Every Picture Tells a Story Interview by Irene Gallo

Q: So did you start selling cartoons to magazines?
A: No, but I started getting rejection slips from them. I thought that was a start. All the other kids in ninth grade were drawing hot rods and cocker spaniels and getting blue ribbons in art class. I was getting rejection slips from Look, Boy's Life and the Saturday Evening Post. I figured that made me a pro of some kind.

Dark to Light Interview by Fausta Orecchio, Rome

Q: Brad, you've just done paintings for our new book "The Night of Q." The pictures are somewhat dark for a children's book. Did you enjoy bringing this kind of depth to a fairy tale?
A: Well, it is called "The Night of Q." If it had been called "The Sunny Afternoon of Q," the pictures would have been more rosy.

Rearranging the Visible World Interview by Selim Mercan, Turkey

Q: You have many kinds of drawings and styles dominant in your works. Are these your life's term or are your different styles attempts in the same term?
A: When I was young, I tried to put everything I thought into every picture. But you can't do that. A picture's not a pizza. Now I let each picture do what it's supposed to do.

I Disappear Into Pictures Interview by Bryan Gray

Q: Did you ever worry that there might be some merit to their reactions?
A: No, not really. I mean I knew I had hang-ups like everybody else, but you can usually tell the difference between art and psychosis. I mean nobody thinks Shakespeare was Jack the Ripper just because he killed off so many people in his plays.

Directness is a Style Interview by Steven Heller

Q: Do you have a point of view in your work?
A: I have a point of view in life. Work is a by-product.
Q: How would you describe your point of view?
A: I've been doing what I do since I was in Kindergarten, so I haven't had to change my point of view very much. I'm basically a mature 5-year-old.

Style and Personality Interview by Ricardo Antunes, Brazil

Q: How do you define the difference between your technique and your style?
A: Technique is how you use a medium. Style is how you use your personality.
Q: You mean how you express your personality in your work?
A: For example, in acrylic, I dry brush and glaze. That's technique. Style is what happens when you're not thinking about style and a picture just comes naturally.

I Work At Night Interview by Ozan Karakoc, Turkey

Q: Are you interested in films? What do you see when you compare Hollywood and European cinema?
A: In American movies, people are always being blown up or getting in touch with their feelings, two things that rarely happen in real life.

Reading Between the Lines Interview by Nick Meglin

M: Why is a simple, or elemental, form so important to you?
H: For me, understanding life is a daily struggle between meaninglessness and cliché. When you can make some sense of it, find some hidden order and strip away the details, then give it a precise form, that's a kind of victory over meaninglessness.

A Lodge of One Interview by Wendell Minor

Wendell Minor: Twenty years ago we came to one these Annual Shows at the Society and before the afternoon was over, you'd gotten us both kicked out.
Brad Holland: They were pretty mad at me, weren't they?
WM: You were insisting that they take your work out of the exhibition. I didn't think they'd ever let us back in.