me, offering me a chance to pitch for a project he had in the works, which turned out to be The Clouds Hill Tapes Pt. 1, 2, and 3. This was the start of a transformative chapter in my artistic journey.
Clouds Hill: Your artistic style clearly resonates with Omar Rodríguez-López and Cedric Bixler-Zavala’s aesthetics. Could you tell us how it feels to have your work appreciated by musicians you admire and to be entrusted with such a significant album cover?
Adán Guevara: It’s truly an honor and an incredible source of inspiration. To have one’s work cherished by individuals whose artistry has profoundly influenced my own is a feeling that words can hardly capture. It’s as if the Venn diagram of my creative universe has found a point of intersection with their artistic realm. This intersection is a realm where their vision and mine coalesce, yet also retains a distinct and personal essence, resulting in a symbiotic relationship that fuels my creative journey with boundless energy and purpose.
Clouds Hill: The album cover you designed is visually striking and captures a completely new side of The Mars Volta. Could you walk us through your creative process in translating the band’s sonic atmosphere into a visual representation? And how did you come up with the new logo? Was the band involved in that process?
Adán Guevara: I was in Venezuela when it all began, and the Clouds Hill team had told me to expect a call from the band. Due to connection issues, communication via the phone was challenging at first, but we managed to exchange ideas through images, styles, and sketches. It was exhilarating to discern what the band was seeking. It all started with the logo, which began as a cryptic image on a piece of paper that Omar provided me with. We discussed the concept of honoring their history, and from there, the idea of an object transforming into a non-place emerged. We aimed to create a unique symbolism with three elements: the horizon symbolizing unity, the mutating object, and time encircling it.
Clouds Hill: Collaboration is often key in creative projects. What was it like collaborating with the members of The Mars Volta on the album cover? Were there any memorable challenges or breakthroughs?
Adán Guevara: Our collaboration was characterized by in-depth discussions on a wide range of topics that transcended traditional design boundaries. We delved into the worlds of cinema, drawing inspiration from the works of visionaries like Fassbinder and Kubrick. These cinematic influences, along with our explorations of speculative architecture and sci-fi atmospheres, served as the cornerstone of our creative process, shaping the entire album artwork. The primary challenge was not letting past album covers of the band by other designers, who had influenced me greatly, become limiting. I have great respect for covers like ‘De-Loused in the Comatorium’ by Thorgerson, Jeff Jordan’s layering technique, and Sonny Kay’s ‘Nocturniquet,’ as they all contribute to the band’s visual narrative.
Clouds Hill: The new album and acoustic releases mark a significant moment for The Mars Volta fans. How did you ensure that the album cover design not only celebrated the band’s return but also honored their legacy and roots?
Adán Guevara: The design of the new album complements the band’s story, reflecting on how a mineral carries cultural significance and weight, similar to the way light reflects a pivotal moment. We envisioned a scene like in Kubrick’s ‘2001: A Space Odyssey,” where an object disrupts the landscape and marks a moment in the story. Not many people actually know that, but the monolith in ‘2001’ was actually the main inspiration for the Volta Cube.
Clouds Hill: Your involvement with the #VoltaCube art installation played a role in signaling The Mars Volta’s reunion. Can you share a behind-the-scenes moment or anecdote related to the creation of the #VoltaCube that fans might not be aware of?
Adán Guevara: The Volta Cube was designed to convey the album’s concept through an experiential journey with encrypted messages, a hallmark of the band. I don’t think fans are aware that we initially considered placing these cubes in locations honoring the band’s history, starting in San Juan, El Paso, Puebla, and finally ending it Los Angeles, where the bands biggest fan base lies. But it wasn’t feasible due to logistics. The most special moments occurred behind the scenes as we worked with a fantastic team spanning different parts of the world (Venezuela, UK, Germany, and US) through video calls and emails, overseeing the entire construction and logistics process. Witnessing the fans’ reactions to this experience, knowing the importance of it to the band, and the existence of the piece in the real world was seriously surreal and heartwarming.
Clouds Hill: Your portfolio includes various merch designs and artworks for The Mars Volta, Omar Rodríguez López, and Vännäs Kasino. Out of all the campaigns, which one resonated with you the most, and what insights did you gain from that particular project?
Adán Guevara: The very first merch I designed for ORL, ‘The Clouds Hill Tapes Pt. 1, 2, and 3,’ still holds a special place in my heart. To alleviate the pressure of starting a new project, I walked and sketched outside of my workspace, proposing a concept that reflected the way the boxset is organized, from the loudest to the softer sounds. This project allowed me to explore connections between art, architecture, and atmospheres.
Clouds Hill: Given your journey from a fan to a professional graphic designer for renowned musicians, what advice would you give to aspiring artists who dream of turning their passion into a career in the music industry?
Adán Guevara: Learning to fail and not giving up is crucial for gaining experience and moving forward. Design should open up possibilities, allowing you to explore and experiment. Remember, you are not defined by your work; everything already exists, and your task is to capture it in the best way possible. Seek inspiration beyond your immediate field by exploring different disciplines and activities, like reading, watching movies, and sharing meals.
Clouds Hill: Looking ahead, as a graphic designer involved in iconic projects, what are your future aspirations? Are there any other bands or musicians you’d love to collaborate with, and how do you see your style evolving?
Adán Guevara: My future aspirations revolve around continuing to create across various media, working with different musical genres and art and music festivals to craft tangible artifacts and spaces. I’d love to collaborate with Arca, as I feel she’s pushing the boundaries of music and culture, and her approach resonates with my way of honoring our Venezuelan heritage.