Direct from the archives, this article was originally published by Lethal Amounts Magazine on 02 September 2021 and is republished here with consent by the author featuring additional content.

“More than anything, my desire was to reveal the depth of punk personalities who were being reviled or ignored by society, wild souls like Darby Crash.”

Ruby Ray captured iconic moments from the San Francisco punk scene beginning in the 1970s, gaining acclaim for her portraits and candid shots that literally captured the story of her scene with her work being featured in the seminal punk zine Search and Destroy.

Why are you working with Lethal Amounts?

I first met Danny at the Mark Mothersbaugh: Myopia (2014) retrospective exhibit at MCA Denver when I introduced him to Mark! We had a great time and I've been to Lethal Amounts gallery on my visits to Los Angeles. I was very happy when he asked to represent my punk work because I think Lethal Amounts is the premier punk art repository in Southern California.

What compels you to create?

It's innate or astrological! I have always been driven to create something. In fourth grade I wrote a play about Nancy Drew being mysteriously shot up with some drug and her investigation of it! I was so proud of it and showed my mother; she was shocked and asked where I got that idea. I think it was Life Magazine, which was a huge influence and an incredible photo resource. I remember first finding out about secret societies from their weekly issues. So I was keen to start a secret society and tried to enroll my cousins but they were older and didn't think I had any secrets. I never really thought about being an artist and have had virtually no formal artistic education. It wasn't until years after punk that I realized, “Yes, I am an artist.” I guess deep down I’m kind of a loner and if anything, I considered myself more of a seeker. My many psychic experiences have suggested that reality is not what we think and I must be the projector of that reality. Art is just a vehicle for that search to prove I'm real and to find out what “reality” is.

Screamers Anticipation (Recording First Video at Target San Francisco), 1978.

What excites you about the medium(s) you work in?

I loved all aspects of photography: taking pictures, developing film in the dark, and watching prints slowly come up in the red glow of the darkroom--a bit like foreplay! Working with slides for my projection shows during the 80's, scratching and collaging on them, and then working in clubs with live projections was super fun, too, even though it was a ton of work. One time my whole rig with multiple slide carousels fell over right before the show started. There was seldom the perfect place for my setup. But then once slides and slide projectors disappeared from the market, I became sullen. I've had a lot of work published which is very satisfying and I enjoy collaborating with other artists. I recently worked on a limited edition paint and screen print of my Burroughs photo with British pop artist Billy Chainsaw in London--it sold out in two days. Creating digital fractal art landscapes is a solitary experience. I first discovered fractals in the 1980's when I purchased fractal slides from Edmund Scientific to use in my projection shows. Four years ago, I felt a need to learn something complicated and fractals satisfied that need. They are very much a cerebral philosophical satisfaction. And through it all, I still make my own prints, both photos and fractals. I like to be as hands on as possible. Computer art is great for lockdowns!

What films and/or music inspires you and how does it impact your creativity?

I've always mined the crossroads of music and art. My "career" kicked off with Search and Destroy magazine and punk rock saving my soul. Such a brilliant period criss-crossing art, fashion, design, music, and zines--which should make a comeback, by the way, since censorship is getting so bad. During the 80's, most of my images were inspired by the music of the Saqqara Dogs and doing live projection shows with them. Nowadays I like ambient electronic space music without rhythm to work on my fractal art because it takes lots of concentration! I love the duo Carbon Based Lifeforms. Brian Jonestown Massacre has gotten me through many a cold and foggy San Francisco night. I also enjoy sci-fi and fractal films.

What's your take on the art world today and where do you see things going as far as trends and new technology are concerned?

My dialogue has always been with what could be called underground art and punk was as exciting as it could get! It seems as though I've been out of step with most of the ‘establishment’ art world. Only now is the punk photography renaissance beginning to be seen as a movement, especially in California with many great punk photographers. In the last decade I've curated four old school punk photography shows in San Francisco with our production group Punk Rock Sewing Circle and that was the tip of the iceberg. I admire Raymond Pettibon who receives much acclaim these days and has managed to cross over from punk posters to Blue Chip collectors. We need art for life. I think the concept of NFTs is a breath of fresh air, though I've yet to jump in due to being sidetracked by cryptos! Digital projections are still taking place in intriguing spaces and I may get back into that at some point with my 3D fractals. I've been lusting after some of these new compact digital projectors.

What visual artists have influenced you, from the beginning of your career to present day?

Before punk, I was enamored of the whole 1920-30's art scene in Europe. The photo portraits of the artists and writers of that time were as important to me as the art they produced. I wanted to portray the punk scene in a similar way, punk genius in the 20th century fin de siécle. More than anything, my desire was to reveal the depth of punk personalities who were being reviled or ignored by society, wild souls like Darby Crash. French photographer Henri Cartier-Bresson's ‘decisive moment’ of candid/street photography was the method I used for when to press the shutter. I’m also inspired by the dark spiritual angst of Victorian symbolists, my hunger, the shadows of the surrealists like Man Ray and Giorgio De Chirico, of course, and the freedom to dream the unreal. The symbolism of ancient art has always been very compelling to me. I studied the translation of Hieroglyphs with Egyptologist Dr. Bob Brier for two years in New York City. But for total shock and awe, Alejandro Jodorowsky pushed me off the cliff when I saw Holy Mountain (1973) in the early 70's. I've been inspired by so much art that I can't even say, so I can't name any current artists unless you want to call Elon Musk an artist. I tripped into surreal Japanese space art of the 60's. But I influence myself now; I'm more inspired by ideas. I feel I'm in virgin territory so I have to work hard to make headway. Other interests now include interplanetary space and time travel, psy-phi, and quantum mythic architecture. Fractal manipulation is part of my philosophical interest in what Russian mystic George Gurdjieff called ‘objective art’. Fractals are information that code for a pattern; hence, I call my work fractal revelations, allowing surreal psy-landscapes to manifest themselves and give another view of reality.

If you could be remembered by any one of your pieces, which one would it be and why?

I think my William S. Burroughs pistol shot is the most memorable and the one I get the most traction on. Tim Leary said it was his favorite picture of the man and plenty of people have stolen it, perhaps not realizing that artists make their meager living off of their productions! Burroughs is a historical figure for the ages, almost mythic, and I'm glad this picture of him will be there for the interpretation of his life.

How have sociocultural factors impacted the way you create or your identity as an artist?

Mainly through my rejection of societal brainwashing or conditioning, which is quite rampant these days! My intention is to be self directed, not to just react. It's curious that I've been hearing the word ‘devolution’ in the media recently to describe our current situation…

The Cramps at Napa State Hospital, 1978.

Cover of *Ruby Ray: Kalifornia Kool—Photographs 1976-1982* (2019) published by Trapart Books.

What is next for you?

Well, I'm very pleased that Lethal Amounts will be representing my punk photography in Southern California, so look for some of my work there soon. There is more interest in my punk photography than ever before for films, books, etc., so that alone keeps me busy. I have pictures in a brilliant new documentary short film about the legendary performances by The Cramps and The Mutants at Napa State Hospital called We Were There To Be There (2021). I'm also working on my fractal art with great enthusiasm and collaborating with some folks in the utilization of it, making short fractal films. I'd like to eventually do a fractal book and have a few more shows after the ‘VID gets off our backs. I just keep working with whatever time I have left.

All images courtesy of Ruby Ray.

Follow Ruby Ray on Instagram to keep up with her latest work and grab a copy of her book Ruby Ray: Kalifornia Kool—Photographs 1976-1982 (2019) at Trapart Books or Amazon.

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