Nathan Spoor

Nathan Spoor is an artist and writer living in Los Angeles. Spoor's paintings involve images of transition and growth; fluid narratives that chronicle a world rich with the mystery, joy, pain, and delicate balance of personal and spiritual evolution. Believing that continuous study of technique and process are critical to his own growth as an artist, no image or canvas is too precious to wipe, repaint, and even burn on his own journey to discovery and expression. In this way, Spoor makes a personal and transformative connection with each piece that for him lives on beyond the finished works. 

 Spoor is also an active participant in the art community, functioning as an insider on both sides of the curtain as a successful gallery artist as well as a curator. With his renowned standup paddleboarder and writing partner Greg Escalante, Spoor continues to bring challenging and informative text to Juxtapoz Magazine readers in an intelligent and educated fashion.
Tagged in: San Francisco , Painting Nov 02, 2009
Nathan Spoor
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I was introduced to San Francisco painter David Molesky's work a little while back by Greg Escalante. Through our correspondences I learned more about his complex intellect as well as the diverse nature of his work. Molesky is an avid traveler and adventurer, spending time exploring life and art throughout Europe and even taking on an apprenticeship with Norway's own living master, Odd Nerdrum. Though he pursues a variety of different themes or bodies of work, we'll concentrate on two of my personal favorites: narratives and wave paintings. Then we'll close it out with his latest forays: city scape paintings done entirely in the moment from various locales around San Francisco rooftops. And now without any further ado, the visual pursuits of David Molesky.

 

So David, please tell us a little about your background. Where did you grow up and what was that like?

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Tagged in: Painting , Los Angeles Oct 26, 2009
Nathan Spoor
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In our last little bit of time together, a few weeks back (click to check that post), I was going on an on about how important of a step it was to take things slowly. Slowly in beginning the new work, and slowly to approach the separate steps of beginning a painting. Now, I've usually looked at all the works as one long continuum that really didn't need that much processing. But now, I'm looking at the work differently. It's not different as if it's foreign or unknown, but different in that I'm beginning to understand more what "it" needs. It's not about what I want to happen, or want to see occurring. It's becoming apparent that the work itself wants me to understand what is happening. A reminder. A sweet kiss that stops time and allows all senses to function on a higher access level, an evolution distilled from elsewhere.

For now I'll stick to chattering about the three pieces that were in the sketch form last time out. The reason it might take longer than one might think to keep in touch about progress is simple: working on some 20 pieces at a time, most much larger and more detailed (for much later conversations) than the ones we're checking out. So it's just less confusing for the time being. And in reality, I'll waiver back and forth and probably sneak you a peek at those once they're a little further along.

So at this stage I've gotten the painting begun on the one above, "The Elegant Charade". It's now an 18 x 34 inch panel. When I say panel I may mean to say that this is a seriously heavy piece of wood. Next time around I'll choose a much lighter slab to work on, as this is almost dangerous hovering above me on my homemade easel situation (huge thanks to Dad for figuring out a space saving solution there). In my work, things work under the auspice of having a timeline, in the nature of a progressive narrative. Most of the time they go in sequential order, but it's not a rule that they should do so. This one is somehow tied in to the moment of unveiling as the male character in "The Arrival" makes his way into the carnival scene. To me it demonstrates the boy's crossing over from the physical world into the in-between dimension. It's the beginning to the real path of discovery. He has to make it through a substantial festive maze to reach his next phase of growth.
 
 
The next one that is in progress from our last viewing has also made it to the beginning painting stage, "In Cupid's Shadow". This one is a canvas measuring 22 x 42 inches. At this point it might be suitable to also tell you that each painting has a companion piece. If it's a male piece, there's usually a female counterpart - a balance in the narrative. This isn't always the case either. There are spaces in the series where there isn't a definite proponent, just a place where the thought resides for us to enjoy and interpret for ourselves. This piece is definitely more male, and has a female companion piece. In the paintings, the cities and playgrounds and physical structures are created as the female thinks and dreams. This piece shows a scene in which there has been so much development, so much dreaming, that an underground pocket of sentiment has been created. The beams of color represent different aspects of truth, and are converging on a spot that holds some part of the girl's most treasured self.
 
 

The last one we looked at was called "Self Portrait in the Library of Alexandria". This one really demonstrates the patience part of the process. I've decided not to proceed to the canvas with this one until the drawing is right. The samples above show most of the work done to get the best result. I had room on the paper to keep moving, and they ended up being just the right size to lay out like this. These occurred over several weeks, working on one at a time, one session each. Once one session was done I decided I'd start over right next to it and go a little further or try a different composition for some portion. The last one really does resemble and earlier piece, "Liberation, with String (2002)," but is more of an evolution of that transcendent moment than anything. You can see how the male character is seeking and growing by following him through "Living with Secrets / Terms of Precedence (2004)," and also "The Actuarium (2007)."
 
 
The Library of Alexandria was one of the treasures of the ancient world, and was supposed to have an untold wealth of knowledge about the world's rich history and wisdom before being consumed in an epic and tragic fire. There is some controversy over who actually started the blaze, or if it was an accident or not. But it is attributed to Caesar's Conquest of 48 BC, when Caesar set fire to his own ships when his communications via seagoing vessels were cut off. I've just had this tug of wonder about doing self portraits for a while now, and this is the setting or concept that I keep coming back to over and over. It's less literal that a true self portrait, as when I put the idea to physical form this is generally the visual dialect (as I've always felt that we each have a singular voice artistically, like a fingerprint)  that my hands speak.

So until next time, stay creative and don't stop dreaming. Feel free to email or comment below, all thoughts are considerable.
Always,
N

Tagged in: Untagged  Oct 01, 2009
Nathan Spoor
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Recently, I was granted the chance to catch up with Chet Zar about his latest body of work. These lush cum dark masterpieces are an amazing bit of a switch from his usual fare, and we get a sneak peek into his mindset just as the works are finished. Click here to find out more.

Chet Zar

To view more of Chet's work or to find out more about the artist, check out his site: www.chetzar.com

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Tagged in: Untagged  Sep 14, 2009
Nathan Spoor
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Eric White's most recent series is a very entertaining and stimulating exercise in visual interplay. His new works, focusing on pre-1983 album art covers, open this weekend as a solo exhibition at the prestigious Sloan Fine Art. I recently had the great honor of splitting hairs with the visual magician, getting his take on the thought and fascination with this particular offering. Take a few moments to view his new works, or any of his recent works on his site, and take in what he's doing. The short and exclusive interview is a fair primer to his new work, but in no way scratches the surface of what e is up to. Click here to read the interview, and read below for selections from Sloan Fine Art's release on the event.


From Sloan Fine Art's site:

Music has always been an integral part of Eric White’s life, and is instrumental to his studio practice. He credits the Beatles’ White Album with getting him through his parents’ divorce and there’s a soundtrack for every work he’s ever created. And of course, White is aware that music influences many of our lives in similar ways. What significance did the White Album have in others’ lives? Did anyone else see Frank Zappa’s film 200 Motels way too young? Who else saw Carole King as a surrogate mother and wanted to live in that room on the cover of Tapestry? After a strange dream set in a record store brought this obsession with music together with his love for nostalgia, appreciation of absurdist humor, and longtime fascination with alternate realities, Eric White was inspired to create the paintings for LP. 


For this new body of work, White takes the imagery and associations of music and album covers and filters them through his own vision and experience, and with great reverence for classic album cover design, reinterprets each original record. Employing a variety of techniques from trompe-l’œil to impasto, the LP sized paintings become fetishized objects, incorporating messages that range from cultural commentary to personal demons to silly jokes. Most every piece is instantly recognizable, but on further inspection the artist’s warped perspective emerges. For Get The Knack the band’s faces are garbled by information overload as the text reads “Too Much Content.” In Fleetwood Mac’s Rumoursa disparate collection of ominous imagery reminds us that in our hearts we are all “Terrified of Most.” And White works one of his basic philosophies for a happy life into Frank Zappa’s Hot Rats, with “Always Have Two Cats.”


As with Eric White’s previous work, this exhibition connects with the viewer via humor and nostalgia while encouraging us to question the reality we are being fed. The difference here is that for LP, White celebrates his inspiration and influences - the dream world, the lost art of the album cover, the irreverent parody of wacky packages, and his love of early pop art – much more directly, creating a specific and cohesive experience within the exhibition. 



Eric White earned his BFA from the Rhode Island School of Design. His work has been exhibited at the MACRO Museum in Rome, the American Visionary Museum in Baltimore, Galerie Emmanuel Perrotin in Paris, and Track 16 in Los Angeles, as well as in shows at several New York galleries including Freight + Volume, Cheim & Read, PPOW, Clementine and Derek Eller. He lives and works in Brooklyn.

All images and text used by artist's and gallery's permission.

Exhibition information:

Eric White
LP

Opening reception with e: Wednesday, Sept. 16, 6-8pm

September 12 - October 10, 2009
128 Rivington St.
New York, NY 10002


Tagged in: Untagged  Sep 03, 2009
Nathan Spoor
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I recently got a sneek peek at an artist who's work has really been growing by leaps and bounds, one Dan May. Hailing from Jacksonville, FL (via New York and Atlanta, GA), May takes the time necessary to really breathe life into his characters. These monstrously populated fantasy landscapes are more lush in person, and the detail is quite impressive.

        

When I asked him what the impetus was for creating these new beauties, May responded that he really wanted to create some new work that really pushed the narrative boundaries of his previous works. He claims that even with his energetic approach to vigorously immersing himself in new works, that he remained open to possibilities within the creative process.

It's been a busy year for May, with a move that entailed breaking down the entire studio from Atlanta, GA and rebuilding the it in Jacksonville, FL. On top of this his father became suddenly ill, demanding another break from the constant roll of the daily studio life. These challenges, he believes, have brought a new dimension into his work - a sense of urgency and delicate wonder. 

        

Another goal the artist has been pursuing is the constantly evolving stylistic need involved in the daily artistic chase. May is interested in being more demanding of his compositions and perspectives. His monster-scapes now contain a more rich palette and aggressive agenda for creating scenes of dramatic interaction.


With such a profound interest in his subject, it is no surprise that Dan May is achieving his delicate balancing act of infusing his true self into a pictorial world just beyond our reach.

If you'd like to see more of Dan's new works, check him out here: dan-may.com
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Fri Nov 20 @16:00 - 07:00PM
Ben Walker and Ingrid Marrero @ Paradise Perks, Irvine - Paradise Perks, 15475 Jeffrey Rd STE 450, Irvine, CA 92618
Fri Nov 20 @20:00 - 11:00PM
It Came From Left Field @ L'KEG Gallery, LA -
Fri Nov 20 @20:00 - 10:00PM
Nikki Lau - Pinata Living Room @ Medicine Agency Gallery, SF - Medicine Agnecy 1262 Mason St San Francisco CA 94108 (at Jackson)
Sat Nov 21
Incarnations of Matahari @ Home Restaurant, LA - Home Restaurnat/Bar, 2500 Riverside Dr. , Los Angeles, CA 90039
Sat Nov 21 @08:00 - 12:00PM
SEALEGS @ Frequency Productions, Orlando, FL - 1121 N Mills Ave | Orlando, FL 32803
Sat Nov 21 @10:00 - 05:00PM
DesignerCon 2009 @ Pasedena Convention Center, LA - Pasadena Convention Center
Sat Nov 21 @17:00 - 08:00PM
Winged Things & Improbable Machines @ Gifts Inn BoonsBoro, Boonsboro, MD - Maryland
Sat Nov 21 @17:00 - 08:00PM
Earth Engines @ Johansson Projects, Oakland - Johansson Projects, 2300 Telegraph Ave. Oakland CA 94612
Sat Nov 21 @19:00 - 10:00PM
'Euphoria Left The Room' @ Scion Installation, LA - Scion Installation LA
Sat Nov 21 @19:00 - 10:00PM
Birds of a Feather 2 @ Super7, SF - Super7 Store
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Art galleries, shops/galleries, and museums that we like, organized thus:

New York (Brooklyn, New York City, etc.)

Northern California (Oakland, Sacramento, San Francisco, San Jose, etc.)

Southern California (Los Angeles, etc.)

Elsewhere in the U.S. (Listed by state, alphabetically)

International (Listed by country, alphabetically)

 To submit your gallery for our guide, please send the following information to katie@juxtapoz.com
Gallery name, URL, street address including city, state, country, postal code, and phone number.