From Sound to Surface: Daniel Travers Turns Vinyl Records into Visual Art

The Interview

Can you introduce yourself and describe the work you’re making right now?

My name is Daniel Travers. I have a studio in the Gaslamp Quarter. I run a creative agency that consumes a lot of my time, but I love getting back to my roots in the studio.

I create mixed media vinyl record art with an epoxy resin finish. I released a volume about seven years ago, and I’ve revisited it recently, kind of exploring more with layering. It’s a really interesting technique because of the random surprises with acrylic paint mixtures, trying to figure out how to guide the results.

So you don’t have a preset idea of what you want a piece to look like? You’re more open to the process?

Yes and no. I mean, for the color scheme, I pre-mix the paints. When I do commissions, I do try to make something similar to what the client likes… but for me, it’s more about exploring and the surprises. It kind of loses the fun when you’re trying too hard to make it look like something you made in the past.

How did the idea of painting on records initially come to you?

I was exploring a new technique and I found that I couldn’t afford a lot of canvases. They’re expensive. I used to do a lot of DJing and I had a store of records that I didn’t really care about. So I thought it was a good approach to paint on those as found media.

I found that a lot of people are just throwing away records and it’s really sad when you think about all the time and effort that went into the music… 

So there’s an element of nostalgia in it for you? 

Yeah, I think other people see it that way too. I did a show once where someone thought my piece was a dish or something similar because of the way it was framed and the resin over it. Once I told them it was actually a record, their whole perspective changed.

Does the music or the content of the record have anything to do with how you approach painting on it?

I do like to listen to loud music when I paint. But it’s not necessarily the music that’s on the record itself. I have to disconnect myself from that. Otherwise, I might not paint on it. However, I have kind of unofficially labeled the art records as visual tracks, which I thought was kind of a unique way to look at it.

Do you feel like your background in music and recording affects your work or is it a completely separate entity?

Well, I always wanted to sell records. But, it’s not much more connected than that, honestly. 

I mean, I do like to hang them up and act like they’re platinum records that maybe I could have had one day if I kept pursuing music.

But, I was just trying to do too much and I was spreading myself thin. I’m a formally-trained visual artist, and that was my stronger talent.

Can you tell us a little bit about your training?

I graduated the Kansas City Art Institute. I started taking art classes probably when I was eight or so. 

I feel like my environment really contributed a lot to my direction. I grew up in Kansas City, where there’s the Nelson Atkins Art Museum. It’s an amazing museum, and I feel like that had a lot of influence on me growing up. I would go visit the art gallery, and the Kansas City Art Institute was right across the street. I would think, “I want to go there one day,” and I finally did. 

But, as I got older, I got more influenced by urban art, subway art and cartoon characters. I used to do little cartoon strips including my friends and did a lot of pencil portraits. Just pencil, and with cheap pencils too, like number two. Sometimes you have to use what you have.

I also earned an Associate of Applied Science in Graphic Communications in St. Louis, which was kind of my journey towards graphic design and new media. I then did more new media at the Kansas City Art Institute, which did involve music. But, I was more interested in the connection of visuals and sound, which is why I have the name Redideo. It’s kind of like a multimedia mashup of radio and video, meaning aural and visual communications.

I’m glad you brought that up, because I wanted to ask where the name came from. 

Well, my hair was also red at one time and my dad used to call the radio the redidio. So it’s a lot of different ideas, all into one.

How do you find a balance between traditional art and new media, and what role does AI have in your process?

I don’t know that I’d consider it a balance, and I know AI is really controversial right now. I primarily use it for brainstorming. Sometimes you might want to ask somebody what they think of your idea or direction. So I use it as a non-biased… consultant, to get advice. However, I have found that AI loves to blow your ego up. So, of course, you have to be careful with that. 

It’s been interesting too, because I can do things much quicker that I’ve always wanted to do. I’ve even animated photos of my art and illustrations that I’ve done in the past.

And honestly, it’s been really helpful in naming my art. Whereas that would sometimes be an hour-, if not day-long process. And, if you take a picture of your art and you say, hey, this is the direction I’m wanting to go, it’ll give you ideas and help with the brainstorming process. Of course, some of those are good. Some of them are horrible. But, it’s like having an assistant, and it’s been really helpful.

It’s been helpful for my business as well, but I think the key is not to rely on AI as the end product. It’s not a replacement.

And, I don’t want to get super philosophical, but I don’t know that any idea is actually 100% original.

It all comes from the input we’ve had as human beings over an entire lifetime…

You know, whether it’s consciously or subconsciously, you’re putting it into your art, and that’s a little bit of what AI does. It takes a lot of different information and puts it together as one. 

You also create fractal art. Where did your interest in fractals begin?

I had always been drawn to fractals in art school. I was just mesmerized by them, and I did a couple video installations. About 15 years ago, they discovered 3D fractals, which really blew my mind. It’s just really interesting to me because a lot of these 3D fractals look a lot like things in nature. 

You’ve written a book called ‘Captain Sewer Pickle.’ Is humour a central part of your practice or more of a fun outlet?

I have mixed emotions about it. Obviously, it’s very low brow. What inspired that animation? Well, a couple of things. I found a book that a doctor wrote, and it was called, ‘What’s Your Poo Telling You?’ And I thought, wow, a doctor wrote this book and it’s actually kind of interesting and funny at the same time. 

At the time, I was working in radio and I thought there were a lot of interesting things happening behind the scenes. So, I wanted to try to capture that, with the lowbrow humor and also kind of a superhero angle to it. Then, to add a level of intensity, the characters had to go fight crime before the song ran out, to come back and change the record.

But yeah, I like to have fun with it. I don’t like everything to be super serious and conceptual and am a little bit more lighthearted. I feel like a fair amount of art doesn’t connect with the average person that might not have a lot of education in art and certain techniques. So I’m just trying to appeal to more people. Make it more accessible.

You’re working in quite a few genres right now. Digital art, illustration, animation, sound, photography. What connects these different art forms for you?

I’ve always been interested in new technologies and experimenting and combining. Sometimes I feel like a mad scientist.

Looking ahead, what comes next? 

I do have five large birch panels. I’ve been wanting to do a new larger series just to challenge myself. Maybe do something where I’m a little bit more patient because I think in the past I’ve been more drawn to abstract expressionism, you know, quick and fast. So I’m interested in putting a little more thought into the process and outcome. 

Do you have any upcoming shows or releases you’d like to share?

I did just drop the Volume Two of Vinyl Record Art. That’s a limited edition of 12 records. I wanted to make it more exclusive. 

… and I’d like to do a show. 

About Daniel Travers

Daniel Travers, better known as Redideo, is a San Diego multimedia artist working from the Gaslamp Quarter. His practice spans painting, illustration, vinyl record art, digital and algorithmic art, photography, video, animation, sound, and experimental work involving AI.

His background in music, street art, design, and commercial production continues to shape his approach. He often combines media, moving ideas and techniques from one format into another rather than treating each discipline separately.

Daniel earned a BFA in Photo New Media from the Kansas City Art Institute and an AAS in Graphic Communications from St. Louis Community College. He is also the owner of Redideo Studio, a San Diego creative agency, although his agency work and personal art practice operate independently.

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About the Author

Robyn Palescandolo is a visual artist, art historian, and Director of Marketing for San Diego Art Directory. Her own studio practice is rooted in classical realism, painterly observation, and the quiet beauty of the natural world. As an editor and interviewer for San Diego Artist Network, she is interested in thoughtful conversations that illuminate the creative lives of artists throughout the region.