This section is for interviews, FAQ and OTHER NONSENSE.​

For the NEWS section, click here (no one reads this except for my mum).

Yes and yes! That being said, teaching has become an endless series of admin tasks related to some demented form of accountability. Instead of focusing on the fundamentals of teaching (you know... planning, delivering, assessment, feedback - things that are actually important), we frequently find ourselves doing nonsensical tasks that some business/industry moron decided was a good idea, in order to justify their unnecessary position. Apart from that I enjoy the actual teaching part of my job.

INTERVIEW: THE INSTITUTE vs ZENDIS SENSEI
August 2021

Interviewer: Dr. Malcolm Fairweather
Senior Liaison, The Meridian Institute for Cultural Alignment & Public Discourse

(Dr. Fairweather specialises in stakeholder reassurance, narrative moderation, and the ethical containment of controversial ideas.)

Ahead of his latest exhibition at The Panopticon Annex for Counter-Hegemonic Aesthetics, Erol Zendis agreed to a brief, structured conversation with a representative from the Meridian Institute. The stated aim was contextual clarity. The outcome was less cooperative.

THE INSTITUTE vs SENSEI: EROL ZENDIS

Dr. Fairweather:
Your work has been gaining significant attention. How do you account for this growing visibility?

Zendis:
Visibility is not the same as relevance, and relevance is not the same as approval.

Attention is distributed by systems that reward predictability and punish ambiguity. If the work is circulating, it is because it can still be tolerated—perhaps even briefly misunderstood as harmless.

That window tends to close quickly.

Dr. Fairweather:
For the record, how would you describe the focus of this exhibition?

Zendis:
The exhibition examines how power survives by disguising itself as neutrality.

It interrogates the aesthetic laundering of dissent under late capitalism—how rebellion is rendered legible, saleable, and ultimately inert through design, novelty, and lifestyle branding.

The works operate as evidence, not decoration. They ask whether critique can exist inside systems that profit from its appearance while resisting its implications.

Dr. Fairweather:
Why present this work at the Panopticon Annex rather than a more recognised typcial gallery space?

Zendis:
Recognised by whom?

The Panopticon Annex exists at a point of ideological friction—adjacent to leisure, subculture, and casual consumption. It is precisely the type of space where critique is least expected and most easily neutralised.

That tension is not accidental. It is the subject.

Dr. Fairweather:
You do not exhibit frequently. Why engage now?

Zendis:
Because urgency is manufactured, but complicity is voluntary.

Most exhibition cycles exist to sustain institutions, not ideas. Participation often requires quiet concessions—softened language, aesthetic restraint, strategic ambiguity.

This project exists because those conditions were not imposed.

Also, I teach full time. The labour economy does not pause for art.

Dr. Fairweather:
You have collaborated with high-profile figures. Does that visibility influence your work?

Zendis:
High-profile figures function as distractions. They individualise labour and redirect attention away from systems toward personalities.

When such figures appear in the work, they do so as symbols—not endorsements. They are semiotic devices through which spectacle, authority, and absurdity can be examined without naming the institutions that actually require scrutiny.

Dr. Fairweather:
Your work avoids explicit political messaging. Is that intentional?

Zendis:
Explicit politics are quickly absorbed.

The clearer the slogan, the faster it is rebranded. What remains is merchandise masquerading as conviction.

The work instead operates through dislocation—through invented languages, displaced figures, and unresolved narratives. These are not evasions. They are refusals to simplify.

Dr. Fairweather:
You are notably absent from social media platforms. Could this be seen as disengagement?

Zendis:
No. It is refusal.

Social media platforms are extraction systems. They convert expression into data, dissent into engagement, and identity into commodity.

Participating would require endorsing an economy that rewards performative outrage while eroding collective action. As an educator, that contradiction is untenable.

Dr. Fairweather:
Do you consider yourself primarily an artist or an educator?

Zendis:
Education produces tools. Art produces symbols.

Symbols matter—but tools endure.

Teaching intervenes materially in how people think, question, and resist. Art, at best, assists. At worst, it decorates power.

Dr. Fairweather:
Has working within an educational institution constrained your practice?

Zendis:
All institutions constrain.

The question is whether those constraints are acknowledged or disguised. Teaching provides a degree of economic independence that allows intellectual disobedience elsewhere.

There are limits, of course. Certain forms of violence are considered unacceptable—unless abstracted, metaphorical, or profitable.

Dr. Fairweather:
Some works include an invented language. What is its function?

Zendis:
Language is a regulatory system.

Invented language exposes that fact. It destabilises authority by reminding the viewer that meaning is constructed, enforced, and defended—not natural.

Also, it resists immediate consumption. That alone is disruptive.

Dr. Fairweather:
What can audiences expect next from your practice?

Zendis:
Reduced output. Increased clarity.

Acceleration benefits the system, not the work.

Dr. Fairweather:
And your long-term aspirations?

Zendis:
Functional tools.
Minimal noise.
A manual lawn mower.

Structural change would be welcome—but I remain cautious.

Doodles en Musica - MUSIC RELATED ARTWORK

Cartoon-infused surrealism, psychedelic monstrosities and horned beasts of the netherworld. LP/EP covers, merch, gig flyers AND OFFICIAL 'BAND SERIES' SKATEBOARDS @ boardpusher.com/erolzendis

$10 (or more depending on the deck) for every Erol Zendis deck sold goes towards finding a cure for PBFD.

Creatures of the Mega Doodles

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Armed with a felt-tipped pen, his warped imagination, an admiration for the cartoon renaissance of the 90s, and early 20th century French weirdos, Erol’s detailed scenes draw you into looking at them for a long time, trying to unravel all the different aspects.

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To those unfamiliar with El Mond dü Zendian-Grømbleschprek, some drawings may appear to be meaningless, but the strange little creatures you see before you are rich with allegorical symbolism, sagacious metaphors, voschmart sarcasm and ingenious stories of the Zendian-Grømbleschprek.

‘Debut’ Erol Zendis Interview with Jesse Gussow of Chaotic Utopian Magazine - September 12th, 2018

CHAOTIC UTOPIAN MAGAZINE INTERVIEWS EROL ZENDIS 

The artwork by Erol Zendis is akin to a Magic Eye piece from the 1990s mashed up with a Where’s Waldo. His pieces pull you in with how busy they are and keep you looking at them for hours examining all the different characters that make up the piece. His attention to details is phenomenal! His work is reminiscent of a bored student doodling on the side of a paper, only Erol has filled up the whole page and it’s absolutely fantastic!

Where are you from?

I come from a land down under, where beer does flow and men chunder.

How did you get interested in art?

Reoccurring dreams. At the age of six, El Gato Félix appeared to me in Dalíesque dream… Like Virgil, he guided me through Hieronymus Bosch’s version of hell. He told me I that I needed to release the Zendians from their prison. Ten years later, I had the same dream except this time Félix was wearing a Slayer T-shirt.

What inspires your work?

The desire to release the Zendians from their prison of non-existence… They are trapped in Zendian-Grømblegefängnis and I must liberate them.

How would you describe your style?

Cartoon-infused surrealism in big doodle form.

What does your work say about you?

An artist I respect recently described my work as ‘generating its own energy’, ‘unique’, ‘powerful’, ‘funny’, and ‘scary’… So, I’ll go with all of those, but I’d also add handsome (for the ‘about me’ part).

What is your preferred medium to work with?

A black pen of some description and paper. Preferably a good pen and good paper.

How have you grown as an artist?

It is like collecting Pokémon; each creation is like a new ‘catch’, sometimes it’s something useless like a Weedle but that Weedle can evolve into something a bit better and every now and then the creation is more like a level 77 Gengar or a level 89 Rhydon, occasionally even a Charizard. I’m fairly new to the art world… I’d say in Pokémon terms, I’ve got approximately 18 Pokémon and I’ve just beaten the first gym leader. My journey has just started… but my plan is to be the very best…like no one ever was.

What is your process for completing a piece from start to finish?

It usually begins with me drawing something on a piece of paper, then unfortunately, (predominantly due to my obligations in the real world) it stays like that for a while… Whilst the process is very ‘automatic’, it is also sporadic because time is always the main issue, so I just incrementally add to drawings whenever I can.

Time... I need more time… I need a time transplant. 

Do you know exactly what you’re going to make or do you change, add or subtract things while you are working on it?

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This is a difficult question to answer, as it is both ‘yes’ and ‘no’. That being said, I try to keep the work as ‘automatic’ as possible.

André Breton defined surrealism as “pure psychic automatism". Even though Automatism was developed as a means of expressing the subconscious, my work (like most surrealism) is not about accidental mark making where the hand moves 'randomly' across the paper. Even though my doodles are largely freed of rational thought (i.e. I don’t really overthink it), there is an obvious aesthetic to it… If I’m drawing a 90’s cartoon inspired psychotic walrus with hairy nipples, then my end product is going to look like a psychotic cartoon walrus with hairy nipples.

It also depends on the specific piece. For example, I’m currently working with a few bands. If they would like a human skull with the brain still inside, with flamingos eating the brains… Then that is what they will get (albeit with an Erol Zendis touch).

Do you only work on one piece at a time?

I try to, but time, wherever I’m located, and the size of certain pieces means that I usually work on a few different pieces whenever possible. As a result, I’ll usually work on two or three things at once.

What do you teach?

I’d rather not say because ‘Erol Zendis’ is not my real name…

I don’t really want parents calling the school asking: ‘why do you employ a teacher that draws psychotic cartoon walruses with hairy nipples?’

How has teaching impacted your artwork?

Negatively. I like my workplace and my job, but it is time consuming and as mentioned above… I need more time.

What are your hopes for the future?

It might sound narcissistic, but I’d simply like to open a book in a few years’ time and see some Erol Zendis artwork.

I recall flipping through a Surrealism book and of course, all the usual names were in there, Dalí, Ernst, Magritte etc… Then I noticed a piece by Conroy Maddox, I was not familiar with the artist or the artwork, but I was intrigued. What was this sharply dressed bovine-human hybrid doing and why was it sitting next to a well-dressed trash can-human hybrid (I think it’s a trash can)? What was their story? Then you look at the other characters in the piece and again, you think… What is their story? This is not a well-known piece but it’s awesome.

That’s all I want… Someone’s imagination to be ignited by my work akin to the manner in which my mind was captivated by the weird cow thing. Except sharply dressed bovine-human hybrid, will probably be replaced with something like pterodactyl-merman with hairy nipples and sock puppets.

Do you prefer Oreo or Fudgee-O cookies?

Sorry, but I cannot provide you with an educated response to this question.

I don’t know what a Fudgee-O cookie is…. Sorry. Please feel free to send me some :)

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That was my interview with Jesse of Chaotic Utopian Magazine. She’s an awesome person and like many other lovers of weirdo art, I’m sad to see the end of the magazine… Jesse, thanks or all the support, I have always really appreciated it and I wish you all the best with your future endeavors!!! Although the official website is now gone, most of the interviews have been archived here: https://web.archive.org/web/20181104212445/http://www.chaoticutopian.com/erol-zendis

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Although social media has its benefits when used correctly and ethically, it is predominantly an ignominious cesspool of toxicity. The fact that I’m a teacher also has influenced this decision and unlike artists that actually make a living from art, I don’t need to “sell myself” in any way, so it’s better to stay away from the shadowy abyss! As mentioned, social media has its benefits and (perhaps hypocritically) I’m always grateful when my artwork is shared by those who appreciate it. Social media can be incredibly powerful when used properly. As a fulltime teacher, I just don’t have that much time to do anything meaningful with it at the moment. Also, Mark Zuckerberg is a penis.
 

Addendum: The Reddit Experiment (2026)

In early 2026, a limited and closely monitored exception was introduced.

Erol began selectively posting work on Reddit—a platform that, while not exempt from the broader attention economy, still allows for relatively decentralised discussion, longer-form exchange, and the occasional appearance of genuine human curiosity.

The decision was framed as an experiment rather than a shift in principle: a temporary engagement to observe how work circulates when removed from follower counts, branding imperatives, and algorithmic self-promotion.

The response was, unexpectedly, positive. Viewers engaged with the work on its own terms, discussions emerged organically, and appreciation appeared to precede monetisation—an increasingly rare sequence.

The experiment remains ongoing. No conclusions have been reached.

Withdrawal is still an option.

Can you tell us about the Erol Zendis Band Series Range on BoardPusher?
 

Yes — all designs in the Erol Zendis Band Series Range are fully band-approved, using official logos and names. It’s not like I can just create a Metallica deck with a Metallica logo… Lars Ulrich wouldn’t be too happy about that. I feel genuinely honoured that so many incredible bands — including Morbid Saint, Osees (also known as Thee Oh Sees / Oh Sees), Slift, King Parrot, Dr Colossus, Sunflowers, Cosmic Reef Temple, Malignancy, Sadus, Entrails, Hellripper, Skelethal, Poison the Preacher, and Grave Flowers Bongo Band — are part of the series.

I’m a fan of every band involved — they’re all genuinely talented, and it feels incredibly special to be trusted to interpret their music visually. If you’re unfamiliar with any of them, I strongly recommend checking them out.

For many years, every Erol Zendis deck sold contributed $10 (or more, depending on the design) towards funding research into a cure for PBFD (Psittacine Beak and Feather Disease). That research has since progressed, and the focus has now shifted toward helping ensure the cure is distributed as widely as possible. Alongside this, we’re also proud to support additional charities, extending the project’s commitment to making a positive impact beyond PBFD.

Dr. Reza Khosravi, Cultural Correspondent for the Transregional Review of Art, Trade & Public Ethics, poses a question to Erol at the opening of VINO – CERVEZA – HOLY SPIRITS, an exhibition concerned with alcohol, branding, and the redistribution of meaning under market conditions.

Q:
Mr Zendis—your “Zendian” work has been discussed by established artists, circulated through independent galleries, featured in specialist publications, and used officially by internationally recognised bands. Your skateboard artwork was also referenced in China’s 动物伦理评论 (Journal of Animal Ethics & Cultural Practice) as a notable example of contemporary animal-rights visual culture.
You are now producing beer and wine labels for affluent Persian markets.
How do you explain this apparent momentum?

A:
The premise assumes coherence where there is largely contingency.

Cultural production does not advance according to merit or intention. It drifts toward structures willing to absorb it, often temporarily. In this instance, those structures include craft beer and independent wine—industries that depend on symbolic distinction while remaining safely embedded within existing economic systems.

Alcohol occupies a well-established role in social and cultural life, and working within that environment required little conceptual adjustment. Designing labels is a comparatively benign activity when measured against the broader social and environmental harms already normalised elsewhere.

As for popularity, the term is imprecise. Visibility fluctuates. Institutions notice briefly. Markets respond selectively. Then attention moves on.

FYI - The 'HOLY SPIRITS section of my website documents peripheral output: lower-effort digital work, pop-cultural residue, parody, and tribute pieces. Some of it currently circulates within speculative NFT markets at values detached from material reality.

A portion of it is nonsense.
A portion of it leads to legitimate collaborations with actual breweries.

The distinction is neither stable nor particularly important.

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By day, Erol works within a tightly structured institutional system, teaching at a Catholic secondary school whose function is the transmission of approved knowledge and social norms. By night, operating outside those constraints, he produces work that resists categorisation, coherence, and comfort—drawing grotesque, humorous, and often unsettling figures that seem to question the very idea of order they emerge from.

This double existence is not especially unusual. Like many people who function inside regulated systems, Erol uses creative labour as a means of reclaiming agency. His drawings—rooted in childhood habits and informed by a wide range of cultural debris—do not aim for refinement or consensus. Instead, they accumulate influences, contradictions, and visual noise, producing characters that feel closer to cultural by-products than to “designed” images.

Alongside this personal work, Erol applies the same visual language to commercial and collaborative contexts: album artwork, merchandise, gig posters, labels, and skateboards. These objects circulate within familiar cultural industries—music, art, branding—but they are not value-neutral. A portion of the income generated through this system has been redirected toward funding research into Psittacine Beak and Feather Disease (PBFD), and more recently toward the problem of access: ensuring that a cure, once developed, is not restricted by cost, geography, or institutional inertia.

Recognition followed once the work entered established art circuits. Erol’s drawings have appeared in publications and exhibitions, including a headlining role at the Hive Gallery in Los Angeles in 2024. In 2025, his work expanded into Japan, where the ULTRAHIVE EXHIBITION was presented in Osaka and Tokyo—spaces that, like all galleries, simultaneously enable dissent while containing it.

Taken together, the practice reflects a familiar tension: creative expression emerging from within systems that both rely on and limit it, producing work that entertains, unsettles, and occasionally redirects resources toward outcomes institutions themselves are slow to prioritise.