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Arnold and His \"Free Candy\" Open Up in Santa Cruz","numOfComments":"0","text":"<p>On the occasion of his solo show at <a href=\"https:\/\/www.instagram.com\/minnow.arts\/\">Minnow Arts<\/a> in Santa Cruz, we have a short film on artist <a href=\"https:\/\/www.instagram.com\/jason_c_arnold\/\">Jason C. Arnold<\/a>. The show opens&nbsp;Friday, August 4th, 2023 from 6-9pm.&nbsp;<\/p>","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"jcfields":[],"videoClass":true,"twitter_introtext":""},{"id":"71929","title":"Robert Pokorny: Pot Luck Studio in Los Angeles","alias":"robert-pokorny-pot-luck-studio-in-los-angeles","catid":"17","published":"1","introtext":"My studio spaces have had many incarnations over the years. I\u2019ve worked in a closet under the stairs, our front-room, the kid\u2019s room when she moved out for college and finally my own studio s<span class='ellipsis'>pace<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"<p><img src=\"images\/Evan%20Pricco\/2022\/Nov22\/Pokorny_Studio2023.jpeg\" alt=\"Pokorny Studio2023\" \/><br \/>When he put it up for sale my wife who announced, \u201cWe are going to acquire that space for your studio.\u201d The timing wasn\u2019t great. March 2020 and the pandemic had just hit, not exactly the best time to make risky moves. However, it\u2019s turned out to be a sanctuary for me, providing a disconnect from home. <br \/><br \/>Having my own space has been a blessing, allowing me to work in different ways, taking my work to another level. My dream studio might be something like de Kooning\u2019s in the Hamptons, but for now, as long as good music is playing and my brushes are wet, I\u2019m set. 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city","published":"1","link":"\/tag\/mexico-city\/"},{"id":"27859","name":"cdmx","published":"1","link":"\/tag\/cdmx\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/d60d3a1b5e213cdafee7e53dc2119dae_XS.jpg?t=1678888854","imageSmall":"\/media\/k2\/items\/cache\/d60d3a1b5e213cdafee7e53dc2119dae_S.jpg?t=1678888854","imageMedium":"\/media\/k2\/items\/cache\/d60d3a1b5e213cdafee7e53dc2119dae_M.jpg?t=1678888854","imageLarge":"\/media\/k2\/items\/cache\/d60d3a1b5e213cdafee7e53dc2119dae_L.jpg?t=1678888854","imageXLarge":"\/media\/k2\/items\/cache\/d60d3a1b5e213cdafee7e53dc2119dae_XL.jpg?t=1678888854","imageGeneric":"\/media\/k2\/items\/cache\/d60d3a1b5e213cdafee7e53dc2119dae_Generic.jpg?t=1678888854","cleanTitle":"Judith Supine: The Safe Space in CDMX","numOfComments":"0","text":"<p>When I first moved to Mexico City, it felt very freeing to be removed from my peers in New York City. The always-judging social eye was no longer present. Whether or not that was real or self-created, I felt a sense of relief and more space in my brain. I don\u2019t think the fear of being less than\u2014or not enough\u2014is exclusive to creative endeavors, but the solitary nature of creating tends to lend itself to self-doubt.&nbsp;<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"71380","title":"Best of 2022: Welcome to the Doodle House","alias":"best-of-2022-welcome-to-the-doodle-house","catid":"17","published":"1","introtext":"It was one of the most-talked about art moments of 2022, and although at times a polarizing experience from our audience, Mr. Doodle's \"Doodle House\" caught everyone's attention. Taking a mansion<span class='ellipsis'> in <span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"<p><iframe src=\"https:\/\/anchor.fm\/radio-juxtapoz\/embed\/episodes\/097-The-Mr--Doodle-Podcast--Radio-Juxtapoz-e1pc69p\" height=\"102px\" width=\"400px\" frameborder=\"0\" scrolling=\"no\"><\/iframe><\/p>\r\n<p>I call it the \u201cdoodle house.\u201d It's a house full of my doodles, from top to bottom, inside and out, all over the place. Happy little doodle characters everywhere. I first thought about the project when I was about 15 and I drew all over my bedroom and my parent\u2019s house, all over the walls and stuff. I went to bed each night looking at the doodles and it'd be the first thing I saw when I woke up. Since then I\u2019ve dreamt of just covering an entire property in doodles that I could live in. Really, the project just started as an idea. But then I didn't buy this house until the end of 2019, which is when the renovation began of turning the place into a blank white canvas in order for me to create doodles over.<\/p>\r\n<p>I started in the bedroom first, because, before I lived in this house, I lived with my parents and that bedroom was becoming more and more covered with drawings\u2014on the furniture, on the ceiling and stuff. I was beginning to get more and more used to the idea of living within a big doodle. Then when I found this place and started drawing, this room is where I began the doodles, the main bedroom, and I just loved how it looked. Even though we haven't moved in yet and we're moving in a couple of weeks, we have stayed in the room a few times, and it feels great waking up in here and seeing the drawings everywhere. Falling asleep and looking up and seeing just a few happy characters makes me smile and brings me a lot of joy.<\/p>\r\n<p>There are a few from place to place throughout the house where I look and remember thinking, \"Oh, I was listening to this music at that time,\" or, \"That was that day when I got a hot chocolate and had a really nice afternoon.\" There are a few bits like that, and some where it was the first character I put on the actual wall of the room. Not every character does that, but a lot of them do. They do hold some memory or some form of trigger that causes me to think of something.<\/p>\r\n<p>I started with the inside of the house, so a lot of people weren't ever going to see that, apart from friends and family we trust and who wouldn\u2019t share pictures and things like that. 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href=\"https:\/\/juxtapoz.com\/axel-void\">Axel Void<\/a>. He is both an elegant and renegade soul, a painter, muralist, a lynchpin in the <a href=\"https:\/\/www.voidprojects.org\/axel-void\">Void Projects<\/a> community of artists and co-op of ideas and practice. He is constantly presenting his work alongside his peers and friends, building an identity that art is more than just a solitary expression, but a potential for a collective.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":true,"twitter_introtext":""},{"id":"71119","title":"Besides: A Studio Visit with Emilio Villalba in San Francisco","alias":"besides-a-studio-visit-with-emilio-villalba-in-san-francisco","catid":"17","published":"1","introtext":"On the occasion of his solo show, Besides, opening at Hashimoto Contemporary in San Francisco on October 1, 2022, Shaun Roberts and the gallery visited the studio of Emilio Villalba to speak with<span class='ellipsis'> him<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"<p><strong>Where did the title, <em>Besides<\/em>, for the show come from?&nbsp;<br \/><\/strong>This body of work began as looser studies with a gestural approach. I was experimenting with different surfaces and mediums. I was inspired by the art of the Bay Area figurative movement, specifically the works of David Park, Joan Brown, and Theophilus Brown. The title of \u2018Besides\u2019 originated from calling the show B-sides, like the term used in music to describe the lesser known works from an album or a recording session. Changing the name to \u2018Besides' worked out because it can also be used to describe most of the brush strokes and placement of features and objects throughout my paintings. Colors are built up but what you end up with on the surface are strokes sitting next to one another.&nbsp;<br \/><img src=\"images\/Evan%20Pricco\/2022\/September22\/EV\/SF220815-Studio-25.jpg\" alt=\"SF220815 Studio 25\" \/><br \/><img src=\"images\/Evan%20Pricco\/2022\/September22\/EV\/SF220815-Studio-25.jpg\" alt=\"SF220815 Studio 25\" \/><br \/><br \/><\/p>\r\n<p><strong>You used improvisation when creating this body of work. What did that process look like when beginning a new painting? How has that exploration changed your studio practice?&nbsp;<br \/><\/strong>All of my paintings in this body of work were painted from life or from photos, however there is still an element of invention and creation. What I refer to as improvisational is, in the past, a lot of my paintings were somewhat pre-designed with a sketch. There was still room for improvising throughout the painting process, but for this show I removed that step in the process. These paintings felt more like earned compositions because of the trial and error that occurred on canvas. Sometimes paintings worked out first go and other pieces have many layers to areas where either portraits or objects got painted over. I had the pleasure of meeting painter Jennifer Pochinksi in 2021 and her work inspired me to be more gestural and more energetic with each stroke.&nbsp;<\/p>\r\n<p><strong>You often paint the people closest to you, including your friends and most significantly your wife Michelle. Has painting these people allowed you to see things about them differently? Or do you notice something in them that draws you to wanting to paint them?&nbsp;<br \/><\/strong>There is a challenge in painting people I know, because not only do I want to please them I want to be able to manifest a mood into the work to please myself. Painting Michelle has been such an amazing gift because there aren\u2019t two paintings of her that are the same even if they were painted from the same photo reference. More recently when I paint people, I am not consciously trying to make it look like them, but rather searching for their character. I think the direction that my work is going in, specifically in capturing people and things, I am looking for a simplified statement with a thicker application.&nbsp;<br \/><br \/><img src=\"images\/Evan%20Pricco\/2022\/September22\/EV\/SF220815-Studio-15.jpg\" alt=\"SF220815 Studio 15\" \/><\/p>\r\n<p><strong>The high level of intimacy in the work, specifically in the still lives, reveal your personal symbolism and iconography. Do you feel these scenes and items help define you? Are you trying to preserve their memory through painting them?<br \/><\/strong>I have never thought of myself as a creative person or a storyteller, so painting objects that I encounter on a daily basis seemed like the way to go. A few years ago when I started painting objects mostly found in my room I was inspired by Bauhaus artist Georg Muche. I thought, why don\u2019t I create an imagined room and place objects in it and allow the viewer to create a narrative. Painting objects has become just as fun as painting portraits because I am searching for the same qualities. How can I simplify these objects while accentuating the character? Some of the more collage style paintings have more of a diary entry feeling to them, in a sense where they can seem free form and stream of consciousness. I can manipulate them to be more minimal, like most are in this body of work, and some end up being a bit more chaotic. As far as the objects defining me, I am more interested at the moment in discovering a defining element in my work through the actual paint and the use of the elements of design, whether that be in the texture or use of color.&nbsp;<\/p>\r\n<p><strong>You\u2019ve mentioned Joan Brown and David Park as artists you\u2019ve been thinking about while creating this body of work. In this body of work you are abstracting figures in a different way. How have these artists influenced your approach to abstraction?&nbsp;<br \/><\/strong>Last year my good friend Matt Gonzalez gave me a biography of David Park called \u201cA Painter\u2019s Life\u201d by Nancy Boas. I was aware of him for years, but I hated the only painting I had ever seen by him, so I wrote him off. During the time I started reading the book, my Wife and I had just relocated to North Beach, where David Park spent many years teaching and painting out of SFAI, along with other painters, Diebenkorn and Bischoff to name a few. I felt such a connection with his life and his struggle to discover through paint. He has become my favorite painter and I think about his work every time I sit down to paint, whether I'm trying to emulate his brushstroke or scraping off the paint at the end of a bad session and starting over. For me, at the moment, he is my idea of the epitome of a painter.&nbsp;<\/p>\r\n<p><strong>In what ways do you feel you\u2019ve grown as an artist from your last solo show?<br \/><\/strong>I think that my paintings from this show in comparison to last year feel heavier, they are more patient and are not the result of chasing the final product. Like I said before, I think these compositions feel more earned, by trial and error. I think looking back at this show I will feel very proud of the amount of exploring and experimenting I did and think of it as a solid stepping stone into the next chapter. My goal is to paint forever and I think this year I have really started on a new path of allowing myself the freedom to try new things and not care so much about the paintings being perfect.&nbsp;<br \/><br \/><img src=\"images\/Evan%20Pricco\/2022\/September22\/EV\/SF220815-Studio-05.jpg\" alt=\"SF220815 Studio 05\" \/><\/p>\r\n<p><strong>What would be your dream collaboration?&nbsp;<br \/><\/strong>Painting with my good friend Tamsin Smith. We have collaborated on over 20 paintings in the last few years, and have displayed our work at Adobe Books in San Francisco. I hope we can collaborate more this year and next and hopefully have another show. I have learned so much from painting with her and have applied to it my personal works, slowly over time. The work we make together is completely abstract and not pulling from anything we know or see consciously. The results are new and difficult to critique and judge, but over time they always hold up. That aspect to me is fascinating, because the paintings aren\u2019t something that can be faked or copied. There is a method to each composition, but each piece is unique and can\u2019t be replicated by anyone else other than the two of us. I have tried to make my own version of the paintings without Tamsin and it is impossible.&nbsp;<\/p>\r\n<p><strong>Is there anything exciting you\u2019d like to share with us on your horizon?&nbsp;<br \/><\/strong>I am very excited for this solo show at Hashimoto Contemporary in San Francisco October 1st, and after that I will be showing in a group drawing show at Dolby Chadwick Gallery December 10th.&nbsp;<br \/><br \/><em><strong>All photography by <a href=\"https:\/\/www.instagram.com\/shaun.roberts.photo\/\">Shaun Roberts<\/a><\/strong><\/em><\/p>","video":null,"gallery":"{gallery}71119{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"Besides\"},{\"id\":\"3\",\"value\":\"Emilio Villalba\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2022-10-01\"},{\"id\":\"2\",\"value\":\"2022-10-22\"},{\"id\":\"10\",\"value\":\"Hashimoto Contemporary, San 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Francisco","numOfComments":"0","text":"<p>On the occasion of his solo show, Besides, opening at <a href=\"https:\/\/www.hashimotocontemporary.com\/exhibitions\/209-emilio-villalba-besides\/overview\/\">Hashimoto Contemporary<\/a> in San Francisco on October 1, 2022, Shaun Roberts and the gallery visited the studio of <a href=\"https:\/\/www.instagram.com\/emilio_villalba\/\">Emilio Villalba<\/a> to speak with him about his new work, drawing, painting friends and the inspiration of Joan Brown and David Park.&nbsp;<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"70825","title":"Heesoo Kim: A Retreat in South Korea","alias":"heesoo-kim-a-retreat-in-south-korea","catid":"17","published":"1","introtext":"\u201cMy studio in Yangsu-ri, about 25 miles east from central Seoul, is near the confluence of the north and south forks of the Hangang River. The area is quite out of the way, even by local standa<span class='ellipsis'>rds.<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"<p>\u201cA farm is nearby my studio. Viewed from the front, a large mountain is in the background of the studio building, and a river passes through the foreground. It is a picturesque location, but very few, if any, would saunter by such a secluded area. It might have inspired or accommodated my works, but there are moments that the remote location can feel unbearably forlorn. It is certainly not what people imagine when they hear \u2018mundane.\u2019 This sentiment is amplified at night, like a dense fog of seclusion settling in. It is the place where I began painting, and continue to paint today, but I have been considering bringing change to my workspace. I think it'll be good to have some change reflected in my work. On that trajectory, moving my studio is another possibility I have been considering. There is this trap of mediocrity that can ensnare things that grow stagnant or stay in one place for too long, be it paintings, spaces, or artists. I hope I know when it is time.<\/p>\r\n<p>\u201cMy easel is the thing I\u2019m most attached to; I made it myself. When I began painting, my budget did not allow the purchase of an easel and I was leaning my canvas against walls. Eventually I decided to go DIY and made the wooden frame from found materials. Even the paint tray was DIY. I laid the wooden boards and added the wheel fixtures myself. All the worn-out objects in the studio that you can see, I made myself.&nbsp;<\/p>\r\n<p>\u201cMost waking hours, I am in my studio. The work draws me in, and I become immersed in it sometimes during the day, and other times at night. However, if I am not going to paint, I avoid being there as much as possible. I appreciate how close my living quarters are to my studio, but convenience is not the end-all. This vicinity of living and work robs me of rest. There is something unbearably depleting about working in this space. Sometimes I second guess and question the decisions that led me here. Regardless, I strive to continue growing as a painter. There is so much in my painting that can be better. This aspiration is what drives me to try harder, to cling to it, and even be fixated upon it. Those are my candid feelings.\u201d \u2014<a href=\"https:\/\/www.instagram.com\/heesookim_\/\"><em>Heesoo Kim<\/em><\/a><br \/><br \/><em><strong>Heesoo Kim will be one of the featured artists in this year\u2019s inaugural <a href=\"https:\/\/contemporaryartnow.com\/en\/\">CAN Art Fair in Ibiza<\/a>, Spain from July 13\u201417, 2022<\/strong><\/em><\/p>","video":null,"gallery":"{gallery}70825{\/gallery}","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":"                 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The area is quite out of the way, even by local standards. Two structures stand on that plot of land\u2014my abode and my humble studio. I moved here to begin painting in earnest. At the time, the studio structure was bare-bones, with only the framing and essentially nothing else. It was not appropriate for use as a studio. Work in the studio was possible only in the Spring and Fall; bugs and other crawly things festered in the summer, and the frigid cold passed right through the structure in the winter. Over time, I put up boards and improved the walls, roofing, and installed a heater, resulting in the present setup. That is not to say that the studio is complete by any measure. 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time","published":"1","link":"\/tag\/studio-time\/"},{"id":"26200","name":"lenworth mcintosh","published":"1","link":"\/tag\/lenworth-mcintosh\/"},{"id":"27195","name":"winter 2022","published":"1","link":"\/winter-2022\/"},{"id":"3013","name":"in the magazine","published":"1","link":"\/in-the-magazine\/"}],"imageXSmall":"\/media\/k2\/items\/cache\/7bd007fbf7fe130b0d023a332adeabd5_XS.jpg?t=1642564834","imageSmall":"\/media\/k2\/items\/cache\/7bd007fbf7fe130b0d023a332adeabd5_S.jpg?t=1642564834","imageMedium":"\/media\/k2\/items\/cache\/7bd007fbf7fe130b0d023a332adeabd5_M.jpg?t=1642564834","imageLarge":"\/media\/k2\/items\/cache\/7bd007fbf7fe130b0d023a332adeabd5_L.jpg?t=1642564834","imageXLarge":"\/media\/k2\/items\/cache\/7bd007fbf7fe130b0d023a332adeabd5_XL.jpg?t=1642564834","imageGeneric":"\/media\/k2\/items\/cache\/7bd007fbf7fe130b0d023a332adeabd5_Generic.jpg?t=1642564834","cleanTitle":"Lenworth \u201cJoonbug\u201d McIntosh: Stories of West Oakland","numOfComments":"0","text":"<p>My studio in the Lower Bottoms of West Oakland was great, even more so because it stood only three blocks from my house. We found it when the previous tenant was moving out. I shared it with a group of fantastic artists including the founders of Sunnight Edition, Yoni Asega and Drew Grasso, who now help produce some of my prints.&nbsp;<\/p>\r\n<p>&nbsp;<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},{"id":"70422","title":"Protagonist: A Conversation With Carl Krull","alias":"protagonist-a-conversation-with-carl-krull","catid":"17","published":"1","introtext":"It's been close to 4 years since we last checked with our good friend Carl Krull over in Denmark, and the past few years have been anything but unexciting for the Danish artist. After relocating <span class='ellipsis'>with<span class='icon ico-ellipsis'><\/span><\/span>","fulltext":"<p>We've been following <a href=\"news\/drawings-by-carl-krull\/\">Krull's work since 2013<\/a>, and were regularly featuring his seismic drawings in which the bends and curves of repetitious lines constructed an illusion of depth and dimensionality. Stemming from the early illustrative work, these lines became pivotal in his practice and have influenced his drawings, paintings, as well as sculptural practice. Depicting the contours rather than the totality of the subject, there has always been an universal, if not a cosmic vibe to his ever changing works and somewhat of an eureka-moment happened when the artist applied his technique to VR sculpting. Focused on constructing the contours of a person, the ability to literally draw in 3D imposed the utilisation of circular orbits which then connected the different aspects of his practice. This important artistic liftoff also encouraged Krull to use an abundance of color in his paintings for the first time. But instead of painting with brushes, these images emerge from the artist's fingers as he removes the thick layers of paint from the surface of the canvas. Magical to watch as it happens, the finished visuals portray the protagonist \"as if it had been scanned by an interstellar probe revolving around a cosmic entity.\"<br \/><br \/>Aware of the significance of this show and the personal moment for the artist, we've reached out to Krull and had a conversation about Protagonist and what led to it. On top of that, we had another old friend, Henrik Haven, visit the studio and capture some of the magic with his camera.<br \/><img src=\"images\/Evan%20Pricco\/2022\/Jan22\/Carl_Krull_14.jpeg\" alt=\"Carl Krull 14\" \/><br \/><img src=\"images\/Evan%20Pricco\/2022\/Jan22\/Carl_Krull_14.jpeg\" alt=\"Carl Krull 14\" \/><br \/><br \/><strong>Sasha Bogojev: Where is the title of the show coming from and what does the term Protagonist mean in the context of this show?<\/strong><br \/>Carl Krull: The protagonist is on the move, with a trajectory towards the unknown and unfamiliar, leaving behind a path that is highlighted and inspires us all to explore, to go even further.<br \/>We are all protagonists, the one and only main character in our lives. We see reflections of ourselves in others, and see ourselves in nature and when meeting other people. Everything is a mirror. And seeing what we are not, can lead us to further understanding ourselves. If we seek a real adventure and strive to be more than just a satellite in orbit around our own egos, then we have to touch the unknown, feel insecure, and go on a journey. With a new course that is vulnerable, and thus alive.<br \/><br \/><strong>Rather than painting and applying medium, your technique developed to the point where you're removing it from the surface. How did that happen and how different is it to work that way?<\/strong><br \/>Instead of images emerging from adding paint, removing the paint is more spontaneous and it is also a much more naturally occurring everyday phenomena. We draw on dirty cars or on the foggy mirror when stepping out of our morning shower. I find this way of painting more direct and unrestrained. It becomes a super tactile endeavor feeling your way around the canvas.<br \/><br \/><strong>What are some of the aspects of this new technique that particularly excites you?<\/strong><br \/>I have always felt an intense presence and hyper-real focus while drawing. It is extremely satisfying and meditative at the same time. This new way of approaching the two-dimensional surface and working with my bare hands gets me even closer to where I\u2019d like to be. Working becomes a three-dimensional sensation, which is also what I am aiming for when it comes to what my visual output should be.<br \/><br \/><img src=\"images\/Evan%20Pricco\/2022\/Jan22\/Carl_Krull_03.jpg\" alt=\"Carl Krull 03\" \/><br \/><br \/><strong>How much of the work is controlled and how much is accidental, and how do you feel about that ratio?<\/strong><br \/>They are obviously contrary forces, both are essential for a work of art to be interesting and alive. A bit of chaos is always necessary, and you need to have structure in order to have beautiful and happy accidents. So actually the controlled and accidental forces become complementary rather than opposing.<br \/><br \/><strong>What type of tools are you using these days? Do you even own a brush these days?<\/strong><br \/>I do use brushes, but mainly use my fingers for the final touch, so to say. I find brushwork really satisfying and often begin my work by splashing the colors around, before I turn around and claim the colored canvas by the use of the line. I love huge brushes, and I actually have quite a big collection of strange brushes, many of them are presents from my father, and often the stranges brushes that I had found amusing at first turn out to be the ones that I come to use quite often.<br \/><br \/><strong>Yeah, the new works are much more colorful than ever before. What type of possibilities did the colors open for you?<\/strong><br \/>I used to work just in black and white. In some primordial way, we absorb black and white works of art differently than colored ones, and most probably they even defy cultural barriers because of their simplicity and silhouette style and obvious contrast. They might take an alternate route in our brain, passing through our reptilian brain on their way first, making the impact very fundamental.<br \/>Colors open up a new dimension. I think colors speak much more directly to our feelings and emotions. We also relate to colors in a very personal way. Colors are also beautiful just as they are, which has been one of my primary reasons for not using them until now. I have had the feeling that I needed to endure my black and white decade before I deserved to work with colors again. Somehow I had to prove to myself that I could make significant art without the use of colors first. Because colors are beautiful, they can make it difficult to distinguish if a piece of art is more than just the sum of nice colors. Does a dress look great, or is it just because it is red that it looks great..? I had to get beyond questions like that and find my own way first. Now I am reunited with the technicolor universe and enjoying the freedom.<br \/><br \/><strong>How did this shift towards color happen and how do you go about picking the colors for your work?<\/strong><br \/>The shift towards working with color happened simultaneously with moving away from my old studio and flat in the city. I have now moved to a house in the countryside close to the sea with my family. I knew I had to change my location physically for this change to happen and was lucky to find the place where I am now. At the moment I have a temporary studio in our house, but a separate building is being constructed next to our house, which will eventually become my dream studio.<br \/>Picking colors is pretty straightforward. l try to have as many different hues at hand and mix them on the canvas. I start by picking a color that I find interesting and then the other colors that go with my first choice kind of come along by themselves.<br \/><br \/><strong>The works are still mostly two-toned. Is this on purpose and why do you prefer to make them that way?<\/strong><br \/>I find that working with too many colors at the same time, just makes the individual colors lose their value. When only a few colors are in play, the spectrum between them opens up.<br \/><br \/><img src=\"images\/Evan%20Pricco\/2022\/Jan22\/Carl_Krull_11.jpg\" alt=\"Carl Krull 11\" \/><br \/><br \/><strong>Do you have a person in mind when you render, outline your sitters, or what or who does the depicted figure represent, for you?<\/strong><br \/>I have no one in particular in mind, but struggle to break open the seemingly two-dimensional canvas, to find and catch a spatial entity from this borderless space. Somehow when beginning a new painting session, I look forward to meeting an unknown sitter and returning with the essence of this person in a distilled form on the canvas.<br \/><br \/><strong>Speaking of \"render\" or \"outline\" is there a certain term that feels most fitting for your current technique or the state of your practice?<\/strong><br \/>My drawn line has been released from the contour of the person being portrayed, and now revolves around the surface of the subject. It is no longer sedimental or seismic. A portrait materializes consisting of one unrestrained drawn line representing both longitudes and latitudes simultaneously. Circular orbits appear in the wet paint, highlighting a path through a celestial space. The course of movements portrays a person that stands out as if it had been scanned by an interstellar probe revolving around a cosmic entity. I think I\u2019ll call this new approach and line in my work Orbital.<\/p>\r\n<p><em><strong>Studio photos by Henrik Haven<\/strong><\/em><\/p>","video":null,"gallery":"{gallery}70422{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"\"},{\"id\":\"6\",\"value\":\"The Protaganist\"},{\"id\":\"3\",\"value\":\"Carl Krull\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2022-01-14\"},{\"id\":\"2\",\"value\":\"2022-02-26\"},{\"id\":\"10\",\"value\":\"Formation Gallery\"},{\"id\":\"9\",\"value\":\"Copenhagen\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"3\"},{\"id\":\"16\",\"value\":\"21\"},{\"id\":\"17\",\"value\":\"\"}]","extra_fields_search":"   The Protaganist Carl Krull    Formation Gallery Copenhagen     Europe Copenhagen  ","created":"January 19, 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href=\"https:\/\/www.instagram.com\/carlkrull\/\"> Carl Krull<\/a> over in Denmark, and the past few years have been anything but unexciting for the Danish artist. After relocating with the family to the countryside two years ago, the artist started developing a new body of work using colors on paintings that break down the boundaries between sculpture, painting and drawing. The results of the past few years of such exploration were introduced at the inaugural show of <a href=\"https:\/\/www.instagram.com\/formation_gallery\/\">Formation Gallery<\/a> in Copenhagen last Friday, through portraits of an unknown protagonist as if echolocated in space.<\/p>","jcfields":[],"event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":"","K2CommentsCounter":""},"videoClass":false,"twitter_introtext":""},[{"type":"next-url","url":"\/news\/studio-time\/page\/1\/?json=true&"},{"type":"next-link","url":"\/news\/studio-time\/page\/1\/"}]]