“Each piece goes off on its own little tangent, exploring the past and present of shipping and the romance/realities of a life at sea. In a few pieces I borrowed from the style of the Mexican artist Dr. Lakra, which he sort of borrowed from old film posters and his work as a tattooist. I thought the techniques of overlaying imagery worked perfectly for exploring some of the concepts I wanted to touch on; juxtaposing images of my crewmates with more romantic shipping imagery. I’m interested in people’s dreams and influences that shape their lives. I think it applies to us all, really, in any occupation or path, but I focused on why people begin working on ships, which was a question I asked most of my crewmates. All of the imagery has special significance; some are taken from my own photos and others were sourced later from old magazines, the Internet, books, or old Sailor Union of the Pacific newspapers. There are some historical images of key figures in shipping, such as Andrew Furuseth and Harry Lundenberg, both Norwegian sailors who came to America and fought for sailors rights here in San Francisco. There are also references to Sailor Jerry’s tattoo work, which has been so widely popularized, but was originally made for these sorts of characters to stumble into his shop in Honolulu, Hawaii and find a connection with the art.”- Read the entire interview here.
TO SUBMIT WORK HEAD OVER TO http://www.galleryhijinks.com/about/juried-exhibition
Gallery Hijinks is proud to announce its first juried exhibition, Visions of Yore. Along with the gallery director, Tanya Gayer, Gallery Hijinks has invited guest juror Emily Lakin of Yerba Buena Center for the Arts to be a part of the selection process. The exhibition will occur July 7th, 2012, and include live performance and artists lectures during the month, as well as an auction at the close of the exhibition.
Submissions are open to a range of work including sculpture, painting, printmaking, sound, video, installation, and mixed media work. The exhibiting artists should demonstrate the quality of their work and relevance to the exhibition concept. The exhibition is open to all artists aged 18 and over. Artists must be willing to take on personal responsibility for their artwork if unsold after the exhibition closes. Entries should be completed within 2 years prior to the deadline. The exhibit is open to the public.
Visions of Yore
Katharine Harmon, the author of The Map as Art, notes that to ‘orientate’ is to, “hop back and forth between landscape and time, geography and emotion, knowledge and behavior. Associations often happen with this idea of orienting because of memory springing from these categories.” To translate memory is to recall the sensory and time sensitive elements of a memory.
Memories coexist with time and space neither in the present or past, nor in one location at one time, but in fact exist and apply aspects from different places and people at all times. The process of remembering takes place in such an instant that memories only have concrete form by way of specific documentation.
Gallery Hijinks seeks works that come from our beliefs of memory. At times memory cannot be pinned down, but only felt as a means of consciousness vying for a state of attention. Cues encountered in everyday life evoke past recollections without effort, while sometimes we deliberately try to piece together the past. Artists are encouraged to submit work in homage to memory and how it is recognized in regards to the visual and formulated.
Deadline for submissions: June 1st, 2012
Submission Fee: $20
Artists accepted for the exhibition will be notified by June 4th. Works must be delivered to Gallery Hijinks no later than June 27th, 2012.
Works will be on sale for the duration of the exhibition both in the gallery and online. The artist will receive 50 percent of the set retail price if the work sells during the month of July. If the works do not sell by July 27th, then it will be included in a larger auction held on July 28th. Artists will receive 40 percent of the original retail price no matter the auction’s final selling price. The starting bid will be set at 50 percent of the retail price unless requested otherwise (please include in Additional Details of Work section below). The starting bid and a reserve price will be reflected in the contract signed after selection process.
TO SUBMIT WORK HEAD OVER TO http://www.galleryhijinks.com/about/juried-exhibition
“2011 humorously references the ambiguous time in our history between the 2001/2010 movies which hint at possible salvation for humanity and the birth of new worlds and 2012 with its predictions that it will bring about the end of the world. It is in this in between time that our show takes place. We’ve been working for over a year on this work and are really excited to share it.”
Below the images, you can find the press release for the show itself. So if you’re in the New York area around November/December, drop in and be amazed.
Andy Diaz Hope + Laurel Roth. Reflection Engine. 2011. 36 x 61 x 92 inches. Made of hand carved walnut, mirror, brass, gold and silver leaf, and flicker bulbs.
Andy Diaz Hope + Laurel Roth. Reflection Engine (detail of interior) 2011. 36 x 61 x 92 inches. Made of hand carved walnut, mirror, brass, and flicker bulbs.
Laurel Roth. Beauty. 2011.46 x 36 x 67 inches. Mixed media including fake fingernails, barrettes, false eyelashes, nail polish, costume jewelry, walnut, and swarovski crystal.
Andy Diaz Hope. Geode. 2011. 22 x 12 x 36 inches. Handmade 2 way mirror, mirror, lead, and video.
Laurel Roth. Hominid: Mountain Gorilla. 2011. 13 x 9 x 8 inches. Made of walnut and swarovski crystal.
Andy Diaz Hope. Centering Device #4. 2011. 36 x 36 x 10 inches. Made of mirror and lead.
“Our show, titled 2011, uses the tableau of a grotto to explore the odyssey and definition of humankind. This grotto was conceptualized with an eye to the longstanding relationship of humankind to caves and the millennia of slow processes that created them even before modern man started his own development towards the present. Grottos are different than caves, though they allude to them. A grotto is a mix of the sacred and the profane – by definition it is artificial to some degree, a man-made enclosure representing the inner world of humankind and intended to mimic an idealized and mythologized underworld. They are spaces meant for relaxation, contemplation, mythology, and sometimes worship. We interpret what our senses perceive, like fire-cast flickering images on cave walls (Plato’s Allegory of the Cave), and use those perceptions to try to locate our place in the larger world. By it’s artificial nature the grotto hints at the limitations of our own human perceptions to perceive infinity and objective reality, while simultaneously paying homage to the attempt to do.
In the center of the gallery lies Andy Diaz Hope’s Infinite Mortal – a large militaristic asteroid that has crashed to earth (or is hurtling away from it, depending on your place in time) bringing with it the illusion of encapsulating the infinite within its matte-black shell. In an alcove towards the back of the gallery is a large collaborative piece, The Reflection Engine, which takes the form of an elaborately carved walnut wardrobe, the inside of which is mirrored like a crystal geode in which you can sit, door closed, and surround yourself with self-reflections in an ever expanding infinity. The Allegory of the Infinite Mortal, also a collaborative piece, is a woven jacquard tapestry depicting the intellectual structures humankind uses to try to understand the infinite. Laurel Roth’s pair of battling peacocks, titled Beauty and assembled out of fake fingernails, barrettes, and costume jewelry, encourage examination of rules of attraction and competition as part of mating and natural selection.
In a facetted gallery cavern hang multifaceted white and mirror sculptures of both futuristic and primitive aesthetics from Diaz Hope’s Infinite Mortal series, reflecting infinite loops of light and video in sculptures based on geological formations. Juxtaposed among these crystal formations, Roth’s carved wood and cast brass primate skulls highlight the evolutionary changes that brought about the numinous transformation into modern humankind. Carved wooden skulls and bones of animals that evolved alongside of us, first hunted and then eventually domesticated, bred, and controlled by humans for use as food are displayed near these offshoots of our own evolutionary path.
All of the work is intended to question what it means to be human on this evolutionary path through time.”
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.
Beau Stanton is not only an amazing oil painter but turns out he can make cool installations too! After taking a few trips around the greater Bay Area to collect the materials to make these framed structures, the team went to work. Special thanks to Erik Otto for donating scraps from his massive salvaged collection of goodies, Builders Recourses, Ohmega Salvage and the streets of this great city.
San Francisco artist, Nicolas Torres, dropped in the gallery this week which inspired me to share some of his past works of art and thought provoking videos. His upcoming group exhibition titled Time x Time is located at Incline Gallery. Exhibiting aside Randy Colosky and Alicia Escott “The artists bring to the space works that take on the complexities of how time functions – from doing time to geological time to nostalgia – and the folly of trying to change the past.”-Incline Gallery
Torres work often focuses on topics such as urban renewal, street culture, community, family and introspection. Torres received a BA in philosophy from UC Berkeley in 2008. According to Adobe Books Parlor Neighborhood Watch exhibition statement “His parents and their struggles, have been the fodder and inspiration for much of his work.”
We just received some great photographs of the opening reception of Boreas. It was the warmest night of the year and everyone was in good spirits. We are also happy to share a review of Boreas by Lisa Congdon and Sarah Applebaum by the Art Business contributors.
Review by Clare Coppel: “Boreas,” a show with pretty cool window installations by Sarah Applebaum and mixed media/paintings by Lisa Congdon features three of my favorite guilty hipster/nerd pleasures– neon, geometric prints inspired by indiginous peoples, and cute furry animals. “Ooooh cute animals, nope can’t hate on that.” At least I didn’t wear that Navajo print sweatshirt or I’d match the work on the walls, though this work is inspired by Icelandic stuff– snow not desert. I’ve always wanted to go to Iceland. I want a new tattoo, maybe a cute furry animal? Is there neon tattoo ink? For um, geometric patterns?
Review by Mairead O’Connor: Lisa Congdon creates paintings and collges that illustrate Icelandic folk culture and four seasons. She focuses on pattern, animals, and the changing light of the sun. Sarah Applebaum’s work is made up of geometric shapes colored in the grey scale between black and white. Her large installations are actually hand sewn and symbolic.
Review by RWM: Great trip to the North. Not just a trip to the cold beautiful lands, but also to their people, transformed by their surroundings. The cold wild is outside, but also within. Enjoy both colors and shapes. Impressive. Emotions are captured here in window sculptures as well.
Here are a few snapshots of the opening reception. To see more photos of the opening check out Art Business Gallery Reviews.
Birdseye view – art by Sarah Applebaum & Lisa Congdon. Image by Mairead O’Connor
On Exhibit: August 6th – August 27th, 2011
Opening Reception: August 6th, 2011 from 6-10pm
Gallery Hijinks is proud to present Point of Vision, a collection of painting, sculpture, and installation by Gregory Ito. In this new body of work Gregory continues his exploration of the concept of time, broadening his focus from lunar cycles to the cycle of a day, or rather everyday, from dawn to dusk and back again. Please join us for the opening reception on August 6th, 2011 from 6-10pm.
Throughout our humanly existence, time is depicted through the sequenced deconstruction of the constant relationship between night and day. The relationship we hold with the Sun, Moon, and Earth has been an evolution of ideas that continues to the days of contemporary society. The tools we use to define time have changed from Stone Hedge to the modern day calendar.
Gregory Ito’s current body of work is a reflection of human perception of these shifts presented through the mediums of painting, sculpture, and installation. The images he creates depict new ways to visually understand the concept of time, and use the celestial forms: Sun, Moon, and Earth, as reference points to the relationships that are discussed within each piece. The body of work carries this dialogue of our human connection with the linear progression forward into the future.
The atmosphere of a space also plays a crucial role in the presentation of ideas like these. Awnings and shrine like architecture is present in many installations, to aid in the construction of sacred space. Sacred space is commonly used to house ideas that are much larger than our collective consciousness, and are extremely difficult to grasp. Ito’s constructions of sacred space are intended to contain the concept of time and the ideas related that shift our human perception of time, and create new avenues of understanding.
“My work is my intention to transcend an individual to a basic way of looking at the world we live in, and the universe we are part of. I hope to reveal the value and power we have to seek the true reasons we are living for. It is to inspire people to grow together.” -Gregory Ito
Gregory received his BFA from the San Francisco Art Institute in 2008. He is Co-Founder of the Ever Gold Gallery, and Co-Founder/Editor of The San Francisco Arts Quarterly (SFAQ). He currently works and lives in San Francisco.
Point of Vision opens August 6th and runs through August 27th, 2011 and is open to the public. For more information on the exhibition or Gregory Ito please email us at firstname.lastname@example.org.
Last week we stopped by Gregory Ito’s art studio in the SOMA district of San Francisco. We took a quick peek as he builds a new collection of work titled Point of Vision opening this August 2011. The body of work comprised of paintings, sculpture, and installation are very much influenced by the concept of time, and use the celestial forms: Sun, Moon, and Earth. “My work is my intention to transcend an individual to a basic way of looking at the world we live in, and the universe we are part of. I hope to reveal the value and power we have to seek the true reasons we are living for. It is to inspire people to grow together.”-Gregory Ito
Luna the cat.