For Megan Wolfe, dry media has always felt more natural. “It’s easier to fall into,” she says, “while painting has always felt like more of a process.” A San Francisco-based artist known for her avian subject matter, Megan has long worked on hyperrealist, graphite drawings inspired by her own migration from Mississippi to sunny California. “There’s something to be said for dwelling in a medium for a long time,” Megan says, “but when you reach that place where you have so much control, it’s time to go discover something else.”

With that in mind, Megan transferred her natural energies from a well-honed graphite process to painting, which suited her move toward a more abstract style. Patron of the Arts (our partner site) is proud to present the first look at Megan’s transition in the online gallery.

“Reformation: Movement in Color” is Megan Wolfe’s first solo show of paintings, and we are excited for you to take a look at these ten originals and see for yourself how this promising artist has evolved in style, medium, and color (the originals can be viewed, here). In addition Patron of the Art’s is offering a very exclusive companion, limited edition Giclee print, of Megan’s work, which can be viewed and purchased, here.

Megan’s process reflects her identity as an artist: linear, logical, and organized. These qualities allow her to relinquish control in a measured way. The challenge for Megan was to feel as natural painting as she did drawing, which proved difficult at first. “My graphite drawings came from a very emotional place, initially born out of frustration, and I was searching for the same sensation of accessing those emotions, feeling raw, aggressive, intuitive.” Snapping a few photos of pigeons for references, she experimented with how dry and thick she could make the paint, and found she preferred kitchen and palette knives to a hard brush. The knives allowed her to carve and build up layers, and to access the raw emotional space she’s used to working in with a more visceral technique.

A self-described “closet goth” and fan of horror films, Megan had just finished buying a pile of horror DVD’s at a Mississipi Wal-mart when I spoke with her on the phone. Megan takes inspiration from the old masters of suspense and macabre, Poe and Hitchcock, to create birds with ominous depth. “With work that has a lot of flow and movement, the birds can look a little too beautiful,” she says. It’s safe to say that this is not the case with these birds; there’s something subtle and disturbing about them, and the same goes for the muted grey worlds they inhabit.

Perhaps it’s Megan’s response to the question, “Why pigeons?” Because they act like humans sometimes, waiting for a light to walk across the street, stepping into a restaurant only to take a look around and walk out again. They even gamble in the same way humans do, risking less if they’re well-off, and more if they are hungry, an evolutionary trait. We also breed pigeons for eating, and even have a term for its meat: squab. Megan chose pigeons as her subject matter because she was searching for an edge, and for a sense of the macabre without going overboard with skulls and gore.

Creepiness aside, this new group of paintings proves Megan to be a versatile, dynamic artist, with a clear understanding of both the conscious and subliminal aspects of her process, and the ability to intelligently use them to transcend mediums. “There’s a misconception in the art world that if you’re working in black and white, you are somehow inferior and can’t possibly do color,” Megan says. This is clearly not the case here. In the future, she plans to experiment with more “obnoxious” colors, such as manganese violet and bright greens.

Check out Megan’s ten paintings in the online gallery, here. All originals are priced at $300, and represent an important move for this up and coming contemporary artist. Next on her slate are several murals and group shows, such as one in Thinkspace Gallery coming up in Spring of 2012, and a community project with street artist Eddie Colla. She is also using this new body of work to prepare for gallery submissions.

- written by Maria Anderson with photos by Michael Cuffe for Warholian

You can find out more information on “Reformation: Movement in Color”, here.

About Patron of the Arts Gallery Project: 

In 2011 Patron of the Arts launched the “Patron of the Arts: Online Gallery Project”. An exclusive online gallery, flush with emerging artists that are a solid investment, with targeted price points under $650; with the express purpose of providing beautiful, quality, original art at affordable prices.

Andrew McClintock is best known for his work on the free informational arts magazine San Francisco Art Quarters (SFAQ) as well as his curatorial endeavors at Evergold Gallery.  What most don’t realize is that McClintock is also an accomplished conceptual artist, who strives to establish a strong conceptual art community in within San Francisco.   Guy Overfelt on the other hand is one of the most recognized conceptual names in the Bay Area, having carved out a career as an international artist for many years now.  Overfelt’s work has been seen everywhere from the pages of the New York Times to the Oakland Museum of California.

Recently the artists teamed with Queen’s Nails Projects in the Mission District of San Francisco to turn the gallery into an experimental pool hall.  The project was an homage to artist Paul Kos’ 1972 performance of “Pool Hustle”, in which the artist attached live bear traps to the walls of a tiny gallery while he played pool in the restrictive space.

For “Assed Out and the Mini Dramas” McClintock and Overfelt created an environment where the ceiling of the already small gallery space was lowered, leaving roughly 5-6 feet of headspace throughout.  The environment was further minimized with hundreds of balloons which hovered above, in which visitors where then invited to play pool in the restrained conditions.

The installation offered patrons an introspective look into life, and how conditions often force one act a certain way to fit into social norms.

- written and photographed by Michael Cuffe for Warholian

For more on McClintock’s SFAQ visit:  http://www.sfaqonline.com/

To visit McClintock and Gregory Ito’s Evergold gallery visit:  http://evergoldgallery.com/

For more on Guy Overfelt, visit his site here:  http://www.thinkcontext.com/

To visit Queen’s Nails Projects:  http://queensnailsprojects.com/ 

Warholian’s own Birdman was able to stop by the studio of L.A. based artist Josh Agle, better known as “Shag” for an exclusive preview of his highly-anticipated exhibition “Animal Kingdom” at Corey Helford Gallery. Agle has singlehandedly brought back the Mid-Century Modern aesthetic in his art, and shows no signs of slowing down.

The artist’s second solo exhibition with the Corey Helford Gallery was named while painting in his studio during the Kentucky Derby. “I heard that a Thoroughbred named Animal Kingdom had won the Kentucky Derby. Since the painting I was working on had a horse in it, and all the paintings for the exhibit featured animals, it seemed to sum up the body of work I was making.”

Recognized worldwide, Agle’s iconic imagery celebrates commercial art from the 1950s and 1960s and is infused with playful narratives about consumerism and hedonism. “Ironic humor, impending trouble, or unexplained situations are common elements in most of my work,” Agle notes. For “Animal Kingdom,” his new collection of paintings returns to brighter and happier times. “Colors have become more radiant, and the men and women in the paintings seem happier and more satisfied in their hedonistic lifestyles.”

Inspired by vintage animal costumes, Furry fandom and anime characters who dress as animals, all of the paintings in the exhibition feature men and women in animal attire. The concept for the show was inspired by a 1970s sewing pattern for an animal costume. While the body remained the same, the ears and tail for each animal changed, transforming it into a tiger, a bunny, a bear or a mouse. Agle adds, “I’ve noticed a lot of teenagers and hipsters recently wearing hoodies and beanies with animal ears, antlers or horns. Maybe there is a subconscious societal urge to return to our animalistic natures. This is a theme I’ve flirted with in the past, but never this directly.”

Open to the public, the reception for “Animal Kingdom” takes place on Saturday, February 11, and the show will be on view until March 7, 2012.

- photos by Birdman for Warholian

For more on the show visit: http://www.coreyhelfordgallery.com/

To find out more about Shag visit: http://www.shag.com/

Sketch Tuesdays and Hi Fructose magazine teamed up to bring some of the best contemporary artists together for an evening of live art at 111 Minna Gallery on Tuesday January 31st, 2012.

The good people at Hi Fructose – headed by artists Annie Owens and Attaboy – consistently curate one of the best art publications out there. Known for it’s focus on illustration, Hi Fructose has grown quite a name for itself over the past few years, as many in the contemporary art world now recognize the magazine as an insiders guide to emerging art and artists.

Sketch Tuesday at 111 Minna is an evening of live art making featuring both established and emerging Bay Area artists. 111 Minna gallery offers patrons the opportunity to see local artists at work and get acquainted with them. It is also a way for artists to meet each other and to be inspired by each other’s creative process.

Warholian’s own Michael Cuffe was on scene this evening to capture some of our favorite artists at work as they sketched and painting the night away.

Featured artists included were:

SKINNER
MIKE SHINE
JONATHAN WAYSHACK
ROBERT BOWEN
JESSICA HESS
BRETT AMORY
KELLY ALLEN
JENNYBIRD ALCANTARA
JOSH ELLINGSON
ISABEL SAMARAS
DOUBLEPARLOUR
ATTABOY
ANNIE OWENS
MARCOS LAFARGA
DARYLL PEIRCE
JUSTIN LOVATO

There were also special appearances by:

JESSE BALMER
NATE VAN DYKE
HUGH LEEMAN
DAVID BALL
BEN COLLISION
AARON LAWRENCE
BEN WALKER
AMANDA STOREY
STEVE JAVIEL
ADAM ROZAN
and many more…

- Warholian

For more on Hi Fructose or to subscribe visit: http://hifructose.com/

To find out about the next Sketch Tuesday, visit: http://sketchtuesdays.com/

Allen is interested in creating paintings that portray the unity of life on earth. With an emphasis on images from wild nature, her work is primarily fueled by the desire to build a bridge between our ancestral connection to the natural world and contemporary society, which is largely detached from nature. Acting from our current side of that bridge, she seeks to create a renewed respect and appreciation for the fantastic animals and plants that share the earth with us.

Kelly Allen describes her work as symbolic portraits comprised of a multitude of imagery culled from a wide range of visual sources. A common motif in her work presents a particular animal is surrounded by a carefully constructed arrangement of organic forms, graphic shapes, bold swatches of pattern and color, jewels, beads, and flowers woven together to create her compelling compositions.

Allen, a native of Michigan and an alumna of Humboldt State University, earned her undergraduate degree in Studio Art from Humboldt State, graduating summa cum laude in 2003. She later went on to a residency at the Ox-Bow School of Art. In 2008 she earned an MFA with Emphasis in Drawing from the Kendall College of Art and Design.

Kelly Allen will present a slide lecture about her work on Feb. 3 at 5 p.m. in the Art Building, Room 102. Admission is free to the public. The public can locate the Art Building by linking to humboldt.edu/humboldt/maps.

A reception for Kelly Allen will be held Saturday, Feb. 4 during Eureka’s monthly Arts Alive event. Celebrating its 14th year of service to HSU students and to the North Coast community, Humboldt State University First Street Gallery is open Tuesday through Sunday from 12 to 5 p.m. and is located at 422 First Street, Eureka, Calif. Admission is free. Those planning group tours are encouraged to call ahead. For more information, call 707-443-6363 or visit the gallery’s website at humboldt.edu/first.

For more on the art in your world visit: http://www.Warholian.com

or follow us on Facebook at: http://www.Facebook.com/WarholianFan

Visit Kelly Allen’s website at: http://kellyallen.com/

Tim Doyle is an illustrator and entrepreneur located in Austin, Texas. He is a self-confessed film, comic book, and video game geek, whose go-getter attitude has transformed his passion for drawing and pop into a living.

As an entrepreneur, Doyle hasn’t only pursued one avenue of art. He began showing his work in galleries in 2001, self-published the zine “Amazing Adult Fantasy” from 2001-2003, and, somewhere in the mix, ran a chain of comic book stores, designed t-shirts, and produced artwork for companies such as IDW, Hasbro, and Lucas Film / ILM, to name a few. Since 2009, he has taken his passion to a new level by launching his own print company, Nakatomi Inc.

This month, those of us located in San Francisco have a lot to look forward to from Mr. Doyle, with his solo show opening at Spoke Art on February 2^nd. It is in great anticipation of his show that Warholian set out to interview this talented personality.

What sparked your interest in art, and especially this style of work?

Well, it’s the standard story, ever since I was a kid I’ve liked drawing. My mother used to sit us down at the kitchen table and draw with us, and that kind of positive environment spurred me along. My father had some old comics laying around, most notably this old Muppet Show book that had comic book versions of old episodes of the show in there, and from that point on, my path was pretty much set.  Or, at least, it seems that way in retrospect, but that’s probably me slapping a narrative on what would otherwise be a random collection of events.  But, as far as screen printing art prints goes, that’s been a more recent development. 

Who are your greatest influences? Are there any artists, movies, comics you can credit for being most influential?

I am definitely influenced by the comic book artists that I loved as a kid and still do. Geoff Darrow is probably my number one comic artist. Other than that, you’ve got guys like Paul Pope, Chris Ware, Mazzucchelli.  Not that I draw like those guys, but they’re definitely influencing me.  My favorite film is Blade Runner, so combine that with Darrow, and you can see I’m a fan of a visually dense, urban environment. That’s probably a reaction to me growing up in suburban Texas, which is anything but dense..

Are there any reoccurring themes in your art? Or any underlying commentary, or symbolism, that viewers should be aware of when viewing your work?

Nah, it’s pretty much all there on the page.  I think the viewers should just mainly be aware of the fact that I barely know what I’m doing at any given time.

You’re a full time, freelance artist and entrepreneur, which is a place most artists would love to be. How did you get started, and what advice would you give artists who are trying to become more business-savvy, and serious about making art their living?

My biggest advice would be to not go to art school. Unless you want to teach art, but if you want to DO art, art school is a killer. Debt is your enemy. If you go into debt with a student loan, and have to start paying it off when you finally leave art school, you’ll be on that work treadmill immediately, and you won’t have the time to create anymore. I’ve seen it happen time and time again to artists better than I. Don’t wait for the gigs to come to you; get out there and make art and push it out to the social media mess out there. The artist’s statement is the least important thing you will ever do in your art career. Know your market. Screen printing (or “serigraphy”, if you want to sound super-special) is a great field to be in, because you can make unique art at a price anyone can afford. Selling big, time-consuming paintings is nice and all, but I don’t know anyone who has $5K to throw down on a canvas that I have anything in common with. And I want to make art for people like me, so that’s what I do.

I read that you create your work in Photoshop first, and then burn a screen from the file. What is the process like for creating a work ready for printing? Are there any special considerations or limitations to printing that you have to keep in mind?

That’s not entirely true, I hand-draw just about everything I do in black and white first, and then I scan it in and do the color separations in Photoshop.  It’s not too tricky, once you understand the process. You’re really just laying down one color at a time, so what you want to do is stack the layers in your file in the same order you want to print it. The difficulty comes in how you want the colors to overlay and interact with each other. You definitely have to work in a more graphic method than painting, working in prints, but it fits my comic-book sensibility.

What is usually the run size of your print editions? Do they vary?

The edition sizes vary wildly. For an art print for a gallery show, It’s usually around 100-175, but if it’s a gig I got to design a movie poster, the client might want up to 500 at times.

Your upcoming solo show is with Spoke Art in San Francisco, where you’ve participated in several shows, including Quentin vs. Coen, and Bad Dads. Without giving away too much, is there anything with this new body of work that you’re excited about? Were there any artistic breakthroughs?

Spoke Art is really great; I’ve been in several gallery shows, and I don’t know anyone who hustles harder for their artists. I think this new body of work I’ve got debuting will be a surprise to people, as it’s a bit of a shift in style.. a little more illustrative, and calmer than my past pieces. The subject matter isn’t really much of a departure, so much as how I’m presenting it and the angle I’ve chosen. It’s kinda hard to talk about this without giving anything away, so I’ll have to stop this answer here!

There’s at least one new piece at Spoke we can mention, and I’m curious about the process.. “The Big Salad”, featured in the show’s press release, is being offered in an 18×24 Edition of 100, and it will also be offered in a glow in the dark edition of 35. Have you offered works in the past as glow-in-the-dark editions, and how does the process of creating a glow-in-the-dark piece differ from a regular print?

I’ve definitely done plenty of Glow in the Dark variants in the past; some better looking than others… The only trick to it is you pretty much have to print the glow layer down first, and print the other inks on top, and, you have to make sure the inks going on top aren’t going to be too opaque to allow the glow to shine through. The only real ‘affordable’ glow ink glows green/white, so if you want to tint the light one way or another, you have to print a transparent layer over top. Even the regular stuff is kinda expensive; one day one of my guys who works in my print shop accidentally dumped the bucket of glow on the floor. On one hand, that was an expensive mistake, on the other, the shop looks like a Martian crime scene when you switch the lights off.

The Fine Art industry has always had an interest in pop culture, but pop art usually comes in the form of satire, or political commentary. Lately, we’ve seen an increasing interest in film and poster art in the fine art market, and pop culture references that feel less heavy, and more fun. The work is seen as not just smart, but also appealing. What do you think started this shift in “pop”? Or can it be attributed to any one thing?

I think the explosion of artistic talent that the internet has brought to our doorstep is a part of it, while, before, you had to rely on galleries to tell you what is ‘important’ or worth looking at. Now, you have the public tweeting and tumblr-ing images as they pop up; anyone with something neat to say visually can guarantee to find an audience one way or another. The smart galleries are responding to that and booking shows to showcase that movement. Also, I was in charge of Mondo for four years, and the work I did there with the oversight of artist Rob Jones really took that pop-art poster scene from a dog eared stack of prints no-one knew what to do with, to a commercial juggernaut. And obviously with any success you’ll find people who want to emulate it, and it built up from there. The more the merrier, I say. It’s been really fun watching this particular scene flourish, and, to those who’ve come along inspired by what we did while I was there, you are welcome.

Do you feel there is a difference between fine art and illustration, in both style, and in business practices? Do you think the business of art (including galleries) is finally at a point where it no longer matters how an artist is classified, or what style they choose to work in?

I think the line is way too blurry between what is fine art and illustration now. I mean, look at Dave McKean for instance, where do you put that guy? He illustrates comic books and children’s books, but the images are stronger than just about anything I’ve seen hanging in a gallery, except for when he does gallery shows! The business of ‘fine’ art is a mystery to me, what with grants and benefactors and endowments. It’s all murky and labyrinthine to me. All I know is I make something and people buy it, and I didn’t have to rely on anyone else subsidizing me. I’ve never been a fan of classification when it comes to an artist- that’s for the textbooks. And as far as galleries go, it’s their business to sell art, so if they’re smart, they display art that sells, and anything else is just window dressing, in my opinion. Now, I’ve been known to change my opinion though, so don’t hold me to it.

Thanks, Tim! Where can viewers find your work online? When can we see your work in person at Spoke Art?

There’s my retail site, Nakatomiinc.com, and my portfolio site, mrdoyle.com. The Spoke Art show, Unreal Estate, opens on Feb 2nd, and will show through the month!

- Written by Megan Wolfe for Warholian

For more on the show visit Spoke Art at:  http://spoke-art.com/

On January 21, the lovely Corey Helford Gallery exhibited the most recent work from Eric Joyner in “It’s a Jungle Out There” with special guest artist PURE EVIL.

The show saw the reappearance of Joyner’s robots from his 2010 exhibition at the Corey Helford Gallery, “Donut Logic.” This time around his metallic muses were thrust in whimsical adventures amongst the rough-and-tumble jungles. The robots interact with jungle creatures such as elephants, monkeys and snakes.

Inspired by a recent trip to Thailand, “there were beautiful trees, birds, mountains, elephants, tigers, butterflies, flowers and monkeys. Jungle paintings are easier said than done though—there are so many leaves, branches and foliage to paint. It really tested my patience” commented Joyner.

Bringing in elements from his previous show, Joyner created a stainless steel donut of any robot’s dream, that is of course if they could eat or dream.

As with most shows at the Corey Helford Gallery the hor d’oeuvres and music complemented the theme of the art on the walls. Trays of donuts were served while the DJ played jungle and techno.

Special guest PURE EVIL work literally came out of the canvas. On many of his paintings he used stenciled iconic images of various leading ladies and dripped paint from their eyes on to the floor. By using this technique the work is not solely about what is in the frame but becomes more of what is outside.

The paintings will be on display through February 8, 2012 at the Corey Helford Gallery.

- story by Keisha Raines with photos by Birdman for Warholian

For more on the show visit: http://www.coreyhelfordgallery.com/

Visit Eric Joyner’s official site here: http://ericjoyner.com/

Skewville’s latest exhibit Playground Tactics at White Walls Gallery in San Francisco reads as owner’s manual for the anarchist arts fan. Here dissent is given room to run and stretch, allowing a seemingly obvious exhibit to take on a new identity. Skewville, made up of Brooklyn-based twin brothers Ad and Droo, have dreamed up a world more commonly found in children’s imaginations where their masterpieces are often hidden away, scribbled on the sides of loose paper and textbooks. The irony is that the works are oddly grown up, yet far outside the mainstream. In this exhibit, the outside has found a way indoors, and the protest is framed.

Skewville’s success owes a great deal of gratitude to a seemingly unlikely set of forbearers, that could include everything from Rube Goldberg’s mad genius machines to Nintendo’s Super Mario Brothers, and long-forgotten toys. These references provide the twins with a blueprint but for living.

Their images are closer to maps, otherwise alternative views of cityscapes, and dystopian postcards of New York City. Some use buildings as chess pawns, in which figurative characters lift buildings and trucks, and use drawn pencils to complete highway lines. Other pieces are modified super-remote controls or receivers, where human characteristics compete with knobs and antennae. It’s an immersive experience—imagine signage made from bent metal tubing with illustrating crazed arrows to lead the way.

One things is certain: This show is not a typical gallery experience. Playground Tactics owes its name to its unlikely assortment of Mad Max-style playground equipment, including a seesaw decorated with barbed wire, tire-made swing sets, merry go round, and shopping carts re-envisioned as mini bobsleds.

If during your visit to White Walls gallery, you find yourself outside your comfort zone, unaccustomed to such an exhibit; and at the same time wanting to play or create your own artwork from discarded materials, then you’ve discovered the work of twin brothers Skewville.

With this exhibition, White Walls Gallery has tipped its curatorial hat to gallery director Tova Lobatz. If Playground Tactics is any indication of her future, we can continue to expect great and unexpected things.

Skewville’s Playground Tactics is on view until February 4, 2012 at White Walls Gallery in San Francisco.

- Review by Adam Rozan with photos by Michael Cuffe for Warholian

For more on Playground Tactics at White Walls visit:  http://www.whitewallssf.com/shows/playground-tactics

Visit Skewville’s official site here:  http://www.skewville.org/ 

The artist duo known as Dabs Myla paint one of their most ambitious walls up to date in Culver City, California during Christmas 2011, but we get an inside glimpse into the process, what the wall means for them, and how it relates to a tradition very close to their hearts.

Shot by filmmaker Carlos Gonzalez.

- Warholian

For more on Dabs Myla visit:  http://www.dabsmyla.com/

On January 20, in a crowded gallery art and music collided as artists from different backgrounds and styles came together at Exhibit A Gallery to show case an epic collection of work in tribute to the founding fathers of thrash, Metallica.

Appropriately titled, Obey Your Masters featured the art work of 39 artists and musicians including: Shepard Fairey, Victor Casillo, Tony Alva, Travis Louie, Katy Rodriquez, Chad Michael, Andy Biersack to name a few. Each individual chose to honor a Metallica song by creating a visual representation in their preferred medium.

The results paralleled the dark and aggressive sound of Metallica. Chris Peters’ rendition of “Nothing Else Matters,” of two skeletons embracing one another is hauntingly beautiful. Co-owner of Exhibit A, Richard Avilla III crafted a brutal yet breathtaking visual translation of “Master of Puppets.” A naked woman stands on top of a man while she pulls his entrails out like strings. Her face is hidden by a hood while the porcelain white skin contrasts the brutal manipulation.

Most fans of Metallica pay homage to the band by creating their own bands or pursuing music. This group of individuals, however joined together to show that there is more than one way to show your respect.

Obey Your Masters will be open to the public from January 23 until March 23 at Exhibit A.

- written by Keisha Raines with photos by Birdman for Warholian

For more on the show visit:  http://www.exhibitagallery.com/2012/01/obey-your-master-details/

Charmaine Olivia is part artist, part internet celebrity, and it is no surprise that many fans and followers alike filled Shooting Gallery in San Francisco for her latest show “Ritual” which explores the themes of magic and earth energies within a series of imagined females from a mythology of the artist’s own creation.  Olivia seems to have captured her design aesthetic in everything from studio styled installations, the clothes she wears, and in the dark muses that adorn the gallery walls.

Having the good fortune to know the artist closely, we spent the better part of three days helping to put “Ritual” together with Charmaine, her dear friend Lizzy, boyfriend Joe, our own Lyrica Glory, with others.

On opening night the first 50 to enter the gallery received a limited edition print, which drew a crowd that wrapped around the block of the gallery.  Sales were strong and the crowd was constant… overall the night was a complete success.

Enjoy these photos of the setup, the show, and Charmaine.  :)

- Michael Cuffe – Photographer and Editor in Chief for Warholian

Ritual will be on display from January 14-February 4, 2012

For more on Ritual at Shooting Gallery, and to find out which works are still available visit:  http://www.ShootingGallerySF.com

To keep up to date on Charmaine and her projects visit:  http://www.CharmaineOlivia.com

On January 6, 2012 the eclectic La Luz de Jesus Gallery presented artist Alexandra Manukyan’s first solo show “Secrets and Confession.”

The paintings are delicate, intricate and sensual. Manukyan combines traditional oil painting techniques with the symbolism of a surrealist. The opening was packed with various models from her paintings scattered throughout the back gallery. Maintaining consistency with Manukyan’s work “Secrets and Confession,” examines the masks we all wear on a daily basis to conceal our true selves and the repercussions these disguises have on personal relationships.

A reoccurring character in Manukyan’s show is a femme fatale preventing her true nature from being revealed. The inspiration from the female antagonist in her paintings came from a toxic woman Manukyan once knew. This woman’s harmful personality is symbolized in Toxic #2. The woman is surrounded by half clothed men wearing gas masks to prevent them from being overtaken by her.

From the graceful models to the passion each piece conveys, Manukyan’s work is simply extraordinary. Each painting of her paintings comes to life right off the wall. “Secrets and Confession” will be on exhibit until January 29th at La Luz de Jesus Gallery.

- written by Keisha Raines with photos by Birdman for Warholian

For more on the show visit: http://www.laluzdejesus.com/shows/2012/Manukyan/Manukyan2012.htm

For more on the artist visit: http://www.alexandramanukyan.com/

Purebred has been hard at work establishing their name as a production company that takes the art of photographing artists seriously.  Having shot some of the best names in the art world, they recently set their eyes artist and social media celebrity Charmaine Olivia.

Purebred (headed by Jason Mitchell and Stacey Ransom) produced two artist portraits (below), as well as this short film (above) of Olivia during the full day shoot.  

We’re happy to share the talents of Purebred Productions on Warholian, and look forward to more amazing work from photographer Jason Mitchell and designer/producer Stacey Ransom!

For behind the scenes coverage of the film visit Stacey Ransom’s blog here: http://www.ransom-notes.net/?p=2801

Enjoy!

-Warholian

For more on Purebred Productions visit their site: http://purebredphoto.com/

For more on Charmaine Olivia visit: http://www.CharmaineOlivia.com

I hesitate to classify Marco Mazzoni as a portrait artist, which is what most interview introductions will first tell you about him. Most of his work is defined by finely rendered female faces, framed by butterfly wings, flowers, and other flora and fauna found in the natural world. He chooses these by scouring encyclopedias, and scientific illustrations, and they’re not just accents in his pieces, they’re a major part of the work. But his work doesn’t start with a model like it does with most portraits, it starts with his interest in Italy’s fairy tales.

It’s briefly noted in this interview with Marco, that artists often attempt to connect with things outside of their culture, and, in editing this article, I deeply appreciated his emphasis that he is connecting with Italian culture (even in editing this article I found myself editing it for a western audience – and I apologize for that). It’s through his masterful rendering, I feel, that the rest of the world connects with, and comes to appreciate, his beautiful work. And it’s in speaking with Marco, that we get to learn even more about him, and we see his work on a much deeper level beyond just portraiture.

Did you study art, and what is your previous experience in art?

I studied at the Brera Academy of Fine Arts in Milan for 4 years, but my artistic experience is the time I’ve spent in front of a sheet of paper.

Was Brera a very traditional art school, where students are required to spend at least a year drawing casts before ‘graduating’ to color?

Brera is a strange academy because they have a great history, but there are a lot of teachers that speak about being “Avant-garde”. You can choose what kind of preparation you need, but the exercise (understanding the mediums, and the basis of painting or drawing) is up to you. I can say that in Brera the teachers help you to find the “head”, the ideas, but the “hand”, or skill, is your problem.

I read an article that mentioned you are currently located in Milan, and a lot of artists in the States are really curious about the art scene in other countries, especially countries with a rich artistic history. What has your experience been like with the art scene in Milan, and do you feel the general public is more receptive to art?

I don’t know if there is an artistic scene in Milan. The best Italian artists, in my opinion, are not in Milan, but are in other cities of the country. I’m talking about artists like Andrea Mastrovito or Nicola Samorì, Ericailcane and Blu. But, in Milan, there are artists that work well and create fantastic art. For example, I share my studio with Marta Sesana, a very interesting painter.

In Italy, over all, there are a lot of collectors, a lot of art galleries, and if you have a talent you can have your opportunity.

Your work has a lot of depth and luminosity; we rarely see work with this much finish created with colored pencil. Have you always worked with dry media?

I work exclusively with colored pencils and paper, but only with one kind of pencil (Faber Castell Polychromos) and only with one kind of paper (Fabriano F4 smooth, 400g). I’ve tried to paint, but it doesn’t have the same look as dry media.

What is the process like for working with colored pencil? From looking at close ups of your work, there’s several layers in different colors, but how many layers and how long does it take for you to render each work?

I start with an ivory black and dark sepia chiaroscuro under-drawing. When the detailed under-drawing is finished I start with the veil of color, and for every work I study a palette. Basic colors for glazing are usually two: I can use the pink with blue or red with green. I’ve never calculated the time I need for do a single piece, but I like to work from 8 to 10 hour a day.

I love the flowers and nature in your work, and the subject matter is definitely feministic in nature. Can you tell us your subject, and where your ideas for art come from? What is your personal connection to them?

Today, artists develop their own visual stimuli, and the internet is particularly a big influence. In my opinion, this creates a problem of identity behind the artist. Even here in Italy I see many young artists who try to think about icons that aren’t a part of their own culture.

I have simply taken the ancient tales from Italy and the Italian culture, and transferred them onto paper. We have a lot of narrations about witches, women, and plants.

Can you give us an example of one of these Italian narrations? Is there one that’s a big influence on your work?

I say there are a lot of stories of witches, but these stories are told by word of mouth. I can speak to you about some female characters: cogas, brujas… all of the women that in these stories have the power to change the life of men. The janas, for example, are women who suck the blood of men that get close to their caves, and then they hide, and give birth to children.

Your pieces have really interesting titles, like “Eumenide”, “Chemical Furs”, and “Nubicuculia”; where do these titles come from, and how do they relate to the work?

Sometimes the titles are words from a song, sometimes they’re a little piece or a scene from a tale, sometimes, they’re simply the result of a couple of hours sitting in a bar with my friend Paolo.

How is your work continuing to evolve? What are you really excited to work on next?

I see everyday like a new day, I don’t know what I’m going to do tomorrow.

Any upcoming shows or projects you’d like to tell people about?

I have some work appearing in “La Natura Squisita” at the Stelline Foundation in Milan Opening the 1st of February 2012.

- Written by Megan Wolfe for Warholian

For more on Marco visit his Tumblr site here:  http://marcomazzoni.tumblr.com/

Kirsty Michell is one of the top emerging photo and fashion talents on our planet today. Her work is both stunning and beautiful, while her relentless drive to produce stunning photographs is nothing less than inspiring. It’s one thing to be a great photographer, but Mitchell also excels as a fashion designer (with a nod recently from  Italian Vogue).  Every photo and design has been conceptualized and built from the ground up by Mitchell and a small group of close friends. We caught up with Kirsty recently to discuss her recent “Wonderland” creations, how things have changed, and where she’s headed.

It’s been almost two years since we posted our last interview with you on Warholian.  In that time, how has your series Wonderland evolved, and has there been any evolution to you as a photographer?  Have you learned anything new about the work you are producing?

KM:  Wonderland has evolved enormously for me, when I first began in 2009 I had no idea the project would develop the way it has, or go on to span 2.5 years. The response has been utterly overwhelming and has literally changed my life. I finally gave up my career as a fashion designer at the end of last year to dedicate my future to the success of the project, focusing on producing the book and exhibition. Originally I was just creating dream after dream, with no links between the pictures, and producing them with very little budget. I felt very pressured to be creating works quickly to keep up with my contemporaries even though I had to create everything within the frame by hand myself. Last year I had a discussion with an art curator who advised me to step back from the Internet and take some time away to work privately on the series. To invest my time and money into creating works that were an entirely believable vision from start to finish, on a scale far bigger than I had previously produced. In short, to produce less, but make the content ‘more’, so that has been my focus. I have been away for 9 months and have worked relentlessly on producing the very best I can. I have invested far more into the budget of the pictures and tackled props I would never have previously imagined I could make (for example ‘The White Queen’s’ steel galleon ships). It’s the first time I have worked with an industrial manufacturer to make an idea and it was extremely rewarding to do so. I have also spent far more time on the creation of the characters. I was getting quite frustrated with being called a ‘fashion photographer’ when I have never done a fashion shoot in my life. I suppose I can see that some of the previous wonderland images can be misconstrued as fashion, and that was something I wanted to completely avoid going forwards. People always assume the effects in my work are Photoshoped, the clothes and styling are other people’s work, and that there is a massive team behind the images. So I wanted to make sure with the new images that the characters were fully realized as magical beings, with more elaborate costumes, in even more beautiful surroundings. I have been very thorough in my blog entries to show and explain how the costumes and shoots were created, so there can be no misunderstanding about things being ‘faked’ or hired from other creative’s. The point of my art is that I make everything in the image, and I really hope that message is coming across clearer now. With regards to shooting, I have just tried to be as prepared as possible, constantly visiting the shoot locations on the run up to the day, trying to be as aware as I can be of the surroundings as possible. Now the productions are even bigger I cannot be unprepared, some of the costumes and props have taken months to create, rather than days or weeks like before.

We’ve heard that you’ve recently decided to focus full time on your photography work, how has the transition been for you?

KM:  Well it has literally only just happened, so all I can say is it going to improve my health! Looking back at what I have created in the last year considering I was working at the same time is pretty amazing to me now. Its been a very hard few years, but doing this has changed my life, and having walked away from a successful career in fashion I am now excited and determined to pursue my future as an artist. I have had to delay so many things because I could never cope with writing interviews and doing the press side as well as working on the series. So getting a balance, securing the book deal for the project and producing the exhibition this year are my priorities. Being able to commit wholly to this is something I have been working towards for a long time.

Can you tell us any teasers regarding the future of Wonderland, and where you intend to take the series?

KM:  Well I have just released the first 3 of 20 new images. The entire series is now shot apart from the final closing scenes, which I expect to finish in the spring. As I have already mentioned the characters are more formed, detailed and have a purpose unlike some of the earlier ones. I have been slowly weaving an underlying motif of galleon ships reappearing in different forms throughout the series, there are reasons for everything, nothing is purely aesthetic. Important props are being slowly added like the Key in the hands of ‘The White Queen’ …… all I can say is the series will not just ‘stop’, there is a very clear ending and story that is slowly building even If you haven’t noticed it yet

If you had the money to do anything with your work, what would it be?

KM:  Invest into the vision! I had my first small taste of this whilst producing the new ‘White Queen’ images. Purely because by accident I found myself in a situation where I was forced to invest a great deal of money into the production of the steel galleon ships. At the time it was terrifying to me, but now that it’s done and shot, the response from the public has been absolutely overwhelming. I’m thrilled with the results as it really brought my vision to life without any compromises, so I suppose the main thing would be to spend much more on the development of the props and costumes. I still don’t believe buying thousands of pounds worth of camera equipment makes you or your pictures better, and its something that annoys the hell out of me when I speak to very ‘techy’ photographers. I only have one camera, (which is a very good one) and 3 lenses. I could do with more equipment and that will come with time, but my advice is to invest in your eye and your personal vision, see things, experience more, and open up to your passions, not what others tell you to do. I would also like to travel with my little team to more far reaching locations and be able to spend a week on set rather than a few frantic hours. Natural light is one of the most magical elements in a picture and sometimes you just cant guarantee you are going to get what you need – so I would buy myself some time to achieve that. Oh and I’d spend it on some lessons in using fiberglass and welding! I really want to gain more skills, and have a massive workshop to make far bigger elaborate props !! =)

- interview by Michael Cuffe for Warholian

Read more on Kirsty, and visit her official site here:  http://www.kirstymitchellphotography.com/

“Like” Kirsty on Facebook here:   https://www.facebook.com/pages/Kirsty-Mitchell-Photography/120858767962024

2011 was very kind to Thierry Guetta a.k.a. Mr. Brainwash (MBW). Starting the year with an Academy Award nomination for “Exit Through the Gift Shop,” which catapulted him from obscurity. He contributed artwork this summer for the release of Red Hot Chili Pepper’s newest album. In October (with some minor controversy) he opened at the Opera Gallery in London. MBW concluded this golden year of his by opening a street art show simply titled Art Show 2011.

Located on the corner of Santa Monica Blvd. and La Brea in an abandoned warehouse, the show’s opening had a long line of fans wrapping around the block on both sides, waiting to catch a glimpse of MBW newest creation. The results was 80,000 sq. ft. and four stories completely filled with street art. To create an authentic street art feel, MBW invited local artists to contribute their own work and coupled it with his own. In an attempt to create an authentic feel of art in the streets, the show will be up temporarily and none of the work is for sale.

Each floor of the abandoned warehouse followed a different theme and not an inch of the space was spared. LA’s Seventh Letter Crew even had a chance to adorn the stairs. Throughout the space large statues depicting elements of street art could be found. From a truck scattering larger than life paint cans to Ancient Greek idols with paint rollers. The immense amount of art work in the space is impossible to fully take in on one day.

The show brought out people of all ages interested in seeing what Mr. Brainwash has done now. He did a great job of bringing everyone to gather and giving people a chance to check out street art in a contained space.

- written by Keisha Raines with photos by Birdman for Warholian

For more on Mr. Brainwash visit: http://www.mrbrainwash.com/

**Editors Note: Photographer Lisa Fleming spent a good deal of time explaining the history behind each of the locations D Young V had art, and every picture with it’s accompanying location information can be found in full in the flickr set: HERE”

SCOTLAND:

What can I say about Scotland? In late September I finally had the opportunity to revisit one the most beautiful places on Earth. This was my second trip there, and rest assured I will be back there again in a short time. Edinburgh was to be my base of operations for this short ten day vacation, and last minute decision to do some public works. Three days before my departure from San Francisco’s luxurious Tenderloin district, I thought ‘fuck it, I’m going to a foreign country I should probably get-up’. So I did. A super talented and hospitable Scottish photographer Lisa Fleming was gracious enough to put me up, feed me and photograph my work for these ten days. Outside of her skills as a photographer, I was amazed by her knowledge and enthusiasm for Scottish history and culture. I swear, this young lady could tell you the history and cultural significance of almost every structure, street, and closey (alleyway) in Edinburgh. This obviously blew my mind and inspired near endless curiosity about this culture.

In my brief time there I learned about the history of kilts, indoor plumbing, the foundations for America’s urban grid system, what makes a real whiskey, the cultural impact of Sir Walter Scott, the origins of the philosophy of ‘free-will’, the historical inaccuracies of the film ‘Braveheart’, N.E.D.S. (non-educated delinquents) and the infamous Sawney Bean family.

The Sawney Bean family was a 48 member clan started by Alexander Bean and his wife. The two of them together produced eight sons and six daughters, who went onto produce them eighteen sons and fourteen daughters.. This 48 member clan created entirely through incest lived undiscovered in a coastal cave in Bannane Head (now South Ayrshire) for twenty five years. During these twenty five years they were responsible slaying and devouring nearly one thousand people. They would attack small groups of people in packs. After murdering them, they would drag their bodies back to their cave. After taking their victims bodies apart, they would eat and preserve those parts. They also discarded some body parts in the ocean that would eventually end up on neighboring shores. Once their existence was brought to light, they were hunted down, captured and brought to Edinburgh, then transferred to either Glasgow or Leith (now part of Edinburgh). Their crime of ‘cannibalism’ was considered the equivalent of ‘treason’ in 15th/16th century Scotland. They were executed without trial. The men had their genitalia, hands and feet severed, then left to bleed to death. The women and children, after watching the men die, were burned alive. Though perhaps not the brightest part of Scotland’s history, but it sure as hell is one of the most fascinating.

What is even more fascinating is Scotland’s infinite uses and applications of the word ‘CUNT’. I’ve never experienced a culture has got their slang down to such a science that you can literally translate it to entirely different language. Two Scotts could have a private conversation amongst themselves entirely in slang, and to the ears of an English speaking person they may as well be speaking in Arabic.

Perhaps one of the most attractive qualities of this land is its hospitality and friendliness to strangers. You’d have to be a total asshole to go to Scotland by yourself and not make any friends. I must say these people really do give you a sense of belonging when amongst them. If you walked into a bar alone, within minutes you’d be sitting with a table full of strangers talking about your life, drinking free drinks, and making instant friends to take you around the city and more than likely give you a place to stay for the night. I get the feeling that people just aren’t as afraid and suspicious of one another over there. Sure, they have problems. There’s violence, crime, poverty and all the good stuff you can expect in any major city, but with that said, I still find myself entirely at ease when I’m there.

Now a word on street art. From my experience on this trip, Edinburgh does not appear to have a large graff/street art in their city centre. Sure, I saw a lot of tags, stickers, throw ups and pieces, but for a city of its size they’re simply was not as much as one would expect, at least not in the downtown neighborhoods. The majority of wheat pastes that I saw were from Edinburgh’s response to JR’s Inside Out Project (http://www.edinburghspotlight.com/2011/07/feature-inside-out-art-project-edinburgh/). The team that put those up pretty much dominated the entire city. Second to that was a tagger named ‘Winston’. I saw that tag everywhere I went. After I returned back from my trip I found out that the lack of graff/street art was due to the city council zero-tolerence toward this sort of thing. However, I’m told that Glasgow (just a forty minute train ride away) has a huge scene for this. I’ll have experience that on the next trip. They’re certainly is more then enough spots to get up in Edinburgh for sure, I think because I didn’t see work everywhere it sort of put me at ease. I found myself in less of a rush to get a piece up, spending more time flattening the work out, then chilling a bit longer afterwards to view the work in its surrounding environment. There is something extremely refreshing about putting work up in a new city, in an entirely new environment.

Another highlight of this trip was having coffee with local artist Derm (www.dermographix.blogspot.com ) who gave me much of the lowdown on the local urban art culture. What I also found interesting was a recent project he just took part in with Augusting Koffi through Recoat Gallery in Glasgow titled ‘Rudimentary Perfection’ (www.rudimentaryperfection.blogspot.com). The premise of that project was to have ten international artists create ten murals throughout Glasgow leading up to an exhibition focused on ‘Graffuturism’. I suppose wherever you travel your always two degrees from an artist associated with White Walls Gallery in San Francisco.

On a similar note I recommend anyone with an interest in Scottish graff/street art to check out ‘Agents of Change’. This is a group that Derm is involved with along with several other Scotland based artists. Videos of their numerous projects can be found on vimeo (http://vimeo.com/8207410). The one project that most interested me was ‘The Ghostvillage Project’. This was a collaborative mural take over of an abandoned village off the coast of Scotland. Drawing on the history and local environment of the village the artists created numerous murals and painted characters that seem to repopulate the entire area.

With all that said I’m sure I could go on and on about Scotland and it’s more then fascinating culture and history, but I’m not going too. I’ll save that for the next article I write after I go back again. Until that point, thanks for reading this and checking out my work. To see more of Lisa Fleming’s work go to:
http://www.flickr.com/photos/7321614@N07/with/6263441215/

Cheers!
- D Young V with photos by Lisa Fleming for Warholian

For more on D Young V visit: www.dyoungv.com/

For more about Lisa Fleming, visit here Flickr page here: http://www.flickr.com/photos/7321614@N07/with/6263441215/

Mr. Brainwash has become a name not many like to speak in contemporary art circles. Much like Voldermort of Harry Potter fame, when mentioned people avert their eyes and change topics altogether. It was during Art Basel 2011 that the infamous “Exit through the Gift Shop” Frenchman again set his scopes on Miami and set up shop in the same Collin’s Ave. location.

This year the show was better organized, and seemed to have more overall planning than the 2010 exhibition. Again, much of the work was a cultural mishmash of pop imagery and cultural iconography, with splatters of paint over every square inch.

Online many complaints read, “I’d like him more if he actually produced the work he contrives” or “please, no more spray paint cans”, but Brainwash moves forward like an unstoppable train destined for greatness, and no one will stop him. Even my own personal perspectives (based on my review from last year) have changed in regards to the man. Today I realize that Thierry Guetta is perhaps the art worlds greatest performance artist. Is it all an act? Yes and no, but a performance it truly is.

For those of you still wondering if this is all still a Banksy prank, Mr. Brainwash most definitely is not. In fact, many numerous undisclosed sources have revealed that “Exit Through the Gift Shop” was more about reclaiming footage, than a movie about street art. As word goes, Thierry indeed had shot hundreds of hours of street artists at work, including Shepard Fairey and Banksy in their early commercial days. When Banksy and Fairey attempted to reclaim the footage, they ran into a roadblock…namely Thierry himself. It was then that both realized the only way they’d attain the footage of themselves at work, was to tell Thierry they’d make the movie about him. Whether this is art world gossip, or the real deal, there is more than one camp repeating this story.

Additionally, it has also been revealed though various sources that Thierry was a fledging artist during the 1980′s and that some of his concepts (used today) are from that time. Leading one to conclude that although Thierry may not produce the work he presents, he most definitely has the mind of an artist, and that his start may have been earlier than reported.

Why doesn’t Guetta reveal this? It would actually validate his work in some small way within an art community that chastises his every move. Many well known artists often oversee the work they produce, most notably Jeff Koons, so why does Brainwash remain silent?

The answer can be found in plexiglass case that holds Guetta’s hat and glasses in the Miami exhibition. Reminiscent of what one would expect from an traveling museum retrospective on Michael Jackson, this simple display shows that Mr. Brainwash is a force to be reckoned with, an artist above all others, maybe even an pop icon. It’s easy to call him out as a fraud, but Picasso and Dali often sold themselves this way… so why not Brainwash.

It has become clear the artist knows what he’s doing.

It is the goal of Thierry to hold the appearance that he is an upstart, who flips his finger towards the upturned noses and disapproving stares of the art world. Most street and pop artists aim to do this very thing, but rarely have the confidence and showmanship to take it all the way. Mr. Brainwash on the other hand, plays all cards at once.

And why not? Maybe in a world that takes things too seriously we need an artist to remind us that in the end, art is often no more than pictures. A classic work is no more than paint on canvas. To remind us that of our own mortality, the limited life of the art we cherish, and that nothing lasts forever. Thierry seems to push the tenants of love, hope, peace, joy, laughter, love… always stopping for a picture, and to sign an autograph.

Maybe this is all far more clever than at first glance, and Mr. Brainwash is art after all.

- written and photographed by Michael Cuffe for Warholian

For more on Mr. Brainwash, visit his site here: http://www.MrBrainwash.com

To watch a 7 minute walking tour of the 2011 exhibition, hit play below:

The Aqua art fair returned to Miami for it’s seventh year, continuing to focus on young dealers and galleries exhibiting emerging to mid-career artists. In years past the fair has been located in both a Wynwood warehouse and the South Beach motel, both simultaneously and separately, but there is no doubt that the South Beach location gives this fair a unique vibe and more laid back setting inviting collectors to explore it’s forty-five rooms.

Returning San Francisco galleries once again had the most overall stand out rooms. Gregory Lind Gallery featured refined found material collages by Chris Corales that nicely complimented the non-representational collages of Leigh Wells. Also exhibited were delicately carved architectural reliefs in resin by Sarah Bostwick, giving the booth an all around much more minimal feel then in years past. Eli Ridgeway Gallery once again exhibited some wonderfully playful geometric abstracts by Chris Duncan, ironically juxtaposed nature collages by Brion Nuda Rauch, and interesting geometric compositions of hand painted insects by Aubrey Learner. Jill Sylvia’s works of intricately hand cut ledger paper have proven to be a staple of Eleanor Harwood Gallery over the past four years. This year in particular they took the shape of sculptural building models and were featured alongside the notable oil on canvas works of Jesse Thomas and James Chronister.

By far one of the more remarkable pieces of the fair was Brian Dettmer’s hand carved paper works. The negative space between layers of illustration were delicately removed to a point where the images that remained began to build upon themselves forming what appeared to be a waterfall like system cascading down a mountain of about twelve transformed encyclopedias. Simply beautiful. Also just as eye-catching and painstakingly executed were the porcelain works of Laurent Craste. Ornate vases bend in half as if trying to spy what lies beneath the table on which they sit. Others are impaled with axes and baseball bats, as if a scene from Beauty and the Beast went horribly awry.

Another definite stand out of the fair was Oak Park/Chicago based gallery What It Is Projects. This was the first showing for the gallery at Aqua and their fresh perspective and forward thinking was a welcome addition indeed. Boldly colorful and textural mixed media works from artists Sabina Ott, Andrew Rigsby and Lisa Haller Baggesen were highlights of the booth as well as Tom Burtonwood’s gouache abstracts.

Other mentionables include the absolutely stunning black and white portraits of other worldy creatures by Travis Louie, photo-realistically executed with acrylic washes; hand cut collage from vintage scientific books by Alexis Mackenzie; mythological feminine paintings by Katy Horan; and optically textured graphite drawings by Jay Nelson.

All-in-all Aqua has continued to exhibit a variety of quality art in fun and distinct surroundings. It was a wonderful break from the booths of its competitors that anyone could find enjoyment in attending. This combined with its close proximity to Art Basel proper will ensure its place as a destination fair for years to come.

- Written by Lauren Lanzisero with photos by Michael Cuffe for Warholian

In addition to being a guest writer for Warholian, Lauren also owns and operates Gallery Hijinks (http://www.GalleryHijinks.com) … one of our favorite galleries to visit in San Francisco!

For more on the Aqua Art Fair held every year in Miami, visit: http://artbaselguide.com/2011/11/aqua-hotel-south-beach/

Before KAWS created vinyl toys, before Banksy subverted billboards, Ron English bombed the global landscape with unforgettable images. On November 19, English unveiled his most recent work at an opening reception at the Corey Helford Gallery. Titled Season in Supurbia, he examines suburban life dosed with a Molotov cocktail of his signature subversive visual, over consumerism culture and his own brand of POPganda politics.

In impressive detail and captivating use of vibrant colors, English confronts the inability of the 21st Century American soul, so oversaturated in consumerism that it fails to distinguish between political realities and pop culture illusions. Creating play on characters of corporate mascots such as MC Supersized and Hulk Baby English plays on the fact that these characters are not only widely recognizable but also the effect of their message on impressionable minds.

His stunning dollhouse recreations reminded viewers why English is a legend amongst legends. Employing the use of his previous characters, he creates a surreal playhouse of toys that is fantasy but with realistic detail that you forget this world is sprouted from English’s imagination.

-written by Keisha Raines with photos by Birdman for Warholian

For more on Ron English, visit his official site here: http://www.Popaganda.com

To inquire about any of the art seen in “Season in Supurbia” visit Corey Helford Gallery here: http://www.coreyhelfordgallery.com/