Tag: photographs

Margo Duvall

We’ve had a lot of beautiful installations in the gallery windows and I’m excited to put more amazing work by Margo Duvall in them. Margo has been perfecting and perfecting her photo transfers on different mediums and I’m thrilled to showcase her work which uses lights and the fantastic sunlight that comes into Hijink’s windows.

Margo investigates the role of photography as a means of documentation for moments that have passed, on both personal and historical levels. Photographs, however, also provide us with a false sense of security. Time moves on, photographs fade, people die, and memory deteriorates. Duvall’s delicate installation both reference the fragile and time sensitive elements of memory and photography’s role in this process.

Margo Duvall: We take pictures because we want to remember. We want to remember what someone looked like, our first day of school, our parents, and other significant moments, people, and events in our lives. We want to preserve the moments we fear will inevitably grow dim. We want to be remembered after we die, and photography serves us as a form of immortality.

Photographs provide us with proof that something once happened. They serve as documents for moments that have passed, on both personal and historical levels. But they also provide us with a false sense of security. Time moves on, photographs fade, people die, and memory deteriorates.

My interest in the role photography plays in our memory came about in a box at an antique store. There, I pieced together moments of a man’s life from his childhood through his elder years. Snapshots have become the residue, the evidence of our experiences. How does something so valuable, so representative of a person’s life, wind up as a commodity for sale in an antique store?

This work is an attempt to sustain the fleeting moments of families and lives. My desire to preserve photographs as memory in an unchanging state is symbolized by the selection of the materials used to encase them. The transparent medium simultaneously protects the image and retains a sense of memory within itself- acting as a skin containing and encompassing traces of where it has been. It holds information, immersed beneath the surface, which can be seen upon inspection. This acts much like our memories, in that the clues are there, but they are not always recognizable or understandable.

The images in this show are fragments in time. They become layered, obscured, and complicated by association with other moments. The invitation is open for the viewer to encounter these memories, discern the histories, create their own narratives, and be inspired to stimulate their own memory.

Peep some new artists we’ve been looking at….

 

Pascal Fellonneau, 2005, from the series Cold Cold Ground.

Pascal Fellonneau, 2005, from the series Cold Cold Ground.
 

Pascal Fellonneau, 2009/2010, from the series Under Construction.

Pascal Fellonneau, 2009/2010, from the series Under Construction.

 

Pascal Fellonneau, from the series Iceland

Pascal Fellonneau, 2006/2007, from the series Iceland

 Check out more of Pascal’s work here

Sebastian Wahl’s Moog Collage Mural

Sebastian Wahl never ceases to amaze me. Check out this extra large collage mural he made for Moog Fest 2011.

Underwater photography by unknown artist

Just came across these epic photographs on i’m not wordy. Does anyone know who the photographer is?

What’s new with Mark Warren Jacques

mark warren jacques art studio

A new studio and the beginnings of some big paintings, our pal Mark Warren Jacques gears up for his solo show at White Walls this December. Additionally he will be guest curating a group exhibition in March 2012 at Gallery Hijinks based on COLOR.

Studio Visit: Scott Greenwalt

Last week we took a trip to visit Scott Greenwalt in his Oakland art studio. We caught him in the midst of preparing for his upcoming solo exhibition titled Alchemist, opening November 2011 at Gallery Hijinks.

The works have a sense of chaos, grotesque, scientific phenomenon combined with a mutation of both uncertain origin and destiny. Check out some snapshots we grabbed of the works in progress ranging from small paper pieces to large paintings on wood panel and canvas.

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Scott Greenwalt Gallery Hijinks Studio Visit

Sanguine Machine opening reception photos

Thank you to all who traveled far and wide for the opening reception of Sanguine Machine, new works by Beau Stanton. Check out a few snapshots of the event below or see the entire album on our facebook page.

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Interview with Gregory Ito on Point of Vision, part two

How does the relationship between object and image play into this body of work?

The relationship between image and object is one that I have been battling for a long time now.  Having my background in painting I have always looked at art through the aesthetics of a painter.  Form, color, composition, and most importantly gesture.  These words were the building blocks to my artistic experience.  Functionality became a recurring discussion in my work.  I wanted my images to operate in a way that would project the relationships between the Sun, Moon, and Earth and their connection to our ideas of day, night, and twilight.  But traditionally an image can only operate on a wall, confronting the viewer into a specific way of experiencing an artist’s creation and the ideas that support the work.  This seemed so stale and confining that I started to experiment with creating objects. These objects project the same ideas as my paintings, but contain an unseen ability to be looked at in a new light.  Objects can be embraced, contain a heavier sense of gravity, and can hold additional functions.  This was when I started to create objects, and portraits of the objects.  Installations became object collage and, my images expanded from painting into photography.  I owe my practice to the duality between object and image.  The struggle I have between the two will probably never end, but the presence of this struggle is one that I treasure and revere.

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You have created a extremely cohesive body of work yet achieved this by working in more mediums then ever before. How did the additional use of photography and sculpture effect your process?

Through the years of enveloping my life in art I have found the segregation of mediums to become more and more troublesome.  The way artists are categorized into separate mediums and how this is a major factor to the programming of many galleries and museums.  I started to work with sculptures a few years ago while I was living in Oakland.  It was recently after I graduated SFAI and instead of going on a trip to Europe I blew my saving on a painting studio, and numerous tools for my wood shop garage.  I went crazy and never left my house, making hundreds of panels all different sizes and shapes, and objects that I though looked interesting and referenced different diagrams and charts I saw in science books.  It was at this point I began to make sculpture.  In “Point of Vision” there are a couple of minimalist sculptures titled “Time Diagram” (A and B) which are accompanied by portraits of the objects.  An image and an object who share the same function of expressing the continuous looping of day, night, sunrise, and sunset.  Photography is a more recent endeavor.  I have always carried around a point and shoot 35mm camera that I shoot throughout my adventures.  A lot of the concepts engrained in my work stem from the photos I take, and many of them I look at every day in my house.  I wanted to show people these images that fuel my practice and relationship with the outside world.  This is seen most clearly in the installation “Self Portrait” in the front window of Gallery Hijinks that contains a long list of items such as Hawaian print folding chair, various textiles, knit bag, three Negro Modelo bottles, candle, numerous sketchbooks, sunglasses, sandals,  cloud print tatami mat, Los Angeles ashtray, Camel Light cigarette, Moroccan match box, and 28 6”x4” color photos on wood display.  If you haven’t seen the show I recommend you see it in person.  Experiencing art live is much better then through the computer screen.

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Untitled-(Time-Diagram-Object-B)

Your work has always touched on very universal concepts and as a result creates a message that anyone in the world can relate to and appreciate. What specifically would you like viewers to take away from this exhibition?

My only hope for this show is for people to walk away with a new understanding of the time that we use during our existence.  To see beyond the day by day and internalize the larger spectrum of life, exposing our true individual reasons to live.  I also want people to see what I’ve been making recently during the expansion of my artistic practice and enjoy the collaboration of different mediums in the work.

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As a co-owner of Ever Gold Gallery and co-founder/editor of the San Francisco Arts Quarterly (SFAQ), you have had the luxury of working with some very progressive artists, curators and galleries. Who has influenced and inspired you in this last year?

Through these two endeavors I have been able to work closely with some of the most inspiring people I have ever met.  I have been able to speak to some of the most influential people in my artist career.  To be honest, every person I have worked with and still work with inspire me to continue what I’m doing.  To see the motivation and drive that others have in their artistic endeavors keep me working forward in the realms of art.  Many of the artists at Ever Gold are close friends who I used to share studio space with and have classes with.  Owen Takabayashi, Erik Wilson, Evan Nesbit and Chris Ritson (SFAI graduates) are a few artists I really enjoy speaking with about art.  Another good friend who showed at the Ever Gold is Korakrit Arunanondochai who is currently attending Columbia for his MFA.  He a good friend and artist I have an ongoing dialogue with that has helped steer my practice in the direction I am currently taking.  He is a very talented artist himself and I know he will be doing great things in the future.  SFAQ has connected me with inspirational people like Jamie Alexander and Derek Song from Park Life who’s input I value very much.  Our conversations about art are always very interesting and connect most closely to the kind of work I am creating now.  And lastly Andrew McClintock, by business partner is one individual I spend most of my days with working on SFAQ and Ever Gold.  We work hard, play hard, and handle business.  I value the working relationship we have, and everyday in the gallery and office is one step forward to accomplishing our goals.

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Interview with Gregory Ito on Point of Vision, part one

“I’ve always been a believer in the idea that if you can’t explain something in simple terms then it is likely that you don’t fully understand it. After viewing the exhibition Point of Vision at Gallery Hijinks, it is clear as day that Gregory Ito has a deep understanding of the concepts driving his newest body of work. The exhibition is a culmination of a big idea with modest expectations, executed simply, interestingly and beautifully. The depth and range of Gregory Ito’s work reaches past the breakers, well beyond the horizon and into the twilight.”- L. Lanzisero

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Gallery Hijinks: What has motivated you to devote your life to art?

Gregory Ito: My innate love and participation in “art” stems from where I grew up, Venice, Los Angeles, a very vibrant and energetic beach community in southern California.  Its a funky, strange place to be raised where the boardwalk lifestyle is one that will never end.  The boardwalk is over flowing with street performers of all kinds, weed toking hippies, skaters, surfers, gangsters, junkies, and of course millions of tourists.  Venice is known for its artist community.  Many great artists have worked in studios in Venice like Chris Burden, Jean Michel Basquiat, Ed Ruscha, and Robert Irwin.  This was very exciting for me to know that the area that I grew up in is an inspirational and productive place for artists that I enjoy and admire.  Many of the common themes in my work is rooted in the ephemeral moments of twilight and it’s intimate connection to both night and day.  Spending my days watching the sun set over the oceanic horizon line is an anchor to my drifting artistic practice.  It is quite amazing to see the Sun that spends most of its day high in sky, fall gracefully and merge with the world we are all a part of.  There was one summer I spent every day at the beach and would see the sunset and be enveloped in time’s constant progression forward into the future.  This could only be done by living so close to the beach.  It was the majority of my life in Venice that conditioned my longing to create, present, and support all forms of art.

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robert-irwin photo-credit-philipp-scholz-rittermannRobert Irwin, photo credit Philipp Scholz Rittermann

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GH: Your art has a very visually meditative quality to it. In your artist statement you speak about “sacred spaces” does religion or divinity play a role in the concepts you are developing?

GI: I have never thought of myself as a religious person.  My closest moments in my life to religion were the very infrequent times I went to my local Buddhist temple, not to pray, but to participate with my Japanese American community in West Los Angeles.  I was pretty young, like in elementary school.  I would sit there looking at the shrine’s symmetrical orientation, the ornate decorations and flower arrangements, and the strong smell of incense that was burned every single day of the temple’s existence.  It was during these early years in my life where I saw and internalized the importance of the “sacred” in everyones life.  It didn’t matter what religion you are, but knowing that everyone is somehow trying to connect with the unknown qualities that are very present in life.  We are all on a quest for understanding and happiness, and it is this quest that we are all pursuing but using different methods and tempo.  For me, my path to understanding and happiness is driven by my obsession to make work that important to me and allows to me grow and expand the horizon of my human consciousness.  The concepts that have developed through the years of my artistic practice are rooted in the human spiritual connection that every individual has with our surrounding.  It is a sacred and human ability that we all have to connect with our world on new levels.  We must all cherish this gift.

Gregory Ito Installation

GH: What role does material play in your work?

GI: During the majority of my artistic career, I have been pushing paint on wood surfaces.  Originally trained as a painter I was very comfortable with this idea.  I didn’t really look beyond the edges of my panels.  But soon I felt trapped by the boundaries that became more apparent in my practice.  Most of the work I enjoyed looking at weren’t even paintings. They all involved a large amount of laborious installation.  Soon I began to create architectural spaces that housed the monumental ideas I engrain into my paintings.  Installation became my new haven.  The paintings I made were shown in shrine like constructions, enriching the collection of work with the heavy presence of the “sacred”. Very soon after that I branched out and merged various mediums and materials to my practice bringing sculpture, photography, painting, installation, and video all under one umbrella of my studio practice.  Every component to an installation has an intention and operation that can be expressed best through determined materials and methods of art making.  There are just too many materials in the world to neglect the infinite possibilities that are available to artists.  Opening my practice to various materials and forms of making has given me a life changing sense of creative freedom.  I am an artist and I mold my outside world through a life without boundaries.

Collection by Gregory ItoCollection by Gregory Ito

A-Gesture-of-the-Moon's-Boundless-PresenceDetail shot of A Gesture of the Moon’s Boundless Presence by Gregory Ito

GH: In what ways do you think our current technology has changed or altered our perception of time?

GI: The age of technology is one that is very progressive in one way yet very degressive in another.  Technology is progressive because it has developed new ways of sharing information and human experience.  A universal way to exchange information has evolved from sending a physical letter or package to a digitized email or condensed file that can contain an infinite amount of information.  We can share our lives with others and our personal identity is transferred onto a social networking platform that is weightless and invisible beyond the computer screen.  The internet is now the collective consciousness of human kind, and the memory bank for all of history and thoughts for the future. But life cannot truly be experienced through the internet.  The age of technology is degressive because we share information that has become broken down into pixels and a units of digital memory.  It is a recreation of the real.  We relive moments through images that are are very distant from the actual experience. We become more dissonant from the true human connections with the world around us, by spending our time in front of a computer or television screen.  Time is spent in a new light, one that warps our relationship with the eternal sequences seen in time.  We are no longer guided by our surroundings, we are guided by the development of new technologies to suite all of our needs to survive as a species.  Nobody looks to the skies to understand the time we spend on this planet anymore.  We all look at our calendar grids, fill them with things to do, and don’t venture outside the box very often.  Our time is now spent plugged in, online, and with the ticking clock in the top corners of our desktops that we all abide to.

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Point Of Vision: Opening Reception Photos

Thanks to all of you who made it out to the Point of Vision opening reception! We had a blast and hope you did as well. Congratulations to Gregory Ito, his work looks amazing in our space. Check it out!

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Gallery Hijinks · 2309 Bryant Street · San Francisco, CA 94110-2810
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