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What I appreciate, is that he’s taken the time to ask meaningful questions about the world around him, via his work. Rock poster art was born in a time and place where psychedelia was the name of the game, and Jermaine has been able to follow in that tradition. He’s proud of what he’s achieved, but exudes a desire to continue to evolve. Jermaine has also experienced staggering success with his vinyl figures, which have all sold out extremely quickly. His skill as an illustrator is exhibited in every print, as he’s in no hurry to crank out mediocre work. His ability to as he says, be a “chameleon,” really allows him to cast a wide net. Covering everything from prints of Jimi Hendrix, to posters for the likes of Radiohead, Ween, and The Deftones, he’s more than established himself amidst a growing sea of talent. Jermaine’s been able to garner a steady following since the explosion of the rock poster/ screen print scene, and after a review of his work, it’s no wonder. His prints are of the highest quality, color-fades and detail that make a $50 print feel like the find of a lifetime. For a handful of years now, I’ve been a fan of the way he tends to prod certain issues, often provoking responses that radiate in every direction. He works at his headquarters in Manitou Springs, CO, continuously crafting images that push boundaries, whether social, cultural, or aesthetic. Jermaine Rogers has been a mainstay in the rock poster art scene for over a decade.
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Every artist tries to manifest his slant on reality, and the imperfections of that look, the deviations from the norm, are his ‘style’. “‘Style’ is a really pretty word for ‘imperfection’.