Curious about the artists to be featured in the back room of the gallery during Randy Colosky’s show? Check out this video by one of the artists, Jesse Houlding, AND BE MIND BLOWN:
Archives: 2012 March
We’ve got a new gallery director! Tanya Gayer has been working at the gallery since January, and has been a contributing author on this blog, which I’m sure you have noticed. Her deep passion for the arts, and insightful perspectives has continued to expose our audiences to creative thought around contemporary artists. After receiving her BFA from the University of Nevada, Reno, she moved to Germany for the artist in residence program, Picture Berlin. From there she traveled Europe and worked in Galería Espacio Minimo in Madrid, Spain. Afterwards, she decided she wanted to immerse herself in the bay area art scene and started working with us here at Hijinks. We are happy for her to find a place in the Hijinks family and develop her role in the contemporary art community here in San Francisco.
For Randy Colosky’s upcoming show he’s chosen a few artists to exhibit in the back room of the gallery. One of them being Phil McGaughy! Get in some headway on McGaughy’s work and then check it out in person, coming up on April 7th.
PM: When I was around 9 or 10 years old, I remember going over a friends house and listening to Stevie Wonder’s “A journey through the secret life of plants” and leaving feeling very confused about the world. How could such a well respected musician sing about something so absurd? Even though the album wasn’t my favorite, It opened up a philosophical questioning of life and consciousness that up until then was dormant in me.
In my new series of relief paintings, that same exploration into non-human consciousness that Stevie Wonder embarked on is up for scrutiny. By presupposing that anything can dream, I’m pointing out that any object could possess it’s own individual “spirit” ‘Dreamscapes for inanimate objects’ is about updating our age old ideas of animism.The pieces are assigned with the task of confronting our shared anthropocentric tendency towards a hierarchical structure of assigned values to everything in this world. To me the dreamscape operates as a metaphor for a kind of shared unconscious. With a fertile imagination and a modicum of empathy, it’s quite possible to see that perhaps a soap bubble is not just meant to clean dirty clothes.
Nicolas Collins is probably one of my favorite artists. He experiments with works centered around spoken texts, computer signal processing, challenging the typical usage of modern electronic and acoustic instruments, with great titles to his works like ‘Killed In A Bar When He Was Only Three’ and plays around with the Hawaiian guitar.
Pictured above is one of his works that was in Le Havre Biennale in which an electric model streetcar scraped a wire above it as it ran along the track. It was controlled by audience movement and everytime it stopped it would ring a harmoic sound.
My most favorite project of his is entitled A Call for Silence. I came across it in Madrid and probably spent an hour soaking up as much as I could from this work. A Call for Silence is essentially an ode to ‘silence’. The idea of moments in-between and absence of sound such as CD glitches, static between radio stations, audience anticipation before a set; an homage to the unnoticed. Collins compiled submissions based off this idea and put together an album that explores and breaks down the idea of silence. It’s incredibly thought provoking and there’s a great essay on the work as well. Take a look here
He also has an endearing body of work, Prattle, that he made for his son on his 21st birthday where he edited a slew of recordings made from when he was born to 2 years old. One can feel the quick passage of time for a parent raising a child with the developing words he records and the travels he takes his son on.
Steven Bindernagel’s work consists of his influences in everyday experiences and memories: his walk home, skylines, his childhood in the backdrop of a Cincinnati landscape. The manipulation of his influences and contrasting color palettes in his work leads one to feel as if they are working through Bindernagel’s varying daily trials by deftly moving towards the bottom plane in his paintings. Most of his images begin with triangular type forms and simplistic shapes with lighter colors, and as the images grow towards the bottom of each piece it becomes intensified in color and emotion. This shift in mood and form forces the viewer to juggle conflicting ideas in terms of representation when approaching his work. It would be easy to say that these triangular forms are reflective of a city scape, as he’s often quoted as having influence from it, yet the stark vertical lines and geometry are what often breaks up the true city scape form. This break instead lends to an understanding of ‘other-worldly’ and intentionally ambiguous influences; allowing room for his audience to bring in their own daily perceptions to his work.
More of his work here
If you haven’t stopped by the gallery recently, currently on exhibition is Infinite Color, guest curated by Mark Warren Jacques. I wanted to take some time and feature some in-depth material about the artists exhibiting in the show. So first up is Chris Valkov
CV: “I’ve been drawn toward technical and precise drawing and drafting ever since I can remember. I love composing schematic, diagram-like images filled with recognizable quirky objects unusually juxtaposed to create a strong visual impact and providing a loose, open ended narrative. My color use is sparing and flat which I find more striking and graphic. I began painting in late 2009 in a time of transition in my career moving from architectural drafting to professional tattooing. Having dedicated so much of my life to hand drafting led me to commemorate this respectful skill by capturing its core aesthetic onto large panels using paint. I immediately fell in love with the results. As my exploration evolves I often incorporate diagramatic, under-appreciated elements, unusually layered. Striving to invoke loose narratives, from humorous to daunting, I pay homage to graphic craftsmanship and look toward the future as I simply have too many interesting images in my head that I’d like to share with the world.”
For more on his work check out his website. His tattoos featured on there are awesome!
This is frightfully familiar. Does anyone else feel the same?
New Works by Randy Colosky
On Exhibit: April 7th-April 28th, 2012
Opening Reception: April 7th, 2012 from 6-10pm
New Works by Randy Colosky opens in Gallery Hijinks this April 2012. In addition to Colosky’s solo exhibtion, the backroom of the gallery will feature Colosky’s own selection of other artists’ works. His solo exhibition features a continuation in his exploration in his “Nondeterministic Algorithm” series of seven featured ink drawings on paper. These drawings are made by drawing ellipses and rectangles repeatedly to create a free-formed vortex of architectural design, texture, and space. The opening reception will take place on April 7th, 2012 from 6pm-10pm.
In Randy Colosky’s practice he often takes an object or materials that would typically have a utilitarian purpose and alters its function to generate a new aesthetic language or optical information. For New Works, Colosky’s pen and ink drawings are made with pattern templates that are modeled after architectural templates used in drafting. The template sets up a set of rules in the drawing, however he chooses the specific direction of each iteration of the template. This allows him to actively participate in the drawing process yet he never fully comprehend what the drawing will ultimately look like. These drawings are a symbolic of Colosky’s manner of meditation in that the more he trains his mind to become aware of each moment he experiences and the changes between them, the more he finds that he is able to realize an existence that is more present in the moment and simpler to navigate.
Although trained in traditional ceramics and building construction, Colosky’s interest in process, function, and subtle wit are what drives the scope of his mediums to vary from drawing, sculpture, design, collage, and installation. For New Works his exploration in traditional means of pen and ink work is a unique direction in connection to his past works of atypical material. Yet, his process of altering the conventional usage of architectural templates allow this work to remain in the same vein of his past work and interest in challenging established visual language.
Alison O.K. Frost
Scott Greenwalt has been busy since his show in November! We recently went over to his studio and took a look at his new works in progress. His current work continues to maintain his sense of scale and imagery, except this time around he has been working on painting at a different pace. In order to completely delve into his concepts and characters in the traditional imagery that he is known for, Greenwalt finds that working at a slower speed has been leading him in a more satisfying direction. He mentioned referencing his older works as well was allowing him to maintain a clear focus on the newer work that he wants to complete. By pulling from his older work he found that he can weed out what worked for him in the past and ground himself in terms of technique and images to continue the style that he relates to.
While in his studio he brought out a large Buddhist mythology book which he found in Texas about 10 years ago. This book was massive! In it contains highly detailed images and descriptions of myths that have influenced where he is drawing his current inspiration from, in addition to his older work. Although his images are still violent or mutant like, typical markers of his aesthetic, he is beginning to think about how to allow his audience more of an accessible manner to readily connect to his work. Instead of forcing a prominent foreground with heavy laden detail, he has begun painting more of an identifiable setting and lucid forms against increased negative space. Yet, by no means do these works arise as a mere trial period in this new direction, nor do they abandon the intense imagery he is known for; the space he has given in turn challenges and heightens the sense of awareness in detail and overall mood to the work.
Make sure to check out his upcoming show in September in the Minna Gallery.
A few weeks ago I met the directors Sam Bower and Anne Veh who help run an organization called The Green Museum. The Green Museum is an online database which houses a variety of environmentally conscious art works from around the world and it functions as a completely volunteer run organization. They provide information on different exhibits and artists which in turn provide for possibilities of collaboration and inspiration. Basically, it’s a pseudo Stumbleupon for environmental art lovers and a great tool. They also need all the help they can get. If you’re interested in creating some great contacts and volunteering for a great great organization I highly recommend it, they are great people. Or just break out your pocketbook!