The UK based artist “D*Face”, a.k.a. Dean Stockton has been hard at work on his latest show entitled “New World Disorder” at StolenSpace Gallery in London.  The artist is well known for his graffiti and street influenced work, which often features bold graphic imagery, and one could say his work is a new permutation (and evolution) of the pop art aesthetic Roy Lichtenstein made famous.

Stockton incorporates a broad range of street influence throughout his fine art gallery work, and has exhibited worldwide to crowds of eager patrons.  The artist continues to produce work that is not only stimulating, but also technically beautiful, with a refined sensibility in his screen work and color choices.  Since his sold out show in 2006, Stockton has continued to grow and advance his career, and has been a stand out at the Scope Art Fair (during Art Basel week in Miami Beach) over the past two years.

There is no doubt in the artistry that drives D*Face, as he continually produces work that continues to build a worldwide collector base, while influencing a new generation of artists with his prominent work.  We caught up with Stockton recently and asked him a few questions about his new show, his process, and the future.

In New World Disorder elements of the show have been inspired by U.S. Army Ranger Pat Tillman and his death in Afganistan.  How did this story affect you personally?

It was through researching the notion of ‘a pack’ mentality that I started to look into ‘ball’ sports, I became really fascinated of how strongly supportive of a team, men in particular, become – there’s something incredibly primal about it – and being the kid who was always picked last to be on any team at school, I have always seeked ‘alternative’ activities.  The chanting, fighting team mentality always puzzled me. I like the notion of supporting a team, wearing the team colours, but never felt comfortable with it.  It drew me to make the analogy of the ultimate team being fighting for one’s country, and those colours being the flag under which you fight – further, the technical and tactical approach to a team, versus the tactical approach of a military operation. It was while explaining this to a friend that he mentioned I should watch the Tilman Story, as it was exactly what I was talking about. I watched that film and was deeply moved by the sacrifice he gave, while giving up a million dollar NFL deal to fight for his country.  Both my father and grandfather fought in WW1 and WW2 and I’ve always been deeply thankful of the sacrifice people have given in the name of our county – but equally deeply synical about how necessary it is, and for who, and at what gain?  Particularly when history should have taught us such important lessons.

Can you take us through your artist process in a nutshell, from conception of a design to overall production of a work?  What art medium is currently inspiring you the most?

Everything comes from that instant ‘idea’ be that when I’m cycling to my studio or lying in bed.  I find the state between being awake and asleep (or hypnagogia) is when some of my best ideas have come, so I normally sleep with a pencil and paper or my phone next to my bed.  My phone has a list of ideas in it, and when certain ideas rise to the surface  I work it up as a sketch.  These can be fairly basic, mainly for composition purposes, or much more worked.  There’s more often than not an element of computer work, wither composing something using reference material, or redrawing it as a vector file.  If the final piece is to be sculptural, then I may work out the rotations of the piece  so I have a good idea of what I’m aiming for.  If it’s a painting then I’ll work from the digital collage or vector file. Most of my work includes a greater or lesser element of screen printing, which is all done in-studio.  I’ll expose screens, print that element, and work over until I’ve got the desired final effect and finished piece.

Recently I’ve been really inspired by these painted and printed collages I’ve made, where I paint and print a selection of pieces. I then dissect and cut up the individual elements and recompose them, setting each element onto a different layer and level.  I’ve enjoyed producing the work and then cutting it up, essentially destroying it, only for it to have a new life in a new composition. Equally I’ve been painting final pieces on wood, really working them meticulously – only to mask an element off at the end and sand it back.  It allows chance and the unknown to come into my work, which i’ve really been searching for in the past.

We hear that you are releasing a retrospective book, this is very exciting news!  Can you tell us what it’s been like to try and put a lifetime of work into one book?  Have you learned anything throughout the process?

My book “One Man and His Dog” is currently being published by Lawrence King, and is set to be released this September.  It features 380 pages spanning 15 years of work.  It’ been really challenging to put together, but  I went about it the only way I felt I could. I brought a friend into my studio to poured through old photos,  images, and then put them into chapters – which is roughly chronological by show.  It took masses of time to just shuffle it all together, to sieve out the work, deciding what would make the cut or not, before layout of the book out could even begin. After I felt I had it roughly in shape, I talked to publishers to get their opinion, and whether my project was of any interest. Lawrence King had expressed interest in my work years ago and I felt instantly at home.  I am happy to publish the book with them.  The whole project  has taken well over a year to piece together and lay out.  One important lesson I’ve learned is to make sure to photograph EVERYTHING, and back up EVERYTHING.  I’ve lost a lot of images in the wallows of time and to the digital ether. The process overall has allowed me to look back and decide what work is the most effective, and moreover what I enjoyed.  There are lots of good memories.

What’s next for D*Face?

My primary focus has been to get New World Disorder set up and opened.  I’m looking forward to kicking the doors open and having a beer (or few)!  Then I have to relocate my studio.  First I need to find a studio, which is posing a massive problem at the moment.  I’m also painting a large mural here in London.  Then we have the set up and launch the newly relocated StolenSpace Gallery, which is really exciting. I’m heading to Malaga Museum to paint a mural in July, another mural in Newcastle, and potentially Munich (amongst other places).  This all leads me up to the book launch in September, which will lead to a few book signings across the world.  The first of which will be here in London at the new StolenSpace Gallery… for an invite to that, or New World Disorder please email info@stolenspace.com.

- Interview by Michael Cuffe with photos by Ian Cox for Warholian

For more on New World Disorder visit:  http://www.stolenspace.com 

To see more work from D*Face visit:  http://www.dface.co.uk

Check out the show trailer for New World Disorder below:

D*FACE ‘NEW WORLD DISORDER’ from arlen figgis on Vimeo.

Pedro Matos has fast built an art career for himself around the world by playing the role of curator, educator, and artist.  In his latest solo show opening in Los Angeles at Martha Otero gallery, Matos continues to explore different languages of communication with his multilayered paintings and new ceramic tiled works.  ”Building Castles Made of Sand” continues the artist’s exploration into the impermanence of social and cultural values, while utilizing texture, patterns, and realistic figure painting to bring the works to life.

We caught up with Matos in his studio, to discuss his overall process, his show, and more…

This is your first solo exhibition in Los Angeles, can you tell us how you came up with the title of this latest body of work “Building Castles Made of Sand”?  What does this show mean to you personally?

The exhibition “Building Castles Made of Sand” is my most ambitious exhibition so far in many ways. The title comes from the overall subject matter of my practice for this exhibition, questioning the fragility and ephemerality of our cultural and social values. Sand castles are a metaphor for that quality. 

In this new body of work you’ve been focusing on working with a  tradition ceramic tile medium, how was this to work with and did it present any challenges?  How did you come up with the idea to work with this medium?

Ceramic tiles are a traditional portuguese “folk-art” medium since the 15th century, used as decoration to the facades of buildings with geometric patterns. I did the tile-panels for this exhibition in this traditional process, where everything is hand made since cutting the clay, hand painting, thing glaze etc. It’s a very long process that took a month to complete all the stages. I collaborated with a ceramic studio in Lisbon where I produced these pieces, while the paintings were done in the London studio. The biggest challenges come with the complexity of the production process with many stages additional to the actual painting, and also with it’s fragility and installation, but the outcome is very rewarding. 

How have you feel your work has evolved over the past few years? 

Looking back to my early work I see it’s much more simple and portrait-based, focusing on social problems I was trying to address. Today, I find my work has become more of a process to raise questions on cultural and social values rather than imposing one single statement. However it has been an on-going and organic process rather than radical shifts between one thing and the next, so it’s hard to draw the lines. 

 You are known for your realistic figurative painting, how do you pick your subjects to paint? 

I’ve been using all sorts of references that best suit the subjects I need to use. From people I met, things I photographed, references I research online and library archives.. I have an ever growing source of references that I have been gathering and creating over the years, and go back to it often. 

What’s do you do for fun outside of formally painting in the studio setting?  What keeps you inspired? 

All sorts of things, from traveling, running, cycling, skateboarding, studying, playing piano, photographing, and other projects I do like curating exhibitions. Inspiration comes mostly from the moments where I can clear my mind, think and wonder. 

 Any big plans on the horizon for Pedro Matos? 

This month is the end of many simultaneous projects I had been working on. The solo exhibition at Martha Otero Gallery, a piece for the “Warrior Saints” at the National Army Museum, a group exhibition in Portland and one project in the Victoria Tunnels in Newcastle opening in June. In the horizon is reorganizing everything to start working on my next series and exhibition. 

- Interview by Michael Cuffe for Warholian

On March 22, Milk Studios in Hollywood hosted London based artist Charming Baker’s new exhibit “Lie Down I Think I Love You”. The VIP event was littered with who’s who of the celebrity sphere, with every wall covered with his beautifully destroyed work. The show included sculptures, drawings, work on canvas and wood panels. It was the largest show of his to date and carried a heavy punch.  The show delivered a large attendance, as well as some surprisingly strong sales.

I caught up with Charming (a name he whole heartedly deserves) to ask him about his process, love, life and his latest show “Lie Down I Think I Love You”.

This has been your largest show to date, how was the process creating all of the pieces?

Really much the same as any show. With the sculptures I try to concentrate on making the pieces individually, solving any problems as they come up. I already work closely with a fantastic foundry on the south coast of England, for the installation piece I’ve worked closely with an brilliantly technical bunch of people based just outside London. As for the paintings, they’re produced the same way as all my paintings- long periods of time locked away by myself in the studio.

You have mentioned the the theme of the show was the unpredictability of love.  Could you elaborate on that more?

Voltaire wrote for one of his characters in Candide – “I have wanted to kill myself a hundred times, but somehow I am still in love with life. This ridiculous weakness is perhaps one of our more stupid melancholy propensities, for is there anything more stupid than to be eager to go on carrying a burden which one would gladly throw away”.

I think love has to be the biggest driving force for all of us, but like most people, I have never found it to be a straight road, the quote never fails to make me smile. Maybe I’m trying to put those feelings across with images.

 Not only is your artwork interesting, but the title of each piece is intriguing and more expressive than what you typically see. How do you come up with these titles and is it integral to how viewers interpret your art?

I’m a worrier, I think too much about everything. In some cases the titles are my way of trying to sort out a multitude of conflicting ideas (much like the paintings). I write them down when I think of them, and can usually put them with an image, other times they’re are crafted from the meaning of the piece of work that they go with. I love the idea the titles can bend the interpretation of an image, I also like the idea that they could stand on their own.

 The huge passenger plane installation in the show is so attention grabbing and the first time you have created a work of that scale, how did the idea to create it come about and what was the process like? Can we expect to see more large installations in future shows?

About five years ago I made a painting of an upside down passenger plane, called Try Not to Always Think the Worst. I don’t think that I’m alone in seeing these huge machines as things of great beauty and wonder, I’m sure I’m also not the only one who’s at least slightly terrified of being on one that gets into trouble. I’m trying to use the large plane sculpture; Love’s Revolution, as a metaphor for love and life, especially the idea of bringing new life into the world. Once we step on board we have to give up all control, deal with our fears and make the most of what we’re given. As for any more pieces of this scale, I have lots of ideas but it really depends on what size spaces I choose for the next shows whether I make another soon.

The three day only show has since come and gone and like Charming’s previous shows in London and New York, most of the major pieces sold out before Milk even opened the doors. His work has been acquired by major collectors such as Damien Hirst, Alberto Mugrabi, Frank Cohen and Harry Blain only further concreting his reputation as one of the most dynamic British artists of his generation.

- written by  Keisha Raines with opening night photos by Birdman for Warholian

In early 2013 artist Charmaine Olivia once again returned to San Francisco to the newly moved and expanded Shooting Gallery (located in the rough and tumble Tenderloin District).

The artist spent over 4 months painting 14-16 hours a day to produce this new body of work entitled “Muses”.

“Muses” takes us through Olivia’s colorful memories of women in alternate realities, as represented through paintings of powerful, beautiful women.

The newly turned 25 year old focuses on stream of consciousness painting, and letting images emerge from her backgrounds as if picking figures from clouds.  In all of her works, there is a central female who was chosen by Olivia for “Some emotion that resonated within (the photo) that I wanted to reflect back”.

In all of her works,  she searched out women that had a particular aura of softness around their image.  From there she went to work deconstructing and rebuilding that women in her own eye, and the letting the “Muse’s” world evolve around it.

The work itself is an explosion of color and imagery, with each painting pulling the viewer in for closer inspection.

This is the artist’s second solo show in two years with Shooting Gallery, which features emerging contemporary, museum-bound artists on a monthly basis.  The gallery was created by curator Justin Giarla and has given established big art names such as Shepard Fairey, Ron English, Aaron Nagel, Ferris Plock, Casey Gray, Peter Gronquist and many more their start in San Francisco.

A good portion of the “Muses” collection sold within the first hour of opening night – including a purchase of two works by the recent Grammy Award winning dubstep king Skrillex.

Olivia continues to paint, study new techniques, and produce one of a kind museum grade prints through Patron of the Arts in the Napa Valley of San Francisco.  A big believer in providing access to her collectors, Olivia has built up a strong network of international print collectors over the past several years.

For this young artist, she seems to have redefined art for a new generation of fans, followers, and collectors.

- written and photographed by Michael Cuffe for Warholian

To see more work from Charmaine Olivia, visit her official site here:  CharmaineOlivia.com

Love In Absentia from Martha Traer on Vimeo.

Gallery Director Brooke Waterhouse has turned Project One’s gallery into an ongoing art mural experience, highlighting some of the best artists from around the world on a semi-monthly basis.  For the inagural opening, Waterhouse teamed up with Justin Giarla of White Walls gallery to present a number of artists both local and internationally based.  Artists included Ben Eine, Casey Gray, Ricardo Richey (Apex), Jet Martinez, Rene Garcia Jr., and Nick Flatt.

Ben Eine is well known for his oversized graffiti typography, and hails from a past mixed with true street cred and Banksy rendezvous.  This man has truly seen it all.   His work is highly sought by collectors, and even the British Prime Minister gave President Obama one of his works as a official gift.  His “OUCH” work currently covers the largest wall of the 3,200 square foot gallery.

Jet Martinez has really began to stand out as a serious muralist over the past few years, and created a stunning wall of red flowers for Project One Walls.  He continues to be known for evolving classic Mexican styles of folk art into the modern form, and was recently commissioned by Facebook to create a large scale mural on their central campus.

The often controversial artist Nick Flatt presents the modern women in contemporary form with a new large stencil technique he’s created.  Never one to speak quietly with his work, Flatt is perhaps one of the gutsiest artists we know.  His passion to bring his visions to life is impressive, and he has shown again and again that his creative will is burning strong.  His art ranges from full scale army tanks made of wood, and oversized, impactful photorealism oil works of rockstar daydreams.

Rene Garcia Jr. took to the corners, to bring 3D to life in painted form.  The artist never fails to impress with his ingenuity, and tongue in cheek humor.  Bathed in Americana, Garcia is perhaps the first artist we’ve seen to paint in true 3D.  Bring your glasses.

Casey Gray continues to amaze and impress with his amazing acrylic stenciled still life works.  Over the past year the artist has been recognized for achievement in bringing the stencil form into the realm of true fine art.  In this work, the largest he’s ever created, vases fill every void on the black background in a multitude of stunning patterns and colors.  Gray is headed toward the museums fast, and is truly an artist to keep an eye on.

San Francisco graffiti legend APEX (Ricardo Richey) completed what may be one of his best classic styled works to date.  In this Project One Walls work, the artist takes us back to the lettering that made him well known.  Perhaps one of the best examples Richey’s work in a contemporary gallery setting, this piece highlights how truly beautiful graffiti can be.

Project One Walls is an exciting new art venue, that offers art lovers the opportunity to see revolving murals in a gallery setting.  Genius?  We think so.

- Michael Cuffe

Editor in Chief – Warholian

————————————————————————————————-

Project One Walls
251 Rhode Island St  San Francisco, CA 94103
(415) 938-7173

Project One Walls is open for public viewing Tuesday through Saturday from 10 AM – 5 PM, with extended hours on some evenings.

Check out this VIDEO introduction to Project One Walls:

MORE ABOUT THE ARTISTS

Ben Eine | einesigns.com

London-based street artist Ben Eine, who began by tagging walls and painting trains as a teenager, crossed over into street art in the early 2000s. He has brightened walls all over SF and throughout the world, with his easily recognizable stenciled letterforms. His mural at P1 spells “OUCH.” He chose this for its emotion, aesthetic and form. These four letters create an undeniable energy, selecting bright pastels and a unique font to give a punch of tongue in cheek humor.

René Garcia, Jr. | renegarciajr.com

René Garcia, Jr. has been a resident artist with P1 since its inception. He considers it “a unique privilege” to have grown alongside P1, which he describes as “a meeting hall for a growing arts community.” His glitter pieces have recently delighted viewers at Aqua Art Miami. In this mural, he has reimagined traditional wallpaper by reconstructing two or three color floral motifs as customized red and blue anaglyphs, which reveal erotic and sensual imagery when viewed through 3D glasses.

Casey Gray | whitewallssf.com | caseygray.com

Casey Gray, a Bay Area native and SF based artist whose work has been featured locally, nationally, and internationally, works primarily with spray paint and hand drawn stencil techniques. He has installed a vividly colorful mural depicting various vases and other vessels intended to serve as metaphors for bodies, representing the diversity of our outer appearance and the secrecy of that which is contained within, prompting a sense of introspection.

Ricardo Richey | whitewallssf.com | theapexer.com

Ricardo Richey, known to the graffiti world as Apex, has been a fixture within SF’s street art community for many years, collaborating with graffiti and street art legends and mentoring younger artists, both in galleries and on the streets. Richey’s contribution to P1 Walls has expanded on his exploration of abstract letterforms while playing off the architecture of the gallery space, inviting viewers to feel as though they have stepped into the painting itself.

Jet Martinez | jetromartinez.com

Jet Martinez is a Mexican-born, SF based muralist and painter whose vibrant and detailed murals can be spotted in neighborhoods across SF, throughout the Bay & all over the country. Drawing inspiration from Mexican folk arts his wall depicts a reinterpretation of Oaxacan embroidery patterns, with large floral patterning in bold colors filling the entirety of the space.

Nick Flatt | nickflatt.com

Nick Flatt, a realist painter and sculptor notable for his provocative, hyper-realistic large-format portraits, came to SF from Dallas, Texas and was featured in a solo exhibit at P1 in 2012. His piece for this exhibit, a commodified, mass-manufactured interpretation of an idealized woman, is entitled “In Ford we Trust”, a nod to Aldous Huxley’s Brave New World.

ABOUT PROJECT ONE GALLERY  | p1sf.com

Project One Gallery is located in a 3,200 square foot converted warehouse space in SF’s Design District. For the past four years, Gallery Director Brooke Waterhouse, has curated a diverse mix of local, national, and international emerging contemporary artists. Brooke is also a member of the board of the Yerba Buena Center for the Arts.

In addition to the gallery, Project One also contains a lounge featuring a state-of-the-art sound system and full bar and has been praised by the New York Times for its “devoted and eclectic clientele” and sophisticated ambiance. Project One was recently remodeled under the direction of Rich Hansen of Indicate Design.

“My first suit of armor started with foam camping mats held together with twine and painted black. Needless to say, it looked ridiculous. But that’s where it started” stated 16 year old Jaxon Laverman.  The Stan Winston School recently highlighted the youth’s ingenuity and  creativeness in a short documentary put together by Jay JR Friesen of Red Futon Films.

“My journey toward Iron Man happened after looking at the costumes other people had made, in particular armor from the Halo videogame series. I scoured the internet looking for ways to build a suit, and found a community called the 405th Infantry Division at 405th.com. There I found designs, methods, and tutorials to create a suit of armor.”

Enjoy.

-Michael Cuffe

Warholian

More IRON MAN STUFF from Stan Winston School:

Making of the Mark I “Cave Escape” Suit
https://www.stanwinstonschool.com/blo…

Real Iron Man Suit. Real Performance. Creating the Mark III
https://www.stanwinstonschool.com/blo…

RELATED LINKS:

Jackson Laverman on Facebook
https://www.facebook.com/jacksonp.lav…

RED FUTON FILMS – Jay JR Friesen
http://www.redfutonfilms.com/

The 405th
http://www.405th.com/blog.php

The Billings Gazette Article
http://billingsgazette.com/news/local…

IFC’s hit series sketch series Portlandia takes on Conceptual art, and the results are epic.

We heart this show.

-Warholian

Event: “Just East of Here”, a duo exhibition by artists Ahren Hertel and Jaxon Northon at Modern Eden Gallery

Where:  San Francisco, CA – January 12th, 2013

Photojournalist: Michael Cuffe

Paintings Available:  http://www.moderneden.com/collections/just-east-of-here

Information from day of event:

Modern Eden is pleased to announce “Just East of Here”, a duo exhibition by artists Ahren Hertel and Jaxon Northon. Growing up together in Reno, Nevada, Hertel and Northon have always maintained a strong friendship and an artistic dialogue. Their unique, yet complementary painting styles, along with a their expert blending of subject and environment has brought about a cohesive body of work.  “Just East of Here” depicts the complicated interactions between humans and nature through Hertel’s beautiful and striking narratives and Northon’s wonderfully detailed and realistic portraits. In both of their works, the relationship between humanity and the natural world fluctuates.  It is at once symbiotic and mutually beneficial and at other times one-sided and disparate. Their work is an homage to the dichotomy of Mother Nature.

Ahren Hertel was born in Fort Collins, Colorado in 1979.  Ahren received his BFA in Illustration from the Savannah College of Art and Design in 2002. After graduating, he moved to Reno, Nevada where he later received his Master of Fine Arts degree from the University of Nevada, Reno where he now teaches painting and drawing as an adjunct professor.  Ahren’s new series is a visualization of the everyday damage we do to the environment. His work depicts women making direct attacks on nature using sticks and stones.

Jaxon Northon is a self-taught oil painter specializing in realistic portraiture. As a full-time artist, he has exhibited his work between San Francisco, California and his hometown of Reno, Nevada.  Jaxon’s portraits present women who seem to be growing out of their surroundings. His representational works confront the viewer with a realistic subject interacting with elements of unreality.

The opening reception for “Just East of Here” will be held at Modern Eden Gallery on Saturday, January 12th from 6-10pm. The exhibition will be on display through February 9, 2013 and is free and open to the public. Complimentary beverages will be served by Three Wishes Winery and Cable Car Brewing.  There will be a live DJ set by DJ Brendan J.  during the reception. Featured artists, Ahren Hertel and Jaxon Northon will be in attendance.

For more information, please contact Modern Eden: (415) 956-3303, Info@ModernEden.com

For more on the show visit:  http://www.moderneden.com/collections/just-east-of-here

Project:  ”The New Race” opening of artist D Young V’s show at White Walls, Gallery 3 presents “Security” by Adam Rozan, and Shooting Gallery Winter Group Show.

Where:  San Francisco, CA – January 12th, 2013

Photojournalist: Michael Cuffe

Information from day of event:

David Young (D Young V)

Project:  Warholian curates “Gallery Crawl” at Nightlife at the California Academy of Sciences: featuring artists John Wentz, Marcos Lafarga, and Daryll Peirce painting live.  Each artist was selected by Warholian’s editor in chief Michael Cuffe.

Art Event:  Warholian curated artists John Wentz, Daryll Peirce, and Marcos Lafarga painted live for “Gallery Crawl NightLife” at the California Academy of Sciences on January 16, 2013.

Photojournalist: Michael Cuffe

Information from day of event:

-Gallery Crawl NightLife -

 This week, the Academy transforms into a pop-up art museum, featuring guest curators (see below) who will each take over a portion of the space with hand-picked collections that reflect their take on the intersection of art and science. Vinyl selections by Andy Cabic of Vetiver & Britt Govea of (((folkYEAH!))).

African Hall 
6-10pm:

-Hugh Leeman: 
Work by Hugh Leeman plus pieces by Joel Phillips, Brett Amory, Colin Day, Akira Beard, and Kenneth Leaf

-Ever Gold Gallery: 
Work by Jeremiah Jenkins

-California Academy of Sciences artists and designers: 
Work by Lisa Ricci, Jennifer Hennesy & Jes Espinoza, Kristen Kong, Andre Caraco, Carolyn Cuykendall, and Ian Hart

East Pavilion 
6-10pm:

-Warholian: 
Works by John Wentz, Marcos Lafarga and Daryll Peirce presented by Warholian Founder and Editor in Chief Michael Cuffe.

-Spoke Art: 
Works by Peter Adamyan, Jessica Hess, Serge Gay Jr., Eve Skylar, Helice Wen, and Eddie Colla presented by Spoke Art Founder Ken Harman

Coral Reef
:

-California College of the Arts grad students: “Sound + Image Resonance” installation presented by Chris Willits

Forum Theatre
 @ 8pm:

-
Tiffany Bozic 
An interactive talk about Bozic’s work, new book, and experience as the Academy’s first Artist in Residence

Project Lab 
6-9pm
:

-Science Love Stories 
Scientific Illustrations by the Academy’s Rachel Diaz-Bastin, Sean Edgerton and Luiz Rocha

The Bay Lights - Artist Rendering 2 from Words Pictures Ideas on Vimeo.

Glitter is probably one of the most difficult art mediums to work with.  Microscopically, it is no more than reflective bits of plastic that trade light and color in a multitude of ways depending how the work is being displayed.  The location of a work in a room is also important, as an entire glitter “painting” can change dramatically depending upon the viewer’s perspective.  Artist Rene Garcia Jr. has spent a great deal of time tackling this tricky medium, and has not only walked away unscathed, but has built an art career out of the reflective material.

Gallery Director Brooke Waterhouse of Project One in San Francisco has had a longstanding relationship with the talented artist, and there is no doubt that Garcia’s work is literally part of the fabric of the Design District establishment.

His latest body of work entitled “Badass” further explores subjects from Garcia’s subconscious mind, and highlights “Americana Symbolism” in which cultural mash-ups are given their due in glitter.   Whether it be a lion faced nod to Michael Jackson’s iconic ‘Thriller’ album, or a pinup girl in direct confrontation with giant cobra, Garcia’s work questions what truly makes up the American identity.  Women, cars, and all other types of awesomeness continue to give life to the artist’s work, and present the viewer with a deeper understanding of Garcia himself.

Garcia’s believes that art is accessible to everyone, and uses basic materials in the construction of his fine art to prove his point.  Elmers glue, glitter, and determination are his mantra, as the artist often tackles absolutely massive canvases on which his nostalgia for the 70′s emerges.  When finished, the scale of many of the works is no less than impressive.

That being said, working in glitter is not the easiest material to control.  Garcia has learned to “paint” only through years of trial and error, and his skill level with the medium continues to expand.  In “Badass” Garcia expands the boundaries of the medium, and patrons will find that his current works tackle depth and refined color shading.  When working with glitter, controlling color and form can be an issue.  This is not paint, and when mixed colors tend to turn into a murky mess of sparkles.  Additionally, handling and layering of the material can present other problems, as the glitter cannot simply be painted over without building mass.  In the contemporary setting, Garcia is king of this unforgiving medium and there is no question that his technical expertise is evolving the genre.  His work is not only clean, it’s beautifully elegant.

“Badass” presents us with a barrage of fond memories, with a dash of surrealism, topped off with the sparkle and shine of an American dream.  The show runs from November 14th, 2012 to February 2nd, 2013 at Project One Gallery… be sure to check it out.

- review and photos by Michael Cuffe for Warholian

For more on the show visit Project One here:  http://p1sf.com/

For more on Rene Garcia visit his official site here:  http://www.renegarciajr.com/

Two groups have been very active in not only obtaining donations for their cause but also promoting awareness about the atrocities faced by Tibetans at the hands of the Chinese government.  The Karma Underground (TKU) and KarmaBlast are art organizations that have worked tirelessly to create an awareness around the Tibet and it’s peaceful non-resistant internal conflict with the Chinese government.

Both TKU and KarmaBlast joined forces to curate an inspiring show on September 12, 2012 at Art Share LA based in Los Angeles, California to raise funds for the people of Tibet.

Established and up-and-coming artists alike selflessly donated pieces for the deserving cause. The walls were filled with work from the likes of artists Allison Torneros, Andrea Lahue, Angela Clayton, B+, BD Miller, Birdman, Brenda Proudfoot, Casey Gray, Chuck P, Coop, Cyrcle, Daniel Jung, Dawn Wirth, Deedee Cheriel, Devin Liston, D Young V, E , Eddie Colla , Edition 100, Eric Pederson, Erwin Recinos, Esther Pearl Watson, Filthgrime, Gilbert Johnquest, Greg “Craola” Simkins, Heather Hoxsey, Henry Rollins, Ken Lee, Hugh Leeman, James Moreno, Jeffrey Vincent Parise, Jennifer Lafferty, John Carr, John Park, Kevin Rolly, Kiino Villand, Kofie, Koffinz, Lantz Huston, Laura Shumate, Leba, Lydia Emily, Malleus, Margaret Leahy, Mark Todd, Michaela Devon Kary, Mike Maxwell, Miles Thompson, Paul Chatem, Rich DeSimone/Lucky Bunny, Risk, Sage Vaughn, SALTR, Samir ìEVOLî Arghandwall of Seventh Letter, Sean Cheetham, SEEN, Sequoia Emmanuelle, Shaun Roberts, Shaunna Peterson, Shepard Fairey, Skyler Grey, Sophia Gasparian, Steven Ballinger, Tada Chae, Tara McPherson, Texas Tom Carr, Tim Kerr, Brendan Behan, Ruby Hurley, Medgar Evers, Tom Neely and Van Arno.

Many of the artists involved also have participated in the groups’ popular projection hijacks which have hit LA and San Francisco.

Accompanying the art on the walls was DJ sets by J. Rocc, Tick (Latch Brothers/Routines/Dragons), Kiino Villand and guests and a live painting by Sami Arghandwall of Seventh Letter. Hit + Run offered live screen prints and limited editions prints by Melleus. The show was made possible by gracious support from sponsors such as 12ozProphet, Art Share LA, Cartwheel, Cool Haus, Edition One Hundred, Endless Canvas, Hit + Run, Karma Blast, Komodo, LA Taco, LAB ART, LALA Arts, Mad Props, Malleus, The Do Lab, Pabst Blue Ribbon and Warholian.

The evening was a major success, the two groups raised over $10,000 through the auction and cash donations which will go towards KarmaBlast’s current project of building a school for nomadic girls in Tibet. This is an impressive feat considering the project started in April 2012.

The show is the first of many more exciting events from TKU and KarmaBlast. The groups plan to visit more cities with their projections and host yet another art show in 2013.

-written by Keisha Raines with photos by Birdman for Warholian

Gregory Siff is a name that has been ruminating around Los Angeles for the past couple of years, particularly in the street art scene.  Recently the artist has transitioned into gallery work that further explores his particular unique abstract style.  Gallery Brown has recently decided to present Siff and his latest body of work entitled “Matter of Time”, which is an abstract look into the mind of the artist.  The paintings explore Hollywood backdrops, and the influence of fame and art…and how sometimes the two coalesce.

Warholian guest correspondent Jennifer Goff had a chance to sit down with Siff before his show…

Jennifer Goff:  Born in Brooklyn, you moved to L.A. to pursue working in film. How long after that did you start painting? What inspired the switch in creative focus?

Gregory Siff:  You don’t have to audition to make a painting.

Jennifer Goff:  If a painting isn’t going the way you want it to are you inclined to start over or embrace the idea of ‘happy accidents’?

Gregory Siff:  Most of the time I like working with accidents. That is a challenge and it looks good when you make it work. If a piece is beyond saving I paint like crazy over it till it’s thick and let it dry. Then start again.
They look thicker that way. I call them the scabs of a painting, wounds that look good.

Jennifer Goff:  Two previous solo shows “There And Back: LA/NY” and “G.” were one night only affairs, but your current show at Gallery Brown will be running for a full month after opening on October 20th. Is this indicative of a larger body of work or an increased desire to plant yourself in the art world more fully?

Gregory Siff:  I like painting stories. I like taking where I am right now in time and capturing it. Whether it’s paintings, sculpture, notes on napkin. Paintings are memories made concrete.

Jennifer Goff:  Your work encapsulates a freedom of form with abstract, line-driven shapes and imperfect splashes of paint. Do these compositions come to life with ease or do you have to take time to structure them with the right balance? I guess what I’m asking is, would you consider your process closer to true gesture work or do you use a more self-conscious approach?

Gregory Siff:  I have a moment where I go free form on everything in the room and then let it dry and edit out the parts that don’t translate to me. If a line is to manic or not alive I can go in and add the comment. Good paintings are like good conversations. If it’s all, How are you? I’m good. Then no one is going to want to engage in the paintings. I like to listen to music that fits my mood and then just go in on it.

Jennifer Goff:  With a style that seems to reference the neo-expressionism of Basquiat and the faux-naïve drawings of Ray Johnson, your paintings invoke an emotional response through a highly-charged simplification of representation and a palette confined to the primary colors red, yellow and blue. Is it too reductive to say you aim to express concepts in their simplest forms?

Gregory Siff:  I like taking the complex things in life, like heartbreak, highs, lows, death, love, fate, destiny, work and putting them through my mind and delivering them back the way I deal with it. Like an experiment of a person, I feel like I am in this studio painting and working and feeling and thinking for two months straight building these things and the pieces are all done and in the gallery and now that they are there it’s like little flicks of dna are on glass microscope slides and they are hanging on a wall for all to see. Scientists looking at it saying, “Oh he went there that night,” and, “oh this is where he was smiling.”  I love that concept. I feel that you’re a good expressionist if they can feel your dna.

Jennifer Goff:  You’ve mentioned including text within paintings to as a way to remind yourself of certain life moments you want to remember but you also use it as a way to communicate with your viewers. Is it odd to think how strangers will relate to your work or understand your intentions?

Gregory Siff:  No. As soon as you get on stage you have to be willing to share with everyone what breaks your heart. Cameron Thor told me that, a rad acting coach. If you know what breaks your heart, could be a good thing or bad thing, then it doesn’t matter what anyone thinks. It’s you and it’s real.

Jennifer Goff:  Do you think your work endears itself to a specific crowd more than others? More to a Street Art scene than a Hollywood one, or etc?

Gregory Siff:  My work is dug by the 13 year old getting up in the streets and the 50 year old with the Hockney in the living room.

Jennifer Goff:  One of my favorite things about street art is that it’s more geared toward collaborations than most artistic communities. You’ve collaborated a lot in the past, what have been some of your favorite examples? Do you take specific inspiration from any artists you work with?

Gregory Siff:  The artists I collaborate with are the ones that I am amazed by, wish I could do what they do, and they are forces in the world. Their hearts beat at a loud pace and I like that because I feel that in myself. In Matter of Time I collaborated with some of the best of my friends from the Creative Cartel and legends.  James Georgopoulos, RISK, Louis XXX, Cyde-1, 2wenty and MAR.

Collaborating for me is also about getting a good burger and a coke as well as painting a dope piece.

Jennifer Goff:  Thank you for taking time for all the questions on a busy day, Gregory! Congrats on your show!

- Warholian

For more on this show, visit Gallery Brown here:  http://gallerybrown.com/art/

To see more of Gregory Siff, visit his page here:  http://gregorysiff.tumblr.com/

In the early 80’s as cans clanked around subway cars in the tunnels of New York, one name stood out among the crowd. International graffiti artist Cope2 participated in the Wildstyle movement in 1980’s New York when he was living in the South Bronx as a Latino youth. Tough economic conditions slowly molded and redefined street artists at the time, and graffiti evolved as a way for youth to have a voice. Cope2 is now recognized for his participation in the 1980’s New York graffiti movement, and remains to be a representative within fine art circles today for his ever evolving body of gallery work.

The artist recently teamed up with gallery director Brooke Waterhouse of Project One to premier his latest series of works entitled “The Rebirth”. Within the work, the artist pays homage to his past with tight line work and even a classic Cope2 tag here and there. Vivid colors and washed out graffiti make up the many of the abstract works featured in the show.

In is within the abstraction of Cope2’s work where he blends graf-style with gallery presentation. This is not as easy as it looks, and there are varied thoughtful choices in many of the color and composition details presented in his work.

Today graffiti artists such as Cope2 are expanding into serious contemporary abstract painters, and they have the chops to do it as well. Cope2 is no exception to this, and his abstract works show us that he has a refreshing take on graffiti in a fine art world.

The paintings themselves collide with color and emotion, which is very representative of the entire Wildstyle movement. Cope2 is again evolving his signature look, and brings the emotion of his previous “throw-ups” in abstract collisions of paint. Quite literally where Jackson Pollack and graffiti collide, the work Cope2 presents us is a look into the very future of abstract art in America today.

In 2011 the artist was a standout highlight during Art Basel week in the Wynwood Arts District of Miami. A recognizable and respected member of the spray paint community, Cope2 presented his abstract style during the week with his show entitled “Rise to the Occasion”. The artist completed a large scale mural of his infamous Cope2 throw-up, and collaborated on smaller pieces with artists as diverse as Buff Monster throughout the neighborhood.

Cope2 is a seasoned graffiti legend, who also takes the time to explain his work to those that ask. It is this grassroots approachability that has made this man not only a legend, but a teacher. The artist continues to be seen as a leader in graffiti community, and is now validating the genre in the greater art world. His presence during Art Basel week did not go unnoticed, and he made an impression on the minds of many in the established art circles.

“The Rebirth” at Project One Gallery is a great introduction to the artist, and presents a solid blend of his past, while looking into the future of the abstract graffiti aesthetic.

Without a doubt, Cope2 still has a voice. It is loud. Abstract. And ready to be heard.

- written and photographed by Michael Cuffe for Warholian

“The Rebirth” runs from Oct. 3rd to November 10th at Project One Gallery in San Francisco.

For more info on the show visit: http://p1sf.com/events/cope2-the-rebirth/

Find out more about Cope2 here:  http://cope2art.com

Earlier this month, Lori Zimmer of Art Nerd New York brought her art historic eye to heliumcowboy gallery in Hamburg, Germany in a group show called George Hearts Maria. Challenging her idea of a group show, Zimmer curated a show based on a sometimes forgotten decorative arts movement- the lover’s eye. Thirty contemporary artists including Shark Toof, Beau Stanton, Jon Burgerman, Allison Sommers, Jean Labourdette and Molly Crabapple were invited to reinterpret the late 18^th Century trend, and the resulting pieces were installed in a site-specific mini gallery that invaded heliumcowboy’s already hanging group show.

In 1785, Prince George (later King George IV) fell in love with the widow Maria Fitzherbert. Their love forbidden by the king, they each had a miniature portrait painted of just an eye- so that it could be kept close to the heart, but also so that no one would know whose eyes they were gazing into. Being pre-photography, miniature portraits were a popular and portable at the time, but the eye miniature added an element of romance and secrecy. Although forced to marry others, George was buried with Maria’s eye miniature around his neck when he died years later.

The gallery is an experience itself, holding court in heliumcowboy’s “Summer with Friends” show. Artist Ryan Brennan designed Georgian and Victorian wallpapers, which are found peeling away from the outside of the structure. Looking abandoned and dilapidated, visitors are invited to pass through the door, carved with graffiti of lovers names, and into the mini gallery.

Inside, the gallery is a pristine Victorian sitting room. An emblemed gold door matches a white emblemed carpet. Creamy moldings encases the space which is adorned with wallpaper also designed by Brennan. Inside, the miniatures are displayed. Alone in the mini gallery makes visitors feel like a kid hiding in a fort…much like the love George and Maria had to hide.

The show ties in art history with an experiential installation that is not only of the ordinary, but fun. A limited edition, signed and numberd,specially priced print set including the works by Shark Toof, Allison Sommers, Jon Burgerman, Jean Labourdette, Beau Stanton and Molly Crabapple is available through the duration of the show exclusively from 1xRun!

Please link print set! http://1xrun.com/runs/Mini_Print_Set

-written by Molly Cotter for Warholian

For more on Art Nerd NY visit:  http://artnerdnewyork.com/

On any given month, a drink at 111 Minna will tease your senses with a delicious burn of the dark and quirky. However, if you want something smooth to swallow, try the alcohol. It’s with a taste for the surreal, that Minna has presented art goers with a curatorial slant that calls to the twisted, the weird, and the eccentric. Naturally, being a fan of strange and unusual things, I like this. I even stick around for a shot of Vodka, if it’s the weekend.

Recently, however, 111 Minna has given us something special. “Lethal Injection” appears to be a running commentary between four artists, Robert Bowen, Isaac Pierro, Nicolas Giraud, and Philip Lawson, with a special appearance by portrait photographers Ransom & Mitchell, who physically created the worlds of these artists in order to photograph them inside of it. It’s a spicy mixture of evil critters and “holy shit”.

It’s through a pretense of tongue-in-cheek humor that Lethal Injection connects on a deeper level. In a very real way, this show expresses concern for our society, and it’s a Low-Brow look at issues that weigh on our collective consciousness. Take Philip Lawson’s “Weapons of Light”, for example. Resin cast rifles that, literally, light up, each AK47 is named for one of the seven virtues: Forgiveness, Fortitude, Gentleness, Prudence, Charity, Faith, and Justice. The titles are, in no way, sarcastic, and each is meant to spin a more positive viewpoint of weaponry. No matter what your beliefs are, good timing cannot be argued. These pieces are presented at a moment when our society is further debating the issue of gun control.

Continued examination of the show pulls forward the paintings of pop surrealist Robert Bowen, who’s work often balances delicately between dark humor, and an underlying cynicism of religious, and cultural icons. It is the humor of these finely rendered oil paintings that relieve the tension we may sometimes feel, and, depending on the character depicted within each piece, the loss of a belief we may be projecting onto it. It’s work like Bowen’s that churn in your subconscious and unfold layers over time, asking you where you come from, and what icons you, as an individual, are most attached to. I can imagine how the works may grow as a viewer’s own opinions and sentiment expand over the years. In this way, the paintings are highly personal, not only to the artist, but to collectors.

If you need additional proof that Lethal Injection is a thoughtful show, we also have the works of Isaac Pierro and Nicolas Giraud, better known as 100taur. Giraud’s work compliments Bowen’s perfectly, riding the themes of pop, monsters, and religion. Despite the geographical distance separating these artists, Giraud being from France and Bowen from San Francisco, their work has a distinct commonality of thought, if not universal experience.

Of course, both artists are a perfect fit for team Ransom & Mitchell’s series of cinematic, artist-portrait photographs; the team likes to walk on the dark side. In Lethal Injection, their portraits are displayed among the paintings of the artists they portray. Although, it must be noted, that each portrait is, in itself, an artwork brought into being through a usually rigid medium. Each is a carefully orchestrated, multimedia production of creative energy, from set design, to make-up, lighting, and special effects. I relate it to a cool pairing of wine and cheese between all artists involved, and I applaud the collaboration between them.

Isaac Pierro’s large, illustrative paintings join the fold through colorful stylization, as well as its biographical nature. His work may best relate to Philip Lawson’s as both seem to come from a more literal place. Each painting is accompanied by an artist statement that reveals the artist’s life in a conversational way. There is no pretentiousness within the work at any level, and it’s genuine approach is much appreciated, if not, considered to be a rare quality in art.

I want to thank ArtPoint for inviting me to Lethal Injection’s private viewing and live artist talk; it was a great opportunity to gain insight into the worlds of these artists. ArtPoint does a great service for our community in its work to educate the public, and to highlight artists who rank among the most passionate. If you have a chance to catch an opening preview with ArtPoint, it is highly recommended.

- photos and review by Megan Wolfe for Warholian

(In addition to occasionally donating her literary and photographic talents to Warholian, Megan Wolfe is also a successful San Francisco/Oakland based artist.   Check out her work here:  http://megwolfe.net)

For more info on 111 Minna Gallery or Lethal Injection, visit:  http://www.111minnagallery.com/2012/lethal-injection-august/ 

Artist Lauren Napolitano of the Oakland/San Francisco art scene recently interviewed  artist Brett Flanigan.  The artist has traveled the country, creating multicolored works that are full of color and symbolism.

West Coast curator Terry Addison recently helped bring the artist to the Old Crow Tattoo Gallery, which has been primarily responsible for highlighting artists from Northern California’s East Bay. “Brett Flanigan’s work reflects on the state of our world today. He depicts a world where intrinsic shapes are incised by sharp lines, similar to the way a modern metropolis has the propensity to dissect and extirpate the nature surrounding it. In a time when globalization and a rapid spread of technology and information have led to homogenization, Flanigan imagines a world rewilded, in which feral beings are free to create their own unique cultures and traditions.” Stated Addison.  ”The intent of the work is not to condemn modernity, but rather to embolden the viewer to consider the state of the present as they look towards the future.”

Lauren Napolitano:  Lets get a little backstory on  you, for readers who aren’t quite familiar with your work yet. Can you tell us a little bit about the beginning of your creative endeavors?  What kind of environment did you grow up in? You are completely self-taught…yes?

Brett Flanigan:  I was born in Montana at the foot of the Rocky Mountains, but I spent the later part of my childhood in California skateboarding and playing in punk and hardcore bands. Art and creativity are very much a part of both of these things, although I never really thought of it that way at the time. I think being active in those subcultures definitely opened the door me to start making my own art though.  And yea, I never took art classes or anything, I do learn a lot from my friends though.

Lauren Napolitano:  What is your method of transportation these days?

Brett Flanigan:  Bike, train, walk, skateboard, car.  All of the above.  I’ve got a road trip, a bike trip, and a train trip planed out within the next few months.  I’ve been lucky/stupid enough to have a car again for the past year or so, which has been a blessing at times, but also a curse. Nothing beats the feeling of traveling by the power of your own body though. I really love to travel by bicycle when I have the opportunity.  I was reading recently that in some cultures traveling too quickly is frowned upon since it can lead to “soul lag”, where the body moves and the soul doesn’t have time to catch up.  I think that is a pretty smart philosophy.

Lauren Napolitano:  Skateboarding, punk rock, and train riding are all heavily steeped in tradition and also seem to be gateways to one another. How have these traditions affected you?

Brett Flanigan:  I don’t know if they are necessarily gateways to one other, or if they just attract people with similar philosophies.  Each of these things has a do-it-yourself, have fun, and do things on your own terms, ethic at its core.  I think that always holding on to that mentality is the most important thing I have taken away from it all.

Lauren Napolitano:  I admire the way you seem to balance the amount of works you produce within, as well as outside of the gallery space. Is there one you prefer?

Brett Flanigan:  I like to do both equally, but there is sort of a time and place for each.  When I’m home and I have access to a studio space the indoor work allows me to be more meticulous and more experimental in trying out new styles and themes.  The outdoor work is more raw and direct, the act of doing it can be sort of an energy outlet.  Balancing both is important, nothing beats the feeling of finishing an intricate indoor piece, then going out and releasing all of that energy by doing some outdoor work.

Lauren Napolitano:  Your most recent installation with the Tweens crew at Old Crow is awesome, and borderline “fantastical”. Reminds me of the childhood fort I wish I had…tucked away above everyone else…what inspired this?

Brett Flanigan:  It sort of started as this idea that I wanted to have artwork in the show that had an experience attached to it aside from just the simple act of looking at it.  As we started to look more critically at the space we realized that there was this big, beautiful enclave around the skylight that was always sort of overlooked, and that would be perfect for this idea of climbing up out of the gallery and into this alternate viewing space lit by candles and surrounded by textiles.

Lauren Napolitano:  The ladder leading up to it made me really nervous! How many people actually made it up to the top?

Brett Flanigan:  I think I saw maybe 20-25 people go up there at the opening?  It’s funny because the original idea was to hang the piece much higher up inside of the actual skylight.  The first time I climbed up there I realized how steep it was and how sketchy it felt, and that there was no way anyone was going to climb up that high, so we lowered the piece a bit to where it wasn’t quite so scary. I wasn’t really sure what to expect as far as what kind of response the installation would get.  I sort of decided that people would either love it or be totally annoyed by it.

Lauren Napolitano:  Last year was the second year you participated in Living Walls, Atlanta. Seems like a week long street art summer camp. What was your experience there?

Brett Flanigan:  Atlanta was a really great experience both years. Atlanta has an amazing community of artists, many of whom have become some of my very close friends over the past two years.  There is so much support for the project from the community out there and Monica Campana has really put her heart and soul into organizing it, which totally shows in how successful it has been. It definitely has the summer camp vibe which is another reason why going out there the past few years has been so much fun.  I’d love to go back again this year, but word on the street is that the conference is going to focus on female artists in 2012.

Lauren Napolitano:  Any ladies you’re hoping to see make the list?

Brett Flanigan:  It would great to see ladies like Mymo, Maya Hayuk, Fefe Talavera, White Cocoa, Swoon, or Solovei on the list.

Lauren Napolitano:  Whose work is getting you excited these days?

Brett Flanigan:  Rimon Guimarães, Christopher Derek Bruno, Drew Tyndell, 500m, Shrine, Eric Shaw, Read More, Remed, Monica Canilao, Ever, Kenor, etc.

Lauren Napolitano:  Which is more important? The memory or the experience?

Brett Flanigan:  The experience.  I think if you strive to be fully present during an experience you will gain the most from it.  The memories will follow naturally, whether or not documentation is present.  I think it is so counter-intuitive to see tourists trying to experience a new place while looking through a video camera all day.  Watching something through a tiny screen rather than viewing it in the real world.  That’s not to say that I am against documentation, but I think that documentation should come secondary to being present in the experience.  I feel like I probably miss a lot of good photos because of this theory, but I’m alright with that. They are all still in my head.

- written by Lauren Napolitano for Warholian

For more on Brett, visit his website here:  www.BrettFlanigan.com

Epilogue from Taylor Morgan on Vimeo.

D Young V and Hugh Leeman are Bay Area artists who, together with Eddie Colla, have collaborated for Epilogue, an immersive installation in Hold Up Gallery in Los Angeles. The show opens September 8, from 7-10pm, and features three visions of life after societal collapse.

Anderson: So tell me about Epilogue. How did you first get involved?

D Young V: ‘Epilogue’ is a three-artist installation project concerning life after the apocalypse. There is no concrete definition throughout this project of the cause(s) of this apocalypse because each artist is dealing with a different take on the concept.

Eddie Colla’s work concerns itself with death, archiving the past (victims of a potential catastrophe), and new organizations amongst the survivors. I believe his work reflects a very realistic and dark view of what the world may become directly after a global catastrophe. There is a certain desperation, grit, literalism and even social commentary displayed through his new body of work.

Hugh Leeman, I believe, has taken on a different role with his work. Whereas Eddie’s work may reflect aspects of our lives concerning social organization, death and catastrophe, Hugh approaches the subject from an advertising/consumerism perspective. Much of his work reflects issues of privacy, social networking and commercial advertising. Many of his painted portraits are random facebook profile pics juxtaposed over collaged magazine adds. He will also include pieces he created through reclaiming billboard ads. To me his work is a both an observation and a criticism on the direction our society is going with its over abundance of consumerism and advertising.

My work takes on a more militaristic/science fiction approach. To me, if Eddie’s work reflects life directly after the apocalypse, then my work reflects life generations after this event. I’m continuing on with a narrative I’ve been developing for a few years, and my work will explore the redevelopment of society, or the creation of an entirely new one. The weapons, helmets and other military-related gear display symbols and numbers used by developing organized military and tribal groups within this world. The colors displayed on these pieces imply a sort of peaceful approach to the rebuilding process. Although they are weapons, there use is not necessarily to kill or conquer, but rather to maintain, defend and even enforce if necessary. I have trouble believing (unfortunately) that most (not all) peace, social order, unification can be created/maintained without the use of strong militant force. The same goes for social and cultural evolution. The symbols displayed in my work imply that people have begun to develop new forms of language and communication years after the end of our world. Many of the symbols reference our modern day languages, but in a way that they are either being revisited or re appropriated. I think that my intrigue with this concept stems from a strong interest in cultures and where they derive from.

I personally got involved in this project through Eddie Colla. He was asked to show at hold Up Gallery in LA. He brought his idea to the gallery, they accepted. I think he chose me because of our friendship and past collaborations, since my work was already dealing with similar concepts to his vision; it made sense to him to invite me. Throughout the last few years Eddie, Hugh and myself have worked together numerous times, it only made sense that we show together under a single banner.

Leeman: I saw this as a fantastic opportunity to evolve my work in a new direction. As I’ve wanted to raise questions on our society and the times we live in. My high aspiration is that the work can be looked back upon and seen as a picture of a moment in time. I saw the shows concept of a post apocalyptic society really fascinating. I saw it as a chance to look back as to what may have caused this collapse. Wasn’t it right in front of us? Wasn’t it our desire to build more, consume more, and reach closer and closer to the sun until the wax holding our wings together melts, causing for our own precipitous crash back to the simple, archaic ways we thought society as a whole had left behind so long ago?

Eddie: Leeman, Young, and Colla were kicking around the idea of doing something in LA. Colla had worked with Hold Up Art in the past and wanted to do something new in that space.  We tried to find a point where all of our work intersects. The idea of this “epilogue” seems to be a natural progression for everyone’s work in one way or another.

What was your process for these works like? What has been your favorite part of the process?

D Young V: My favorite part of preparing for ‘Epilogue’ is the exact reason that it has been so challenging. All three of us involved are working in media that that previous to the project we were completely unfamiliar with.  It was not simply a matter of completing new work by the numbers to fill a large space. Each of us had to continually brainstorm for new ideas to bring to life. We scavenged the streets and junkyards for materials. Then we had to learn new media to apply to these materials. Then there were bought materials too; i.e.: replica rifles, old billboard adds, car parts, etc. that we learned to utilize in the project. It took me three months just to figure out how the paints and primers I was using fore my pieces worked properly. Additional time was taken to nail down exactly how I was going to use these new materials to best explore my concepts. To me, this has been the most mentally and emotionally challenging project I’ve undertaken to date. There has been a high level of stress, uncertainty and frustration with the execution of this work. Another great challenge was bring all three of our visions together in a collaborative effort. We’ve been forced to find ways to fuse three different artistic styles and ideas together. Not only on singe piece collaborations, but an entire gallery installation meant to reflect a single world / narrative.

Thus far, what I’ve taken from this project has been great. I’ve learned far better ways to work with other artists in the future. Additionally, the new acquired knowledge I’ve gained in new media, tools and techniques has been phenomenal. Everything I’ve learned this far I will further explore in future projects. I believe ‘Epilogue’ has opened me eyes to vast array of new ideas and also evolved concepts that I had thought of previous to the project. I am very grateful for that.

Leeman: After five years of finding my models living on the streets and developing relationships with them, to the point of feeling comfortable to bring them to my home and studio to pose for pieces or just hang out, I’ve moved in a direction that could easily be its polar opposite. My subjects are fans from my Facebook fan page, and outside of this we have no connection. I go to what are otherwise strangers’ pages and take screenshots of them and create my portraits from the pictures they post on themselves. Instead of painting on canvas, as I have for years, I’ve begun painting on advertisements I reclaim from billboards on nights Im out wheat pasting my artwork. I have set aside my oil paints and traded them to use carbon soot emissions to paint with. These pieces are a portrait of the 21st century in both message and medium.

The process as a whole has been incredibly refreshing as the surface my pictures are made on, the medium I’m using and the people I’m painting have all changed dramatically. Most of all I’ve enjoyed the conceptual change and that which I don’t control. In working with these new materials improvisation to your environment becomes the common thread throughout the process. Conceptually I feel as though I have begun looking at the forest and its systems as a whole as opposed to my previous five year project (with the homeless) where I looked intimately at a single tree in the forest.

At times it’s been challenging to work with others artistically. There is an element of letting go that can be frightening. As artists we become so used to controlling the nature of our creations. They are an extension of ourselves and who we are. In a way it is as if we are God to our work and one God suddenly asked another to be a part of its control, meaning a loss of its own control. As I create this hyperbolic simile I can’t help but imagine Jesus asking Allah and Buddha for advice on where to release the locusts.

Eddie:  The best part (of preparing for Epilogue) has been experimenting with new processes and new ways of making images. Working with new materials. Much of the work I have produced for this show involves found materials from my neighborhood.  Objects you find have there own set of characteristics. It’s not a blank canvas at all.  All these things have a history and part of that history is that they have become refuse, discarded. There’s some sort of redemption in that process.

This questions is for D Young V. Could you tell me about the weapons you’ve painted? What do they mean in terms of this total societal collapse?

D Young V: The majority of the weapons I’ve painted are from currently existing models, i.e.: Mac-10, M-16, P-90, etc. In a sense they are a reflection of our (my) obsession with weapon design. I suppose I’ve always has a slight fascination with weapons of any kind, particularly firearms. This I’m sure, is a common thing with most people especially males. Simultaneously, I don’t like violence. I’ve shot firearms only once in my life. The potential of what they can do to a living thing is terrifying. The experience frightened me. At the time I felt as though these tools were far too powerful for any human to possess. People are far too irresponsible to have such things.

However, the reality is that they do. Weapons such as these are used commonly throughout the world, as they have been for centuries now. Weapons are a part of everyday life whether you literally see them or not. They are used to offend, protect, enforce and maintain. They are used to uphold freedoms, uphold law, create fear, take from others, or prevent others from taking what belongs to you. Much of everything we know and have can be traced to the use of weapons. Social progress, technological changes, shifts in local or world power, cultural changes/ evolutions, etc.

People often underestimate the power and use of weapons such as these. Living in San Francisco, and growing up in a Punk scene: left wing politics, ideas of pacifism and hopes of peace come all too easy in many cases. There are far too many factors involved to create world peace, people getting along or a society (much less a world) without violence. To me, that will never entirely exist. Potentially we may come close, but never entirely. In general, respect for you fellow human should be standard. However, on a global level that becomes a tricky issue. Take into consideration; the difference in religions, political belief, and cultural ideas, huge divides in economic wealth amongst the world, and most importantly the ever-increasing lack of resources. All of that is the perfect foundation for war, as it has always been. Of course I am not so naïve to think it is nearly that simple. Some people have a lust for power, others a lust for killing, others don’t even have the genetic capacity to exist on a moral level that mist so called civilized people take for granted. With the complexity of the world and every individual person in it, violence will always be an issue. It’s simply in our nature. I think partially the weapons displayed in ‘Epilogue’ are a reminder of that.

To take things a step further these weapons are painted in way that implies hopes for peace, cultural unity and societal evolution. The colors I’ve chosen are made up of primarily variations on whites and blues. In a way it may seem like a contradiction, but humans are contradictory in nature. It’s the idea that inherently most people want peace and a connection with their fellow human. However, in this world (or any world) the use of weapons is still a necessity to create that. Considering that this a post apocalyptic world I would think the use of weapons would be a huge reality.

On a separate note I am in the process of working with another artist ‘ROTD’ in creating an array of weapons that are not necessarily modeled from today’s existing weapons. They are meant to look like future weapons that have been altered and reutilized in this new world. For instance if the world fell today, you would see variations on M-16’s, AK-47’s.,etc. If the world fell a few hundred years from now, what sort of variation on weapons would you see then? These new weapons are meant to look like they are older/altered models of weapons that do not yet exist. It would be like seeing a post apocalyptic Uzi variation at an art show during the civil war era. I hope that explains it. I am very curious about where technology will take us hundreds of years in the future. I often explore the ideas of how that will change us as not only a culture, but as a species. Once we have gone that far, how will we change? What also furthers my curiosity is if this ‘future’ society (which could be the furthest extension of our society) falls, what will be the new society to take its place later on. I think the world I’m looking to create through my work is the space in between those two worlds.

To better express this I’ll use the example of the Mad Max trilogy, which is more then typical of me. In the first installment ‘Mad Max’ you see the social deterioration of society. This is the last days of the world, as we know it, society is being held together by strings. There is still police, houses, families, trade, etc., but we witness the rise of gangs, tribal mentalities, and the failings of the system. You can tell simply by the type of police existing in this movie. They are rugged, gritty, and almost completely rogue themselves.

By the second installment ‘Road Warrior’ you see that society has totally collapsed, there is no law, no system in place. Everything exists in small pockets of people either defending the resources they have or violently attempting to take it from them. The people in this movie exist in the shadows of the old world, fighting to keep or take what’s left of it.

In the third installment, ‘Thunderdome,’ you begin to see the world starting to rebuild itself. You see it from two perspectives. Most of the adults in this movie have created new a law, trade, a new city, alternative fuel sources. They automobiles look entirely different then what we see in the first two installments. They are far more adapted to their situation. Although their world is a post apocalyptic world, they have become more civilized and less violent then in the previous movie. In my view, their laws are up help by violence, but that violence is used to prevent further violence, hence the idea of Thunderdome. However, their ‘society’ is still a reflection of the old world, but severely altered.

The second perspective in this movie is that of the tribe of children. None of them lived in the old world; all they know is the post apocalyptic one expressed in this movie. They have banded together and live separated from all adults. They are entirely new and fresh. It is doubtful that they can even read or write. Their communication is unique variation of English, and they use pictures inscribed on cave walls to visually express their stories. Their prophecy and only known history is based on relics of the old world. These relics are a photo slide show, items, and the downed airplane they find later on in the movie. In a way they have readopted these things to create something new based on what they know. As the movie concludes these children have moved past their cave community, started over in the remnants of a major city, begun to grow up and have children of their own. They are the foundation of a new society and culture. They are the future. Much of what happens in the world from there will be what they envision. Their history is new, their culture is fresh, and anything they discover from the old world will eventually be reutilized, readopted and redefined. That’s what fascinates me the most.

I suppose in the end I am looking express something similar to this. Rather then setting this apocalypse/new world in our generation, I want to explore the idea of creating it generations from now. This is a world where the past that is being discovered and reutilized is the remnants of the furthest possibly extension of our world. The people exploring these remnants are a generation that did not live in the world before them.

Hugh, I love the idea of using strangers’ Facebook photos to create your portrait. how did you come up with that?

Leeman: My actions are meant to mirror the actions of corporations. Taking something which is as intimate as a picture of yourself posted publicly and using it as I see fit for my own processes. As this can seem a bit strange, creepy, or maybe even exciting and inspiring my actions are meant to raise questions of our cultural deference. If one person does this and is making art shows from my intimate matters, what is the whole system doing and making from my private life I am making public?

I’m fascinated by social media and I am curious as to what is says about us, not so much as individuals, but on humans as a whole. Sometimes, I feel as though we are simply a small part of the whole blindly marketing ourselves to marketing companies and through thoughts of the butterfly effect I cant help but wonder what we are all in some small way responsible for, through our use of social media. Are we responsible, each in our own small way, for building media empires and new companies, as the backs of our “wall post” are what these institutions are built upon, and isn’t this massive yet new ecosystem currently seen as “to big to fail” phenomenally fragile?

Eddie, what has been the most challenging aspect of this show?

The most challenging part has been walking away from the way I usually do things and starting over to some degree. It’s an uncomfortable process filled with failures and rethinking.

What do you hope people take away from this show?

Eddie:  Solace.

Leeman: Ideally the show incites peoples’ curiosity, to question the system and society we are a part of. To extend the metaphor of the forest I spoke of earlier, where larger trees block the light of the smaller trees and this is causation of many small trees’ deaths, the larger then use that very death and decay as food to further grow themselves closer to the sun. However, these trees through unchecked growth become so big that their very sustainability is drawn into question. The work’s high aspiration is to be aesthetically appealing while beneath its beautiful surface lie the larger ideas and questions of our social and economic systems.

D Young V: I’m honestly not sure. On one hand I hope they take away creative inspiration. I believe the three of us (Eddie, Hugh, and myself) are doing something entirely new and exciting.

On the other hand, I hope they take away a certain level of gratitude. I think that we (Americans) live in a very privileged society for the most part. I believe there is a generally lack of empathy for the rest of the world surrounding us. Although there is no such thing (yet) as a post apocalyptic society, there are parts of this world that are very close too it (if not worse). Sometimes I think its healthy to wonder what would happen if everything gotten taken way. What sorts of things would you learn about yourself, about others? How would you adopt, how would you as an individual change? How would your moral and ethics readopt? What would be the developments our culture would take on later on long after this massive change? How would we evolve? What would we evolve into?

- written by Maria Anderson for Warholain

Visit Hold Up Art Gallery here: http://www.holdupart.com/
Eddie Colla: http://eddiecolla.wordpress.com
D Young V: http://www.dyoungv.com
Hugh Leeman: http://hughleeman.com/