Last week we visited the studio of Adam Cimerman, an artist who focuses is on creating art based on his memories of youth, travel, love, music and all the good old memories that make you smile with nostalgia. His Beatles Record collage series is influenced by Pop Art icons such as Andy Warhol, Lichtenstein, Jasper Johns, while his works on paper and sculptures pay homage to Schwitters, Joseph Cornell, Claes Oldenburg, and Alexander Calder.
“I became interested in the possibilities of transferring these “images” into collage and relief constructions. I soon began experimenting with enlarged xerox reproductions of my images, drawings and pages of journal entries. The first successful and satisfying piece that incorporated these is entitled “ubi sunt” (where are they). Ubi Sunt consists of mandala-like, raised, concentric surfaces collaged with maps, aerial views of pyramids, and an exhaustive list of every person that I knew up to that point in time. It was completed only after I discovered a xerox consultant who agreed to let me introduce newsprint paper into copiers (normally jamming them). Ubi Sunt (1977-1980), was completed around the time I graduated with distinction from the Academy of Art College, in San Francisco, now known as The Academy of Art University.”- Adam Cimerman
In the following years, Cimerman has made art in large studio spaces across San Francisco in which he works with mediums such as collage, collograph prints, oversize relief constructions and shadow boxes. His most recent works are available through our online shop.
“By the age of eleven, I was collecting discarded small objects and glueing them to board before forever painting them monochromatically white,or off white. As the metals rusted through – I added more paint (I had not yet discovered metal primer). Regrettably, nothing of these early efforts of mine today survives. As i was actively discouraged from pursuing art as a career choice , in the years to come it became something of a shadow life for me and I spent a typically dismal teenaged years yearning to leave Buffalo for New York City, or Boston- which I did in my own fashion… dressing like a hobo and hitchhiking whenever the chance arose.” -Adam Cimerman
Thank you to all the friends and family that made it out for the opening reception of Sebastian Wahl’s solo exhibition: Kaleidoscope Eyes. Stencil artist, Casey Gray, and our trusty photographer Jesse chandler were there taking pictures. Check out what Casey had to say about the show and some quick spashots he took of the event. See the full post on his blog.
“This past Saturday, February 5th, marked the opening of Swedish born, New York City based artist Sebastian Wahl’s solo exhibition Kaleidascope Eyes at Gallery Hijinks in San Francisco. Sebastian is a good friend of mine and it was great to see all his new work in person. His collages encased in multi-layers of resin are extremely seductive and captivating. If you get a chance check out the show at 2309 Bryant Street in the Mission District.”
96 Hours writes up about ’Kaleidoscope Eyes’ by Sebastian Wahl opening Feb. 5, 2011.
Mary Eisenhart: In his first solo exhibition on the West Coast, Swedish artist Sebastian Wahl offers resin collages based on mirrored images of nature, art, architecture, people, animals and spiritual symbols. At once precisely delineated and chaotic, they define their own worlds and invite exploration.
Sebastian Wahl’s gearing up for his exhibition Kaleidoscope Eyes opening this Saturday February 5th, 2011 from 6-10pm. We got to interview him about his work and inspirations. Enjoy.
Gallery Hijinks: As a teenager you took a graffiti trip to New York from your hometown in Sweden and then decided that The Big Apple was your home. What was the draw to NY?
Sebastian Wahl: I was 16 years old and all that I cared about at that time was graffiti, so initially it was graffiti that drew me to NYC. Once there I realized how amazing the urban maze is. What I saw and experienced there in 7 days was just the tip of an iceberg, I wanted more.
GH: In your biography, you say that it was at your father’s advertising agency that acquainted you with collage and the exacto knife. Please explain how your upbringing has impacted your work today.
SW: I would say that my upbringing impacted my work in a very positive way. I think both of my parents realized that I was a dreamer and encouraged me to try to harness this in some kind of creative way.
GH: To me, this new collection of resin collage is a bit of departure from your previous works because they are design based and seem to have a Pop Art element to them. What was the inspiration to creating these works?
SW: You are right. This series has more of a pop art feel to it than my past work. My goal was to play with the negative space and try to keep everything very clean. There are still a lot of images in each piece but leaving the background white and using repeated imagery gives this body of work more of a pop feel which I think makes it easier to digest and more accessible to the viewer.
The inspiration for the kaleidoscope series came from being a fan of kaleidoscopes. As you know I love making Mandalas and these collages felt like a natural route for me to take. Plus, I love repetition and I rarely play around with it, so this was my chance.
GH: What does Kaleidoscope Eyes mean to you?
SW: It’s a line from the Beatles song Lucy in the Sky with Diamonds. Kaleidoscope eyes to me is a reference to hallucinating. As for using it as the title for the show, I have to give credit to my wife-she suggested using it.
GH: Your work always seems to have a psychedelic element to it. Have you ever been inspired by drugs you’ve taken, or am I jumping to conclusions?
SW: Psychedelics have absolutely been a source of inspiration for me. I will give you an example, the first time I ever did LSD I ended up at a friends house and she had a poster on the wall. It was a big mandala that I spent a large part of that evening melting in and out. The following day I decided to go back to my friends place and trace her poster. The tracing I did of that mandala became the outline that I used for my first mandala collage. It was also the second large-scale collage that I had made at that point. That experience alone and what came out of it is a big part of why I still do what I do today.
GH: What is your process in making the resin collages and how long does it take? Do you use multiple prints of the same image? Give us the lowdown.
SW: My process has naturally evolved and changed over the years. In the beginning, I tried to stay clear of the copy machine and only use images cut directly out of magazines. Eventually I realized that magazine print fades much faster than a color copy does, so the canon color copy machine and I became friends. At this stage I would keep my collection of images in categorized boxes. I worked like this for many years until a couple of years ago when I stared to scan my images and build a library in my computer I have since started the endless process of cutting them out in the computer using a Wacom Tablet. The decision to do this came when I started to use the resin in my process. Since I now layer the images in between layers of clear resin, it made sense to initiate the collage in Photo Shop. In Photoshop, I layer the images too.. so in this way I now know between what layers of resin each image is going to land. I use Photo Shop to create the original collage. Then I print out each individual image, cut it out by hand, glue it down, paint it with clear medium to protect it, and then pour resin over it. The resin hardens over night so I can get back to work on the following layer the next day. Depending of the size and intricacy of the piece it can take anywhere from a month to four months to complete one collage.
GH: Where or how do you acquire your images? Do you collect images and then fit them together, or do you start with the idea and then search for those specific pieces to fit the puzzle?
SW: I look for images everywhere constantly. This is one of the most important parts of what I do. I can’t go out and buy paint so I have to always be on a search for new material to keep things fresh. Since I now scan everything I will source images from books magazines or just about anywhere I find them.
I usually start with an idea in the form of an outline of sorts and then I look for images to fill those spaces. An image might find its place in one of my collages because of color or shape or a number of other reasons.
GH: What’s your favorite band or artist to listen to while you work?
SW: I love to listen to music when I work. I usually like to listen to playlists that are really long this way I don’t have to stop what I am doing to figure out what to play next. Sometimes it’s a mix of different artists and sometimes I pick one artist and listen to every album that band or artist ever did. But my taste in music is all over the place. I LOVE Jimi Hendrix, Bob Marley, and Bob Dylan. But I also listen to a lot of electronicia. I am a huge fan of Bassnectar.
GH: Lastly, who are some of your favorite artists and why?
SW: Let me give you a shorted version, otherwise we would be here all day.
Of the artists that are alive today I would say Alex Grey’s work is inspirational for a number of reasons. I think that he is amazing at capturing your imagination. I love his attention to detail and the subjects that he chooses to depict are usually packed with symbolism and spirit, all of which I love.
Another living artist that blows my mind is Fred Tomaselli. Tomaselli inspires me on many levels. We share a love for the same medium. It was after seeing a show by him at the James Cohan Gallery in NYC, 2006 that I was inspired to use resin in my process. Beside the fact that his work is transcendental and beautiful, he is also very successful. That gives me hope as a fellow collage artist, I look up to him.
I also love the work of Matthew Barney. In the midst of all that Vaseline, he still manages to be so incredibly prolific. His body of work is beyond my comprehension. Everything he does seems so weird yet so beautiful. He turns my imagination up to eleven.
Of all the great dead artists out there, two come to mind right away. Salvador Dali and Mati Klarwein. Dali painted the most visionary and beautiful surrealist paintings that anyone has ever seen. His paintings leave you with a feeling of amazement, and on top of that the man himself was art. He could have been a character in one of Matthew Barney’s movies. I am forever grateful for the never-ending fountain of inspiration he left us all.
Mati Klarwein. If I were a painter, I would paint in the style of Mati. To me his paintings are like collages. This is not the only reason why I am drawn to his work. Much like Alex Grey, he has a way of transporting me. His attention to detail never fails to amaze me. His subject matter is mystical and shamanic. It holds all the qualities of a true visionary.
Gallery Hijinks Interview with Sebastian Wahl
GH:
As a teenager you took a graffiti trip to New York from your hometown in Sweden and then decided that The Big Apple was your home. What was the draw to NY?
SW:
I was 16 years old and all that I cared about at that time was graffiti, so initially it was graffiti that drew me to NYC. Once there I realized how amazing the urban maze is. What I saw and experienced there in 7 days was just the tip of an iceberg, I wanted more.
GH:
How would you describe the art scene in Sweden today?
SW:
I am embarrassed to say but my experience with the Stockholm art scene is very limited. I go back home once a year tops, and when I am there it’s all about friends and family. Is that lame of me? Sorry Sweden! I love you! I just like the art scene in San Fran better.
GH:
In your biography, you say that it was at your father’s advertising agency that acquainted you with collage and the exacto knife. Please explain how your upbringing has impacted your work today.
SW:
I would say that my upbringing impacted my work in a very positive way. I think both of my parents realized that I was a dreamer and encouraged me to
try to harness this in some kind of creative way.
GH:
To me, this new collection of resin collage is a bit of departure from your previous works because they are design based and seem to have a Pop Art element to them. What was the inspiration to creating these works?
SW:
You are right. This series has more of a pop art feel to it than my past work. My goal was to play with the negative space and try to keep everything very clean. There are still a lot of images in each piece but leaving the background white and using repeated imagery gives this body of work more of a pop feel which I think makes it easier to digest and more accessible to the viewer.
The inspiration for the kaleidoscope series came from being a fan of kaleidoscopes. As you know I love making Mandalas and these collages felt like a natural route for me to take. Plus, I love repetition and I rarely play around with it. so this was my chance.
GH:
What does Kaleidoscope Eyes mean to you?
SW:
It’s a line from the Beatles song Lucy in the Sky with Diamonds.
Kaleidoscope eyes to me is a reference to hallucinating. As for using it as the title for the show, I have to give credit to my wife-she suggested using it.
GH:
Your work always seems to have a psychedelic element to it. Have you ever been inspired by drugs you’ve taken, or am I jumping to conclusions?
SW:
Psychedelics have absolutely been a source of inspiration for me. I will give you an example, the first time I ever did LSD I ended up at a friends house and she had a poster on the wall. It was a big mandala that I spent a large part of that evening melting in and out. The following day I decided to go back to my friends place and trace her poster. The tracing I did of that mandala became the outline that I used for my first mandala collage. It was also the second large-scale collage that I had made at that point. That experience alone and what came out of it is a big part of why I still do what I do today.
GH:
What is your process in making the resin collages and how long does it take? Do you use multiple prints of the same image? Give us the lowdown.
SW:
My process has naturally evolved and changed over the years.
In the beginning, I tried to stay clear of the copy machine and only use images cut directly out of magazines. Eventually I realized that magazine print fades much faster than a color copy does, so the canon color copy machine and I became friends. At this stage I would keep my collection of images in categorized boxes. I worked like this for many years until a couple of years ago when I stared to scan my images and build a library in my computer I have since started the endless process of cutting them out in the computer using a Wacom Tablet. The decision to do this came when I started to use the resin in my process. Since I now layer the images in between layers of clear resin, it made sense to initiate the collage in Photo Shop. In Photoshop, I layer the images too.. so in this way I now know between what layers of resin each image is going to land. I use Photo Shop to create the original collage. Then I print out each individual image, cut it out by hand, glue it down, paint it with clear medium to protect it, and then pour resin over it. The resin hardens over night so I can get back to work on the following layer the next day. Depending of the size and intricacy of the piece it can take anywhere from a month to four months to complete one collage.
GH:
Where or how do you acquire your images? Do you collect images and then fit them together, or do you start with the idea and then search for those specific pieces to fit the puzzle?
SW:
I look for images everywhere constantly. This is one of the most important parts of what I do. I can’t go out and buy paint so I have to always be on a search for new material to keep things fresh. Since I now scan everything I will source images from books magazines or just about anywhere I find them.
I usually start with an idea in the form of an outline of sorts and then I look for images to fill those spaces. An image might find its place in one of my collages because of color or shape or a number of other reasons.
GH:
What’s your favorite band or artist to listen to while you work?
SW:
I love to listen to music when I work. I usually like to listen to playlists that are really long this way I don’t have to stop what I am doing to figure out what to play next. Sometimes it’s a mix of different artists and sometimes I pick one artist and listen to every album that band or artist ever did. But my taste in music is all over the place. I LOVE Jimi Hendrix, Bob Marley, and Bob Dylan. But I also listen to a lot of electronicia. I am a huge fan of Bassnectar.
GH:
Lastly, who are some of your favorite artists and why?
SW:
Let me give you a shorted version, otherwise we would be here all day.
Of the artists that are alive today I would say Alex Grey’s work is inspirational for a number of reasons. I think that he is amazing at capturing your imagination. I love his attention to detail and the subjects that he chooses to depict are usually packed with symbolism and spirit, all of which I love. Another living artist that blows my mind is Fred Tomaselli. Tomaselli inspires me on many levels. We share a love for the same medium. It was after seeing a show by him at the James Cohan Gallery in NYC, 2006 that I was inspired to use resin in my process. Beside the fact that his work is transcendental and beautiful, he is also very successful. That gives me hope as a fellow collage artist, I look up to him. I also love the work of Mathew Barney. In the midst of all that Vaseline, he still manages to be so incredibly prolific. His body of work is beyond my comprehension. Everything he does seems so weird yet so beautiful. He turns my imagination up to eleven.
Of all the great dead artists out there, two come to mind right away. Salvador Dali and Mati Klarwein. Dali painted the most visionary and beautiful surrealist paintings that anyone has ever seen. His paintings leave you with a feeling of amazement, and on top of that the man himself was art. He could have been a character in one of Matthew Barney’s movies. I am forever grateful for the never-ending fountain of inspiration he left us all. Mati Klarwein. If I were a painter, I would paint in the style of Mati. To me his paintings are like collages. This is not the only reason why I am drawn to his work. Much like Alex Grey, he has a way of transporting me. His attention to detail never fails to amaze me. His subject matter is mystical and shamanic. It holds all the qualities of a true visionary.
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.
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.
You might have seen Martin Machado‘s paintings this month at Southern Exposure, read about his travels online at FecalFace, or maybe you have never heard of him at all. We got a chance to ask Marty some questions about his paintings, photography and lifestyle as a merchant marine. Check out what he has to say and make sure to stop by Gallery Hijinks January 8th, 2011 from 6-10pm to see his new works at the opening reception of “As it was before”.
Martin Machado at sea.
Gallery Hijinks: You’ve insinuated your art is not always about the destination but the journey. “Searching for piece of mind. Searching for the exotic. Searching for answers. Time slows at sea and life is stripped to its necessities.” Does this translate in your most recent body of work?
Marty: Ha, that quote was kinda tongue and cheek, but sure I think it translates, I guess in the sense that for me I’ll always fail when creating my pieces, they’re never going to be as perfect as the real world, they’re never going to completely capture the magic of a moment in time, the experience of being in that place. But to me that failure, or I guess attempt could be a better term, is what is interesting. Over the years I’ve tended to accentuate the “mistakes”, leaving evidence of the process of creating the composition/painting/etc. In a lot of ways this recreation mirrors the way we recreate moments in our mind, twisting them into something better or worse or whatever, to be able to wrap our brains around our own story or existence….Hmmm, could be getting a little heady here so I’ll stop…
Small Tender 35mm
Drifters, Bristol Bay, AK 2007 Oil, Fiberglass Cloth, Panel, Epoxy 18x36"
Drifters, Bristol Bay, AK 2007 Oil, Fiberglass Cloth, Panel, Epoxy 18x36"
Days on the Bay 2009 Gouache, Oil, and Spray paint on Panel
GH: How does the work that you are exhibiting in “As it was before” this January differ from your previous work?
M: I’m trying to get away from working with as many nasty chemicals these days, because I was using so much epoxy before, and I’ve enjoyed working on found materials, which to me just adds to the story of each piece.
Napkin Art
Napkin Art
GH: Nice. So what kind of materials are you using to create this current collection of works?
M: There is a group of small paintings on Arches paper with Gouache, a couple acrylic/oil paintings done on cardboard boxes that I found in an abandoned salmon cannery in Alaska, and possibly two pieces that were done just before these on fiberglass cloth and epoxy which are painted in oil.
Martin Machado box painting
Martin Machado box painting
GH: You are in a unique situation, where for most of the year you are out at sea. How has your profession as a commercial marine affected your art? Did you start painting seascapes only after you starting spending so much time at sea or was the interest always there and your profession just fueled it further?
M: Well not to get all snotty, but the term is “Merchant Marine”, but don’t feel bad nobody really knows it, as times have changed it has become a relatively unknown occupation in the US because its so small these days. I’ve worked on boats and ships for over a decade now, but it was only recently during grad school that I finally started bringing my personal “work” life into my painting. I don’t know if it was just me, but I felt the early 2000′s seemed kinda cynical, and I always thought I’d get made fun of or my work wouldn’t get taken seriously, if I painted the sea. But eventually I realized that I should paint what I’m passionate about and I began to see how painting a subject that is usually seen as “beautiful” could be an interesting challenge in the context of the contemporary art world. Maybe people think that is a cop out, but that is really how I feel about it. Its easy to make fun of everything, but to celebrate beauty, the sublime, I think that is a challenge. But I think I’m seeing a shift. My prediction for the next decade is POSITIVITY! Mark my words.
martin machado container ship
working on a container ship
GH: Who are some of your biggest inspirations in the art world?
M: Honestly other than painters like Friedrich and Turner, who are obviously not super alive these days, I’m more inspired by photographers like Corey Arnold or Ryan McGinley, or even writers like Hunter S Thompson or Jack Kerouac. I like people who get out in the world and look outside themselves. I hate art about art. Art should reach out to people, all people, to some core, and aim to unite, not alienate ourselves into some pretentious circle jerk. I have been inspired by a lot of amazing folks I met at SFAI though, Ryan Beavers, Ben Venom, Peter Cole, Carrie Hott, so many others
Corey Arnold photography
Corey Arnold Photography
Corey Arnold photography above
GH: Where and when are your next adventures at sea?
M: I’m not sure, definitely fishing again next salmon season, probably won’t be on a container ship for a little while, but I am really looking forward to spending a long chunk of time in the studio this spring. I have so many reserves of piece ideas that I need to hash out. I actually did a lot of traveling this fall, finally non-work related, using some money I saved from working so much last year, I was carrying a suitcase full of art supplies, actually a lot of this work was painted on the go, which is tricky but kinda exciting. But very happy to be home now in SF, I’m a total Christmas nerd and was in the middle of the Pacific last year, so I’m stoked to see the city all lit up. Happy Holidays, hope you like some of my work!
Marty in his element
“Somewhere in the classroom of my youth a larger person told me that the best work is forged out of what you are familiar with. I agree with this and have tried my best to live up close and personal to any subject that I want to make art about. And like the land artists Andy Goldsworthy and Richard Long, I think that it is not just the resulting creation, but the most ridiculous path you take to make it, that makes something great.” -Martin Machado
Here’s the last of it. Coverage of Art Basel and Pulse Art Fair, as if you haven’t seen enough from Miami 2011 in the past three weeks. I’d like to thank our amazing friend and artist Sebastian Wahl for contributing his wonderful pictures from Art Basel.
Basquiat
Evan Penny
Barry McGee
Richard Prince
Remed
Ray Sell
Mondongo
Mondongo sticker detail
Mars1
Lorraine Shemesh
Lorraine Shemesh detail
James Rosenquist
Kehinde Wiley
Ron English mural
Last but not least, Pulse Art Fair (plus a few random good ones from here and there.)
Scope Art Fair brought together collection of dynamic works from some of my favorite galleries, as well as an array of alternative mediums and styles. This particular fair had a great selection of sculptural work and installations. Click on image to see a higher resolution.
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
