Jeffrey Cheung’s first European solo exhibition, ‘Together’ opens at Andenken Gallery in Amsterdam on Friday September 28th, 2018
Internationally celebrated street artist D*FACE has been at the forefront of his practice since his initial breakthrough in 2005. Having grown up amidst the streets of London, he cultivated a keen interest in graffiti art and its disaffected mindset from an early age. As a teenager his artistic attentions turned to skate culture and the iconic skate deck designs of Jim Phillips and Vernon Courtlandt Johnson that he found in Thrasher Magazine. Inspired by their punk DIY aesthetic, D*Face attended an illustration and design course before beginning work as a freelance artist. Taking the public domain of the street as his canvas, he blended art, design and graffiti in a manner that pre-dated the emergence of street art as it is known today. Here the artist gained a great deal of attention, quickly rising to fame for the vivid nature of his designs. Despite now working in the gallery as well as the open canvas of the streets, D*Face continues to approach his work with the same anarchic energy that drove him to begin his career from the outset. His vibrant pop style and D*Dog logo have become synonymous with British street style and are recognized the world-over.
In addition to collaborating with the likes of Shepard Fairy and Banksy, D*Face has collaborated with Her Royal Highness Queen Elizabeth II on a project that involved the customization of banknotes and coins and their secret reinsertion back into public circulation. In 2005 the artist was also commissioned by the Vatican to produce a portrait in commemoration of Pope Benedict XVI’s instatement.
“HOME IS WHERE THE heART IS” is D*Face’s first ever exhibition in the Pacific Northwest. The exhibition will highlight some of his most iconic works to date including his depictions of recognizable females in the likes of Marilyn Monroe and Queen Elizabeth II.
The majority of D*Face’s work is centered around the heart throbbing, push-pull affections of love and loss, most notably visible in his series of painted romance novel book covers. Using the name of the book as context, the paintings compliment the artist’s inter- pretation of the titles. Other notable works in the exhibition will include his iconic use of Coca Cola bottles and the repetitious use of the word “RIOT.” The word is a reference to the anti-authoritarian roots of street art culture and represents the self-described “poor man’s grenade,” an object associated with dissent. The RIOT series explores the use the objects as means to instill change through protest and revolution.
“I want to encourage people to not just to see, but to look at what surrounds them and their lives, re- ecting our increasingly bizarre popular culture, re-thinking and reworking cultural gures and genres to comment on our ethos of conspicuous consumption.” – D*FACE
Opening reception on Thursday, August 2nd from 6pm-9pm at TREASON Gallery located in Pioneer Square, 319 3RD AVE S, Seattle, WA 98104.
More info available: WWW.TREASONGALLERY.COM
Internationally renowned British artist Charley Uzzel-Edwards (PURE EVIL) returns to Australia with a new exhibition of his bold and engaging dystopian-pop artworks. Entitled ‘Sleepwalking Towards the Apocalypse’, his new show explores the cult of celebrity and the darker side of our utopian dreams an age where we’re immersed in social media.
“We are so bombarded with images and information” says EVIL, “that we are sleepwalking through our lives – there is just too much to process. I don’t think it’s the end of times, or the end of empires, but I do think that the times – they are definitely changing. Are we moving into a new utopian technology-driven age? Or are we sleepwalking towards the apocalypse?”
PURE EVIL’s trademark images of fanged bunnies and portaits of tearful celebrities, both on the street, canvas and in multiple screen-prints, have become icons of East London and throughout the world. Over the past 15 years, he has exhibited in galleries and museums in China, Hong Kong, South Africa, Russia, Mongolia, Brazil, USA, Chile and all over Europe. In 2006 he was a part of Banksy’s now infamous exhibition ‘Santa’s Ghetto’ and was also featured on BBC’s ‘The Apprentice’ and Channel 4’s ‘Four Walls’. He is also the director of Pure Evil Gallery in Shoreditch, produces a monthly radio show, and runs regular workshops and lectures about street art.
PURE EVIL – SLEEPWALKING TOWARDS THE APOCALYPSE – OPENS THURS JULY 26TH, 6-9PM – UNTIL AUG 12
AND PRESENTING… PURE EVIL – KIDS DRAWING CLUB – SATURDAY JULY 28TH, 12-2PM
Join the VS Gallery team on the Saturday after the exhibition for a fun and unique afternoon of colouring and art-making, led by the artist himself. The Pure Evil Kid’s Drawing club is FREE, and consists of a big long table covered in a big roll of paper, loads of coloured pens and loads of kids!
The drawing club has so far been held in London, Brighton, Sweden and Texas and is a great way for young kids to engage with a world-renowned street artist. All materials supplied, with light refreshments for the kids in a safe, fun and encouraging environment.
Email: firstname.lastname@example.org to RSVP.
“Missing You” is Ben Eine’s addition to The Cullen Hotel’s Street Art Suite series.
The hotel teamed up with UK street artist Ben Eine to create a one-of-a-kind artwork using elements of his distinctive typography and splashes of his graffiti style.
In town recently to join 25 of the hottest urban artists to create a multi-sensory art experience in Richmond, Eine spent two weeks at The Cullen and was invited to makeover one of its deluxe studio suites.
Titled ‘Missing You’, the artwork is a love letter to his French girlfriend and brings the spirit of Melbourne’s laneway culture into the hotel.
Each of The Cullen’s Street Art Suites features a personalised stamp left by the artist, as well as Adam Cullen artworks and books, to create to create an immersive art experience.
Eine is the fifth street artist to be featured, joining the ranks of Swoon, Blek le Rat, D*Face and Stormie Mills.
Eine’s trip to Melbourne was part of a campaign to help raise $1 million for the youth-led foundation Reach, aligning with his belief that “street artists want to add something to the environment”.
His work is currently held in the permanent collections of the V&A, London, The Museum of Modern Art, Los Angeles and galleries worldwide, while his work can be seen in streets all over the world – most recently he completed a huge mural on the British Embassy in Abu Dhabi.
Since their beginnings, our friends at Backwoods have always fostered local and young artists. As they move into the future, Backwoods Forewoods aims to stay true to this ethos, fostering relationships with the next generation of up and coming Australian artists. Through this program, Backwoods Forewoods will spotlight young and local talent through a series of weekend exhibitions designed to support and promote our favourite emerging artists.
Backwoods are pleased to launch the program with their long time friend of the gallery, Adam Kinninmont, and his collection titled ‘Utopia.’
Adam Kinninmont, formerly known as Swerfk, is a Melbourne-based graphic artist. In his earliest memory of drawing, he is a four year old, pausing a Disney cartoon in order to trace over the character on the screen. This childhood exposure to TV animation and comic books, and later the skate and graffiti scene of his youth, has all played a role in the development of his artistic vision and unique graphic style. Since completing a Bachelor of Visual Arts in Printmaking and Drawing at the ANU in Canberra, Kinninmont has exhibited throughout Australia and internationally. His focus has recently shifted from graffiti to fine art graphic work. ‘Utopia’ is his first exhibition under his real name.
Kinninmont’s latest series claims its title somewhat ironically. In this body of work, the Western mirage of a sublime suburban existence is dissolved, and seen to be degraded, used, worn down over time by the grind and grit of everyday life. These street moments are composed from his own observation and exploration of Melbourne suburbia, in particular the older industrial suburbs of Collingwood and Brunswick. They are inspired by his interest in art deco and European style architecture, and of the tradition of architectural design illustration, which provides the backdrop for the ephemeral graffiti conversation irrepressibly expressed onto the scene. With inspiration drawn from the late Howard Arkley’s bright, highly stylised Melbourne suburbia paintings, Kinninmont’s illustrations have an added element of unease and mischievousness, a nod to the lively street culture here. Characterised by a bold 80s colour palette, his energetic, gestural style is balanced with technically executed detail and stylised abstraction. The presence of people is noticeably missing from each scene, leaving the natural and designed elements to be admired. However, this is no House & Garden magazine dream: you can see the cracks. – Helani Laisk
First Amendment Gallery is proud to present ‘A Forgiving Sunset’, a solo exhibition of new woodworks, works on paper and steel sculptures by Scott Albrecht.
‘A Forgiving Sunset’ exhibits Albrecht’s most recent body of work offering an evolved approach to his unique graphic languages. Largely rooted in typography, his work reconsiders the relationship of message and viewer. With each work being made up of dozens, sometimes several hundreds of individual pieces that are cut, sanded, painted and re-assembled, often at varied depths, the works shift the conversation to a more visual language of relationships starting with form and color.
The narratives of Scott’s work often pull from or reference his own experiences and distill them into a more universal interpretation to allow the viewer to relate their own experiences, and in turn showing how we are more connected by these shared events.
“During one of our many discussions in the studio, we came across a hidden sensation, something that is always present, yet its causes or even the meaning of its existence still felt very abstract, but we agreed in describing it as a dull but constant pain.
This is our attempt to interpret this well of abstract sensations, and during this process we hit many notes, but one in particular kept showing up over and over for both of us, death. Maybe the fear of it, maybe what it leaves behind for the living, whatever it is, it exists.
This phantom pain keeps us going, fuelling our actions in life, always present, like gravity flowing through us and all things, always wise, reminding us, ironically, that everything is impermanent.
We hope that you may welcome this pain with warmth, and that it may feel less abstract now, as it does for us, through our exhibition Phantom Pain at Backwoods Gallery from June 8th to June 24th 2018.”
– Yusk Imai and Dante Horoiwa
Yusk Imai is a contemporary artist who was born in the U.S.A. in 1982, to a Japanese descendent family. At the age of 6 months his family migrated to São Paulo where he currently lives and works.
Since 2007, Yusk has exhibited extensively within galleries, at art fairs and on the street across Europe, U.S.A., Australia and South America. The flat perspectives and dramatic curves demonstrated in Imai’s work is reminiscent of Art Nouveau greats such as Gustav Klimt.
Imai’s paintings and drawings lure us into state of self-consciousness and questioning. These ostensibly post-apocalyptic works tread warily between sci-fi apparitions, threatening premonitions and horror stills. Like a séance, they speak to Dali’s technique for creative thinking; a thinking that was founded on the moments in which we begin to fall asleep. When this sleeping pattern is interrupted and we are awoken, we find the subconscious rise to the conscious as a definitive form.
Dante Horoiwa is a self-taught contemporary artist who was born in São Paulo, Brazil in 1988, to a Japanese descendent family. Recently, Horoiwa has exhibited his paintings at the El Centenario Museum in Mexico, with further features in United States, South and North American galleries, as well as large scale murals on the streets of East and West Europe.
His work frequently deals with themes closely connected to the foundations of human existence, which are universal to all living beings. Using a placid colour scheme of neutral shades, Horoiwa’s paintings, drawings and murals possess a mysterious, spiritual and soulful tonality. His work delves into the depths of human experience to explore the seen and unseen, using familiar devices such as long hair, textiles, plants and threads to connect the various forms, and evoke our sense of something magical and supernatural.
Exhibition catalogue available on request from: email@example.com
“The human form is an exquisitely expressive conduit through which we may depict conversations, explore fields of consciousness, and realize the cathartic points at which the soul confronts its physical form. I am endlessly inspired by the movement of the body, particularly as it represents itself through improvisational dance. I consider the dance floor a fantastic microcosm in which one can observe a very deep aspect of human connection; one that explores trust, boundaries, and relationships, and the graceful instinct of the human body to move through space.”
“Occasionally one wakes at 4 am. With the urge to drive south in the dark and feel the dawn peek back. To stop at the deserted beach and swim into the chill of anonymity with no obligation to anyone or anything, salved in a loss.”
With a style that’s developed from pen and line drawings, through realistic pencil drawings and blossomed into painting, ‘Lonesome Souls’ explores people. People who soothe themselves by being alone and enjoying solitude in natural places enticing the viewer to feel still and a little more tranquil.
After developing an obsession with water, Lizzio was captured by the underwater photography of Janaka Rodrigue, something which she knew she had to paint. This body of work forms the main theme of ‘Lonesome Souls’, exploring the feeling of weightlessness, the feeling being completely immersed in nothingness. ‘Lonesome Souls’ is the culmination of months of hard work, non-stop creating and no social life, but Lizzio states, “It’s the most natural thing to me, the best release andsomething that makes me happier than anything else.”
‘Lonesome Souls’ opens this Friday 27 May 2018, at 226A Johnston St, Fitzroy.