Fringe is Fun! An interview with artist Gabby Golec

For best results, use this link to read and view images: https://interviewwithslugtrain.tumblr.com/ .

 Fringe is fun! - An interview with Slugtrain 

In a sit-down interview with the talented Gabby Golec, known online as Slugtrain, we delve into the depths of Sanctuary, their first solo exhibition. The show is a captivating fusion of elements offering insightful explorations into themes of identity, belonging and the unique bonds formed within fringe subcultures. 

Gabby is a multidisciplinary illustrator and comic artist based in Toronto. They are currently in their final year of Illustration at OCAD University. Their work often explores the contradictory forms of soft yet jagged bodies, capturing them with spontaneity and vulnerability. Gabby also enjoys drawing bugs and people in love.

Let’s begin. 

Glowball (GB): I’m with Gabby Golec, also known as Slugtrain. Please tell me more about the username Slugtrain. Where does that come from? 

Slugtrain (ST): The name ‘Slug Train’ for my username has a funny story. I didn’t always go by this name online; it struck me when I considered changing my old username. My family is from Poland, and I visit occasionally. It’s interesting because, unlike here, Poland has loads of slugs and snails. As a kid, I was fascinated with slugs. I used to collect them and watch them move around together. They were the only insects that never really bothered me, and I’ve grown to like insects more over time. I took this photo of slugs moving in a line when I was fifteen, almost like a train. That image stuck with me, and when I was brainstorming for a new username, I thought, ‘Why not Slug Train?’ I knew I wanted something with slugs because I’ve always had this particular fondness for them.

GB: That’s a fun story, all moving together like a train. 

ST: Yeah, It was bizarre, but there are so many of them there, especially when it rains; you must be careful where you step. My family is more so in the countryside of southern Poland, so there is more green space for them to roam than in the cities. It’s so fun to see all the different types of slugs when I’m there; one of my favourites is the leopard slug. They’re just so interesting, fun and slimy. 

GB: Would you ever have a slug pet?

ST: I have had pet snails; during COVID, I had three of them in an enclosure that I would maintain, feed, and take care of every day, but they started to mate, and that only happens when they get comfortable with their partner. Once that began, it didn’t stop, and I had to get rid of them; it was just becoming a problem. And around that time, I had to move back to Toronto, so I had to let them go. They were getting too frisky. But yeah, I did have some pet snails. I wanted a slug, but finding them around here is hard. 

GB: Could you tell me more about you and what sparks your interest in art? 

ST: I’ve been into art since I was little, primarily because of my older sister. She was super good at it when we were kids, and I wanted to be like her. Back then, I wasn’t the artsy one in the family; that was all her. But seeing her do her thing pushed me to try harder, you know? It’s funny, though, that she eventually stopped doing art, and I ended up being the art person in our family.

GB: Switch out. 

ST: Yeah. 

GB: Okay, interesting. So you have an older sister who was an artist? 

ST: Yeah, She’s four years older than me. My sister was really into realism and loved making art; she also introduced me to anime, which I love now. But she chose not to pursue it professionally because it wasn’t what our parents expected—this pressure on older siblings to set an example, especially with immigrant parents. As the younger one, I got more freedom to explore my interests. She’s been a massive inspiration in my life. When you have an older sister, you want to be as cool as they are, hang out with their friends, and get into what they’re into.  

ST: Now a little bit about me, I never know what to say. 

GB: It’s a difficult one.

ST: I’ve always had a deep love for art, which naturally blended with my interest in online spaces and various hobbies. Growing up, I was very active online, and my passion for art complemented my love for shows, cartoons, and anime. These interests made it a natural choice for me to continue with art. Now, that passion has evolved into attending art school and pursuing it full-time. 

GB: You mentioned that you were online a lot. Does this influence your art in some way? 

ST: I grew up playing online MMORPGs like Gaia Online and Fiesta, along with games like Club Penguin and Neopets. That era was a new web game for kids, and I loved interacting with others online. This influences my art. I’ve never been a fan of creating realistic art, though I admire those who can. I’ve always found it challenging to replicate things accurately. So, I turned this into a strength in my work, enjoying playing with forms and bodies, even if the anatomy isn’t correct. That’s what makes art enjoyable. 

GB: That’s amazing. Let’s discuss your work some more; Sanctuary is your first solo show? 

ST: It is my first solo show; I’ve been planning for just under a year. 

GB: Nice. Many pieces are on display, so I’m sure it took a while.

ST: Most of the works are from this year, with a few older ones. Initially, I had no specific theme in mind. I often find setting and sticking to a particular theme challenging, so I just continued drawing in my free time. Over time, I realized a recurring element in my work: an interest in anthropomorphized characters. This theme emerged organically, becoming more apparent when I put all my pieces together. It’s fascinating how art can reveal themes you don’t consciously plan. Our creative instincts guide these choices, often unnoticed, until we view our work critically from an outside perspective. The theme only clicked for me a few months before the show, and I thought, ‘Ah, this is it!’. 

GB: That intuitive way of creating works is incredible. We are so used to following rules or guidelines, especially in school, so you don’t pressure yourself to stick with a specific plan and just let your art happen organically. 

ST: Totally. 

GB: Can you tell me more about the key inspirations that prompted you to create and present Sanctuary and its content? 

ST: For my current exhibition I was inspired to bring a particular type of work into an academic fine arts setting. In art school, like OCAD, there are strict rules and guidelines, especially in my illustration program. This is quite different from how I work as an illustrator, and I’ve felt discouraged by professionals and professors from creating this kind of art. So, the main idea of the show was to create a welcoming space for those who feel marginalized in society for enjoying things considered ‘cringe’ or ‘silly.’ I wanted to offer a space where people can connect in person, not just online, with art that isn’t traditionally seen as professional. The goal was to demonstrate that this art deserves a place in professional settings. I know friends who make a living creating anime art, furry art, and even fursuits, showing incredible talent and finding success. A thriving community of artists travels the world, selling their work at anime and furry conventions to a supportive audience. This show is about recognizing the value of this art, giving it a space to be seen and appreciated.

GB: I attended the opening night of your show, and after passing through another gallery, I immediately felt a sense of relief upon entering yours. The atmosphere was welcoming and calm, starkly contrasting with the often intimidating vibe of fine art settings, making the idea of a safe space very tangible.

ST: It’s lovely to hear that you enjoyed the opening night; it was an incredible experience for me, too, especially as my first show. My main aim was to create a welcoming space for people to connect over shared interests in real life. The atmosphere naturally evolved into a safe distance because my work has a specific demographic which are people who usually fall into the categories of queer, trans, neurodivergent, and people who are autistic. These individuals don’t feel comfortable sharing their special interests with others because they’ve been pushed down for sharing these things their entire lives. So, the audience found their way to the show through word of mouth or posters around the school, creating a vibe distinct from a typical gallery opening.

Interestingly, having another opening simultaneously which highlighted how different art can influence the atmosphere of a space. I’d love to host a super professional opening one day with features like live music. However, the essence of my work and its audience naturally shapes the event’s nature so I’m not sure if I could ever emulate that type of environment exactly. We all come from various online communities, and this common thread brings us together. 

GB: What role does the concept of a safe space play in your exhibition, particularly in furry culture? 

ST: I’ve noted how fringe subcultures like the furry fandom, often viewed as taboo in society, provide deep and meaningful avenues for self-expression, especially in online spaces. These communities are vital for individuals with social anxiety, as they offer a safe space to embody characters that resonate with their traits, often suppressed due to societal norms. Predominantly made up of queer, trans, autistic, neurodivergent, non-binary, disabled individuals, and those with mental health issues like BPD, depression, and anxiety, these online fandoms become sanctuaries. Hence, the exhibition’s title, ‘Sanctuary,’ aims to translate this online community into a physical space, allowing people to share and celebrate their special interests freely. This is especially vital for neurodivergent individuals, like those with autism, who often feel their intense passions are misunderstood or dismissed. The goal is to foster an environment where everyone is eager to share and listen without judgment. The online aspect of these fandoms is critical; as someone who is Autistic, I know it’s easy to get back and forth going online when, in human conversations, I go on a tangent, so being online is a very crucial aspect of the fandom itself and the people who are in it.  

GB: So the show focused on displaying fringe subcultures such as furries; I’m curious how the anthropomorphized entities in your work represent different facets or complexities of love and connection. What do they reveal about these emotions that human figures might not?

ST: In my work, anthropomorphized characters represent domestication quite literally. The characters resemble household pets, like dogs, cats, hamsters, chinchillas, and rats, emphasizing animals that humans care for as pets. This theme explores love versus ownership in human-animal relationships and the inherent co-dependency. By using anthropomorphized forms, I question the nature of relationships involving ownership, whether co-dependency, a kink, or something else. The juxtaposition in my art highlights the parallels and contrasts between human-human, human-animal, and animal-animal relationships.

GB: Can you speak more about anthropomorphized identities and personas used online? 

ST: In creating personal personas, especially within the furry and adjacent cultures, individuals can craft idealized versions of themselves. This process allows for anonymity, as no one needs to know your appearance. It’s particularly empowering for those with insecurities or those grappling with their gender identity. By developing a character, they can explore and express aspects of themselves that may not feel safe or comfortable in their real-life environments. Online, there’s less negative pushback, mainly because many people in these spaces are also trans or queer, creating a more accepting and understanding community. 

GB: What aspects of furry culture were most important to showcase in this exhibition?

ST: There are stigmas and misconceptions about furry culture, often stemming from a few individuals who don’t represent the whole community. This happens in any fandom. There are just a few bad apples. I aimed to highlight the safe space and community aspect central to the furry culture and extend to other fringe online subcultures like anime, comics, and cartoons. The idea is to create a communal space for furries and anyone who finds resonance in this art. My opening attracted a diverse crowd, not all of them are furries, but they are people connected with the themes of nostalgia and escapism in my work. It’s about revisiting childhood joys to escape adult life’s complexities, a key element in my art. 

GB: Are there any challenges you face as an artist who incorporates fringe subcultures? 

ST: There are challenges stemming from individuals who are not open-minded about these subcultures and have preconceived expectations about what these groups are about. 

 Despite the furry fandom and similar subcultures promoting positive self-expression, they’re frequently mischaracterized as hyper-sexual or inappropriate. This perception is primarily due to media portrayals and the actions of a few individuals at conventions rather than any comprehensive research. While there is a sexual aspect within furry culture, this is not unique to it; many fandoms and online cultures have similar elements. And yes, there is a sexual nature within furry culture; I’m not trying to dismiss that at all, but this aspect shouldn’t overshadow the broader, more inclusive nature of the culture. 

GB: Of course, it is a little kinky, but that’s not what it’s all about. 

ST: Yes, some furries integrate their interest into their sex life, while others don’t, and that’s entirely up to individual preference. However, this aspect shouldn’t lead to discrimination or stigmatization, as such misconceptions can harm the community by perpetuating negative stereotypes and hindering societal acceptance. Not everyone will appreciate my work, and that’s okay. My art naturally attracts a specific demographic that shares or is curious about my interests and experiences. Creating this type of art does have its challenges. Some might label it as ‘cringe,’ but generally, the response has been positive. Many people find it intriguing, like a longtime friend who recently said my show helped her truly understand me and the furry culture. While not everyone will connect with my work, and that’s normal, the appreciation from those who do matters most to me.

GB: Do the negative comments you receive impact you? 

 ST: Honestly, those negative comments do get to me. It’s strange how I can receive a hundred compliments, but that one negative remark sticks with me. It can be pretty disheartening at times. However, I constantly remind myself of the positive impact of my work. Most people genuinely connected with my art on the opening night and felt passionate about it. Remembering their enthusiasm and appreciation helps me to keep moving forward. So, I focus on the positive feedback. Screw the haters. 

GB: It’s understandable how negative feedback can be impactful, significantly, when it overshadows a multitude of positive reactions.  

ST: Yeah, exactly, and it’s pretty ironic because my show is titled ‘Sanctuary,’ yet there are still people who don’t understand it and continue to hate it. Not everyone will like your work, and that’s normal. Even my parents, for instance, need help understanding what my work is about. They’re immigrants and have a different perspective on art, especially contemporary art, so I understand their viewpoint. It’s normal for some people not to appreciate my work, which I’ve accepted. What’s important to me is the handful of people who connect with and like my work. Their appreciation is what truly matters. 

GB: In your work, you balance elements of innocence and softness with darker, more complex undertones. Is this nuanced contrast a commentary on how society perceives specific themes or issues superficially without acknowledging the underlying complexities?

ST: Yes, I often incorporate soft, cute imagery in my work, reflecting life as I observe it. This choice is influenced by the idea that there’s always a secondary, more profound aspect to how we perceive things. It’s challenging to explain, but I’ve always been attracted to cute styles, probably stemming from my childhood interests in anime, My Little Pony, and Sanrio, introduced to me by my sister. This attraction is partly my way of coping with real-life issues—a form of nostalgia, using appealing visuals to mask darker themes. It’s especially relevant in depicting co-dependent relationships, which often appear sugar-coated, disguised as something innocent and cute rather than overtly problematic.

GB: I’ve noticed that shackles and chains are recurring motifs on the entities in your artworks. Can you explain their significance?

ST: These elements primarily symbolize co-dependency and ownership. Fashion inspires my work, notably spiked accessories, chokers, chains, leashes, etc. I enjoy blending these bold fashion elements with innocent themes and creatures in my art. This juxtaposition is even on the show poster, where these contrasting styles come together. 

GB: With so many unique pieces in the exhibition, do you have a favourite or one that stands out? Could you share its significance?

ST: Choosing a favourite is always challenging, but one piece that stands out is the one I adapted for the show’s poster. Seeing it evolve from a marker illustration to a risograph and then a digital print was fascinating. Another notable piece is the Fursona painting in the main display; the last one I completed for the show. It’s significant because it’s larger than my usual work, and I created it under unique circumstances. I was ill while working on it, so it took longer than expected, as I could only work on it in small bursts. The piece became very personal, unintentionally evolving into my Fursona with details like the green hair and attachments like the tail, a personal item I often wear. The chain from a pet store has been used as an accessory of mine for years, and even the anime figure in the painting is mine. This work embodies my love for silliness and randomness, filled with personal stickers and objects, which is why it means so much to me. 

GB: As we conclude, what’s next for you? You’re in your final year of illustration at OCAD. Do you have anything lined up as you finish? 

ST: Currently, I’m working on my thesis, which is quite challenging, especially while organizing this show. The thesis is very detailed and structured so I’m starting to lose interest in it. That’s one reason I’m glad about this show; it’s something I’m proud of in my final year. My plan to focus more on comics, continue tabling at events, and sell my work. I’ve started participating in conventions and comic events this year, and it’s been a great experience. I’m excited to keep sharing my work in these spaces. 

GB: Do you have a final note for the future?

ST: Stay true to yourself. When you feel discouraged, keep pushing forward. Whether drawing your favourite character or creating fan art, do what you love. My work inspires people to embrace and express their true selves.