As fall settles in and the days grow shorter, there’s something that invites us to look closer at the shadows, to find beauty in the eerie. We’re diving into that hauntingly creative space with artist David DeFigueredo, whose work transforms fear, fantasy, and surrealism into visually stunning dreamscapes. From his early fascination with monsters under the bed to his intricate digital paintings crafted in Rebelle, David’s art captures the delicate balance between darkness and light, horror and elegance.
David DeFigueredo has been passionately working in the art field since 1998. His artistic journey began with traditional mediums, but he quickly embraced digital art, allowing him to explore new creative horizons. Over the years, he has had the pleasure of working on a diverse range of projects, including CD covers, book covers, and horror trading cards. David's work is a unique blend of pulp, surrealism, and horror, reflecting his fascination with the darker and more mysterious aspects of life.
"I like juxtaposition because it forces the eye to reconcile two truths at once: decay and beauty, horror and grace. I often place the disturbing next to the beautiful because the tension between them is where I think meaning lives."
Let’s start with the mood of the season: October feels like the perfect time to feature your work! What draws you to the darker, eerie side of art?
October is my favorite time a year, and thank you for asking me to do this interview.
I would say my interest in the darker side of life started at a very early age. When I was very young, we moved, and at the new house, I was plagued by a series of very vivid nightmares. They consisted of vampires, ghosts, and everything that lives under your bed and in your closet. This went on for quite a while. Shortly after the nightmares began, I started drawing the monsters. I realized that when you embrace the dark, it ceases to be scary and just becomes the norm. Actually, one of my more recent paintings, "My Pet Monster," is this experience realized in digital paint. 
Many artists who explore horror and surrealism talk about finding beauty in the unsettling. How do you balance the disturbing with the visually captivating?
I often place the disturbing next to the beautiful because the tension between them is where I think meaning lives. Let me explain, a severed foot beside a flower pot isn’t grotesque for shock’s sake; it’s a quiet parable, a reminder that life is temporary and that there's beauty even in the presence of death. I like juxtaposition because it forces the eye to reconcile two truths at once: decay and beauty, horror and grace. That contrast reframes ugliness as part of a larger, living beauty. 
You began your artistic journey with traditional media before moving into digital art. How has this transition changed the way you approach mood, texture, and atmosphere? What part does Rebelle play in your work?
My art has definitely changed and evolved over the years. As you said, I started with traditional mediums, then I discovered Photoshop in the late 1990s.
That was a game-changer. I would scan in my drawings and paintings, then photobash them with stock photos, then paint digitally on top of all that. You could yield some amazing results, but it never felt organic. For a while, I used various painting apps together, but was still dissatisfied. There's always a certain amount of effort that goes with those programs to make them look more traditional… it can definitely be done. But I wanted a more organic, traditional painting experience. Something that you can pick a few brushes and off you go, not having to play with paper texture overlays, or having to use a watercolor brush that looks like a stamp.
Then I found Rebelle, another game-changing moment. It was everything I was looking for wrapped in one. Now, Rebelle is my daily workhorse, and Photoshop is used at the end of a painting for the Camera Raw features. Some of these features I would love to see in future Rebelle updates. 
You’ve created everything from book covers to horror trading cards. Is there a particular project that stands out as the most “haunting” or meaningful to you?
They are all interesting and fun in their own way. But there's one painting that really means a lot. After moving back home to New England, I was working a normal 9-5 job. At first, I was working days and painting at night. After a while, I just stopped painting for a few years. In that time, I had developed carpal tunnel syndrome in both my hands, trigger finger in both my hands, and a ganglion cyst on my right wrist, as a result of where I was working. I wasn't sure what life was going to look like after the surgeries, so that year, there was the H.P. Lovecraft fest in Providence, RI. For a few weeks, I painted at night a traditional painting, The Gates of Yog-Sothoth. I submitted it to the gallery and it was accepted! The night of the showing, I was 20 minutes late (trying to find parking) by the time I got in, the painting was already sold! It was a huge boost of Confidence that I could sell in galleries and turn this into a career again. In between surgeries, I opened up my Etsy shop, and the rest is, as they say, history. 
"Much like the song by Ministry, 'Everyday is Halloween', that's kinda of my life. Halloween decorations stay up all year round, and we decorate for other holidays around that. I listen to industrial metal, horror punk, and shock rock every day. I watch horror movies every day of the year."
The horror genre often explores deeper emotions like fear, mystery, or mortality. What emotions or ideas do you hope your audience experiences when they view your art?
Great question, one that I never really like to answer. Because much like my art, the answer is always evolving. In the late 90s, early 2000s, my art mostly consisted of social commentary, political commentary, self-harm, the occult, and true crime. Every piece was a statement. I wanted the viewer to feel the anger, the frustration, and the despair. When I came back to painting, I did a lot of pop culture and fan art. Stuff made to sell and market. I have been moving away from that more and more and focusing on horror and surrealism. It's where I'm most comfortable. Nowadays, I would prefer the viewer to interpret the paintings for themselves. My mindset is "I know what they mean to me, but what does it mean to you?"
Your compositions feel like they exist between dream and nightmare. What does your creative process look like when you’re developing a new piece? Do you sketch, start with a concept, or just let instinct take over?
Thank you, that's a huge compliment. It's exactly the way I want the painting to feel. Between a dream and a nightmare.
Inspiration usually comes from movies, books, and true crime TV. shows, and other artists. A lot comes from music lyrics. I'm very inspired by music.
Usually, a piece will start with an idea that I sketch, either in a sketch book or in Rebelle. Sometimes I make thumbnails if the idea is not clear. Mostly for color choices.
Sometimes, with paintings like Headcase, Hellmouth Paradise, Halloween Scream, Still Life 2, and a few others, I just open Rebelle, hit record, start drawing, and see what happens.
Client pieces are usually a little different. Sometimes they will have a mock-up (very helpful, but not the norm), most of the time not. We go over the ideas, and if I'm confident in what they want, I will start painting. If not, I will create a few sketches and let them pick the one they want to run with, then start. 
As Halloween approaches, do you have any seasonal rituals or traditions that inspire your work? Maybe certain movies, music, or imagery…
Much like the song by Ministry "Everyday is Halloween", that's kinda of my life. Halloween decorations stay up all year round, and we decorate for other holidays around that. I listen to industrial metal, horror punk, and shock rock every day. I watch horror movies every day of the year. I do spend Halloween day in Salem, Mass, every year! It's a total blast! Since moving back home, I have only missed 1 year because of COVID. I also celebrate the Day of the Dead on November 1st. A holiday I picked up when living in Texas, and I absolutely love it. I think it is important to remember where we come from and the friends and family we have lost.
Thank you, David, for taking the time to talk about your art journey. Certainly, your art is worth admiring all year-round, not just during the spooky season. We look forward to seeing more of your paintings and process videos.
Happy Halloween,
Escape Motions Team
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Learn more about David DeFigueredo: escapemotions.com/featured-artists/david-defigueredo
