Coney Island of the Mind: A Conversation with the Wildly Creative NYC Based Artist Clown Soldier

Clown Soldier, The sound of the lighthouse is spinning,

courtesy of the artist and Van Der Plas Gallery, NYC

By NOAH BECKER April 29, 2025

I spoke with the artist known as Clown Soldier about his work. Born Doug Groupp, his alter-ego "Clown Soldier" creates interesting, colorful, humorous and varied works of art. We spoke about it here...

NOAH BECKER: Your work often blends the playful with the hermeneutic—humor with a sense of layered meaning. How do you navigate the balance between chaos and cohesion when creating a piece?

CLOWN SOLDIER: Do I balance it? lol Most of the time it's a fight. I go in with an idea and sometimes I'm right on. Other times it's a fight that goes on for weeks, months or sometimes years. Some never get resolved. The Liz Taylor, Daffy Duck piece has a couple failed ideas underneath it.

NB: You’ve described your work as having a hieroglyphic quality. Do you see yourself building a personal visual language over time? If so, how has that evolved?

CS: I not only see myself doing it, I think I am doing just that. I've been collaging for decades. I have found images and shapes that I am drawn to that seem to work with what I want to say. There are a lot of totemic images.

Clown Soldier, Shady Brook, courtesy of the artist and Van Der Plas Gallery, NYC 

NB: Coney Island and circus imagery seem to be recurring touchstones in your work. What draws you to these themes, and how do they reflect your views on contemporary culture?

CS: It's a trip to the moon or the fun house. Coney Island is really the first amusement park. The three parks Dreamland, Luna park and Steeplechase park are what I consider to be the most spectacular creations I've ever seen. Basically there is so much to work with when it comes to Coney Island, The circus and the carnival.

I was originally introduced to Coney Island from a friend Paola Spina from college who did these amazing papier mâché sculptures for the Mermaid Parade. The freedom and imagination that I find at that Parade and Coney Island as an invention is very inspiring to me. I originally started working as a street artist with the circus in mind. I've also really always been inspired by Picasso's Rose period circus paintings. I think the thing that draws me to the circus is the idea of another life that is more exciting then the mundane that we live in. It's escapism.

NB: Much of your work emerges from an intuitive process. Can you describe what it feels like when a piece finally reveals its “wholeness of form” to you?

CS: Accomplished and relieved. It's probably one of the most euphoric feelings to feel that a work really speaks for itself.

NB: Street art, painting, collage, frottage—your practice spans a wide range of media. How does your approach shift depending on the medium, or do you maintain a consistent mindset across formats?

CS: For the most part I do not limit myself to one medium or style. I find that I am working on several projects in my head or in reality at the same time. I often feel I do not have enough time and resources to accomplish all my ideas.
 

Clown Soldier, Circus Dogs (detail), courtesy of the artist and Van Der Plas Gallery, NYC
 

NB: There’s a certain subversive humor that runs through your art, almost like a visual prank. What role does absurdity play in how you engage with the viewer? 

CS: The subversive humor is just an extension of my humor naturally. I mean the visual is just another medium to convey thoughts and ideas.

NB: Your work has been described as both a “distorted reflection” and a “funhouse.” In a time of cultural and political upheaval, what do you think the role of playful or surreal art is in society?

Clown Soldier, Smile, courtesy of the artist and Van Der Plas Gallery, NYC

CS: For the most part I feel if I can turn a frown upside down I've done my job. That's good enough for me. Although I find as much as I'd like to think I am not complicated or analytical or political its hard not to say anything about politics especially right now when it is so necessary.

NB: You’ve used the persona “Clown Soldier” in your street art. How does adopting an alter ego influence your creative freedom or the way your work is perceived in public spaces?

CS: It was just by happenstance really. I had this image of the clown with a French 18th century uniform with the lapels and all. I was sharing a studio with other street artists and wanted to give it a try. I put up a piece with the street artist Gaia. He took me to this spot on Gansevoort where there was a Mr. Brainwash. We pasted our work in collaboration with the MBW piece and naturally it went viral on Flickr probably because it had the MBW but the wall did seem to have something magical about it. Anyway, I needed a name and Clown Soldier was born. Having the persona though has opened up creative freedom. I can think in a third person and create works that sort of make fun of the scenario.

NB: Your art resists fixed interpretations and encourages multiple readings. Do you ever hear a viewer’s interpretation that surprises you or reshapes how you see your own work?

CS: Yes absolutely. Sometimes they down right upset people to the point where I've had to take it down from the street and apologize. Creating artwork is a big responsibility. WM

Fun House, Van Der Plas Gallery, New York, NY
April 11th-May 4th, 2025
Opening reception Friday, April 18th, 6:00pm - 8:00pm
Artists: Doug Groupp and Alejandro Caiazza