[{"id":"68278","title":"Hot Dogs Are The Best-Looking Food: Emilio Santoyo\u2019s Special Sauce","alias":"hot-dogs-are-the-best-looking-food-emilio-santoyo-s-special-sauce","catid":"13","published":"1","introtext":"Emilio Santoyo is a Michaelangelo from the Inland Empire, virtually chiseling something out of nothing on the regular. Often getting the sense that something was missing from his everyday snapshots, <\/span><\/span>","fulltext":"

\"Snack<\/p>\r\n

Kristin Farr<\/a>:<\/em> Where are you from and how did you get here? <\/strong>
Emilio Santoyo:<\/em> Born in Mexico City, raised east of LA in California. I grew up with a good mix of ravers and hip hop heads, which meant we went to a lot of parties and shows. On our way to a show in LA, a friend wanted to check out an art school. He was my ride, so I said, \u201cSure, why not?\u201d I learned that people were making a living doing what I was doing for fun. That school tour was the pivotal point, plus a few art shows, art school, a few parties, and a lot of misadventures with friends\u2014now we here!
<\/strong><\/p>\r\n

You make these weird IG albums that I live for. Give the people an example. <\/strong>
Oh, the carousel feature on Instagram. Love that thing. Having an iPhone, you are able to take a lot of very dumb photos, and those photos need homes. When I post something, I like to curate a nice scroll for everyone, like putting together a small photo zine. It\u2019s not a photo dump because I think about it. Generally, they are related to the illustration post in one way or another.<\/p>\r\n

So, one post<\/strong><\/a> is this super chill girl hanging out on the hood of a car on her phone. The phone has a Tweety Bird phone case, like all great phones do. Next is a detail shot, which, you know, cool, we need to see the tiny sunglasses even closer. Then you get to the last photo, a Flamin\u2019 Hot Dorito being dipped into Taco Bell nacho cheese. Pause.... I thought the color palette of the Dorito and cheese matched well with the skin tone of the girl and Tweety Bird. They look good together and both are hot. Hot 95<\/em>!<\/p>\r\n

\"Hot95<\/p>\r\n

Tell me more about your relationship to food; it shows up often. <\/strong>
Food is always a good co-star for any photograph, illustration, or movie scene. Incorporating food into my work as the main subject, or chillin\u2019 in the back, came from observing real-life photographs I would take. Food was always there, like a person photobombing all your vacation photos.<\/p>\r\n

Food in art sets the mood of what\u2019s happening\u2026 are they drinking champagne or just sipping a tall boy in the back of a pick-up? Food adds to the story and adds character to the people in the scene.<\/p>\r\n

Usual foods that make appearances are hot dogs, bananas, and probably a Big Gulp here and there. Hot dogs are, in my opinion, the best-looking food out there. I think cartoons helped out with that. That well-placed mustard and ketchup on top, with the wiggly line and such\u2026 it\u2019s very simple, minimal food. Hot Dogs are the Eames furniture of food.<\/p>\r\n

You\u2019re also connected to cycling designs. Do you love bikes?<\/strong>
Always loved a good bike ride growing up, but I think I went extra when art school started. I was drawing 100 heads in a week and I needed a different outlet, so I started going on more bike rides and meeting other people, who then became friends, who then started brands or had projects that I would help with.<\/p>\r\n

I regularly help on a friend\u2019s brand called TeamDream<\/strong><\/a> with graphics each season. They make awesome bike kits and other non-cyclist apparel in San Marino. It\u2019s such a great community of people, and bike rides are so fun.<\/p>\r\n

\"HotDog<\/p>\r\n

In terms of art supplies or digital tools, what are your first and most recent loves?<\/strong>
Art supply-wise, I found this pencil I enjoy using called a Fat Boy<\/strong><\/a>. It\u2019s a very fat, red, graphite pencil. I love the wideness of it and the texture it leaves.<\/p>\r\n

As far as digitals go, I have been trying to open After Effects<\/strong><\/a> more; adding subtle movement to things where I can. I also got some new brushes for Procreate that I am excited to use.
<\/strong><\/p>\r\n

Could you see yourself having an art show unrelated to design?<\/strong>
I would love that. I have some plans to do more analog work. Since having a kid, I think I\u2019m gonna try to chill on the monitor usage so he can see arms moving on paper and such. I think it\u2019d be good for him and myself as well. It\u2019s an added bonus if it leads to showing more of my work in a space.<\/p>\r\n

\"LunchThing\"<\/p>\r\n

Tell me about your Faux Real<\/em> series, animating on top of still images. They are very LA.<\/strong>
Super LA because, really, it\u2019s just me walking around, driving by, or stopping because something is interesting. It\u2019s a series that started with a big imagination. I find myself in places where I get a sense that something is missing\u2014something lives here, and it\u2019s on me to make this (mostly empty) space have life. I take the photo, and when I open it up on my laptop, life happens. It\u2019s one of my more favorite series at the moment, because it also encourages me to go outside. Maybe I need to work with more images outside of LA. Let\u2019s see where this series goes.
<\/strong><\/p>\r\n

What\u2019s the latest real-life street scene that got you?<\/strong>
The latest photo that is waiting for life is from when I was on a walk with Mori (the dog), and we came across this fully gutted car, no doors, no roof, fish tank in the back seat, but with 20\u201d rims. I don\u2019t know its story, but something will come of it.<\/p>\r\n

\"Keyboard<\/p>\r\n

Tell me about your cool family and dog. <\/strong>
I love my little family of three. They are my life and keep me going every day with their good morning smiles. From that point on, my family grows with those who live in the Inland Empire\u2014that\u2019s my Mom, Dad and three other siblings. Family keeps growing even more with friends who I love like they were family, from as early as high school. Family is important and they provide all the dogs I need in life.<\/p>\r\n

I actually do not have my own dogs. People around me have dogs, and I play with them, I watch \u2019em, and I live through them. The dog you are thinking about is probably the Shiba Inu named Mori. He comes around a lot more than others. He is my sister-in-law Ami's dog. She travels a lot for work, so sometimes I watch him, and we hang out all day. He is the most interesting dog I have in my life.<\/p>\r\n

Dog shout outs: Mori, Rizzo, Beezy, Dwight, Darryl, Otti, Migo, Moe, Noodle, Nori, Zoey and special shout out to DeeOhGee (RIP) and Dracula (RIP).
<\/strong><\/p>\r\n

\"VIP<\/p>\r\n

It seems like you moved away from linework to a more luscious, blobby style over the years. <\/strong>
The heavy linework never left, it\u2019s just a different item on the menu that is being outdone by the colorful, liquidy, airbrushed items. I did an Apple<\/strong><\/a> project recently that was linework-heavy, but most recently, people have been really wanting the blobby airbrush look. That look came from trying to achieve the Cholo BIC-pen look digitally. It has evolved over time real quick and is still changing. Right now, I like mixing the balance of flat line work with the 3D look.<\/p>\r\n

If your work had a scent and a soundtrack, what would they be?<\/strong>
Scent-wise, it would smell like the laundry room in a majority Latin apartment building\u2014a lot of fabric softener and fresh. Soundtrack-wise, maybe Beastie Boys<\/strong><\/a>\u2019 Paul\u2019s Boutique<\/strong><\/em><\/a> album, which isn\u2019t very LA of me to say, but I think, vibe-wise, makes sense\u2026.. Egg man driving around, king of the town, always got my windows rolled down. You know.<\/em>
<\/strong><\/p>\r\n

\"NewGame\"<\/p>\r\n

Like these mustache men you draw\u2026 Are they an alter-ego?<\/strong>
I\u2019d love to say these people are based off an old folk tale or something, but really, this group of mustache folk just showed up one day. They are illustrated versions of the voice I use when I am telling a story of me interacting with a stranger out in the world. My story voice usually sounds like a surfer-stoner-Cholo guy, no matter who I interacted with. It doesn\u2019t matter if it was an old lady, somehow my voice goes there. That\u2019s the mustache people; they aren\u2019t alter-egos, but more like background characters in my life story.
<\/strong><\/p>\r\n

Weird. I use that same voice for all men and strangers. Is that the universal stranger voice? <\/strong><\/p>\r\n

Maybe it\u2019s like accents. If you are from California, this is your stranger voice. Which now makes me super curious about how people on the East Coast tell stranger stories, or even in the South. What do people in Florida sound like when they tell stories about Florida men?
<\/strong><\/p>\r\n

\"Warp<\/p>\r\n

More twang? Ok, last question: which band\u2019s album cover would you love to design?<\/strong>
For street cred and love, holler at my man MadLib<\/strong><\/a> on whatever project he has going on. For that \u201cLook, Mom, that\u2019s my album that Jimmy Fallon<\/strong><\/a> is holding on TV\u201d feeling\u2014Justin Timberlake<\/strong><\/a>. Hit me up, JT!<\/p>\r\n

emiliospocket.com<\/strong><\/em><\/a>
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the magazine","published":"1","link":"\/in-the-magazine\/"},{"id":"26031","name":"spring2020","published":"1","link":"\/tag\/spring2020\/"},{"id":"26032","name":"spring 2020","published":"1","link":"\/spring-2020\/"},{"id":"26096","name":"spring","published":"1","link":"\/tag\/spring\/"},{"id":"26097","name":"issue 213","published":"1","link":"\/tag\/issue-213\/"},{"id":"26098","name":"issue213","published":"1","link":"\/tag\/issue213\/"},{"id":"6010","name":"emilio santoyo","published":"1","link":"\/tag\/emilio-santoyo\/"},{"id":"574","name":"animation","published":"1","link":"\/tag\/animation\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/a891a7ba12d2893c0fc67c93b02b3681_XS.jpg?t=1587426634","imageSmall":"\/media\/k2\/items\/cache\/a891a7ba12d2893c0fc67c93b02b3681_S.jpg?t=1587426634","imageMedium":"\/media\/k2\/items\/cache\/a891a7ba12d2893c0fc67c93b02b3681_M.jpg?t=1587426634","imageLarge":"\/media\/k2\/items\/cache\/a891a7ba12d2893c0fc67c93b02b3681_L.jpg?t=1587426634","imageXLarge":"\/media\/k2\/items\/cache\/a891a7ba12d2893c0fc67c93b02b3681_XL.jpg?t=1587426634","imageGeneric":"\/media\/k2\/items\/cache\/a891a7ba12d2893c0fc67c93b02b3681_Generic.jpg?t=1587426634","cleanTitle":"Hot Dogs Are The Best-Looking Food: Emilio Santoyo\u2019s Special Sauce","numOfComments":"0","text":"

Emilio Santoyo is a Michaelangelo from the Inland Empire, virtually chiseling something out of nothing on the regular. Often getting the sense that something was missing from his everyday snapshots, he recently started breathing life into them, revealing the saucy characters who belong there. This new Faux Real<\/em> series is only a tidbit of Emilio\u2019s illustrative breadth. Major snack brands can be found in his lunchbox of clients, and his endeavors are a smorgasbord of animation, design, analog art, and hot dog pals.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68272","title":"Anatomy of the Artist: Benjamin Spiers","alias":"anatomy-of-the-artist-benjamin-spiers","catid":"19","published":"1","introtext":"Fame came calling a little late in the day for the London-based artist, Benjamin Spiers, the former art instructor directly responsible for the development of Oli Epp's distinctive visual language (a<\/span><\/span>","fulltext":"

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Fame came calling a little late in the day for the London-based artist, Benjamin Spiers, the former art instructor directly responsible for the development of Oli Epp<\/strong><\/a>'s distinctive visual language (as confirmed by both parties). But it wasn\u2019t until Epp shared Spiers\u2019s personal paintings with the art world that the cognizenti started paying attention. With a trove of innovative works he'd created over previous years, Spiers\u2019s solo debuts in London and LA in 2019 were an instant success, leaving everyone hungry for more. <\/div>\r\n
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The exciting way he applies the meticulous Realist technique onto Surreal, Cubist, or even, Abstract imagery is an obvious reason to enjoy the works, but the insight gleaned from our conversation deepens this appreciation. Purposefully targeted, each oversaturated discoloration, anatomic exaggeration and textural glitch is part of Spiers's complex equation, which results in profound and beguiling visuals that successfully bridge the gap between classic and contemporary in rare form.

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Wink (bather)<\/i>, Oil on canvas, 39.5\u201d x 59.25\u201d, 2015-19<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Sasha Bogojev<\/a><\/strong>:<\/b><\/i> It's the day after your show opening, and we\u2019re speaking about your career, which has spiraled pretty quickly. How does that feel?<\/b><\/div>\r\n
Benjamin Spiers:<\/i> It\u2019s been so quick, and obviously exciting and amazing! Slightly terrifying. I had spent so many years in the studio working, developing my technique and my ideas, that I was able to incubate for a long, long time without external pressure. So, in a weird way, it's like I'm super prepared for it.<\/div>\r\n
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It feels like that to me, as well.<\/b><\/div>\r\n
The thing is, the external pressure is scary sometimes, and it feels like there\u2019s no allowance for paintings to fail. But, it also focuses my mind. It used to be that one in every five paintings wouldn't work. But now, pretty much every painting works. The pressure has helped clarify my ideas before I embark on making the paintings. It's novel and exciting.<\/div>\r\n
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That's actually what I was going to ask. How did that affect the process? Because you were talking about how much more decisive you've become.<\/b><\/div>\r\n
That's right. One of the things I've realized about working on one\u2019s own all the time\u2014without an external context\u2014is that you just spend too long polishing a painting. Making sure that every little aspect is completely perfect. I\u2019ve realized I don't need to do that. In fact, it can be unhelpful. The most important thing is that the idea is expressed clearly and strongly. 

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Neglected Waters<\/i>, Oil on Linen,  2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Speaking of being fastidious, the first time we got in touch was before the LA show and you were explaining how precise you are and how much layering goes into every inch of the surface. So, did that actually change in such a short period of time?<\/b><\/div>\r\n
I'm still pretty damn fastidious! When I look at my paintings, I can be properly critical. However, now the work is snatched out of the studio pretty quickly, so I can\u2019t do that self-critical thing so much. I think that's really healthy for the work and for my sanity. The technique's still there, but it's more focused, and I'm much quicker.<\/div>\r\n
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You\u2019re more purposeful?<\/b><\/div>\r\n
Exactly. But that sense of purpose doesn\u2019t only come from within. It\u2019s generated in response to poetry, movies or other works of art. I have so much fun trying to bring together my love of David Lynch<\/strong><\/a> or Tarantino films with 14th-century Italian painting, with a bit of Caravaggio<\/strong><\/a> here, some Picasso there. It might be boring if it was just a collage, but I filter it all through my internal process.<\/div>\r\n
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Now that you mention influences, I guess most evident to everyone would be Cubism? Is it <\/b>Picasso<\/strong><\/a> or is it Cubism in general?<\/b><\/div>\r\n
I think Cubism offered me a really, really interesting kind of structure to reinvent. Okay, I'm going to take a roundabout way of answering this. If you're painting a very realistic figure, people instantly kind of key into whether it's anatomically accurate. So if you don't get a hand right, people see it. You can intentionally distort things, but you're very much bound to a template that everyone has in their mind when they look at something\u2014and I do like that sometimes. But the thing about Cubism is that it's already so fractured that the expectations are set aside. It allowed me to think about space and figures very differently. It really freed me up to be more playful.

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Breathe<\/i>, Oil on linen, 22\u201d x 32\u201d, 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Tell me about the strange hands and fingers.<\/strong><\/div>\r\n
I have got quite weird double-jointed fingers that bend backward, not unlike those in my pictures! Aesthetically, I just find it really fascinating when fingers are kind of reaching out and bending back at the same time. You see it a lot in Japanese prints, particularly in Shunga<\/strong><\/a>. There's a suggestion of sexual ecstasy. It's so rapturous that the fingers are bending back on themselves, everything's curling up in pleasure!<\/div>\r\n
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Their color changes, too!<\/strong><\/div>\r\n
We know a lot of the world through the use of our hands, in terms of sense of touch, but also in terms of our experience with tactility and the different textures of things and communicating through gestures, but also bonding with other people. That sense of touch is massively important. I think we're primed to see hands as conduits of communication, even as they are in that natural form. But somehow heightening that communication with distortion, for me, is another vehicle to express ideas really strongly.

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Freckles<\/i>, Oil on linen, 12\u201d x 16\u201d, 2017<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Now I'm self-conscious about my hands! You referenced the sensuality of Japanese works. There's definitely a lot in yours, the nude females being the most obvious.<\/b><\/div>\r\n
Sex is a huge part of identity and our experience of the world. It shapes interactions in ways that are exciting, but also complicated. <\/div>\r\n
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And how do the super skinny subjects come into the picture?<\/b><\/div>\r\n
A lot of the time, the starting point for my work will be another artist's work. So, for instance, both of the very skinny figures in this show are based on Egon Schiele<\/strong><\/a> drawings. Succession, which initially started as a male figure, is based on an Egon Schiele self-portrait.<\/div>\r\n
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So Nude Nun<\/i> isn't just a way of trying to create a provocative image?<\/b><\/div>\r\n
Obviously, it's really provocative and I enjoy the provocation, but for me, it\u2019s also open-ended and ambiguous. I take a lot of pleasure in that ambiguity. I really love things that are very strongly themselves, but at the same time, don't resolve into something that's readily digestible.

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Succession<\/i>, Oil on linen, 40\u201d x 49\u201d, 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Another thing I noticed is the attention to musculature in some of the works. You clearly enjoy depicting anatomy.<\/b><\/div>\r\n
Oh, love it! It's tremendously enjoyable working, thinking about how the human body works. What muscle attaches to what joint and trying to make sense of that.<\/div>\r\n
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You like to exaggerate them a fair bit.<\/b><\/div>\r\n
I often distort things, but actually, I think one of the reasons that I can distort them convincingly is that I actually understand reasonably well how it works in reality. The most important thing isn\u2019t accuracy, but that it is convincing, or believable\u2014that it draws you in.<\/div>\r\n
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When you said believable, I definitely get that with the dog image. It looks real, but so surreal at the same time. Though it's not possible, as you look at it, you find yourself wondering where did he find a picture of such a dog like this?<\/b><\/div>\r\n
Exactly! The form is articulated very precisely. It has to be for the viewer to suspend their disbelief. You're looking at this thing that's simultaneously real and not real.

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Double Infinity<\/i><\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Do you regularly borrow from other work, and how do you feel about people making note of this?<\/b><\/div>\r\n
Absolutely, any painting is in a dialogue with other painters: living painters talking about other dead painters, engaging with their work, taking things from one painting and trying to reconfigure it. I sort of feel like I'm squarely in that tradition. The game of \u201cspot the influence\u201d is not massively interesting in itself, but it can be fun. <\/div>\r\n
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Do you ever get stuck, without a way to resolve the blend of influences?<\/b><\/div>\r\n
Less so these days, but I used to abandon a lot of work because I couldn\u2019t find a way to synthesize the disparate elements.

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Midnight<\/i>, Oil on linen, 70\u201d x 47\u201d, 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Since it sounds like most of it happens as you make it, how much do you prepare in advance?<\/b><\/div>\r\n
I don't start painting until I've got a fairly clear idea of what I want to do; but a lot of things can and do change. I do make preparatory drawings, and I've had phases where I've done very precise drawings, though not so much anymore because improvisation brings so much energy to the work. There's gotta be something at stake, a sense that it could all go wrong. It\u2019s like a film where everything spins out of control at the start and then the rest of the movie is devoted to coming up with creative ways of weaving the threads back together. <\/div>\r\n
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I love that analogy. So how do you get yourself out of that pickle?<\/b><\/div>\r\n
A combination of luck, practice, and unreasonable determination! <\/div>\r\n
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@benjaminspiers<\/a><\/strong><\/em><\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"Fame came calling a little late in the day for the London-based artist, Benjamin Spiers, the former art instructor directly responsible for the development of Oli Epp's distinctive visual language (as confirmed by both parties).\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"Fame came calling a little late in the day for the London-based artist, Benjamin Spiers, the former art instructor directly responsible for the development of Oli Epp's distinctive visual language (as confirmed by both parties). 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bogojev","published":"1","link":"\/tag\/sasha-bogojev\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/1978e7438eb346ba05b98c7b584284b2_XS.jpg?t=1587326139","imageSmall":"\/media\/k2\/items\/cache\/1978e7438eb346ba05b98c7b584284b2_S.jpg?t=1587326139","imageMedium":"\/media\/k2\/items\/cache\/1978e7438eb346ba05b98c7b584284b2_M.jpg?t=1587326139","imageLarge":"\/media\/k2\/items\/cache\/1978e7438eb346ba05b98c7b584284b2_L.jpg?t=1587326139","imageXLarge":"\/media\/k2\/items\/cache\/1978e7438eb346ba05b98c7b584284b2_XL.jpg?t=1587326139","imageGeneric":"\/media\/k2\/items\/cache\/1978e7438eb346ba05b98c7b584284b2_Generic.jpg?t=1587326139","cleanTitle":"Anatomy of the Artist: Benjamin Spiers","numOfComments":"0","text":"Fame came calling a little late in the day for the London-based artist, Benjamin Spiers, the former art instructor directly responsible for the development of Oli Epp's distinctive visual language (as confirmed by both parties).","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68264","title":"Kyle Dunn: Ghost World","alias":"kyle-dunn-ghost-world","catid":"30","published":"1","introtext":"\u201cLife imitates art far more than art imitates life,\u201d wrote Oscar Wilde in his 1889 essay, The Decay of Lying. Simply put, Wilde believed that we understand emotion through the lens of art, so the<\/span><\/span>","fulltext":"
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Kyle Dunn<\/h1>\r\n

Ghost World<\/h2>\r\n

Interview by Jessica Ross and portrait by Justin J Wee<\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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\u201cLife imitates art far more than art imitates life,\u201d wrote Oscar Wilde<\/strong><\/a> in his 1889 essay, The Decay of Lying<\/i>. Simply put, Wilde believed that we understand emotion through the lens of art, so therefore by design, artists have informed how we see the world around us. More recently, movies and television instruct our contemporary perception and how we approach our own understanding of the world. On a personal level, it\u2019s hard not to translate my feelings as characters in my own self-directed film, amplifying their respective tenor and casting my own experiences through a theatrical lens. Sometimes, the smallest everyday moments, like brushing my teeth or waiting for the train, appear somehow important or significant. Whether or not that\u2019s the case, it\u2019s a way to sort through some daily existential dread and lend a little drama to an ordinary existence. Taking those ideas and expanding them in his own practice is New York-based artist Kyle Dunn. <\/div>\r\n
 <\/div>\r\n
His paintings quite literally set a scene, staging figures among highly stylized backdrops, in the midst of a variety of activities and positions. Dunn\u2019s subjects emote expansively, some disassociate at a social setting, while others despondently daydream during ordinary daily activities. Through his unique bas-relief style and trompe l'oeil techniques, Dunn amplifies every emotion, propelling his characters\u2019 psychological state with such melodrama, it leaves ample room for a viewer\u2019s own contemplative rumination. Partially fictional and personal, Dunn\u2019s magnetic paintings are affecting, with heart-wrenching, honest performances from his own cast of characters. I was delighted to sit down with him this last fall to talk about his ever-evolving process, his measurable growth over the past year, and what it means to construct his own narratives through painting.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Stone Tea Room<\/i>, Acrylic on epoxy resin, plaster and foam panel, 48\" x 60\" x 2\", 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Jessica Ross<\/strong><\/a>:<\/b><\/i> There seems to be a clear tonal shift in your work in 2019, still fiercely compositional, but more gripping and moody in timbre and style. Can you elaborate on this aesthetic shift? <\/b><\/div>\r\n
Kyle Dunn:<\/i> I think there is something theatrical about freezing an image and turning it into a painting. For me, it is about digesting and reflecting on a certain emotion or hypothetical situation, then trimming off the fat so what remains is necessary\u2014in the same way that props and background in plays or film set the scene but don\u2019t pull focus from the action. Over time, I have been more inspired by film stills and their kind of visual logic.<\/div>\r\n
  <\/span><\/div>\r\n
For example, in the piece The Witch<\/i>, my initial interest was in painting a male witch, as this is often a female character, and wondering what that would look like. Witches have a sort of seductive element, an idea of wiles and scheming, that doubled my interest, as I have been making work where men are the objects of desire. He is lit theatrically from below, and the low camera angle is taken from George Romero<\/strong><\/a>\u2019s Night of the Living Dead<\/i> (1968), when Barbara is confronted by a zombie inside the abandoned house. The tilted camera is an old-school movie trick to translate this idea of menace or something being \u201coff.\u201d <\/div>\r\n
 <\/div>\r\n
While the Salem-era spindle chair and dead tree wallpaper reinforce things thematically, the heaviest lifting, of course, comes from the broom he is holding and about to mount. I wanted there to be humor to it as well. Dust clouds are being kicked up at his feet, which makes you wonder if he is, indeed, a witch, or simply a boy daydreaming about being one while doing the chores.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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The Witch<\/i>, Acrylic on epoxy resin, plaster, and foam panel, 58\u201d x 41\u201d x 2\u201d, 2019<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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As your process develops with these relief paintings, how has the 3D element become more prominent in your work? How do you emphasize the sculptural element?<\/b><\/div>\r\n
Working in painted reliefs means that I have to go into each with a firm plan. On a perfectly flat canvas, you are able to change your mind at any time. As the objects in my paintings have carved physical edges, they have to be followed once committed. I actually have grown to really enjoy this limit because it gives me something to work against and keeps my next moves clear, as there are not the unlimited possibilities you would have if the images were only paint. <\/div>\r\n
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I try to choose subjects that can really benefit from a hybrid two- and three-dimensional depiction, as this keeps the relief element necessary and not a gimmick of sorts. I often have transparent or reflective objects in my work, or pools of light across the composition, as these blur the line between two and three dimensions. For example, in Lover\u2019s Leap<\/i>, a moonlit window casts a trellised prison bar pattern over half the figure, who is sprawled (or as I like to think, splatted!) across the floor, morosely trapped in romantic indecision. 

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Lover\u2019s Leap<\/i>, Acrylic on epoxy resin and foam panel, 48\u201d x 66\u201d x 2\u201d, 2019<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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You had some major life moments this past year (going through a divorce tempered by substantial professional success). How has your personal life found its way into your work?<\/b><\/div>\r\n
My work usually draws from my personal experiences first, then my relationship and thoughts on pop culture second. But there is a big divide between the exaggerated emotions on display in art, and actual on-the-ground lived reality. As I work half-autobiographically and half-fictitiously, sometimes people assume that what I am painting is one hundred percent earnest, when it is really leaning into fantasy or cathartic bombast. So, while autobiographical in origin, they are more about blowing those feelings up past life-size, to the point of comedy or tragedy.<\/div>\r\n
 <\/div>\r\n
Take, for example, Patsy Cline, who I have loved since childhood when hearing my mom walk around the house singing \u201cCrazy\u201d<\/strong><\/a>. She is the queen of the jilted-but-helpless break-up ballad. A title like \u201cI Love You So Much It Hurts\u201d<\/strong><\/a> really says it all. There is a type of decadent, over the top emotion to these songs that is infectious. Yet, at the same time, her cultural output had nothing to do with the actual woman. She was a ballbuster who went by \u201cThe Cline.\u201d At the height of her fame, her opening acts were men, while she was the star attraction, and she refused to perform until she was given the top billing she deserved. The contrast between the dejection and helplessness in her songs\u2019 lyrics, and the assertiveness with which she lived her life, is fascinating and speaks to me as a painter with a proclivity for melodrama.

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Bent Gardener<\/i>, Acrylic on epoxy resin, plaster and foam panel, 48\" x 58\" x 2\", 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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When you feel like matching that same big emotional energy, what do you listen to? (Besides Patsy, of course).<\/b><\/div>\r\n
I actually do not listen to music in the studio. When I was younger, I had to have music and noise on all the time. My work involves a lot of repetitive labor and detail work, and music is too present in the room and pulls focus. I listen to audiobooks mostly, and tend to relisten to the same ones ritually\u2014it is fun to play against the same background and dip in and out. Some favorites are Blonde<\/strong><\/em><\/a> by Joyce Carol Oates<\/strong><\/a>, The Blind Assassin<\/strong><\/em><\/a> by Margaret Atwood<\/strong><\/a>, and, for a lighter fare, the podcast My Dad Wrote A Porno<\/strong><\/em><\/a>.<\/div>\r\n
 <\/div>\r\n
On that note of music, we\u2019ve talked a bit about the <\/b>Joni Mitchell<\/strong><\/a> song that explains that feeling of disassociation one gets at parties. Can you elaborate on how this is now tied in with your figures?<\/b><\/div>\r\n
I am often jealous of musicians! There is such an immediacy to the format of music, such a direct connection between artist and audience. A song can be carried with you, and used to reflect or reinforce a particular moment in your life. That being said, I sometimes take inspiration from songs, or will have a nascent idea that becomes more fully fleshed out with my reaction to one. <\/div>\r\n
 <\/div>\r\n
That was the case with People\u2019s Parties<\/i>, based off the Joni Mitchell song<\/strong><\/a> of the same name. I recently went through a painful break-up, and I was trying to go out and have fun but finding myself mimicking other people, even as I was floundering or just not feeling up to it. The song is so succinct and honest in its self-deprecating humor; it feels like a nervous laugh used to cover something darker and more slippery.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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People\u2019s Parties<\/i>, Acrylic on epoxy resin and foam panel, 54\u201d x 42\u201d x 2\u201d, 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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How are humor and pain in dialogue with one another in your work?<\/b><\/div>\r\n
There is a kind of humor and silliness to big emotions, at least when you are looking back and processing. Making paintings is a way for me to distill messy situations in my life down to something understandable. Sometimes that feels uplifting, sometimes it is like picking a scab, sometimes both. I can be too earnest.<\/div>\r\n
 <\/div>\r\n
If you had to choose three of your biggest inspirations from art history, who would they be?<\/b><\/div>\r\n
Recently, I have been looking at Goya<\/strong><\/a>. I was initially drawn to his work for the subject matter, specifically the Black Paintings<\/i>, as I myself was interested in the supernatural (the aforementioned witch). While I came for these darker works, I ultimately stayed for the tamer society portraits and pastoral scenes. There are lovely jewel tones contrasting these washy locales that I find visually captivating.<\/div>\r\n
 <\/div>\r\n
I have also been looking at Suzuki Harunobu<\/strong><\/a>\u2019s woodblock prints, which are wonderfully composed and give a sense of frozen action, or something taking place just off camera. And, lastly, Paula Rego<\/strong><\/a> is a longtime inspiration. She has a series of works including The Maids<\/i> and The Family<\/i> that, on the surface, are innocent enough, but seethe with psychosexual menace. She often based these works off plays, this being the case with the former painting, and I feel a kinship there.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Late Breakfast<\/i>, Acrylic on epoxy resin and foam panel, 38\u201d x 32\u201d x 2\u201d, 2019<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Being in this new transitional moment in your life, how important is change in your practice? How has your work developed in the past year?<\/b><\/div>\r\n
My painting took a big left turn in early 2019 while developing a body of work for Frieze NY<\/strong><\/a>. I am consciously trying not to take any element of the paintings for granted, including choices in palette, technique and subject. Which essentially means I am trying to be as specific as possible, or aim for visual legibility, with each part contributing to the whole story.<\/div>\r\n
 <\/div>\r\n
A recent body of work created for Miami Basel<\/strong><\/a> with Galerie Maria Bernheim<\/strong><\/a> explores the experience of romantic separation, the process leading up to it, and the untenable emotional positions people adopt to justify or rationalize their feelings. I translated this into cramping poses, whether on a ledge or terrace, that can\u2019t be held for long. It\u2019s that one second when a pendulum is still before it swings back the other way.<\/div>\r\n
 <\/div>\r\n
You\u2019ve talked about the importance of showing male sensuality rather than male sexuality. Why do you think representing more sensitive male subjects is important?<\/strong><\/div>\r\n
I am not sure if the distinction between sensuality and sexuality is important to me anymore. What has been useful to me in thinking about gender is considering what is allowed or expected of men, then portraying the opposite to highlight just how strange or stilted those expectations are.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Home Reno<\/i>, Acrylic on epoxy resin, plaster, and foam panel, 46.5\u201d x 40\u201d x 1\u201d, 2018<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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What does the ghost imagery in your new work hope to highlight?<\/b><\/div>\r\n
The initial idea of a ghost came about through a studio error. In Raft<\/i>, I realized I had made a mistake in carving one of the figures, so I moved his shoulders down a few inches in paint, but the carving remained. His older profile is still visible in the background, as, for lack of a better term, a ghost image. The figures in these paintings are half three-dimensional relief, and half painted illusion. A fully transparent ghost, therefore, is a way to really change the relief-to-painting ratio and favor the relief, which I had not done before.<\/div>\r\n
 <\/div>\r\n
I spun off conceptually from there in a few directions. One is from Margaret Atwood\u2019s The Blind Assassin<\/i>, from the viewpoint of an elderly woman who is peeved to realize that vanity does not diminish with age. I wondered if vanity would end in death, which became the title before the composition took shape (Vanity Never Ends<\/i>).<\/div>\r\n
 <\/div>\r\n
And concerning the idea of a ghost itself\u2014they go about routine, even after death, perhaps unaware that they are dead and need not carry on with mundane earthly things. We often see them trying to get revenge on wrongs inflicted on them when they were alive, haunting a particular place. In other words, on serious business. I am shooting for some levity with the idea of a vain ghost who is getting ready in the morning and checking out his reflection.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Vanity Never Ends<\/i>, Acrylic on epoxy resin and foam panel, 54\u201d x 42\u201d x 2\u201d, 2019<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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What\u2019s coming your way for 2020?<\/b><\/div>\r\n
I\u2019ve got a solo exhibition planned at P\u2022P\u2022O\u2022W<\/strong><\/a> in New York in May, followed by a solo show at Galerie Maria Bernheim in Zurich in November 2020. <\/div>\r\n

@__kyledunn__<\/a><\/strong><\/em><\/div>\r\n
kylejdunn.com<\/a><\/strong><\/em><\/div>\r\n

Portrait by <\/strong><\/em>Justin J Wee<\/strong><\/a><\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"\\u201cLife imitates art far more than art imitates life,\\u201d wrote Oscar Wilde in his 1889 essay, The Decay of Lying. 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Simply put, Wilde believed that we understand emotion through the lens of art, so therefore by design, artists have informed how we see the world around us.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68269","title":"Do You Compute? Selling Tech from the Atomic Age to the Y2K Bug, 1950-1999","alias":"do-you-compute-selling-tech-from-the-atomic-age-to-the-y2k-bug-1950-1999","catid":"25","published":"1","introtext":"On the wall of my childhood bedroom, I had a poster of Miles Davis, deep in thought, emblazoned below with the small rainbow Apple logo and simple statement, \u201cThink Different.\u201d This was long befo<\/span><\/span>","fulltext":"

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On the wall of my childhood bedroom, I had a poster of Miles Davis<\/strong><\/a>, deep in thought, emblazoned below with the small rainbow Apple<\/strong><\/a> logo and simple statement, \u201cThink Different.\u201d This was long before the iPod or iPhone, and there was no digital image or reference, nor a computer anywhere in the ad.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68476","title":"Gentle Reminders: A Conversation With Mark Whalen","alias":"gentle-reminders-a-conversation-with-mark-whalen","catid":"22","published":"1","introtext":"Over The Influence recently used the window of more relaxed public orders and measures in Hong Kong to open a new solo show and present their new downstairs gallery. The original, upstairs space intr<\/span><\/span>","fulltext":"Coming from the agency world of graphic design, Whalen's aluminum sculptures pay tribute the here-and-now and common objects we use on a regular basis. Boldly colorful, with an energetic balance of light and dark, his totem-like pieces comment on the craziness of life and the way we tend to amass unneeded materials in daily life. Using aluminum and pigment as his primary medium, the artist bestows these familiar items with a new, otherworldly appearance, achieving an illusion of delicacy and unattainability. Revolving his work around themes of work and play, the LA-based artist continuously adds new elements to his cast of objects, so we checked with him to learn more about how Gentle Reminders<\/em> are built.
\"mark
\"mark\r\n

Sasha Bogojev<\/em>: Where is the title of the show coming from?<\/strong>
Mark Whalen<\/em>: This new sculpture series, Gentle Reminders, is a reflection of daily life in the studio. Sticky notes are left on raw components and stuck to different areas of the studio as considerations for what is to come. Records are abused, left behind \u2013 crumpled signs that are clues for what was and what might be.<\/p>\r\n

Yeah, post-it notes and pencils seem to be a new addition to the work. How or why did those end up in your work?<\/strong>
Daily reminders? Right? Ha, ha, yes, it\u2019s essential to add new characters to this ongoing story. The entire narrative of this exhibition is a celebration of what we all go through during our workdays, or how we interact with each other while thinking up new ideas, or how absent-minded we all are and how we commit things to bits of paper to stay connected with our brains.<\/p>\r\n

Is this why you're using a foldout chair or cardboard box as a pedestal?<\/strong>
How do we occupy our living or working space? What fills the areas in our lives? Meaningful items help point us back to our daily realities. Once abandoned items find use again in the studio or if discarded, by someone scavenging around for utilitarian things.

\"mark<\/p>\r\n

Like the rubber gloves, I guess. Did that element get a new meaning these days?<\/strong>
A rubber glove is an object of service and safekeeping. Now, more than ever.    <\/p>\r\n

And what about the sausage\/balloon noses, are those a reference to Pinocchio and lying?<\/strong>
I like your interpretation.<\/p>\r\n

Did the way you see your work change with the current situation and the mandatory social distancing?<\/strong>
The work continually evolves and is deeply connected with what\u2019s happening out there. I think a lot about what is happening now, and have a lot of empathy for our current challenges. Like you, I would love for all of this to go away. Even before all of this, we all socially distance our lives. We control our lives with the touch of our fingertips. We swipe to like and tap for our hearts. We check-in, and our stats turn us down. Our daily habits are a light-hearted reflection in my work, and I believe we all need a gentle reminder to reconnect with what\u2019s humanly significant. We all wish for something we have had the pleasure of experiencing, now, more than ever.

\"mark<\/p>\r\n

So, how does it feel to be opening such an important show with the current situation?<\/strong>
Gentle Reminders has taken on new roles during today\u2019s pandemic. Honor. Gratitude. Thankfulness. These three words are personal, and my call to action to make art, share art with others, and in some form of luck, inspire others. I can\u2019t wait to connect with everyone again soon.<\/p>\r\n

So, do you think the state of the world might be influencing your next body of work and what are you currently busy with?<\/strong>
Yes. Always. There are a lot of ideas flowing, and the cast of objects, colors, and forms will continue to emerge. I am currently preparing for a show in Spain opening next year, and also, I\u2019m working on a new book, Ramble Ramble. In the meantime, please, maintain safekeeping and good health.

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kong","published":"1","link":"\/tag\/over-the-influence-hong-kong\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/6533de95cff6f53ddb57a7a8f347bfcc_XS.jpg?t=1586885997","imageSmall":"\/media\/k2\/items\/cache\/6533de95cff6f53ddb57a7a8f347bfcc_S.jpg?t=1586885997","imageMedium":"\/media\/k2\/items\/cache\/6533de95cff6f53ddb57a7a8f347bfcc_M.jpg?t=1586885997","imageLarge":"\/media\/k2\/items\/cache\/6533de95cff6f53ddb57a7a8f347bfcc_L.jpg?t=1586885997","imageXLarge":"\/media\/k2\/items\/cache\/6533de95cff6f53ddb57a7a8f347bfcc_XL.jpg?t=1586885997","imageGeneric":"\/media\/k2\/items\/cache\/6533de95cff6f53ddb57a7a8f347bfcc_Generic.jpg?t=1586885997","cleanTitle":"Gentle Reminders: A Conversation With Mark Whalen","numOfComments":"0","text":"

Over The Influence<\/a> recently used the window of more relaxed public orders and measures in Hong Kong to open a new solo show and present their new downstairs gallery. The original, upstairs space introduced Gentle Reminders<\/em>, the Asia solo debut by Mark Whalen<\/a>, while the new, lower-level space presented Rise and Shine, a group exhibition showcasing a selection of USA-based artists like Nicasio Fernandez, Ryan Schneider, Adam Beris, Jonni Cheatwood, Andy Dixon, Aaron Johnson, LeRoy Neiman, Erik Parker, Camilla Engstrom, Gosha Levochkin, and Josh Reames. The group show is somewhat of a sneak preview for four solo shows the gallery will be opening in LA soon, presenting works by Nicasio Fernandez, Austin Harris, Aaron Johnson, and Ryan Schneider, but we\u2019re eager to focus on the new body of work that the Australian-born artist is presenting in Hong Kong.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68263","title":"VHILS: Etching the Stories of a City","alias":"vhils-etching-the-stories-of-a-city","catid":"30","published":"1","introtext":"VHILS first soared into my radar around 2008. By that point, graffiti was already a massive worldwide culture that people from different fields were not only trying to understand, but also monetize.","fulltext":"

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VHILS<\/h1>\r\n

Etching the Stories of a City<\/h2>\r\n

Interview and text by Roger Gastman and Portrait by Jos\u00e9 Pando Lucas <\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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VHILS first soared into my radar around 2008. By that point, graffiti was already a massive worldwide culture that people from different fields were not only trying to understand, but also monetize. Of course, since there was money to be made\u2014and the medium itself is built upon an illegal foundation\u2014those same people searched for a marketplace moniker to help explain why a kid who painted his name in big bold letters on the side of a train was suddenly showing at prestigious galleries around the world and bestowing coolness on household brands.<\/div>\r\n
 <\/div>\r\n
The term \u201cstreet artist\u201d was there for the taking. Not a new term, having been used widely in the \u201cinternal community\u201d since the \u201980s, it really seemed to catch on, post Y2K, as more and more artists adopted and ran with the principles of graffiti.<\/div>\r\n
 <\/div>\r\n
I myself grew up as a graffiti writer, but I never thought about the term until the late \u201990s. Everything was just sort of graffiti or some sort of vandalism to me. However, art dealers, collectors and marketing directors around the new millennium began to see the potential in exploring such works and their inherent narratives. Just like the more traditional graffiti vandal, these street artists were out there, often under the cover of night, doing their thing. 

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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American Dreamers<\/i>, collaboration with Shepard Fairey, 2018. Photo by John Furlong<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Supposedly, a person who writes graffiti is driven by an adolescent desire to see their name widely, big and bold as possible. But the \u201cstreet artist\u201d takes the principles of graffiti, utilizes the street as a canvas, and packages it in a way that many felt was more important than the movement that spawned it. This wasn\u2019t the view of core members, but once the press latched on, the \u201cstreet artist\u201d label was hard to shake.<\/div>\r\n
 <\/div>\r\n
In the mid-\u201990s, there were graffiti jams all over Europe. Similar events largely dedicated to graffiti artists and hip-hop took place in the US, and with the rise of street art terminology in the mid 2000s, these events morphed into street art festivals. In the last five years, when dedicated mural festivals start to add to the already confusing classification system, artists from all over the world were lumped together. Hardcore graffiti writers, street artists, and some just there to paint something really fucking big, resulted in a stew of experiences and styles that further muddled the concept. <\/div>\r\n
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Regardless, it definitely was, and still is, a good thing that so much public art was happening. And all those cooks in the kitchen brought out the competitive spirit. The same drive that kids had making illegal works on the street was now brought to the walls, resulting in, \u201cHow do you stand out, and how can you make people notice when there\u2019s so much art on the streets?\u201d

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Bus takeover as part of Debris<\/i>, Hong Kong Contemporary Art (HOCA), 2016<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Enter VHILS.<\/div>\r\n
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Make no mistake, VHILS started as a graffiti writer. But as a street artist, he was able to put Lisbon and Portugal on the map. I\u2019ve come to understand, over the 25+ years of involvement with graffiti, that artists always want to push the boundaries of what\u2019s possible. It\u2019s my belief that VHILS didn\u2019t wake up one day declaring his wish to be a street artist, but was really more about, \u201cHow can I keep pushing myself to be better?\u201d<\/div>\r\n
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I think VHILS channeled his frustrations, most assuredly the result of walls being buffed, writers going over his work, and the social climate of the world, into what has become an unmistakable visual language that involves chiseling into a structure. Whereas spray paint has a finite shelf life on the streets, VHILS\u2019s etchings imbue the building or structure. I liken it to a scar on the human body; it can\u2019t be erased, and it comes with a good story.<\/div>\r\n
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People forgot VHILS ever did graffiti because his new work feels so personal and connected to his interests, like social causes, movements, and the people who shaped him in different international cities. That\u2019s not something he could portray with graffiti\u2014no matter how intricate the letter connections, how detailed the characters were, or what text accompanied his name. The artistic drive, plus a vandal\u2019s mentality, produced something really unique. 

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For me, VHILS became a graffiti artist who uses new mediums. Although he will probably always be labeled a street artist, VHILS is a student of graffiti who grabbed what he was doing and pushed it further. It evokes the spirits of REVS<\/strong><\/a>, COST<\/strong><\/a>, and FREEDOM<\/strong><\/a> in New York City decades earlier, when they drove themselves and changed the city. In my opinion, the best street artists are the ones who had just one goal\u2014to get up and do MORE.<\/div>\r\n
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Particularly, I like how VHILS has continued his expression in the gallery setting. I\u2019ve seen people attempt to scale their pieces to fit within the parameters of a museum or gallery space, only to lose the magic in the process. But VHILS finds a way of making his work feel as though it\u2019s been there a decade before the show took place, and will probably be there a decade later, when the building gets demolished. Timeless. <\/div>\r\n
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In late February at the Contemporary Art Center (CAC)<\/strong><\/a> in Cincinnati, Ohio, VHILS will mount Haze<\/strong><\/em><\/a> one of his most ambitious exhibitions to date. The culmination of work he\u2019s developed up until now focuses on contemporary urban development and the effects of globalization on our individual cultural identities, a monumental message addressing how we collectively sit at the forefront of a new decade, challenged with a world we\u2019ve created at dubious cost.

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Project for the new headquarters of GS1 Portugal, Center for Innovation and Competitiveness, Lisbon, 2016<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Roger Gastman:<\/i> With so much reflection in your work, what do you intend the viewers to gain by looking back?<\/b><\/div>\r\n
Vhils: <\/i>To me, the importance of the reflection I've been working on over the years lies mainly in knowing where we came from, in order to avoid past mistakes. This is an oversimplification, of course, and the idea is not really to force people to look back, but rather find the time to slow down and pay attention to what is going on around them today, to pay attention to the moment, to who we have become and how, to try to look beyond the glitzy facade of the global model of socio-economic development we follow, focusing on the deep shadows it casts on human beings around the world. <\/div>\r\n
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What I'm trying to highlight is how fragile what we have achieved, created or accomplished really is\u2014whether it is a system, a city, a country, a culture\u2014how a simple spark can blow up everything we take for granted in times of peace and prosperity. Underlying all of this is the unbridled process of globalization. It has brought many benefits, such as increasing cultural and individual interaction, fostering trade, creativity and innovation, as well as raising living standards and giving unprecedented material comfort. But globalization also poses great challenges and comes at great cost by giving rise to an increasingly homogenized transnational identity responsible for eroding the elements that once made each culture unique, placing a huge strain on the sustainable management of our planet's limited resources through an emphasis on overproduction and overconsumption. We have created a culture of obsolescence and fast-replacement as our vast social and national asymmetries generate new conflicts, forcing population shifts. We have gained much in terms of material comfort, but we\u2019ve given up so much in its place, and where does it lead? Becoming increasingly disconnected from the nature we came from and more dependent on technology, are we as free as we think? <\/div>\r\n
 <\/div>\r\n
In being increasingly connected, we ignore the fact that, in truth, we are becoming more and more disassociated from who we are and the natural world. These are some of the topics I have been exploring with my work. What I try to do is to create still lifes by capturing fragments of the present, and glimpses of moments of our contemporary cities contained in the materials they discard.

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Aldeia de Ara\u00e7a\u00ed, Piraquara, Paran\u00e1, Brazil, 2014<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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I\u2019m sure you\u2019ve heard this one before, but who and what is the significance of the people in your portraits?<\/b><\/div>\r\n
The use of portraits is a way of reflecting on the present human condition within the context of a global society that lives mostly in urban environments. It's a way of addressing issues such as how much of who we are is personally ours, and how much of it is owed to the places where we live, the adverts we see, the things we consume, the architecture and brick walls that surround us every day. Where do our aspirations come from and what are we really built of? In this day and age of vacuous celebrities, I make an intentional choice to highlight the value of ordinary people who I view as the unsung heroes of everyday life.<\/div>\r\n
 <\/div>\r\n
Inspiration for my portraits comes from my travels and work experiences in different cities, from photographs I take myself, or find while researching historical archives related to a particular location, and even from glimpses of images that somehow become ingrained in my memory. Sometimes I\u2019ll use composites, creating a new image that can represent people in general, while not depicting anyone in particular. It all depends on the nature and scope of the project. Some of the real people have a specific connection to the location. In some of the larger projects, especially those involving a community, this involves getting to know them, sharing experiences, listening to their stories and concerns, photographing them in their environment, and then carving their portraits where they have a particular connection. <\/div>\r\n
 <\/div>\r\n
In other cases, when I arrive in a city, I might walk around the streets, and simply ask people if I can take their photo. I explain what I want to do with the image and ask them a few questions. Even if it's a short conversation, I always like to have a sense of who this person is, where they come from, what they do, what they like, but also if their city and culture has changed much over the years and how\u2014things like that. <\/div>\r\n
 <\/div>\r\n
A portrait speaks of identity and human nature, and my pieces, in particular, seek to explore poetically the intimate relationship between the city and the people who live there, how both are locked in a cycle of reciprocal shaping, each contributing to the other's character. The city is fundamentally the people who helped shape it, but while doing so, the people are also being shaped. By carving a portrait on a wall, I try to reveal some of the city\u2019s older layers, making them part of the piece. While expressing something of the history and the life of a given place, these contrasting textures also speak of our own layers, our own wrinkles, our own personal history.

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Portrait of Ces\u00e1ria \u00c9vora (1941-2011)<\/i>, S\u00e3o Vicente island, Cape Verde, 2019<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Having exhibited worldwide, are there key differences in how different audiences interact and communicate with your work?<\/b><\/div>\r\n
It varies from individual to individual more than culture to culture. Which, in itself, speaks volumes on how, by being subjected to the same elements due to the process of globalization, we are growing increasingly alike around the world.<\/div>\r\n
 <\/div>\r\n
I once looked at a material list for a large-scale piece you were doing and was astounded by the physical demands. From the many drills and hand chisels, the physical nature of creating your work requires grit, as well as finesse. This is a process you can find in artists\u2019 studios but not usually with such scale. How do you maintain such momentum in the work you produce, and what are the challenges working this way outdoors?<\/div>\r\n
When I first started, it was complicated, as I did everything on my own. But as my work progressed, I reached a stage when I realized that I had to set up a team to help if I wanted to keep on creating bigger and more sophisticated pieces, especially when working outdoors. I'm lucky to have brought together a talented and multi-skilled group of people who help me with issues regarding logistics and production. This enables me to focus on the creative side of things and the prep work before a piece is executed. <\/div>\r\n
 <\/div>\r\n
It\u2019s still complicated to organize and develop, but a great help to know that we can tackle any project anywhere around the world by following a series of procedures. We don't just walk up and start improvising. When traveling, we take some of the tools, but source the rest on location, and most of the work I do in the streets nowadays is sanctioned, so we have all the permits and all. When we arrive at a wall, everything has been prepared beforehand. There are always last-minute details, but it's mostly just shifting into gear and carrying out a project that is well defined. We're still pretty young and somewhat fit, so that helps with the demand of working with heavy tools. In a sense, we have more in common with a construction crew than an art studio!<\/div>\r\n
 <\/div>\r\n
The same goes for my studio work, where everything is so organized that most of the challenges have been dealt with already. But I also do a lot of experimentation, research and development, which, to me, is the most exciting part, and that is always riddled with challenges and mistakes. This is all part of the process and always seen as positives, as they point to creative solutions and new lines of work to explore.<\/div>\r\n
 <\/div>\r\n
Process is also part of the message contained in my work. The choice of materials, tools and process is not random; they are all very significant. I'm in constant dialogue with destruction as an act of creation\u2014which, when you think about it, is not very different from any other artist who will destroy a white canvas by covering it with layers of paint. I love this idea of having dialogue with the materials, with the inherent chaos of their inherent history. The layers that build up chaotically in these materials\u2014walls, wooden doors, and amalgamations of billboard ads\u2014are the color palette that fill the image I want to extract from the structure. I never know what I'm going to find, and that's what I love. I'm not exactly making what I want to create, but creating a dialogue with the chaos that\u2019s already there. All of this is very similar to how human beings shape their identity, so, to me, there is a clear connection between these two things.

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Explosion work, 2019 <\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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How do you feel about being termed a street artist with such a heavy background in graffiti?<\/b><\/div>\r\n
Well, coming from graffiti, I have never been comfortable with the terms street artist or street art, especially when applied to my work. Then again, these are simply labels, a way of organizing things neatly in a box. I understand they can be useful to many people, but I just don't really identify, and I think they are somewhat limiting. I create work in many contexts, both indoors and out, and all of it is art, pure and simple. It owes a lot to graffiti and it owes a lot to the way it developed in the streets, but it's no longer the former and it's not limited to the latter. It's just art.<\/div>\r\n
 <\/div>\r\n
From the countless billboard ads to the doors, how do you source all the global material that goes into your work?<\/b><\/div>\r\n
For exhibitions, I always try to source most of the materials from sites in the city it is being presented, commonly blended with materials sourced from other locations to tie in as a reflection on the present global reality I've been developing. So I might create a piece with an overlay of billboard ads from Hong Kong, Lisbon or New York with a portrait of someone from Brazil, for example. It's interesting to see how such things are so alike in these different corners of the world due to our homogenized consumption habits. The only thing that changes is the language.<\/div>\r\n
 <\/div>\r\n
The layers of billboard ads are removed from the streets, the doors and other wooden components are taken from derelict buildings or sites, sometimes obtained from companies specialized in salvaging old construction fixtures and materials. For these, I try to work with materials the city discards, which also speaks of the waste generated during a city\u2019s cycle of destruction and creation.

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The MIlls<\/i>, Hong Kong, 2015<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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What has been your biggest challenge with this upcoming exhibition? And what are you most excited about?<\/b><\/div>\r\n
The biggest challenge has been the scale of the whole show and working to adapt the installations to the building's characteristics. I'm very excited to be presenting a project which I have never done indoors before, but I can't reveal it for the time being. I'm also excited about the opportunity to show my work in such a prestigious institution which has worked with many artists I've so admired since first starting out.<\/div>\r\n
 <\/div>\r\n
VHILS\u2019s exhibition, <\/i>Haze, is on view at the Contemporary Arts Center, Cincinnati through July 6, 2020. <\/i> <\/div>\r\n
@vhils<\/a><\/strong><\/em><\/div>\r\n
vhils.com<\/a><\/strong><\/em><\/div>\r\n
 <\/i><\/b><\/div>\r\n
Portrait by Jos\u00e9 Pando Lucas<\/a><\/strong><\/em><\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"VHILS first soared into my radar around 2008. By that point, graffiti was already a massive worldwide culture that people from different fields were not only trying to understand, but also monetize.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"VHILS first soared into my radar around 2008. 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By that point, graffiti was already a massive worldwide culture that people from different fields were not only trying to understand, but also monetize.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68451","title":"Taking a "Raincheck": A Conversation with Louisa Gagliaridi","alias":"taking-a-raincheck-a-conversation-with-louisa-gagliaridi","catid":"19","published":"1","introtext":"Louisa Gagliaridi\u2019s debut solo at Galeria Dawid Radziszewski, February 28 through March 28, 2020, in Warsaw, Poland happened in the nick of time, giving us the opportunity to view the everyday thro<\/span><\/span>","fulltext":"

\"LG\"
\"LG\"
Intrigued by her visuals and modern, technical approach to art-making, we got in touch with  Louisa Gagliardi to talk a bit about Raincheck and her practice.<\/p>\r\n

Sasha Bogojev<\/em>: How would you describe the common theme that pervades your work?
<\/strong>Louisa Gagliardi<\/em>: I would say the common theme would be our lack of perspective, the inability to face away from our reflection, or to face reality altogether, unable to connect with the world around.<\/p>\r\n

The paintings could suggest upcoming or past little moments of chaos: a flaming cocktail on a flammable rug, a drowning rose, a concentration of cute but slightly worrisome white rabbits with red eyes\u2026 In the meantime, amused by the protagonist's lack of awareness and their navel-gazing, the inanimate seem to take a life of their own. They run free and maybe even ignite this little chaos at the expense of their hosts.<\/p>\r\n

Where do you find inspiration?
<\/strong>Inspiration usually comes from little moments I encounter. An interesting reflection in a window or a puddle, an ad in the street, scenes from movies or cartoons, novels, a moment in a Renaissance painting. I usually write or sketch these ideas down quickly, and often, they are really funny to revisit, as they don\u2019t make much sense, especially the worded one. 

\"LG3\"<\/p>\r\n

And who are your main artistic influences?  
<\/strong>As for artistic influences, it depends on shows. For my last show at Dawid, I really wanted to add more texture to the works, so I kept going back to Pierre Bonnard for that. My phone is full of his paintings at the moment. Of course, I have a million more influences, but I\u2019ll keep it simple\u2026<\/p>\r\n

What type of techniques and materials are you currently using?
<\/strong>I use mostly Photoshop, a lot of smudge tool going on, a lot of burn and dodge. I print on a PVC\/Vinyl material. Basically the material used for outdoor advertising, but not as coarse.

\"LG2\"<\/p>\r\n

What draws you to such an unorthodox technique, and how do you achieve the texture and manual feel of the works?  
<\/strong>I like it\u2019s almost satin skin-like feel. Once printed, to enhance some parts of the image, or add texture, I will add a layer of different varnishes, mostly gel medium or nail polishes. <\/p>\r\n

What draws you to create such a unique aesthetic?    
<\/strong>What drew me to these techniques is that I always wanted to paint but never had the patience\/skills to do it properly, so I turned to the computer. It has taken a few steps to arrive there, and I\u2019m still improving. It\u2019s exciting, as the more I \u201cmaster\u201d the technique, the more doors it opens.  

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Louisa Gagliaridi<\/a>\u2019s debut solo at Galeria Dawid Radziszewski<\/a>, February 28 through March 28, 2020, in Warsaw, Poland happened in the nick of time, giving us the opportunity to view the everyday through her vapory, fluid reflections, just before we were all sent scuttling indoors to do our own reflections. Otherworldly visuals form a captivating contemporary surrealism in hypnotic works the Swiss artist imbues with a flat, ethereal atmosphere. In visual language, in which the material and surface seem to sublimate the physical, Gagliardi creates an alternate reality where different rules apply. A great part of the uniquely synthetic appearance of her work comes from the fact that her creative process doesn't include classical painting methods. Working on blown-up PVC prints as the main technique, her practice continuously switches between the analog and digital, conventional and progressive. From sketching over digital painting, to hand-enhancement, each aspect of her work seems to be a leap out of the ordinary.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68262","title":"Sieben on Life: Before it Goes Public","alias":"sieben-on-life-before-it-goes-public","catid":"24","published":"1","introtext":"Many years ago, a friend of mine appeared on a cooking program on PBS. The filming occurred in her home and she had to get signed agreements from artists whose work adorned her walls in order to incl<\/span><\/span>","fulltext":"

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Fast forward a few years\u2014a friend of mine calls after watching the movie Role Models<\/em> in the theater. A quick Google search just let me know that was 12 years ago. Twelve years?! How the hell did that happen? It honestly feels like three years ago. Do you ever feel like you\u2019re in a simulation that is incrementally speeding up? Does it ever feel like the cold grip of death is racing towards you faster each second? No? What the hell were we even talking about? Oh yeah, some old art of mine.<\/p>\r\n

Okay, so my friend calls and says, \u201cHey, I just saw your High Five print in Role Models.\u2019\u201d A few days later, I went to see the film to verify the claim\u2014and there it was in a house-party scene, my print on the wall, projected onto a 15-foot-tall screen. Oh, I\u2019m getting paid, I thought to myself as I left the theater. But somewhere deep in my subconscious, a tiny voice was peeping up. \u201cRemember that contract?\u201d It said? Eventually, that thought made its way to the forefront of my cerebral cortex and I went digging through my files. And there it was\u2014a contract I\u2019d signed years earlier granting a set-design company the rights to use my High Five<\/em> print for a PBS cooking show\u2014and for anything else they wanted, for as long as they wanted. I had signed the paperwork assuming it was just for a PBS show, but didn\u2019t read it closely enough to realize I was signing away the usage rights of the artwork in perpetuity.<\/p>\r\n

Long story short, I didn\u2019t get paid and I\u2019ve since seen the art print in other films and shows. I\u2019m not mad about it\u2014I just took it as a lesson to fully read anything onto which I\u2019m signing my name, and I encourage you to do the same. If you get confused by contracts and need some help, ask your buddy who is always going to jail\u2014they probably know a lawyer or two. \u2014Michael Sieben<\/a><\/strong><\/em><\/p>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"\"},{\"id\":\"2\",\"value\":\"\"},{\"id\":\"10\",\"value\":\"\"},{\"id\":\"9\",\"value\":\"\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"\"},{\"id\":\"16\",\"value\":\"\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" ","created":"April 06, 2020","created_by":"18542","created_by_alias":"","checked_out":"0","checked_out_time":"0000-00-00 00:00:00","modified":"2020-04-06 17:45:58","modified_by":"18541","publish_up":"2020-04-06 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Many years ago, a friend of mine appeared on a cooking program on PBS<\/strong><\/a>. The filming occurred in her home and she had to get signed agreements from artists whose work adorned her walls in order to include the artwork on the show\u2014one of the artists being me. I gladly signed the contract because I grew up on Sesame Street<\/strong><\/em><\/a> and The Electric Company<\/strong><\/em><\/a> and have a very nostalgic response when I think of PBS. That chunky PBS logo? Love it. So anyway, I signed the contract after giving it a very quick once-over.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68431","title":"Katie Kimmel & Lorien Stern On Their New "Very Rare" Show @ Hashimoto Contemporary","alias":"katie-kimmel-lorien-stern-on-their-new-very-rare-show-hashimoto-contemporary","catid":"23","published":"1","introtext":"As we all adjust to the virtues of \u201cvirtual\u201d gatherings, where black sweats replace black leggings and jeans, art openings still hum with anticipation.  This weekend our friends at Hashimoto<\/span><\/span>","fulltext":"

\"Katie
\"Katie

Jennifer Rizzo<\/em><\/a>: I read somewhere that you met through Instagram, and have since become great friends.
<\/strong>Katie Kimmel<\/em>: I followed Lorien on Instagram and went to a Pop-up event in LA to meet her. We had a nice conversation, she gave me a pin and I even called someone after to tell them that I had made a new friend! Months later I went to another pop-up to say hi wearing the gifted pin, she said \u201ccool pin\u201d and I said ~thanks someone really cool gave it to me~ and she said \u201cnice!\u201d. I realized then she did not remember me and I QUICKLY left - we never spoke again.<\/p>\r\n

What kind of pin was it?
<\/strong>KK: A little blue shark.<\/p>\r\n

Lorien Stern<\/em>: LOL I do think I have some sort of face blindness disorder and a horrible memory. Katie later tagged me in a pic of her holding one of my sculptures with her dog, Pony, humping her leg. I thought it was funny and it led me to seeing a drawing she posted that featured a bunch of dogs jumping\/dancing and it said \u201cthe very best time ever.\u201d It reminded me of one of my favorite dreams I had where dogs were jumping and once they reached peak height they would whisper \u201cyes.\u201d It was a very happy slow motion dream. So I bought the print and told Katie we should hang out sometime.<\/p>\r\n

KK: Oh right we did speak again!

\"Lorien<\/p>\r\n

That sounds like the absolute best dream (and the very best time) ever! The theme and title of the upcoming exhibition is Very Rare<\/em> and you interpreted it in distinct ways. Katie, you created a series of kitschy memorabilia reminiscent of what finds in a Hallmark card store, as well as imagined trophies for unique situations. Lorien, you fused the theme with your interest in environmental conservation, placing a spotlight on exotic, extinct and near extinct animals, as well as \u201crare\u201d versions of your well known ceramic shark heads. How did you land on this theme and varied approaches?
<\/strong>KK: My mom and I are very into antiquing, she will get obsessive about one type of \u2018hot ticket item\u2019 (most memorably Roseville Pottery) and for long periods of time it\u2019s this feeling like Roseville Pottery is more valuable than gold. Then it was Napco Lady Head vases, I found one at goodwill with the earrings intact for 5 dollars - It was a huge deal. So, when Lorien and I landed on the theme of \u201cVery Rare\u201d that\u2019s where my mind went. We hadn\u2019t discussed too much what we were individually making but the general idea was to create an old wealthy person\u2019s curiosity room, so there was a lot of flexibility.<\/p>\r\n

LS: I was interested in making pieces that would be considered taboo to own if they were the real deal. I was especially excited to make an F1 Savannah Cat, a domestic cat bred with a Serval. I think they are one of the coolest looking animals and they look so wild and big in a human environment, but are controversial species to breed\/purchase. It was also a fun excuse to research endangered and extinct species that aren\u2019t commonly known. I had never heard of coelacanths before this show, a fish thought to be extinct 65 million years ago, but were discovered to still be in existence in 1938. I also had no idea stag beetles were illegally being illegally bought and sold for up to $89,000.<\/p>\r\n

This show was also a fun excuse to make some gold versions of some of my recurring characters, something I haven\u2019t done before.

\"Katie<\/p>\r\n

Once you knew what direction you were going, did you discuss or see each other's pieces in progress? While there aren\u2019t any collaborative original works, did you give each other ideas or feedback?<\/strong><\/p>\r\n

LS: We both agreed this would be a fun excuse to do some pieces in gold, other than that we mostly stuck to our own paths in uncovering what the theme \u201cVery Rare\u201d sparked in us. We both enjoy humor and color so we felt that no matter what we made our styles would likely compliment each other.<\/p>\r\n

The recurring characters I used in this show are my sharks and ghosts. These are symbolically significant to me because they are both things that I fear that I wish I didn\u2019t. I make them look goofy, happy, or approachable in order to help disarm my fears.<\/p>\r\n

KK: In the most friendly definition of the phrase we like to take a competitive approach to working together. We shared work-in-progress photos throughout but it was more of a \u201clook what I made >:)\u201d over a \u201cwhat do you think of this?\u201d sentiment. If that makes sense.<\/p>\r\n

I tried to stay away from my usual theme (dogs) in the beginning because I thought it\u2019s not \u2018very rare\u2019 for me to make a piece about dogs. But in the end I had to add a piece featuring my two dogs because I love them and their beautiful faces so much.

\"Lorien<\/p>\r\n

What do you hope people take away from the new body of work?
<\/strong>LS: I hope people get to see something that they normally might not have access to because of the subject\u2019s rarity.<\/p>\r\n

KK: When I started working on this show I knew that I wanted to let myself be nostalgic and goofy. I laughed to myself constantly in the studio throughout and I hope people can appreciate how much fun this show was to put together.<\/p>\r\n

Working primarily in ceramic, what are some of the challenges you face when working with the medium? Does a piece from the show come to mind that was particularly difficult to construct?
<\/strong>LS: I love ceramics, but there is so much room for error every stage of the process. The two headed snake was my biggest feat for this show. I built it 2 inches at a time every 2 hours for a span of a couple weeks. I am kind of surprised it turned out with no complications!<\/p>\r\n

KK: I don\u2019t even bother making sketches before starting a piece because I\u2019ve accepted that it will never turn out exactly so. My biggest problem is usually working too fast- I\u2019ll get excited and want to see a piece finished and then in a few hours it will buckle and deflate. For this show I got a little too excited with the Rabbit piece and when I came back in the morning it had hopped off the table - I guess he was excited too.

\"Lorien<\/p>\r\n

In the past few weeks, I\u2019ve heard a lot of artists say that current social distancing mandates have not affected their daily routines much, since they tend to work in isolation. I\u2019m curious how or if it has affected your studio practice.
<\/strong>KK: I work from home and I don\u2019t usually leave or have very many visitors so the social distancing mandate has been easy for me to abide and in that way nothing really has changed. Going online is a terrifying nightmare and unfortunately the quarantine has not inspired me to clean my house.<\/p>\r\n

LS: My routine has pretty much stayed the same amidst the social distancing mandates. I often go for weeks without leaving the property anyway, so self isolating and staying productive hasn\u2019t required much adjusting for me.

\"Katie<\/p>\r\n

You\u2019re both based in the Mojave Desert, that must be such an incredible landscape to be surrounded by! How does the desert influence and inspire your work?
<\/strong>KK: It is very nice and I really appreciate the space that comes with it - both mental and physical. It feels like there are more hours in the day out here which has definitely improved how I work.<\/p>\r\n

LS: I am easily distracted so it\u2019s nice to have the seclusion to help me focus. We\u2019re not limited by space, nor do I have a huge overhead out here, so that allows me to take more risks. I especially love the Spring time super blooms out here and we have some pretty incredible year round sunsets. I am a big fan of bright colors!<\/p>\r\n

Hashimoto Contemporary will be hosting a virtual opening party on Instagram live on Saturday, April 4th so we can all enjoy the show from home. Follow us on Instagram (@hashimotocontemporary<\/a>) for details.<\/strong><\/em><\/p>\r\n

Hashimoto is also excited to share that in conjunction with the exhibition, they will be releasing a limited edition print with Katie and Lorien. $10 from each print sale will be donated to No Kid Hungry, who are working with schools and food banks to ensure children don't miss meals due to Coronavirus school closures. The print will be available for purchase on Thursday, April 9th at hashimotocontemporary.com<\/a><\/em><\/strong><\/p>","video":null,"gallery":"{gallery}68431{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Very Rare\"},{\"id\":\"3\",\"value\":\"Kate Kimmel + Lorien Stern\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2020-04-04\"},{\"id\":\"2\",\"value\":\"2020-04-25\"},{\"id\":\"10\",\"value\":\"Hashimoto Contemporary\"},{\"id\":\"9\",\"value\":\"New York\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":" Very Rare Kate Kimmel + Lorien Stern Hashimoto Contemporary New York USA New York ","created":"April 02, 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nyc","published":"1","link":"\/tag\/hashimoto-nyc\/"},{"id":"16643","name":"hashimoto contemporary","published":"1","link":"\/tag\/hashimoto-contemporary\/"},{"id":"23005","name":"lorien stern","published":"1","link":"\/tag\/lorien-stern\/"},{"id":"24132","name":"katie kimmel","published":"1","link":"\/tag\/katie-kimmel\/"},{"id":"1049","name":"interview","published":"1","link":"\/tag\/interview\/"},{"id":"11712","name":"event","published":"1","link":"\/tag\/event\/"},{"id":"3013","name":"in the magazine","published":"1","link":"\/in-the-magazine\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/55569269d00e70cd29ec6c4610b26c14_XS.jpg?t=1586393428","imageSmall":"\/media\/k2\/items\/cache\/55569269d00e70cd29ec6c4610b26c14_S.jpg?t=1586393428","imageMedium":"\/media\/k2\/items\/cache\/55569269d00e70cd29ec6c4610b26c14_M.jpg?t=1586393428","imageLarge":"\/media\/k2\/items\/cache\/55569269d00e70cd29ec6c4610b26c14_L.jpg?t=1586393428","imageXLarge":"\/media\/k2\/items\/cache\/55569269d00e70cd29ec6c4610b26c14_XL.jpg?t=1586393428","imageGeneric":"\/media\/k2\/items\/cache\/55569269d00e70cd29ec6c4610b26c14_Generic.jpg?t=1586393428","cleanTitle":"Katie Kimmel & Lorien Stern On Their New \"Very Rare\" Show @ Hashimoto Contemporary","numOfComments":"0","text":"

As we all adjust to the virtues of \u201cvirtual\u201d gatherings, where black sweats replace black leggings and jeans, art openings still hum with anticipation.  This weekend our friends at Hashimoto Contemporary in NYC<\/a> will host a virtual opening party on Instagram live<\/a> on Saturday, April 4th for Very Rare, a duo-solo show by Katie Kimmel<\/a> and Lorien Stern<\/a>. The show brings together two ceramic artists who share the ability to honor the craft tradition, casting their pieces with welcome comic glaze. Just in time for the virtual debut, Hashimoto's Jennifer Rizzo caught up with both artists to talk about their work in Very Rare<\/em>, how quickly the world landscape has changed and life in the Mojave Desert. <\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68260","title":"Loie Hollowell: The Complexity of Symmetry","alias":"loie-hollowell-the-complexity-of-symmetry","catid":"30","published":"1","introtext":"No matter how it\u2019s defined, figuration is fascinating, whether formal and idealized, narrative or exaggerated. The merger of abstraction and figuration is exciting and challenging, so to this end, <\/span><\/span>","fulltext":"

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Loie Hollowell<\/h1>\r\n

The Complexity of Symmetry<\/h2>\r\n

Interview and portrait by Sasha Bogojev <\/p>\r\n<\/div>\r\n<\/header><\/div>\r\n

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No matter how it\u2019s defined, figuration is fascinating, whether formal and idealized, narrative or exaggerated. The merger of abstraction and figuration is exciting and challenging, so to this end, we just couldn't be indifferent to Loie Hollowell's elegant, radiant creations. Evolving from earlier works focused on female nudes, her newest imagery still alludes to the human form, with an emphasis on women\u2019s bodies. Hollowell\u2019s visual language elevates flat geometric components into a figurative, almost sculptural sphere through a fascinating approach to volume, surface and texture.<\/div>\r\n
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By layering high-density foam and sawdust on a panel, Hollowell builds the sophisticated shape of her work, which she finishes with a delicate but determined application of oil and acrylic. Breaking away from the flat surface creates seductive portrayals of bodily landscapes that evoke the mood of sacred iconography. Deceptively simple in their symmetric composition, complexity in the work is revealed in impeccable gradients, supple frangibility, intricate brushwork and pulsating colors. The compositions represent deep and personal narratives, speaking of intimate experiences and subjects such as sexuality, fertility and childbirth. <\/div>\r\n
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We sat down with the NY-based Hollowell ahead of her solo exhibition debut<\/strong><\/a> with GRIMM Gallery<\/strong><\/a> in Amsterdam, and dissected the work in her show, as well as a practice started less than five years ago, which has brought her immense international recognition and sold out shows with PACE<\/strong><\/a> in London and New York.

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Sitting in a Landscape<\/i>, Oil, acrylic medium, and high density foam on linen over panel, 28 x 21 x 2.5\", 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Sasha Bogojev<\/strong><\/em><\/a>:<\/b><\/i> What was your motivation in shifting from figurative beginnings in grad school to more abstract work?<\/b><\/div>\r\n
Loie Hollowell:<\/i> There were a number of things. The first thing was that the person I was painting a lot was my ex-boyfriend, and then we broke up. Also, he didn't like that I was painting him while we were together, and I had painted a lot of sexual scenes. There was a lot of sexual aggression in the relationship, so I painted a lot, and I don't think he liked me expressing that in the work!<\/div>\r\n
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So from there, I took other figures out and just painted myself, self-portraits, and they became more and more stylized and cartoony. Then, as I moved through that process, I realized there was still so much more I wanted to say, expressionistically, less didactic. Like this figure is doing this, and this one is saying that. I wanted to figure out how to express deeper core emotions. How to make a painting of having your period or having an abortion or just very personal things that can't really be painted with the figure.<\/div>\r\n
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That's when I started moving into abstraction, when I was having these really crazy experiences with my body. I had an abortion. How do I paint that without painting a tube coming in? How do I make that more of an emotional painting rather than a descriptive painting?<\/div>\r\n
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That subject has not been covered much, right?<\/b><\/div>\r\n
Those paintings, you would never look at them and say, \"Oh, that's a painting of someone having explosive pain in their uterus.\" You would say, \"Oh, that's like an abstract.\" They looked very much like Charles Burchfield<\/strong><\/a>, an American, upstate New York, a regional painter who made all these flowery landscape things. It looked more like an abstract landscape. So I didn't have to explain what this was about. It could be more open-ended for everyone.

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Mother's Milk<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 48\" x 36\" x 3\", 2018<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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How important is it for you that people know the content in advance, as opposed to approaching the pieces for how they appear?<\/b><\/div>\r\n
Oh, it doesn't matter to me. It's all about making a phenomenological experience for someone. The work exists in a flat space on Instagram. I feel like it works. They\u2019re colorful and very minimal geometric shapes that read a certain way. But when you see them in person, I really like that someone will have an experience with the dimensional space and the way that the textures of paint are put on. That's more important to me than them knowing, like, \"Oh, this is a painting of the crowning of my son's head coming out of my vagina.\" That's for me; it may inspire me in the studio, but it doesn't have to inspire the viewer.<\/div>\r\n
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It feels like they're going against the grain in the sense that they are Instagrammable. But what you see on Instagram is actually a fraction of what they actually are.<\/b><\/div>\r\n
It's like the surface, which is what Instagram is. That's what it does to everything, and I really like that. I got attention for my work, actually, because of Instagram. I have the same experience when I see something on Instagram, and I really love it. I'll reach out to the artist and say, \"Can I come to your studio?\" And sometimes you see the work and it's flat. It almost looks better as a digital image. But then, sometimes, you see the work and it's amazing! You're just like, \"Oh, Instagram doesn't do it any justice.\"
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Low Hanging Fruit<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 48\" x 36\" x 3\", 2018<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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I had that experience with your work, even when I saw the photos from a certain angle and became aware they were dimensional.<\/b><\/div>\r\n
The subtlety of the dimensionality is much more about the space between the viewer and the presence of the piece. You really have to get that subtlety in its presence, like, \"Oh, you can see it's built out but it just looks silly.\" It looks almost little, almost not enough of something.<\/div>\r\n
 <\/div>\r\n
For me, your textures also play an important part with their twirly brushwork.<\/b><\/div>\r\n
I don't know what was happening, but my cats were shedding a lot. The cat hair was getting in these paintings, and I just started putting the cat hair in the painting. So these are the first paintings and probably the only paintings where I'll ever put cat hair.<\/div>\r\n
 <\/div>\r\n
Is it in the description of the work, as well?<\/b><\/div>\r\n
Yes, yes. It says, \"Hair.\"

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One Opening Leads to Another<\/i>, oil, acrylic medium, sawdust, and high density foam on linen over panel, 28 x 21 x 2\", 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Do you have an idea of what motivates you to focus on your particular and personal themes?<\/b><\/div>\r\n
This is what I\u2019ve come to realize\u2014it's like our world is politically motivated and there's just so much consciousness on speaking your truth and not trying to speak for someone else. But I found when I was making paintings of me and my ex, for example, I was speaking about him, rather than just speaking about myself. So I feel that by pulling from very specific parts of my life that are happening at the moment of making the paintings, that's what I know the best and that's where I can most speak the truth. People can come at me and say, \"Well, that's not my experience of giving birth,\" but I can say, \"Well, this is my experience.\" So there's some kind of like safety in it, as I'm not trying to make commentary on anyone else's body.<\/div>\r\n
 <\/div>\r\n
What is the process for conveying your emotions? Because those are very personal experiences.<\/b><\/div>\r\n
It starts with trying, like I was saying, to make these sexual graphic cartoony sketches in my notebook, then abstracting that and making it more geometric, more abstract. And then finally taking it to the drawing and figuring out what colors need to be where in order to describe that element or emotion. It always comes from experience first.<\/div>\r\n
 <\/div>\r\n
Sometimes I don't even make a drawing. There's a shape or way that a shape works within a space that I know describes this feeling. So I'll reuse that and recompose it into the painting, like for Horizon on my Pit of Hell<\/strong><\/em><\/a>. I've used that bar at the bottom as a pedestal or the landscape, the ground that the subject sits on. I didn't need to sketch out how to make what's happening above that, because I knew it had to have this bed or landscape, some kind of space that's coming out. What I'm thinking of is when you're dilated. Like Guston<\/strong><\/a> had these paintings or he had all his little lexicon of shapes. He had the shoe and the nail, and each painting possessed one element of what he paints. It's like, in my head, I have the different elements that I paint, and sometimes it's just like, \"Oh, that has to be in this painting to describe this.\"

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Point of Entry (lingam between teal circles)<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 48\" x 36\" x 3 1\/2\", 2017<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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I was wondering if other women shared their experiences or were able to identify or recognize these moments in some way?<\/b><\/div>\r\n
The show at PACE was all my portraits. I thought of them as portraits, just single standing or sitting figures with all the same shapes, and six different shapes to describe different parts of my body. But for the ones in Amsterdam, I just dug into a very short timeframe of giving birth, so it's just my thing. I have those conversations with women. I know what my friends\u2019 experiences are, where I felt like \"a pit of hell\" or \"a burning fire pit.\" My good friend who just had a baby was like, \"Oh no, no, it was like a bullet. It was like steel, a hard, impenetrable steel thing that I was stuck in.\" For me, it was just like burning.<\/div>\r\n
 <\/div>\r\n
I ask, from a male perspective, as a father who was present during the birth of his son, so I understand only to some extent.<\/b><\/div>\r\n
But that's okay. What I enjoy most is having the conversation with someone who's just looking at them as just in their presence. I don't need you to know that that's my pit of hell painting, you know?

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Prenatal Plumb Line<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 72\u201d x 54\u201d x 3 1\/2\u201d, 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Is that something you do consciously, as in stimulating different readings? Do you intend them to radiate more levels, more possibilities because of their 3D aspect?<\/b><\/div>\r\n
I'm really interested in hearing what people think about that. I mean, for me, it's so challenging to paint on a three-dimensional space. It's really fun, that's why I do it. But it's also just dealing with the light because when these are just white surfaces, shaped white surfaces, there's all kinds of shadows and stuff happening. So I'm trying to put paint onto something that's already a built-up space.<\/div>\r\n
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For me, I'm battling with the paintings, but I'm interested in how that's actually reading to other people. I've been doing the built-up stuff for four years now, but coming out into two inches is pretty new.<\/div>\r\n
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Did your practice feel too comfortable or too much of a routine that you felt compelled to make the switch, or how did that happen?<\/b><\/div>\r\n
It was more that it just had to be sculpted. I guess it's not just necessarily routines, more that it just has to go this way. I make this shape a lot, I call it a mandorla, an almond shape, and I paint it as my vagina. So I was painting these, trying to render a sphere thing from a flat image. It\u2019s like I just need to feel it. I need to feel the football, I need to feel the light, you know?

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Prenatal Plumb Line (detail)<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 72\u201d x 54\u201d x 3 1\/2\u201d, 2019<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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This is how they began?<\/b><\/div>\r\n
I just got some molding paste and sawdust, mixed them together and sculpted it. Then my husband, after a year of doing that, he's like, \"You're doing this way too slow. Here, do you know about this foam?\" Then, within a month, I had, like, five paintings done. I was like, \"Oh man!\"<\/div>\r\n
 <\/div>\r\n
And you're even accenting their dimensionality with paint, right?<\/b><\/div>\r\n
Yeah, that's letting me play with light more, as there's so much shadow, actual physical darkness, because of how the shapes are creating the shadows. I'm having to really push the white to make bright light.<\/div>\r\n
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But there are so many things you can do in that situation. How do you paint that space where there's actually darkness and you wanted to portray different energy? It's just so open-ended. As a painter, you're just used to paint, making everything out of nothing. With this, you're making something out of something that already exists.<\/div>\r\n
 <\/div>\r\n
Some feel as if they're literally glowing. Did you ever consider incorporating light or anything like that, say, going more technical?<\/b><\/div>\r\n
Well, I come from California, where the Light and Space movement is, you know, central. You grow up reading all about Robert Irwin<\/strong><\/a> and James Turrell<\/strong><\/a>, and all the light and space people of the \u201960s, \u201970s, and \u201980s. They're about fluorescent lights, and natural light, and any way you can manipulate light. I guess that\u2019s what I really love about painting, and I think I learned this from my dad, who went to the Netherlands to study Pieter de Hooch<\/strong><\/a> and Vermeer<\/strong><\/a>, and the way that you can manipulate light paint. I guess that's always been so fascinating and challenging, and there's something about it that I'm just grounded to making in paint, not in reality. I'm open to fucking up every other element of painting. The idea of painting light, I'm really stuck to.
 <\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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From the Beginning (inversed)<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 48\" x 36\" x 2\", 2017<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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When we spoke about the show coming up in Amsterdam, you mentioned spending some time here as a baby, and you named people that informed your work in a way.<\/b><\/div>\r\n
Roland Schimmel<\/strong><\/a>, for one. He's such a conceptual thinker, but, ultimately, his works become these phenomenal logical experiments where, when closing your eyes and then opening them after seeing the image, you kind of see the light spots, the image spots. The kind of blurred things of color, blurred circles of color. So all of his room installations have to do with the really subtle shifts in the structure of how your eye works. Then Kinke Kooi<\/strong><\/a> kind of does what I'm too afraid to do, which is really just bodily, intestinal, sensual, sexual figurative drawings. There are breasts and nipples, so beautiful and very saturated with this superabundance of the feminine and sensuality. That's how her drawings are.<\/div>\r\n
 <\/div>\r\n
Do you have an idea of how their work might have influenced you?<\/b><\/div>\r\n
I think I've gone more into embracing the part of talking about the work. I used to not talk about it, but was just like, \"They are formal,\" even though that's where it came from, but I wasn't talking about it like that. I guess Kinke Kooi definitely helped me think how this is something that can be addressed, even if I'm not doing it explicitly on the canvas. But they're both so amazing, and I think Kinke, like so many women, is getting deserved attention as she's gotten older, having shows in the U.S. here and there. She's definitely an underappreciated female artist.
 <\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Milk Fountain<\/i>,, oil, acrylic medium, high density foam on linen over panel, 72 x 54 x 3.5\", 2019<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Let\u2019s talk more about how you fixate on capturing the light with paint.<\/b><\/div>\r\n
You know Mary Weatherford<\/strong><\/a>'s work, who shows with Gagosian<\/strong><\/a>? She makes these large, loose, abstract, gestural paintings and hangs a fluorescent light on them. They're beautiful, and I love them. I think how I would paint that. There's just something fun and challenging. I love adding the sculptural element and fucking with the reality of light, having to control the actual light and shadow with paint.<\/div>\r\n
 <\/div>\r\n
Do you like imposing challenges on yourself?<\/b><\/div>\r\n
Yeah. I like doing that. Like with my system of forms, as I said, that is only going to come from my own body and my own experience. I'm going to work with the formal content of geometry and symmetry. I've decided to really put limits on what and how I paint. Within that, though, I like to give myself challenges, like, how far can I make the forms come out? That's where I really want to go in sculpture, but then trying to keep those same elements of painting that I like. How do I deal with light, controlled and painted within a fully sculptural space? I haven't figured that out yet.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Dominant \/ Recessive<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 48\" x 36\" x 3 1\/4\", 2018<\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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I read in some interviews that you're not especially fond of the term abstract?<\/b><\/div>\r\n
Well no, I don't mind the term abstract. It's just very...  it has such an open meaning. In America, you have the Abstract Expressionism movement, which really dominates the idea of abstraction. I don't know, I'm not an art historian, and I can't give a long description of what the history of abstraction is, but for me, these works are portraits of certain experiences. So, in that way, they're not abstractions. But I understand that they read as abstract.<\/div>\r\n
 <\/div>\r\n
Honestly, I don\u2019t always relate to abstraction. But, with your work, with the composition, those surfaces and textures, and the underlying story, it all just makes sense. It really feels like figurative work while looking 100% abstract.<\/b><\/div>\r\n
Yeah, because the way I compose it is much more in that space. I plan out the image, I make a sketch, I make a pastel, and then I make the painting. I'm thinking about each element in the painting as a part of the body or a place in space, like real space, in the landscape.<\/div>\r\n
 <\/div>\r\n
When I think of abstraction is where I get into trouble. When I talk with real art historians, I think of abstraction as taking a brush and moving your arm, and it's all loose, and all about the gesture and being in the present; whereas mine are super planned out. I almost know how it's going to look before I begin the painting, with these very subtle changes that happen between the drawing and the finished painting. I guess I don't think of that as abstract.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Dead End<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 48\" x 36\" x 3 1\/4\", 2018 <\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Looking at the surfaces and talking about this form, I see how you utilize a lot of new or unconventional materials. How do you research the process?<\/b><\/div>\r\n
I know about this stuff because my husband's a sculptor. For example, there\u2019s a material that Fischli\/Weiss<\/strong><\/a> use. They're sculptors who make trompe l'oeil sculptures. Basically, they make a sculpture that looks like something else, but is made out of this foam, which is known throughout the sculptural world as a really long-lasting material. It's also nice because, with the new CNC machines that have automated control of tools, it can be milled. It's basically as dense as wood, but cheaper.<\/div>\r\n
 <\/div>\r\n
Your work looks perfect and symmetrical. But from how you explain it, it appears very manual, actually analog?<\/b><\/div>\r\n
Kind of. The drawings themselves, I'm trying to make perfect, but they're not. When I take pictures, and give them to the person who takes it into the program to make it rendered, they use vectors and machines. That gets printed out, or maybe it gets milled, and then it gets sanded by hand again and then the hand returns and covers the foam with an eggshell thickness of an acrylic product called molding paste. That acts as a barrier for the foam, for the paint to sit on. As that gets applied, they can be reshaped and sometimes they become less symmetrical again. But pretty much it's like a very proportional outcome because they're being printed or milled.

<\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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Standing in Water<\/i>, Oil, acrylic medium, sawdust, and high-density foam on linen over panel, 72\u201d x 54\u201d x 3.5\u201d, 2019 <\/div>\r\n<\/figcaption><\/figure>\r\n<\/div>\r\n<\/section>\r\n<\/div>\r\n
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But there is a whole idea about making that imperfect symmetry, right?<\/b><\/div>\r\n
For me, it always began with the symmetry of the body because I started painting one area and then moved to another area. Again, this is an area of my body. That's just a really hard question to answer because it's just so natural. I'm always looking at myself from the front. I've never looked from the side. I can look in the mirror this way, but I just always thought about these spaces as looking at myself from a frontal point of view.<\/div>\r\n
 <\/div>\r\n
When you were doing more figurative work, was it about balance, too?<\/b><\/div>\r\n
No, not at all. I did make a lot of symmetrical drawings over the years. I had this whole series where I would draw half of my face with charcoal, and then fold the paper and press it. So then you'd have the symmetrical, weird, distorted face. That was years ago, before grad school, but there have been things of symmetry in thinking about my body. The distorted nature of what happens when you look at one side and try to copy it again. It's not always perfect when you try to copy this to the other side, so it's almost second nature right now. I don't have language to describe the reasons for symmetry.<\/div>\r\n
 <\/div>\r\n
Do you have a kind of dream project that you would like to realize?<\/b><\/div>\r\n
I have a few dream pieces I want to make, one I've had in mind over the past few months. I want to make like some kind of bas relief. I basically want to think of these things as sculpture in the larger setting, and have large wall-sized objects that really blur the line of sculpture and painting, with maybe an element of water happening, like trickling down inside the shapes or something. I want there to be some kind of puzzle, or maybe these shapes kind of manipulate how water falls\u2026 something like that.<\/div>\r\n
 <\/div>\r\n
@loiehollowell<\/a><\/strong><\/em><\/div>\r\n
www.loiehollowell.com<\/a><\/i><\/b> <\/div>\r\n<\/div>\r\n<\/section>\r\n<\/div>","video":null,"gallery":null,"extra_fields":"[{\"id\":\"13\",\"value\":\"No matter how it\\u2019s defined, figuration is fascinating, whether formal and idealized, narrative or exaggerated. 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The merger of abstraction and figuration is exciting and challenging, so to this end, we just couldn't be indifferent to Loie Hollowell's elegant, radiant creations.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68267","title":"KRINK: Graffiti, Art and Invention","alias":"krink-graffiti-art-and-invention","catid":"25","published":"1","introtext":"So much of graffiti is about the passing of styles, a secret language that goes from block to block, neighborhood to city-at-large, then big cities and entire countries. Word of mouth isn\u2019t the rig<\/span><\/span>","fulltext":"

I think about these exclusive storytelling clubs when I think of the work of Craig Costello<\/strong><\/a>, aka KR, the man who not only documented and wrote himself, but asserted an innovative approach to his craft and created KRINK<\/strong><\/a> as a brand of markers, paints, and tools for graffiti and fine art. His unique aesthetic became the look of KRINK: thick lines dripping off walls that looked more like Abstract Expressionism than urban art. This spring, Rizzoli<\/strong><\/a> will release KRINK: Graffiti, Art and Invention<\/em><\/strong><\/a>, an in-depth collection composed by Costello that puts KR\u2019s graffiti career in context with his life in business and inventing, as well as how that changed the way collaborations and design aesthetics are used in pop culture. The list of contributors to the KRINK book also sheds light on graffiti\u2019s post-vandal narrative as it became more appropriated in fine art and fashion. Sarah Andelman<\/strong><\/a>, agne\u0300s b.<\/strong><\/a>, Rob Cristofaro<\/strong><\/a>, Kunle Martins<\/strong><\/a>, Shantell Martin<\/strong><\/a>, Carlo McCormick<\/strong>, Barry McGee<\/strong><\/a>, Ryan McGinness<\/strong><\/a>, and Tom Sachs<\/strong><\/a> are part of the KRINK tale, all collaborators, friends, direct consumers and users of the product. As the KRINK brand has grown into a prominent art materials brand, Costello\u2019s is an American success story: take what is around you and make it better, one drip at a time. \u2014Evan Pricco<\/a><\/em><\/p>\r\n

The book will be released on April 7, 2020 via Rizzoli New York<\/a>, shop.krink.com
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So much of graffiti is about the passing of styles, a secret language that goes from block to block, neighborhood to city-at-large, then big cities and entire countries. Word of mouth isn\u2019t the right way to put it; this is more like morse code. If you know, you know.<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"68427","title":"Art In Uncertain Times: A Sense of Urgency Ripped Out, Guy Yanai From Tel Aviv","alias":"art-in-uncertain-times-a-sense-of-urgency-ripped-out-guy-yanai-from-tel-aviv","catid":"17","published":"1","introtext":"\"Just to write this email has become so hard, my mind is numb and I hardly know myself anymore.\" We could almost hear Guy Yanai stunned, shaking his head  as he opened his heart for our Art in U<\/span><\/span>\n ;<\/span><\/span>","fulltext":"

\"So, we start our day whenever we wake up. No alarm anymore. We start with me trying to work out. Aurore puts a Pilates thing on TV. It\u2019s in French, so I get to learn French and try to avoid working out at the same time.  <\/p>\r\n

\"Somehow I make it to the studio, either by car or on foot. In normal times I always walk, but now it feels safer to drive. My studio manager and assistant no longer come, as they are not allowed, and honestly, I prefer it like this now. The studio feels sad, empty; it feels that the sense of urgency has been ripped out of it.  
\"guy
\"guy<\/p>\r\n

\"My gallerists from D\u00fcsseldorf (Galerie Conrads) were supposed to arrive in Tel Aviv on March 21. It was to be their first time in Israel. They were to view all the new work, and we were going to ship it right when they left for a solo show, our second solo show together. Of course, it has now been delayed, along with Art Brussels, Art Cologne, and Dallas Art Fair where I was supposed to show. Not sure about Casa Wabi, which was supposed to be in late April. Who knows?<\/p>\r\n

\"There is nothing unique in anything here, as everyone has been hit hard by this. And to see liberal Western democracies like Italy and Spain suffer so much is heart-wrenching. It re-defines what \u201cnot fair\u201d means. Somehow oppressive authoritarian regimes handle this nightmare better, since they are always in some sort of fabricated emergency (except Iran). 

\"Screen<\/p>\r\n

\"Ten days ago I told myself that this is a time to reflect, to think, to reassess... But to be honest, I haven\u2019t done any of that. I got cash, ordered pasta, tuna, rice, and bad looking organic food. I don\u2019t read, at least not much. I'm mainly on my iPhone with the news. I have discovered Zoom and Houseparty, I have cooked with my kids, and I nap in the afternoon. <\/p>\r\n

\"I appreciate every small thing, the supply chain, the food chain, airports, airplanes, restaurants, bars. I appreciate the people around me. Aurore, Romy, and Ava. <\/p>\r\n

\"Is this a sort of spiritual crisis? Maybe it is... For so long now, it\u2019s been deadlines. And now they have vanished into uncertainty. I can take my time and work slowly, methodically. But \u2026 not yet. Soon. I am kind of in shock but soon will adjust. I know it. Art is still the reason and meaning of my life. I am thinking of Proust, of Gerhard Richter, of Cezanne, of Matisse, of producing art during hard times.  All artists, all great artists went through historically difficult times. The mediocre ones succumbed to the present, the great ones never did.\"<\/p>\r\n

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Uncertain Times: A Sense of Urgency Ripped Out, Guy Yanai From Tel Aviv","numOfComments":"0","text":"

\"Just to write this email has become so hard, my mind is numb and I hardly know myself anymore.\" We could almost hear Guy Yanai<\/a> stunned, shaking his head  as he opened his heart for our Art in Uncertain Times<\/a> segment. Writing from Tel Aviv in Israel, the current situation has profoundly affected the Haifa-born artist's life, from his home setting and studio practice, to near and far future plans. In an effort to bring people closer and share the ways Covid-19 can build community as we jointly practice safe measures, we've asked Yanai to document a typical day and share with us his thoughts, worries, and hopes.<\/p>\r\n

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