Ashes57 X Lava Gallery "On the wild Side"

Lava Gallery has been cranking out quality shows on a week by week basis, this time, Co-founder and art director of the Lava Gallery Ashes57 presented her new body of work entitled “On the wild side”.

This show is simply good fun, the centre piece being a huge 3d installation featuring her trade mark line drawn city scape’s and characters like the sitting dog.  Ashes’ line drawing style has a great flow and creates allot of depth, You will discover something different in her work every time you look at it.

The show features a collection of hand drawn city scape’s, hand painted canvases and limited run prints, a good mix of work and plenty to keep your attention.

There was a great vibe and good turn out on the night, plenty of drinks were had and a few tunes grooved to courtesy of live DJ’s.

See the rest of the pics from the opening night here:

http://www.flickr.com/photos/chasingghosts/sets/72157626167404315/

RECURSIVE on Repetition

RECURSIVE blog banner

I’m very pleased to say

1) I have a new project in the works and

2) Art Pie is again media sponsor!

This project is smaller in scale than This ‘Me’ of Mine, but just as interesting. RECURSIVE explores the inner repetitive thought processes, both ones we’re aware of and ones we’re not. The works in the exhibition show evidence of this recursive thinking in action through the work. My goal for the blogsite is to create a place to discuss what repetition is, how it affects us, and why we’re so drawn to it. So far, that is working really well!

Here’s an example:

janeboyer

Submitted on 2014/05/16 at 1:03 pm

I’ve been thinking of how I feel about the change in repetition, and really, how would I put it into words?I can remember feeling ‘solid’, meaning I knew who I was in relation to where I was and who I was with. Mechanization made communities prosperous, providing most of the work for a local population.

I knew what products I could depend on, where to buy them and how much they would cost. I knew I would need to save money to afford more expensive things I wanted. There was stability in knowing products were readily available and in constant supply. I came home with products I liked in shopping bags. I could smell the production process of tires and toothpaste on the air, knowing they smelled polluting.Now, as someone involved in a digital world, I work where I do not live, I purchase products from all over the world which are shipped to me.

I feel guilty at the thought that less wealthy people than I (and I am not wealthy!) make the clothes I wear and have produced them in a very foreign place in unknown circumstances and at unknown costs to the environment. I feel ‘transparent’ as I share quirky little thoughts on twitter and downright exposed when I post anything on Facebook. I feel impinged by knowing that I can never decide to remove my profile on Facebook. I feel hectic and rushed even though I sit at a table most of my day typing on a keyboard.

I see almost no one, except my husband, throughout my workday. In short, I feel boxed, constrained, observed and strangely non-material in a world that I struggle to comprehend, as my thoughts flit from task to task, page to page, and site to site.

Ian Pickering

Submitted on 2014/05/16 at 4:50 pm

I am not sure that repetition is mechanisation. Farming is repetitive as is much basic craftwork. I am also tempted to suggest that change has always produced a response that things have got worse. Feeling transparent. That is an insight and I understand the idea of being simultaneously connected but isolated.

codedimages

Submitted on 2014/05/16 at 5:17 pm

I recognise your descriptions. I do feel though that I work where I live, but the product of that work is then spread instantly to all parts of the globe and to anyone who cares to take an interest. Working alone is lonely.

I envy those who have a physically located group to associate with and are able to share ideas face-to-face. I don’t know if any of this has repetition at its core though. I do know I would not want to turn the clock back entirely. I feel privileged to be able to discuss ideas with people all over the world.

Being able to find like-minds wherever they might be is a huge plus for the web. On the other hand I need to find a better balance, where at least some portion of time is spent physically co-located with other artists. I will be working on that aspect in the days, weeks, months and years to come.

Kay

Submitted on 2014/05/17 at 1:46 pm

A few thoughts on a great topicI knit and crochet so there is much repetition involved in those actions. By chance I found and continue to find those repetitions creative. The stitching can also have a meditative quality to it, awakening me to the moment.

I don’t expect every repetitive action to have a meditative quality to it however I do recognise actions which are engaging and enlivening and those which have a dulling effect.I have had interesting on-line conversations and got connected to collaborative on-line projects -which I would never have come across without the digital world – I do value them. What I find with digital media is that it is all too easy to get stuck in repetitive actions which don’t lead to anything in particular.

The impact of some digital repetition is to dull / numb the brain. Perhaps that is why we crave the connection with humans who aren’t glued to the screen. The connections can perhaps be more random, intuitive and exploratory.I also think that repetitive digital actions in office spaces are questionable. The assumption seems to be that if people are at the screen they are working and even engaged in their work.

I don’t agree. Humans create and work in a range of ways. As a fellow human I need variety and stimulation through words, textiles and other random moments to develop. This becomes more important as I get older. I work with older people and am obsessed with memory, aging, loneliness and isolation! A few of the comments here refer to people experiencing a sense of isolation even in a world of virtual connections.

I think it is essential to create spaces which integrate the virtual and physical nature of life (I love the makers library network). Isolation is a killer. As a human I want to be awake to this and create repetitions which sustain me and who know others around me.

——

We hope you’ll join us and join in the conversation…

Go to RECURSIVE

New York Kings at Pure Evil

New York Kings at Pure Evil | Art-PieAlthough street art is inviting itself in auction rooms and household lounges these days, it is still regarded by a large majority of us as vandalism. It is hard to understand anything when you do not try to understand where it comes from but only look at the surface and leave your ignorance driven your judgement which is bound to be false.

New York Kings at Pure Evil and curator Christophe Demoulin would definitely like to put this point across to any visitor and underline the importance of the US graffiti movement that started along with the hip hop one in the 70’s and 80’s. The purpose of this writing is not to tell about the social or politic importance aspect of the movement but about looking at the creativity that came out of it which is on display in this show.

All the graffiti and street art pieces have been drawn on actual New York subway maps which is the new medium the “old kings” have found to pursue the tradition of “subway art”. This was a necessity more than anything since the authorities have actually banned any artistic intervention in the subway. The most prolific and subversive won the right among peers to use a crown symbol next to their work, meaning graffiti king.

The show spreads onto the two floors at Pure Evil and has got pieces from all the big names that made the graffiti genres used widely by other artists all over the world from BLADE for the 3D lettering to COPE2 for the bubble lettering. Other names includes FUZZ ONE, BOM5, SEN2, INDIE 184, STAY HIGH 149, POEM, RD 357, DECK, EASY & JOZ.

The show runs until the 18th november 2012.

New York Kings at Pure Evil | Art-PieNew York Kings at Pure Evil | Art-Pie

New York Kings at Pure Evil | Art-PieNew York Kings at Pure Evil | Art-Pie

New York Kings at Pure Evil | Art-Pie

New York Kings at Pure Evil | Art-PieNew York Kings at Pure Evil | Art-Pie

New York Kings at Pure Evil | Art-PieNew York Kings at Pure Evil | Art-Pie

Jota Leal’s Star Wars themed artworks

Jota Leal was born in a humble little town in eastern Venezuela, in the mid-eighties. He began drawing and painting at a very young age, and never studied fine art. He attempted to sit in class as a child of six, but ran away after being forced to paint plastic fruit and empty bottles.

Jota’s style results in a synergy of remarkable painting skill and a probing sense of the subject’s soul, and often tweaked with a remarkable sense of humor. Leal works with pencil on paper, acrylic on board, and acrylic on canvas to achieve his amazing images.

Jota Leal from Venezuela probes the subconscious, showing that depth can be shown with humor and whimsy. — Juxtapoz Magazine

Jota Leal | Art-Pie
BOBA FETT
Jota captures Star Wars villian, Boba Fett in a classic pose, with exceptional coloring.
This dramatic acrylic on canvas painting measures 20″ x 28″.
Jota Leal | Art-Pie
MARRIED WITH CHILDREN
Imagine Mathew Brady, the famous Civil War photographer having taking a familiy portrait from Star Wars. Jota creates a wonderfully bizarre and funny grouping of iconic Star Wars characters, all posed in some classic 19th Century scene. Expertly painted. 24′ x 30″ Acrylic on stretched canvas. Ready to hang.
Jota Leal
CHEWIE
Chewbacca with some robotic enhancement. What could be the story here? Maybe in the next, next episode in a galaxy far, far away. Beautiful landscape coloration by Jota. 36″ x 24″ Acrylic on canvas.
Jota Leal | Art-Pie
THE VANISHING OF OBI-WAN
Wonderfully surreal painting from the Star Wars universe by Jota, in a beautifully illuminated, Dali-esque style. Fine art comes to a galaxy far, far away. 36″ x 24″ acrylic painting on canvas.

Japanese designs from the 1920's/30's

I stumbled upon these very singular graphic design pieces from 1920s and 1930s, they all come from Japan and are characteristic of what the country was experiencing: a massive social change.

I have collected below a selection of posters, mag covers and advertisements which gives you a very good insight of where the Japanese society was heading to: modern industry and technology. Western art and culture influences can be felt in those pieces as well as a growing incline towards a leftist political thought.

Is it me or some of that stuff reminds of a certain Shepard Fairey?

Japanese design
Buy domestic! (poster)
Japanese designs
Cover of "Nippon" magazine issue #1, Oct 1934
japanese designs
"Fuji Weekly" cover, Oct 1930
Japanese designs
Kyoto Grand Exposition to Commemorate the Showa Imperial Coronation, 1928
Poster design by Shujiro Shimomura, 1928
Poster design by Shujiro Shimomura, 1928
"May 1" movie poster by Hiromu Hara, 1928-1929
"May 1" movie poster by Hiromu Hara, 1928-1929
"Reijin" sheet music cover, 1930
"Reijin" sheet music cover, 1930

[Source: “Modernism on Paper: Japanese Graphic Design of the 1920s-30s”, (published 2003)]

Reified People

“Reified people proudly display the proofs of their intimacy with the commodity. Like the old religious fetishism, with its convulsionary raptures and miraculous cures, the fetishism of commodities generates its own moments of fervent exaltation. All this is useful for only one purpose: producing habitual submission.”

Guy Debord, The Society of the Spectacle, p.33

White12_L'Atalante (c)2011 Cathy Lomax
White 12 (L’Atalante), (c)2011 Cathy Lomax

My first question was what exactly is a ‘reified person’? “In Marxism reification is the thingification of social relations or of those involved in them, to the extent that the nature of social relationships is expressed by the relationships between traded objects,” I found that definition in Wikipedia, it made an impression on me once before and I wondered if it would shed light on what Debord might mean as a ‘reified person’.

Some possibilities perhaps:

1. a person who worships someone in the public eye turning them into an idol and collects all manner of idol memorabilia

2. a person who takes on the attributes of a worshipped idol in the projection of a personal identity

3. a person who expresses personal identity through the outward display of status brands

4. a teenager

5. each and every one of us in the Western World (I cannot speculate here on other cultures)

As I wrote the first three, I realised the fourth and fifth. Some of these possibilities present themselves through the work of Cathy Lomax and other artists in This ‘Me’ of Mine such as Annabel Dover and Kate Murdoch, though, in their work, not as idol worship but the simple expression of social relationships through objects or the exchange of objects. This idea of ‘reified people’ is implicit throughout my interview with Cathy Lomax, The Perfect Wrapper.

Muslin, (c)2008 cathy Lomax
Muslin, (c)2008 cathy Lomax

Jane Boyer: Your work often deals with pop idols (Sixteen Most Beautiful Men, Dead Filmstars) and iconic film imagery (Film Diary, The Count of Monte Cristo). Curiously though, it’s not pop culture which is your subject, but the fascination, escapism, hero-worship and fan-love we’ve all experienced. What fascinates you about our psychological propensity to fascination and ‘longing for something unobtainable’?

Cathy Lomax: I think that pop culture in general is just a wrapper for supplying the things that the market demands – i.e. what we want. These things do not change much; they are excitement, desire, escapism etc. So with this in mind I let myself lead the direction of my work by following what it is that I am drawn to. I do not like to think that I am in any kind of elevated position in my commentary on my subjects; I am in and amongst the subject matter. Looking deeper into what it is I am interested and fascinated by, it is apparent it is something that I do not actually want but rather that it is something I can think about and live out in my head – probably because this is the safest way to do it. This is what led me to the Film Diary as film for most people is the most intense way to experience other lives and worlds.

Las Vegas Collar 2, (c)2010 Cathy Lomax
Las Vegas Collar 2, (c)2010 Cathy Lomax

Read more of our interview here.

Conor Harrington hit East London

Despite the dodgy weather in what’s supposed to now be spring, some of our favourite artists haven’t been deterred and continue to get up with some excellent work appearing in recent weeks.

No one fits that description more than Art Pie favourite Conor Harrington who added this stunning portrait to the East London streets.

This piece follows on from the Irish artist’s work at the recent Wide Walls Paint Jam in Mallorca where another exquisite black and white piece was added.

Conor Harrington hit East London | Art-PieConor Harrington hit East London | Art-Pie

Conor Harrington hit East London | Art-Pie

Tailcast.com: what will you create today?

tailcast-1

www.tailcast.com is a new website that encourages amateur and professional creatives to join the personalized print-on-demand product market through submission and commission based sales.

Everyone can now create unique products with access to other members’ content providing more creative ways to use unique artwork, photography, poems, jokes, illustrations, cartoons… the opportunities are unlimited. Continue reading Tailcast.com: what will you create today?

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