Today we’d like to introduce you to Dane Newton.
Dane, we appreciate you taking the time to share your story with us today. Where does your story begin?
My mother and father are both artists in their own right. My mother has done paintings as long as I can remember and my father restored classic cars in our garage. Both are very technically skilled and I’ve always tried to emulate their talents and attention to detail. I took as many art classes as I could in high school, but never really thought I’d be an artist professionally. After high school, I tried my hand at being a fireman, but the emotional stress of the EMS side of things made me start thinking that it may not be the lifelong career choice for me. I was already taking some art classes as electives, so I decided to shift my focus towards graphic design and photography with MCC-Penn Valley. I always had a weird schedule, but it gave me time to branch off and explore the city. I absolutely enjoyed my time there, I loved how they exposed students to artistic media that was outside of their wheelhouse. Up until this point, I’d mostly just worked inside a sketchbook with a few pencils and played with my camera, so Penn Valley really broadened my horizons as far as the technical skills to utilize different mediums.
After graduating with my Associate’s in 2017, I thought I was done with school. I didn’t care for the arrogance of the art world and was having trouble finding meaningful work that would accept me. My mother actually talked me into continuing my education. She said, “KCAI is practically in your back yard. You’d be a fool not to try. Just submit your work and see what they say.” So I did… and they loved it! They offered me a merit scholarship for my remaining two years of school and I went to work.
I had never worked as hard as I did at KCAI. I took 18 credit hours per semester while working 30-35 hours per week at my part time job to support it. Those two years went by in the blink of an eye. I spent most of my time focusing my work on community and cathartic release, leading me to my senior thesis, Congregation for the Outcasts (2020).
I had always been infatuated with the lure of live music. The excitement and energy of a rock concert is something that I still feel required to experience somewhat often. It’s like something between meditation and medication. The vibrations move through your body and you immerse yourself in the experience. If it’s not happening right then in that room, it may as well not be happening at all. I knew it wasn’t just me that felt that way. You can see it in the images. The musicians and the crowd both work together to create the musical experience. It’s all about community and the give-and-take of energy. I set out to bring attention to the deeper happenings at these hardcore shows. It was more than just a bunch of punks shoving each other around in a mosh pit. It was about showcasing a sense of belonging and release for people who may not be able to experience it elsewhere.
After graduating KCAI in 2020, my parents went through a nasty divorce and I took over guardianship of my brother. During this time, I made a bit of work dealing with PTSD, but found it often bothered people. I traveled when I could, always taking my camera, but something was missing. I wasn’t getting the same feelings I had used to get with the camera in my hand. I’d entered a rut and was desperate to get out of it. I had to start looking for a change.
In 2023, I began working at St. Joe Harley-Davidson. They gave me an opportunity to stretch my art legs back out by making event flyers and digital media while working hands-on at the parts counter. It definitely kept the creativity flowing and the regular schedule also provided more studio time. The people that I met daily were strangely the most interesting and diverse community that I’ve ever met, but if there’s one thing that they love second only to motorcycles, it’s music.
It had been a while since I’d made tangible art. Most of my work was printed on a piece of paper or viewed on a screen. After the COVID-19 pandemic, I was sick of screens. I wanted to make something that could be touched, held, and used while still feeling like fine art. After learning a whole new industry and settling into my 9-5 with Harley, I knew it was time to start making work again. I sanded down my old Ibanez and built a screen printing lab in my spare room for the project that would become Tentative Salvation (2025).
I wanted to create something that mirrored my own growth and change. I used semitransparent ink to create an anaglyph that shifts between an angel and skeleton depending on stage lighting conditions. No unnecessary wires or screens, just good old-fashioned light and science. As I began wrapping up on Tentative Salvation, I knew this would not be the last guitar. I had to make more. I loved what I had made, but I wanted to clean it up. I wanted something that had the quality to be played onstage in a bar or stadium. Something gritty and unapologetic, but also elegant and classy. Something brash and honest that inspires expression. I can only hope that after countless hours over the course of the last 8 months, I’ve achieved that with my latest work, Don’t Be Koi (2026).
What began as an American alder body Stratocaster, Don’t Be Koi (2026) is a double-bound vintage flat-top Fender Stratocaster with Custom Shop Vintage ’69 pickups, shielded cavity, roasted maple neck, and locking tuners. As for hardware, this guitar got the best of the best for it’s class, inspiring elegance and class. The screen printed graphic needed to hold up. I wanted something that would fit in with a wide variety of music that flowed with the guitar’s shape. I chose to go with punchy red halftone koi fish swimming over a rocky pond bed. I couldn’t be happier with this piece. I hope that it can find a home doing what it’s made for: being played onstage and inspiring expression.
Now, I’m in the early stages of designing my next guitar. I’m thinking I want to work with UV ink, maybe. Only time will tell!
We all face challenges, but looking back would you describe it as a relatively smooth road?
First of all, art isn’t easy. It’s not supposed to be. It’s confrontational and forces you to look at not only your environment, but within yourself. That’s not always easy to do. It’s even harder when you’re conditioned to tame the devil in the details!
Secondly, I think that the hardest part for myself, as well as other artists (though they may never admit it), is Impostor Syndrome, especially when experiencing a creative block. It’s difficult to advance within the art community when you feel like you’re not truly part of it. I like to think that it’s not about whether you belong or not. I just want to make great work. I just want people to see what I make and maybe understand who I am a bit better, as well as themselves.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
I mostly work in photography and graphic design, but lately it has spilled over into building custom screen printed guitars. Usually I try to showcase community and emotional expression, but as of lately, I’ve been trying to inspire it. I want people to use my guitars to express themselves and create, whether that’s creating music or creating communities like those I photographed for Congregation for the Outcasts (2020). I don’t want my work to be “finished” after it’s been completed. Just because I’m finished making it doesn’t mean it doesn’t still have a job to do.
We’d be interested to hear your thoughts on luck and what role, if any, you feel it’s played for you?
Some days I’ll tell you theres no luck involved. It’s all work. It’s the long days, the all-nighters, and pinching pennies just to get inside the door. Other days I’ll tell you it’s ALL luck. When you really get down to it, I think its simultaneously both and neither. I think the Lord puts inspiration in your heart and guides you to where you need to be when you need to be there. Everything matters, even if you don’t know it matters yet.
Contact Info:
- Website: https://www.danenewtonphoto.com/
- Instagram: https://www.instagram.com/danenewtonphotography/
- Facebook: https://www.facebook.com/DaneNewtonPhotography/
