Phil Frost solo show @ Galeria Javier Lopez in Madrid

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Galeria Javier Lopez in Madrid is currently showing a first European solo show by legendary New York-based painter Phil Frost. Intuitive Mathematics is an overview of most recent works constructed with his instantly recognizable aesthetics, and it refers to his creative process which is described as “intuitive perceptive portraiture”.

The layers of over saturated colors, flowing lines, and finally most recognizable, white mask-like shapes, are all key elements of his work. By multiplying these over and over again, using different techniques and mediums, Frost is creating eclectic patterns that spread over different surfaces, immune to physical or formal limitations. From papers or canvas to vintage suitcases, helmets, record sleeves, baseball bats and even plane bombs, his intuitive portraiture takes over any shapes or forms. This peculiar technique that evolved from his unique typography earned him a reputation of a leading contemporary artist even Frost had no formal artistic education. The complexity of his visual language allows each of his works to be seen as a compact art piece, but also, it gives the observer a chance to dissected it into infinite smaller, separate sections and images.
The show will stay on view all the way until 4th of February, so make sure you examine these complex works in person while visiting the Spanish capital.

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Bezt from Etam Cru is releasing a 16 color lithograph


Bezt, one of the members of Polish dynamic duo, Etam Cru, just announced his new limited edition coming via Print Them All on Wednesday 17th of December. “Medusa” is a 16 color lithograph that the artist worked on at Idem studio in Paris, making it one of the most challenging prints ever coming out of this historic place.

The fine art edition is featuring iconic image of Medusa, a mythological creature that turns people to stone with her look and has poisonous snakes for hair. Bezt did a bit of a twist to the familiar image, made her look more contemporary, and added a familiar beanie covering the bright colored snakes. Using an interesting palette of over saturated colors, the finished edition carries all the elements of his signature style.

“Medusa” will be available on the 17th December at 2pm GMT at Print Them All website in a limited edition of 99 pieces. It is printed on BFK Rives 270g paper with hand decked edges,measuring 77.5 x 54.5 cm and comes signed and numbered by the artist.


Paul Insect – Allouche Gallery – Interview

Allouche Gallery, NYC, is pleased to present, PAUL INSECT: 2033, Original Works Created in 2014, on December 13th.


Paul Insect is known for his unique and individual sharp-edged images, which draws from the absurdism of Dada and is combined with the sleekness of modernism, yielding surreal renderings that point playfully at the deep dark underbelly of adult life. In the 1990s, Insect became known for his witty stencil and spray painted works, before transitioning to the gallery scene with color-drenched canvases, which teetered precariously between tradition and something far more messed up. Never before has chaos been channeled in such clean lines. 

PAUL INSECT: 2033, Original Works Created in 2014, features a series of striking new montage works on canvas and paper – projecting a world in which people want more, thrive to be the best and pretend to be who they are not. In the digital age, people hide more than even behind masks, which enable them to project what they would like to be and think they need to be.

In this world, is it possible to maintain one’s integrity? Insect’s work demonstrates the power of art to capture and question social and cultural evolutions in the information era.


We currently have a small amount of Paul Insect LTD Edition and other screenprinted issues of VNA 24 for sale – don’t miss out –


VNA: So tell us about the new show here in NY?

Paul Insect: It’s a show of new paintings I have been making over the past six months.

VNA: What kind of themes are you dealing with in your new work?

PI: I was thinking about the future, the fast pace of life, how we are all starting to hide behind digital masks, or man made plastic ones. Where next, nothing can come quick enough and the need to know everything now.

VNA: You’ve also been making some crazy videos with Bast, we have no idea what’s going on, can you explain more?

PI: When we get together, we like to collaborate in other ways than just making a painting together. And small stop motion films are a good outlet for us both, it’s all about having some fun – to keep things loose and not to be too serious, as long as it makes us both laugh, we’re happy. We work with rubbish that has been left on the street, and try to turn it into something other than another piece of landfill product. It’s amazing what people throw out and what you can do with it.


VNA: You’re not really one for social media channels, but you made a name for yourself before the advent of facebook, do you think it’s important for emerging artists to use those channels, or do you think they get too wrapped up in the online world?

PI: I only use Instagram, as I like the format of photography and film it offers. But it still takes up too much of my time. I’ve never had a Facebook account, and have never been on Twitter, so, to be honest with you, I don’t even know what they do. I would hate to turn into a person that never looks up from their phone, but they are a great way for emerging artists to connect with other artists and galleries around the world.

VNA: Is it important for you to show worldwide with your exhibitions?

PI: I feel it’s important for people to actually experience and see work in person, rather than seeing it in a digital JPG format on a phone or computer. So showing work in different countries is a good way of allowing people to have that opportunity.

VNA: A few years ago, you made the decision never to do commercial work again, how has that choice affected your art since?

PI: It gave me time to focus.

VNA: You’ve always pushed the boundaries of your artwork, from sculpture to these latest costumes, what do you have to do to keep it fresh as an artist?

PI: Do what you believe in. Always create, keep things fresh, try to do what you feel is right, and not to do not what other are telling you is right. Most of all, Have fun.


For more information on Paul Insect and his latest show, check:

Beau Stanton – Elegant Decay

Combining unshakably meticulous imagery alongside flawless displays of colour and deep, brooding themes of industrialism, religion and decay is a tall order for any artist. Yet Beau Stanton, with a tweak of his facial hair and ream after ream of recorded patterns and shapes, carries it off very well indeed. In light of his recent work with 1xRun, his muralism and solo show, Tenebras Lux, VNA got talking to Stanton in an exclusive interview on religion, architecture and the humble moustache.


JS: Your work typically features a colour palette from a select range of blues, golds, reds and greens. What draws you to these colours in particular?

Beau: Color is one element of my work that I aim to constantly push, creating unexpected color harmonies is a great way to keep the work dynamic.  The color in my earlier work was very subtle and restrained and lately it’s been getting a lot more intense.  This might also be a result of the way I like to prepare the surface before applying the design by layering multiple colors then sanding back into which tends to create accidental textures and color combinations.


JS: Your work often holds religious symbolism, is this a reflection of your own beliefs or is it a device for aesthetic or metaphorical purpose?

Beau: One of my main objectives in creating the work is to make iconic, compelling images that also maintain an enigmatic element, balancing accessible and esoteric.  Religious iconography tends to be fertile ground for this kind of dynamic and I often research sacred art from ancient and Medieval sources as a starting point.

Although my work is entirely secular, I enjoy that people often find some kind of higher meaning in it.


JS: Leading on from that, is your recent work with stained glass windows an offshoot of this religious interest?

Beau: I’ve wanted to translate my paintings into stained glass for a while since I’d had a brief experience working in the medium several years ago.  My renewed interest came from the luminosity and glow that I look to achieve in my oil paintings, adapting those images into stained glass was the next logical step, I was just waiting for the right place to show them.

Last year I was in Bristol visiting my good friend Andy Phipps who showed me an incredible 12th Century crypt that is located inside the old city walls.  Once in the space I knew exactly what I wanted to do and just about a year later we installed my Tenebras Lux exhibition there before it traveled to StolenSpace in London.


Beau: Branching out into a new medium presented some interesting challenges, particularly because of the size and scope of the work.  Due to the impracticality of constructing and shipping the larger work from New York, I hired the London based Cut Glass Studio to construct most of the panels based on my designs before I painted in all of the rendered elements and line work.  I was really satisfied with the end result and how substantial the objects became once set into their self-illuminating frames.  I’m currently planning similar projects to translate my images into a variety of other media in order to create more immersive installations.


JS: Where do you find inspiration for the intricate patterns you use?

Beau: The patterns I use are an amalgamation of different letterpress design elements, architectural ornaments, textile patterns, and any other interesting details that I find in old books or while traveling.  I am constantly drawing or photographing these elements as I discover them, adding to my archive and incorporating them into new work.


JS: Where did you first begin to pick up the features that are so individual in your work today and what made you so drawn to the style initially?

Beau: I started creating images that combine graphic ornamentation with realist painting after I first moved to New York City in 2008.  I’ve always had a strong interest in referencing history in my work but was instantly influenced by the 19th Century architecture, Victorian ephemera, and old ships that one can find around Brooklyn.  The work continually evolves, growing in complexity by layering visual symbols, graphic ornaments, and artifacts as I collect them.


JS: What would you list as your biggest inspirations both architecturally and artistically?

Beau: Lately I’ve been really into some of the contributors to the American Renaissance like Saint-Gaudens and Tiffany who heavily influenced my recent show of stained glass.  Modern masters like my mentor/past employer Ron English, Swoon and her incredible large scale installations, and always the masterful mind bending paintings by Esao Andrews.  In terms of travel, some things floating around my brain include a recent trip to Istanbul which was an endless source of architectural reference, The Guardian building in Detroit (one of my favorite buildings ever), and the once abandoned but sadly currently rehabbed Glenwood Power Station just north of NYC (referenced in The Industrial Divine painting).


JS: What are your plans for the future and what exciting things can we expect?

Beau: I’ve got a couple of large projects on the horizon for 2015, all I can say right now is that I’ve got a something big in the works for New York and I will be back in the UK for another site specific install.  Stay tuned.


JS: Of course an interview with you couldn’t be complete without referring to facial hair. How long have you had the iconic mustache and would you ever consider now being parted from it, it having since become such a huge part of your persona?

Beau: Ha! Well, the mustache (and seasonal beard) has been a permanent fixture for about six years with the exception of when I mistakenly shaved it off this past April.  My worst fears were realized when my close friends didn’t recognize me, or just reminded me that I look 12.  I haven’t shaved since.


Beau Stanton

Genesis – 1xRun Print

Braddock Tiles – NEW PRINTS!

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New York-based artist, Swoon, also has a project called Braddock Tiles. Braddock will be a community based artisanal micro-factory located in a formerly abandoned church in North Braddock Pennsylvania whose first venture will be to hand produce the 20,000 beautifully colored ceramic tiles needed to give its landmark structure a new roof.

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To help raise money for the project, they also release super affordable prints. This latest killer set includes work from Shepard Fairey, Molly Crabapple, Ricky Powell, Pablo Power, Shelter Serra, Kenzo Minami, Vexta and Swoon herself.


For more information and to purchase prints, visit the web store:

Or check out their instagram @braddocktiles

Sweet Toof – Derailed – Pandemic Gallery NYC

SWEET TOOF “DERAILED” – Opening Reception 12.12.14


Theres no real way to avoid the imagery SWEET TOOF presents to the public. The average citizen stops to observe just as intensely as the dedicated street photographer. His bright, colorful iconography is unmistakable. Strangely seductive, cartoon skulls grin malevolently from ear to ear, while disembodied floating gums appear seemingly in the hundreds all over the urban landscape, everything consistently overflowing with toothy turmoil. From site specific street graffiti and large scale murals to blanketing the abandoned structures of the city, his artistic presence is highly prolific, spanning several countries.

For this show he is concentrating heavily on the freight train graffiti scene in the USA that he has been so highly inspired by. Transforming the gallery walls to depict certain freights cars as an homage to the steel canvas that so many great artists working today rely on. Handcrafted freight replicas made from vintage warehouse carts as well as salvaged train sets will be on display, adorned end to end with SWEET TOOF’S magnetizing magenta chompers.

Several new oil paintings of all different sizes, painstakingly rendered in his distinctive, creep-show traditionalism style will also be on display. Out from beautifully painted scenery sprouts depictions of eery figures toiling away, unaware of their macabre appearance. Other works resembling portraits of undead royalty sit patiently in ornate frames sporting Elizabethan ruffles and seem to mesmerize and transfix the observer.

VNA Limited Editions

We’ve just cleared out the office to make way for a whole bunch of new goodies, clothes and mags for 2015. Luckily for you guys, this includes a few Limited Edition Screenprinted back issues we found…

We will be adding a few new ones randomly, day by day, so be sure to keep checking back!

Ludo is releasing a new print


One month after closing his London solo show, Ludo is releasing a new lithograph edition with Print Them All studio in Paris. Marking the end of the big project Chaos Theory that featured travels to Asia, Caribbean and all around Europe, as well as the successful show @ Lazarides, “344” will be available on Thursday, 11th of December.
The image for this fine art edition produced at Idem Studio in Paris, is first introduced in St Marteen back in August, showing a large butterfly with gun for a body. This creation is artist’s vision of the human influence on nature like most of his mutilated half mechanical animals and insects he’s been creating. The contrast between the fragility of the butterfly and lethalness of a gun is Ludo’s witty comment on the strength of the chaos theory and butterfly effect. The image was further elaborated for his show through a series of smaller canvases, and the one used for the print is fully hand drawn.
This lithograph is gonna be released in an edition of 99, and we’re told that some hand finished copies might be available at some point in the future.

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Fight Club is an alcohol fuelled panel debate held at a local pub. The intent being to loosen the tongues, morals and attitudes of artists, panellists and audience alike.
This years fight club was hosted by Eirik Knudsen with participants Evan Pricco, Managing Editor of Juxtapoz, Rj Rushmore, founder of Vandalog blog and activist and interventionist based artists Maismenos (PT) and Mathieu Tremblin (FR).

This year’s Nuart Plus program tackled the two ends of the street art-continuum, “safe murals” on the one hand and street art and activism on the other. While activism was an essential part of the early street art scene, we have over the last decade or so seen a gradual gravitation towards large scale council/institution and sponsor approved murals. Is this a development we should embrace as a natural development of the scene, or should it be vigorously contested?

Horfee’s “Traditional Occupations” solo show


Notorious French artist Horfee opened a solo show @ Ruttkowski;68 gallery in Cologne on Friday 5th of December. The artist who has both formal artistic education, but is most know for his illegal graffiti works, gave a good overview of his current works through “Traditional Occupations”.

Inspired by everything from European abstract painting to homemade tattoos, vintage animations and underground comics, Horfee is no stranger to using various medias and techniques for creating recognizable works. His colorful creations with loose edges are presented in form of acrylic and spray paint canvases, works on glass, sculptures and even embroidery. Through his work Horfee proudly shows the flaws of his techniques by creating melting imagery that is conforming to anything but ordinary or traditional.