We are delighted to introduce Unusual Circumstances, a distinctive solo exhibition by the talented Brooklyn-based artist, Travis Louie, [Previous Coverage here] marking his inaugural solo showcase with Harman Projects.

Delving into Travis Louie’s art is like stepping into an alternate dimension, a blend of the historical and the fantastical. His subjects, whether human, animal, or somewhere in between, are dressed in the waistcoats and high neck bodices reminiscent of the Victorian and Edwardian eras. With a discerning eye, Louie integrates vintage style framing and draws upon the aesthetics of early portrait photography in both paint and graphite, transporting viewers to a world that appears familiar but reveals its uncanny nature upon deeper observation.

Supplementing his surreal portraiture, Louie enriches each piece with meticulously crafted narratives, penned by the artist himself. While the artwork ignites a flurry of questions about its subject and the universe they inhabit, the accompanying stories take viewers on a profound journey, inviting them to engage more intimately with each creation.

A theme underlying Louie’s work touches on prejudice and the immigrant experience. Through his art, he advocates for replacing fear of “the other” with a genuine curiosity for the unknown and a deep-seated respect for the diverse. One of his notable pieces, The Discovery of the Hand, depicts a young boy holding the enormous severed hand of a man ousted by furious villagers. Here, Louie ruminates on the mob mentality, emphasizing that recognizing our commonalities with those beyond our immediate communities can lead to a more compassionate world.

Join Us for the Grand Opening

We warmly invite you to the opening reception of Unusual Circumstances on Saturday, October 7th at 210 Rivington Street, New York, NY, from 6pm to 8pm. Travis Louie will grace the event, and guests can enjoy light refreshments. Additionally, don’t miss the chance to acquire a copy of the artist’s recent limited edition print, Miss Eunice and her Hat Gremlin, available exclusively at the gallery.

Click Here for More Exhibition information

WHERE:
Harman Projects
210 Rivington Street
New York, NY 10002

WHEN:
Opening Night Reception:
Saturday, October 7th 2023
6:00pm – 8:00pm

Exhibition On View:
October 7th – 28th, 2023

About Harman Projects

Harman Projects was founded in 2022 by curator and gallerist Ken Harman. Our goal is to provide an inclusive and welcoming environment to foster a community of likeminded artists, collectors, and art lovers in New York City and beyond.
Our focus at Harman Projects lies mainly in the New Contemporary genre, encompassing historical movements such as New York City graffiti and SoCal pop- surrealism as well as contemporary schools of art such as Bay Area abstracted realism, international muralism and Japanese-inspired SuperFlat.

About Travis Louis

Travis Louie’s paintings come from the tiny little drawings and many writings in his journals. He has created his own imaginary world that is grounded in Victorian and Edwardian times.
It is inhabited by human oddities, mythical beings, and otherworldly characters who appear to have had their formal portraits taken to mark their existence. His work is about identity and remembrance, with a veiled commentary on racism and the immigrant experience. He would like the fear of “the other” to be replaced with a curiosity about the
unknown and a sense of wonder regarding those things that are unfamiliar.

Leffe Goldstein’s ‘Dreaming Demons’ present an alternative future. The drawings depict a black and white vision of an absurd world without humans; a world where only their demons have survived.

Intrigued by places that were once full of life and loved by their inhabitants and builders, Leffe’s drawings are based on real, existing places or objects. Architecture, pieces of machinery, planes, helicopters and vehicles that were left to decay; objects that were invented and served a purpose, built with the hands of real people. In Leffe’s universe, these people are no longer there and long forgotten. But take a good look and you can see their demons are still thriving, breeding an alternative future world.

“Most people see demons as their wildest fears while others seem to enjoy them but the lucky ones have both.”

Leffe Goldstein always starts sketching with pencil but the finished black and white works are drawn digitally. He uses the sketch as an under-layer and works endlessly on details to bring the demons to life. When finished the drawings are printed as a silkscreen print, or a Giclée.

Interview

ST: What did you want to be when you were growing up?
Quiet honestly I wanted to be a firefighter but soon after that I wanted to be Dali.

What’s your background?
I studied graphic design and photography and was a graphic designer for 20 years. 

What piece are you most proud of? and why?
I love the Bomber House from the last series it was an eyeopener for me to give these planes a new purpose. Same for the Sikorsky house.

Who is the one person, dead or alive, that you would like to have dinner with and why?
That would be David Lynch and share a Cherry Pie, Great director and artist. I love all his work it’s insane.

Where is your favorite place?
My Favorite place is a small island from Japan called Ishigigaki Jima 250 miles from Taiwan. It’s hot and humid but fantastic place for snorkeling and the people are so nice.

Who are your biggest influences?
Ouch that’s difficult but M.C. Escher, HR Giger, USUGROW Japanese artist, but also movies like Blade Runner. And my father who was an architect.

Which current art world trends are you following?
I follow a lot LOWBROW artists but also a lot of Pop-surreal Artists. Too many to mention.

What can’t you live without?
My morning walk, spotting dear.

What is your dream project?
This is my dream project.

What’s your favorite artwork?
It’s a work of USUGROW I bought in Tokyo at his exhibition at the Diesel Gallery a great skull in Black and white amazing details. It’s hanging ever since above the cough.

What is currently on your playlist?
Death in Vegas, Tool and Amon Tobin.

What gives you life?
Great art and Music, always.

If you could visit any artist’s studio, whose would you visit and why?
That would be HR Giger’s place that is so dark it makes you smile

What was the last thing you bought?
The latest Twin Peaks series on DVD, yeah I am way beyond

What ideas are you currently pondering or questioning?
I am working on more Demons Works and learning 3d modeling, still a lot to learn.

If you could collaborate with anyone, who would it be, and why?
That would be again Ivo Schoof, an incredible kinetic and light artist from the Netherlands. He is just the smartest kid in the world never met someone with that kind of energy.

Exhibition

An exhibition of Dreaming Demons will take place from 7th of May until the 21st of June 2023. Location dB’s Utrecht, The Netherlands. Learn more at dreamingdemons.com

You will be captivated and transported into the supernatural world just behind the veil through Batsheva’s mysterious subject matter. Her illustrations with their intricate details and haunting juxtapositions are a dark visual treat that evokes strange enchantments both haunting and mesmerizing.

Guiding this magical experience is renowned paranormal investigator, Susan Slaughter. With over 15 years of experience, Slaughter has investigated paranormal activities in over 30 countries. Her lectures, Q&A sessions, and live drawing demonstrations at the “Skirting Spectres” exhibition will leave you enchanted, as she shares her experiences of investigating the paranormal and teaches us about the power of connection with the otherworldly.

Daniella Batsheva will be displaying a series of never before seen illustrations with accompanying stories covering supernatural occurrences in and around London. Susan Slaughter will be giving lectures on her experiences as a world renown paranormal investigator. The exhibition will showcase gorgeous, original artwork and interesting discussions that are appropriate for most age groups, discussing history, legends, and theories behind spirits and cryptids.

Batsheva reveals, “London has a rich, often gruesome, history and with that you’re going to hear a lot of murmurings about spirits. I’ve heard people speak casually about their personal accounts with faeries and ghosts, mostly about them being a nuisance, disturbing their daily routines, and I wanted to capture that in this collection of pieces.Rather than presenting these experiences in a way that would be terrifying, I wanted to provoke interest, and lend a human side to these otherworldly beings.”
Inspiration for most of Batsheva’s pieces are taken directly from real-life experiences of friends and colleagues, which is what inspired the title, “Skirting Spectres.” Her work is known for its playfully macabre subject matter, intricate details, and historical references, creating a visually alluring blend that appeals to mainstream and underground crowds.

Susan shares, “The paranormal realms are still largely misunderstood and feared. I’ve spent my whole career in the paranormal field trying to educate people on the power we have to connect with, communicate with, and transform these paranormal energies into our allies and teachers. Behind every ghost story is a lesson in the human experience and a lesson on how to live.”

Slaughter’s interest in the paranormal was sparked by her earliest memories and encounters with shadow people, orbs, and spirits from her early childhood. She knew that she had to find answers behind why she was experiencing  the supernatural and set out of a quest to find spirit guides and teachers. She started to investigate the paranormal professionally at 18 years old, and since then has investigated with teams all over the world in over 30 countries. From Mayan and Incan Temples, Carribean Fortresses, Medieval Castles, and World War sites and bunkers, Slaughter has navigated the supernatural occurrences with a culturally inclusive lens gaining great perspective on the different ways humans around the world perceive life and death and the human soul.

The exhibition will be open to the public from April 25-30, with lectures, Q&A and signings by Susan Slaughter, live drawing demonstrations with Daniella Batsheva, and time slots available for private viewings. Lectures will be held on Friday, April 28th, and Saturday, April 29th. Tickets for the lecture are for sale on Billetto for £22. Tickets will also be available at the door for £25.

Visual artist Daniella Batsheva is a self-proclaimed “Illustrator with a design habit” who has worked with a variety of brands and artists such as Kerrang!, Paris Jackson, Pizza Girl, and Dead Sky Publishing.

Susan Slaughter has worked with the paranormal for over 15 years and is best known for her work on Paranormal Caught on Camera, Ghost Hunters Int., and Ghost Hunters Academy. 

Event Page and Tickets: daniellabatsheva.com/skirtingspectres

We’ve previously covered some of Barlowe’s visionary concept art here, and we are pleased to share the news of this retrospective and an exclusive interview.

November 19, 2022 – December 3, 2022
Opening Reception / Nov 19, 5:00 PM – 8:00 PM

OPENING RECEPTION AT GALLERY NUCLEUS

• Nov 19, 5pm – 8pm
• Free admission / No RSVP needed
• Exclusive prints to be released

EXHIBITION FEATURES

• On display Nov 19 – Dec 3 (closed Mondays)
• Free admission / No RSVP needed
• Various reproductions from some of Wayne’s notable book projects and film work will be on display
• A curated selection of original drawings and paintings will be on display and available for purchase

ABOUT WAYNE BARLOWE

Wayne Barlowe is an American science fiction and fantasy writer, painter, and concept artist. Barlowe’s work focuses on esoteric landscapes and creatures, such as citizens of hell and alien worlds. He has painted over 300 book and magazine covers and illustrations for many major book publishers, as well as Life magazine, Time magazine, and Newsweek. His 1979 book Barlowe’s Guide to Extraterrestrials was nominated in 1980 for the Hugo Award for Best Related Non-Fiction Book, the first year that award category was awarded. It also won the 1980 Locus Award for Best Art or Illustrated Book. His 1991 speculative evolution book Expedition was nominated for the 1991 Chesley Award for Artistic Achievement.

Barlowe has worked as a concept artist for movies such as Galaxy Quest (1999), Avatar (2009), and Harry Potter 3 and 4, among others. He is known to have worked closely with Guillermo Del Toro, serving as a creature designer for the Hellboy film series and Pacific Rim (2013). His work on Hellboy (2004) awarding him a nomination for the 2005 Chesley Award for Product Illustration. Barlowe was the Initial Creature Designer for Avatar (2009) and worked on The Lord of the Rings: The Rings of Power (2022) Barlowe was the creator and executive producer of Alien Planet, a documentary adaptation of Expedition produced by Discovery Channel in 2005. He has written two fantasy novels: God’s Demon (Tor Books, 2007) and its sequel The Heart of Hell (2019).

See more art and info here: waynebarlowe.com

Wayne Barlowe Interview

SurrealismToday: What work are you most proud of? And why?
Wayne Barlowe: I suppose the best answer to that question would be my Hell series. While I started out primarily as a science fiction artist specializing to some degree in alien life forms, my work in Hell has challenged me in ways I could have never envisioned. EXPEDITION was my first foray into writing. It was foundational for me but was heavily augmented with a lot of artwork. With Hell, I took it up to the next level, writing actual novels that did not depend on artwork. Sure, the artwork was created before the books and established much of what I’d write, but the narratives are where I think I’ve challenged myself the most. And they are probably what I’m most proud of. It was world-building on an epic scale. The entire world of the fallen demons had to be created. And, it was a world that pre-existed before their Fall. That meant that an entire ecosystem had to be considered and represented both in words and art. Tying all of this together with consistency was and still is a great challenge. 

ST: What are you most inspired by today?
Wayne Barlowe: I’m steeped in the past. I am still mesmerized by late nineteenth century and its fin de siecle art. Orientalist and Symbolist painters, in particular. The Orientalists brought rendering skills to an almost unattainable apex. I’m not sure anyone can do what they did with paintbrushes anymore. At least not with the same authenticity. And, from a different perspective, the Symbolist movement, with its enigmatic imagery and beautifully subtle palettes also provides me with serious inspiration. To be honest, nothing being produced today pushes buttons in me as do those two schools of art. I can still look at a Ludwig Deutsch piece or a Khnopff or Hiremy-Hirschl with as much joy as I did when I first discovered them.

ST: What is one thing they tried to teach you in school that you knew immediately was wrong?
Barlowe: I had a pretty unfortunate college experience. Cooper Union in the late ‘70’s was not a safe harbor for wanna-be illustrators. To be fair, it was my own fault – I should have applied to a few more professionally oriented schools. For example, I had two drawing instructors. One asked his students to immediately draw like Matisse and the other asked her students to draw like her. Neither of these choices seemed right to me from the start, and I expressed my feelings to one of the instructors. I don’t think he was too pleased with my voiced rebellion. Add to that, no teaching of the fundamentals like composition and color theory, and I knew I was not getting what I wanted out of my education. Shortly thereafter I decided to leave. I briefly toyed with transferring to another, more conducive school. But I was getting work and saw no point in continuing in school.

ST: What is the best piece of advice you have ever received?
WB: Draw every day. This, from my first instructor, Gustav Rehberger, at the Art Students League in NYC. Never better advice.

ST: What is your dream project?
WB: I’ve written a couple of screenplays that I’m extremely invested in. One is quite close to becoming a reality. This one is a traditional SF film. The other, also SF, is non-traditional. To see either or both come to fruition would be the fulfillment of my personal dreams.

ST: What is currently on your playlist? Do you listen to music when working?
Wayne Barlowe: I do listen to music when I paint and write. I grew up listening to nothing but classical music so I have a lot of that on my computer. Painting allows me to listen to wilder stuff. Nine Inch Nails is my favorite group so a ton of that goes down. I’m also a big soundtrack listener – I’ve probably got a couple of hundred on my flashdrive. Hans Zimmer – the man is brilliant. Almost anything by him is inspiring. When I write I need more atmospheric, somewhat quieter music. Lustmord, Jeff Greinke, A Winged Victory For The Sullen, Max Richter. I like a real variety of genres. If I hear it and like it, I don’t care where it’s from. Anyway, currently, it’s AWVFTS’s INVISIBLE CITIES, Zimmer’s various DUNE OSTs which are brilliant, Max Richter’s TABOO OST. Oh, and some BOARDS OF CANADA.

ST: If you could visit any artist’s studio, whose would you visit and why?
WB: Apart from going back in time and visiting my parent’s studio, you mean? I’m guessing you mean living. I don’t have a good answer for this one. I worked, briefly, alongside John Howe and Alan Lee in NZ. Both really good people and wonderful artists. Might be really fun to see their studios.

ST: What ideas are you currently pondering or questioning?
WB: I’ve got a few back-burner projects that I’m tinkering with. I’m not very interested in depicting Heaven – the Above as I named it in GOD’S DEMON – but I recently did a painting of an angel that opened a few interesting design doors. That said, I just don’t envision Heaven as being anywhere as interesting as the world I created in Hell.
I’ve also, relatively recently, created a new alien world in the same vein as Darwin IV from EXPEDITION. This new world, Gessner II, is inhabited solely by evolved plants some of which are intelligent. Creating creatures within this parameter is intriguing so I may pursue that one. Kind of an EXPEDITION II project.
As for questioning – nothing more or less than my place in the Universe.

ST: You’ve said previously: “Make sure you know how to draw because to me drawing is the beginning of everything all techniques spring from that.” What would be your advice for young artists inspired by narrative and figurative work who might be in educational environments pushing other types of work?
Wayne Barlowe: I’ve done a number of guest lectures in various schools. I always encourage students to create a back-burner project – something personal that they’re passionate enough about to keep working on in off hours. Maybe write a few lines that can become a catalyst for some narrative project that can be illustrated. Storytelling and world-building are the two elements that can grow a project into something of value later on. When I was in college, I invented an alien character named Thype. He was meant to be an itinerant, ronin-like god-killer on a journey of self-discovery. I did a series of drawings and paintings of him and his world that to this day, many decades later, still pique my interest. High fantasy in another world. I actually think Thype would be a great video game. I haven’t done anything with him in years, but I don’t rule out eventually figuring him out. Or doing the occasional painting related to him. But it’s that kind of project that can blossom into something unpredictable. And, that kind of project is what I wish for students.

ST: In a previous interview when asked about advice for would-be writers you suggested more originality was needed in the field: “I would say, please, please, be original. Enough with the Tolkien fantasies, enough with the Alien rip-offs, enough with the well-worn tropes of things that we have seen done a million times. And I would say this to screenwriters and game writers as well. We are sinking under the collective weight of commercially conservative ideas that lack any originality or creativity. Think outside the box with the price tag on it.“
What parts of your creative process do you attribute to helping you create original work throughout your career? Do you have any specific techniques to spice things up if you find yourself leaning too much on a formula? (Some artists have been big fans of introducing randomness in their work.) What have you done to get out of past creative ruts?

Barlowe: I hate the notion that anything I might do falls onto a well-trodden path. As a kid I used to dislike it when someone would ask me if I copied something or traced it. It rubbed me wrong. I try very hard not to fall into a formulaic, self-derivative approach to my work. Therein lies stagnation. Even though I have a few worlds that I populate with artwork, I try to not repeat myself either with subject matter or approach. It’s my way of trying to keep the imagery fresh and keep a viewer engaged. This is one reason I’m not entirely sure I fit comfortably into the gallery world. I have friends who are there and I get the impression that what they are doing is creating “the same but different” artwork because clients and potential customers want that. I wouldn’t enjoy cranking out the same image with subtle variations simply to keep product flowing. Maybe a bit short-sighted on my part but I know myself well enough to know what would very quickly become boring.

ST: What informs your work that most fans might find surprising?
Barlowe: I’m not sure this would really surprise anyone, but I’m a huge ancient history buff. And I love paleontology. Both of these elements find their way into my work in, sometimes, less than obvious ways.

SurrealismToday: I understand that Del Toro does a lot of the creature concept by hand, based on dreams that he has had. How does the concept work you do translate into the design process? Does it flow from wireframe to 3D model, etc?
Wayne Barlowe: I am a very pragmatic person, despite working in imaginative realism. So, when I don the hat of a concept artist I become slavishly interested in fulfilling a director’s vision. I’m particularly interested in hitting the marks with whatever language a director uses in describing what he/she/they want. This comes from my background as an illustrator. Whenever I was handed a manuscript I would always read it thoroughly and take notes. I didn’t want to be caught doing a cover that was in any way inaccurate.
So, the same applies to concept art. I see myself as a kind of pathfinder when it comes to designing creatures or characters. I don’t go into the process expecting whatever I’ve done to be entirely literally brought to the screen. If that happens – if something I’ve designed makes it through the many hands it passes through on its way to the screen, and it makes it without too many changes then, of course, I’m thrilled. But I don’t have that expectation. What I do is a careful drawing based on careful thinking. This then goes on to 3D artists with the input of a director or art director. Film work is always a team effort. You cannot lose sight of this, or else you won’t be happy working in that milieu.

ST: What is one thing you believe that most people do not?
Barlowe: I’m only just becoming aware of the block universe theory – that, in a few words, the past, present, and future all exist simultaneously. I’ve always believed this in my gut but never knew until recently that it was an actual theory. I’m guessing this isn’t a widely held belief.

ST: What have you been most happily surprised by in your career?
Barlowe: I’d have to say the reception I got from readers regarding my entry in authorship. EXPEDITION was my first foray into writing but because that book was so heavily dependent on artwork the challenges were not the same as those found in writing a novel. While I had a backlog of artwork to support GOD’S DEMON, none of those images were going to be published within the book. WHich meant, of course, that I had to describe everything that I’d either painted or drawn. As well as so much more. I like descriptive writing so this wasn’t a chore for me. But the fact that so many readers found the world so convincingly described was a thrill for me. Hell isn’t a pleasant place but, because I spent a lot of time describing it, I sense that a lot of readers would like to return. Which has encouraged me to attempt to finish up what I started with a third and final book – LUCIFER’S SOUL.

ST: What was a difficult art or career challenge that you faced and how did you overcome it?
Barlowe: Transitioning from pure illustrator to author – a title I still have trouble articulating. To me authors spend their entire lives learning and implementing their craft. I didn’t go to workshops or school to learn to write. So taking that leap so many years ago was scary and ambitious. I had had a bellyful of the paperback cover world and really needed to find another way to express myself. So, one day I conceived of EXPEDITION in an effort to pull myself away from that other world. I did a single painting and a two-page outline of what I thought a naturalist’s experiences on an alien world might be like. I walked into the publisher’s office, pitched it, and sold it. By today’s standards – a miracle. It was a leap of faith. Putting aside rent-paying work to complete what would take me close to two years to finish. A lot of uncertainty and hard work followed. But it was just the right decision at the right time. No regrets!

ST: Any words of advice for young artists and illustrators?
Barlowe: Well, I’m going to repeat myself a bit here. Be original in every way you can. If your work resembles someone else’s, retool it to be yours. Your own style will evolve over time so co-opting someone else’s doesn’t do you credit. Work to your strong points but expand them. Be influenced by your art heroes but don’t copy them verbatim. Perfect your craft by being relentlessly self-critical. The eraser and the undo button are your friends.
And, secondarily, find a passion project that excites you. Add to it with art and words. Make it your pet, back-burner project that one day might blossom into something bigger. Build on each piece with consistency and a bit of what came before. Every Hell piece I’ve ever done has the seed of the next piece in it. And every painting or drawing I did informed my writing. One hand inevitably washed the other. For me, a painting or drawing could act as a catalyst for my writing and vice versa.
With all of that in mind, go forth, be passionate and Create!

ST: What imaginary place would you most love to visit?
Barlowe: Maybe E. R. Eddison’s Mercury. THE WORM OUROBOROS is my favorite high fantasy novel. I’d love to see that world. 

SurrealismToday: What are you most looking forward to now?
Wayne Barlowe: Finishing my third novel, LUCIFER’S SOUL. It’s taking forever and is very heavy lifting. It’s more ambitious in its scope than the previous two novels. And I cannot wait to get it all out on paper!

Other Resources:
WayneBarlowe.com
Books on Amazon
Instagram.com/waynebarlowe_thedarkness
Our previous coverage of Wayne Barlowe

“When I was growing up my family moved many times, and every new home held mysteries and secrets. I dreamed of hidden stairways that led to unknown attics, or cellars underneath that held forgotten treasures. I knew I could get there if I just kept looking. That low door is still elusive, but when I pick up my pencil or paint brush I can find it for a little while. When I paint I try to bring some of that magic country back with me.” – Kristin Kwan

Kristin Kwan Interview

What did you want to be when you were growing up?
A paleontologist.

What is the best piece of advice you have ever received?
Keep starting, that is the trick to productivity and progress. Don’t worry about anything else, just start, and start again, and start again, all day.

Who is the one person, dead or alive, that you would like to have dinner with and why?
Terence McKenna.

Where is your favorite place?
There’s this place that lives in my memory, from when I was a child, it was down the dirt road we lived on, in someone’s back 40, you went through a swampy place full of nettles, through blackberry brambles maybe 10 feet tall, and there was an old apple orchard, it felt enclosed from the world and timeless.

Who are your biggest influences?
Robert Bateman, 20th-century surrealists, mid-century sci-fi and fantasy cover artists

What can’t you live without?
Free time

What is your dream project?
Oh, it’s always the next thing, the next painting is always the dream project.

What’s your favorite artwork?
The Virgin of the Rocks, by DaVinci (the Louvre version), also the Rolin Madonna by Van Eyck

What is currently on your playlist?
Age of Adz by Sufjan Stevens, a lot of Joni Mitchell, endless Alan Watts youtube lectures

What are your last three Google searches?
I’ll never tell.

What gives you life?
Going for a run that hurts

What is your superpower?
Total obsession

What is your Kryptonite?
4:00 in the afternoon

If you could visit any artist’s studio, whose would you visit and why?
I would love to visit an old renaissance-type art studio, the workshop kind, and see the apprentices at work and the slow process of it all. What I really want to see is the Ghent Altarpiece in progress in the workshop, I’d stop in there.

What was the last thing you bought?
A book

What ideas are you currently pondering or questioning?
How to achieve some kind of work/life balance, how to let go of the endless desire for control

What do most people believe that you do not?
In free will

What is one thing you believe that most people do not?
Breakfast is totally unnecessary

What imaginary place would you love to visit?
Finn and Jake’s treehouse, the waterlily sea at the end of the ocean in Narnia, Green Gables

What is your favorite thing in the world, and why?
My family

If you could collaborate with anyone, who would it be, and why?
A musician for album art, but I don’t listen to enough music to know who

What’s next for you?
Leaping into that void of tomorrow, also a few group shows this year

GOLDEN AFTERNOON: A KRISTEN KWAN SOLO EXHIBITION

August 13, 2022 – August 28, 2022

Gallery Nucleus welcomes Kristin Kwan with her first solo exhibition at the gallery, featuring a collection of brand new personal artwork.

Opening Reception / Aug 13, 5:00PM – 8:00PM

Gallery Nucleus
210 East Main St
Alhambra, CA 91801

ABOUT THE ARTIST

Drawing from sources across the natural world, and driven by relentless curiosity, Richard Fishman’s sculpture practice spans more than fifty years.

Fishman’s creations are both engaging and beautiful. They draw you in with their allusions to the familiar in nature and beguile using opposing tensions within each piece. The complexity of the surface and its counterpoint opacity and transparency all allow him to uncover mysteries and then recover them with mysteries of his own.

Fishman has an enduring interest in combining a considered artistic approach with the operation of random incidents to generate new forms. As a result his finished work  seems to be in a constant state of flux. The new works, mostly colored are built on a core of bronze or styrene explore new avenues attempting to give shape to color, embedding the color in the sculpture rather than using it simply as a surface coating. The use of color in this way pushes the mutability of the form so that it appears to be in constant motion, almost filmic, flowing.

This way of engaging with color as sculpture carries forward several art historical strands that have skirted this issue but not resolved it. The leap that Fishman is taking is based on his observations of the natural world- lava flows, meteorites, coral growth- where color is intrinsic to and inseparable from the observed form.

Fishman continues to embrace his life long exploration of the complexities of nature.  To realize the consequences of this new branch of his thinking he is creating objects that are a new way of looking at his source material: nature through a new prism.

Philippe Charles Jacquet is an architectural painter: his haunting surrealistic landscapes are an exercise in precision, layered variety, and esoterism

Opening Reception on 27 April, 2019, 6-8pm
RSVP Required: info@hugogalerie.com

Les Reclus is a solo exhibition featuring the carefully articulated dreamscapes of Philippe Charles Jacquet to be exhibited at the Hugo Galerie in New York City. The show introduces new pieces by the artist in his celebrated style in which he builds his watery worlds with various and highly planned painting techniques.

Les Reclus’ title is more relevant to his canvas’ structural capacity than their figural; while most canvases contain more than one figure, rarely does a canvas contain more than one structure. The reclusivity of Jacquet’s built environments, dramatically poised within surreal and stretching landscapes, lends his paintings an enigmatic quality. Adding to their mystery is the fact that they cannot be quickly dismissed as make-believe—they are too realistic, too aligned with our own experiences of stone houses, wooden rowboats, reflection pools, receding tides, and cloud-filled horizons. Even the slope of a figure’s slouching shoulders is too… personal.

Jacquet is an architectural painter; he plans his landscapes and their built environments with measured precision, constructing them in a layered variety of media and methods until they are as real as they are imagined. The materiality finessed, from mirror-like water to rust-scored wood grain, brings his painted compositions to life. The combination of textures, geometric accuracy, and concise colors creates an esotericism that includes viewers rather than excludes them; Jacquet’s solitary structures do not reject but envelop the viewer with the familiarity of a feeling. As if we’ve been here before. Perhaps in a dream.

Hugo Galerie is a fine art gallery in New York City specializing in contemporary figurative painting and sculpture. The gallery represents an international roster of artists working in a variety of media and range of genres.

Le Reclus, oil on board, 311⁄2″ x 311⁄2″ (80 x 80cm)
Le Port d’Attache, oil on board, 283⁄4” x 351⁄2” (73 x 90.2cm)
Une Soirée Ordinaire, oil on board, 471⁄4″ x 471⁄4″ (120 x 120cm)

See Jacquet’s previous feature in Surrealism Today from 2015.

The group exhibit at Star Gallery NYC will showcase the work of dozens of prominent artists’ personal explorations of this theme. Award-winning artists include Marshall Arisman, Chris Buzelli, Leslie Cober-Gentry, Katherine Streeter, Jason Limon, Gary Taxali, Anthony Freda, Victor Stabin, Steven Tabbutt, Skull-A-Day founder, Noah Scalin, Kevin Champeny, Zoltron, Dan Zollinger, Billy The Artist, Craig LaRotonda, James Hoston, James Yang, Peter Devito, Caitlin McCormack, Santiago Caruso, Rhett Hutchence, Gary Kroman, Eric Probst, Kevin Pyle, Danielle Mercado and Estephany Lopez.

Star Gallery NYC

Star Gallery NYC will also present a painting by the legendary Marshall Arisman. Arisman’s paintings are part of the permanent collections of the Brooklyn Museum, the Smithsonian, and the Museum of American Art. Arisman’s show Sacred Monkeys was the first American exhibit to be shown in Mainland China.

Skull-laden imagery looms large throughout art history, from the Aztecs to Damien Hirst. This show will present a unique and exciting collection. Much of the art in the group show at Star Gallery NYC is the stuff of dreams and macabre fantasies, but this theme also rings true as an affirmation of life rather than a celebration of death. There is dark humor, elegant craftsmanship, and masterful skills all at play in this eclectic exhibition.

Star Gallery NYC’s exhibition includes the most interesting artists who are delving into this iconography, and the gallery is exhibiting the selected works together in one gallery space for a limited time next month.

Star Gallery NYC specializes in showing the best of pop-surrealism and cutting-edge illustration. Death is the great unifier and its most potent symbol, the skull, is a reminder that humanity is alike under the skin — it is one. The work in this show is spiritual and timeless, and it is an exhibition of which Star Gallery NYC is particularly proud.

The show will include original paintings, drawings, prints, and sculptures created by a global selection of artists. The artworks are all for sale and Star Gallery NYC offers works suited for a range of collectors. Curated by Anthony and Amber Freda.

A portion of the proceeds will go to benefit Haitian orphans.

The exhibition will be on view Jan. 16 through Jan. 20. The opening reception is on Saturday, Jan. 19, 2019, at 2 Rivington Street, on the Lower East Side of Manhattan. The event is free and open to the general public.

About Star Gallery NYC

Star Gallery NYC is an art gallery on the Lower East Side of Manhattan. The gallery frequently exhibits art that falls into the categories of Pop-Surrealism, Lowbrow, Comix, and contemporary illustration.
Learn more at stargallerynyc.com.

 
D.W. Martin’s surrealist sculptures offer a different, enchanting view of the world at Erie Art Museum’s Holstein Gallery.

One of the advantages of visual art is its ability to capture that which is difficult to express in words.

Such is the concept of objective chance, a key element of surrealism. Writer Andre Breton is credited with originating it. Salvador Dali was perhaps its first and most famous practitioner. And here in Erie, Edinboro University of Pennsylvania art professor D.W. Martin is its standard-bearer.

The primary tenet of objective chance is its celebration of unexpected relationships and surprising juxtapositions — the combining of disparate everyday objects to create a mystical new visual language. Think of Dali’s dripping clocks hanging from trees, or how Rene Magritte toyed with scale and superimposed elements such as fruits and fowl into otherwise usual spaces and scenes.

Martin views the world in a similarly magical way in his exhibit “Pairing Similarities,” on display through Oct. 21 at the Erie Art Museum’s Holstein Gallery.

Read more [via goerie.com]

PAIRING SIMILARITIES: D.W. MARTIN
Holstein Gallery
June 30, 2017 – October 21, 2017

In Pairing Similarities, sculptor D.W. Martin presents a series of works in cast bronze and aluminum that couple parts of the human anatomy with inanimate objects, especially chairs. The pairings, odd at first glance, invite a deeper investigation of our relationships with the objects that surround us.

In conjunction with the installation in the Holstein Gallery, large steel fabrications are on view in both the wildflower garden and in the inner courtyard of the museum. These colorful structures integrate the structural qualities of elements from the built environment, such as electrical pylons and telephone poles, into gestural and often anthropomorphic images. Martin is absorbed by the sculptor’s age-old fascination with the human figure, and the way it is echoed in the mundane, ostensibly non-figural objects that surround us. Martin’s curiosity takes something ordinary from our daily visual noise and creates something extraordinary that we have never seen before.

David W. Martin was born and raised in Oklahoma where he developed an interest in drawing and silkscreen printing. After working as a commercial artist, Martin decided to pursue a BFA in printmaking at the University of Oklahoma and, in the process, developed an absorbing interest in sculpture. In 1987 he was accepted into the MFA Sculpture Program at Virginia Commonwealth University.

While actively exhibiting and selling his work through the gallery system, he began his academic career at Ohio State University as a studio arts technician for the sculpture and glass programs. He later relocated to Edinboro University of Pennsylvania where he has been teaching sculpture and 3D foundation for the past 18 years.

D.W. Martin currently resides and maintains his studio in Edinboro, actively exhibiting large outdoor sculptures in Pennsylvania, Ohio, West Virginia, Virginia, New York, Michigan, Indiana, and Tennessee. Since 2005, he has been affiliated with Flatlanders Gallery in Blissfield, Michigan. For the past 12 years, D.W. has exhibited his sculptures annually through the Midwest Sculpture Initiative, an artist-led program that organizes and supports sculpture exhibitions throughout the Midwest.

Source: The Erie Art Museum – Pairing Similarities: D.W. Martin

Artist Website

Carl Jennings

Tammy Eilyn Jennings
New Work: Carl Jennings & Tammy Eilyn Jennings
Ho’omaluhai Botanical Gardens, Kāne’ohe, Hawai’i
May 1st – 28th, 2017
Opening reception, Sunday April 30th, 4-6pm.