This Saturday will be the last chance to see As It Was Before exhibition. The installation and nests titled What Happens When They Meet? by Aleksandra Zee has transformed the gallery both inside and out. The juxtaposition of man-made and naturally made nests are both architecturally and aesthetically compelling. According to Miss Zee the motivation behind the installation stems from her personal meaning of family, home and environmental surroundings.
If you haven’t read the infamous Fingerbanging Amelia Earheart zine by Jason Levins, you are most certainly missing out. Pas Un Autre an online journal of arts, culture, sex and inspiration recently wrote an analytical critique of Levins photography and questions “was there ever sanctity in art in the first place?”. Great article.
Pas Un Autre in Photography: If there was anything in the world to denote the end of artistic sanctity, it would be the work of photographer Jason Levins. Using old point and shoot cameras and disposable film has been done a million times. In the bleary eyed dystopic fantasy Jason Levins captures through his lens there is a sense of irony that peers through, like light through cracks in a pitch black church. And in the columns of light we find illuminated our youth like rats scurrying in the putrid rot of some alternate zeitgeist: pulling their balls out under tables, drinking pabst blue ribbon, breasts, diy tattoos, camping. But this raises a serious question: was there ever sanctity in art in the first place? I have grappled for a little while now on how to fairly criticize Levins’ photography, because, not only are his photographs deserving of questions, they are also worthy of analytical review. If we look close enough we can find small, dazzling gems of humanity peering back out through the cracks, in small private moments of a youth grappling with their identity in an age of war and catastrophe. In this light, Jasons Levins works become a highly critical essay on the condition of youth in our post modern society. We must fuck all to get us through the strange and frightening condition of the world, but fuck all with love – and that just might be the moral of the story.www.staticonthebrain.com
New York is a wonderful place for an artist to be inspired and live without boundaries. We got the opportunity to visit Sebastian Wahl in his natural element this past year. His art studio has the most amazing view of Harlem I’ve ever seen, plus what a beautiful and spacious environment to create large resin collages. Check out some pictures he sent over straight from The Big Apple, plus a promo video for his upcoming exhibition Kaleidoscope Eyes opening February 5th, 2011, from 6-10pm.
Bronx subway to Sebastian Wahl’s studio
View of the Bronx from Sebastian’s studio
Flower of Life
Winter time in New York City.
Sebastian Wahl, self portrait.
Essentials to making the perfect resin concoction.
Artists hands are so interesting to me, Sebastian always has the most beautiful rings.
Jimi Hendrix Inspiration
Kaleidoscope Eyes resin collages getting ready to head over to Gallery Hijinks.
We are proud to announce Gallery Hijinks’ feature in this monthson KQED Gallery Crawl. Gallery Crawl is a monthly snapshot of current activity in the San Francisco Bay Area’s thriving gallery scene. Featuring interviews with artists, gallerists and curators, the program profiles the latest exhibitions and provides a glimpse into the curatorial philosophy of each space. Please watch the video and read more on what both KQED and My Love For You wrote on this months exhibition.
Digital print of “Canned Salmon Painting” oil painting by Martin Machado. This 12″ x 16″ print is on sturdy flat white paper, signed and numbered by the artist. There’s only a few left of the edition of 28. Get them while they’re hot at our online store.
Martin Machado‘s paintings often stem from photography of his ventures out to sea. In his current collection of works in As It Was Before, he exhibits some striking pictures from his recent trip to Naknek and Kvichak in Alaska. Check out a few close up shots of the two photograph sets.
The first time I was fortunate enough to experience the work of Dennis McNett was at Scope Art Fair in Miami this past December 2010. His gigantic Santa Muerte stands 120 inches high and is made of hand colored wood cut prints, paper mache and wood. I regretfully didn’t get to see the “Reaping Waves and Vital Vessels The Passing of the Wolfbats” exhibition showing until January 22nd at Joshua Liner Gallery but these installation photos were most impressive.
According to the press release: “The size of the ship is important,” says McNett. “It represents an invasion into whatever space it inhabits and is large enough to be collaborative. It’s an armature for communal ritual, big enough to facilitate everyone’s work.” It is McNett’s intention to celebrate collectivity and collaboration in the construction of the ships, the tradition of storytelling, the energy of the procession, and the egalitarian medium of printmaking itself.
The show includes wood and linocut works on paper and muslin, large carved-wood panels that are hand-colored in acrylic, inked, and finished, as well as free standing sculpture. You can see a great deal of mythology, folklore and story telling in his work. “His encouragement as a kid came from his blind grandfather, who told him over and over again that his drawings were good. Later influences came from the raw high-energy imagery pouring out of the early 80’s skateboard and punk rock scene.” -McNett
Thanks to all of our friends and family who came out last Saturday for the opening reception of As It Was Before new works by Martin Machado and Todd Freeman with installations by Aleksandra Zee. For those who couldn’t make it, here’s a little recap of the nights events.
Marty and Allie
Todd Freeman copper and hand painted prints
Martin Machado oil paintings and photographs
Installation shot of Aleksandra Zee's nests
Strangers in the night
Thanks to Asiento for providing an amazing after party!
For more pictures of the opening reception, visit our flickr page.
A solo exhibition of resin collages by Sebastian Wahl
Gallery Hijinks is proud to present Kaleidoscope Eyes, a solo exhibition of resin collages by New York based artist Sebastian Wahl. This collection of new work is based on the principle of multiple reflections. Compositions are formed out of mirrored images of nature, architecture, people, animals and religious symbols creating a visual notion of order within chaos. Please join us for the opening reception on February 5th, 2011, from 6-10pm.
Born into a Swedish family of advertising professionals, Wahl has always had a passion for art and design. He made his first trip to The Big Apple when he was 17 with a youth group of Swedish graffiti writers through a program sponsored by Nancy Reagan. At age 20 he returned to New York to attend Parsons School of Art and Design and earned a degree in Advertising and Graphic Design. Today Sebastian Wahl is a visual architect of psychedelic landscapes, creating intricate works encapsulated in resin.
From afar Wahl’s art appears as a colorful pattern of forms and shapes, but as the viewer looks closer the complexities of the work emerge and beckon for further examination. In Kaleidoscope Eyes he combines spiritual and religious imagery drawn from Sadhuism, Shamanism, modern and ancient tribes, with contemporary imagery from pop magazines as well as hand made vintage papers. The bright colors, strategic design and complex continuity of each collage connect and interact across the less complicated backgrounds. Incorporating resin gives the work a third dimension creating real shadows within the collage, and ensures the archival quality of the work.
Kaleidoscope Eyes will be Sebastian Wahl’s first solo exhibition on the west coast. He has exhibited at Alex and Allyson Grey’s MicroCoSM Gallery in New York as well as at Ideal Glass Gallery in the East Village of Manhattan where he also created a mural for the public on the gallery façade on E. 2nd Street.
Kaleidoscope Eyes opens February 5th, 2011 and will be on display until February 26th, 2011 and is open to the public.
Gallery Hijinks is a welcoming space for fresh and progressive art to reside. We have ventured out to create a space completely unique and genuine and are excited to introduce our own roster of emerging talent both local and international.
2309 Bryant Street
San Francisco, CA, 94110