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Vhils “Dissection” Museum Show Recap

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From 5th of July until 5th of October 2014, Alexandre Farto aka Vhils, our Issue #22 cover artist, had a big museum show at the EDP Foundation in Lisbon. Being his biggest show so far, the focus of the show was dissecting the elements of what we recognize as urban life. The show included various styles of works, from public pieces through the city, signature scratched doors, paper and wood panels, styrofoam sculptures, to impressive dissected train cars. After 15 years of creating art, 2 years of working on this particular show, 3 months of showing the works to the public, Vhils’ landmark solo show reached a record-breaking attendance of over 65,000 visits!

VhilsFundacaoEDP.com
AlexandreFarto.com

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L7M – “No Hope, No fear”

In 2001 one thirteen year old Brazilian boy wielded a spray can for the first time… Thirteen years further L7M, now 26, has scarcely looked back. From his home city of Sao Paolo this prolific artist has sent colourful birds migrating onto walls on a worldwide scale. In light of his recent globetrotting, VNA got in touch with L7M for a short interview to find out a little more about his life and work.

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PangeaSeed – Aaron Glasson Interview

Aaron Glasson is the Creative Director for PangeaSeed, an international organization which collaborates with members of the art, science, and environmental activist communities to raise awareness of marine issues. PangeaSeed is dedicated educating people about the current problems surrounding the conservation and preservation of sharks and other marine species in peril. Aaron’s personal creativity also holds its own in the art world, as can be seen from his projects and

The HarborMaster

VNA: Tell us more about PangeaSeed?

Aaron Glasson: PangeaSeed is a collective of creative people concerned about the state of the worlds oceans. We’ use art and design as a tool to educate and inspire people to get behind marine conservation and create positive change.

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TwoOne – ‘OUTSIDERS’

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TwoOne is one of Australia’s leading street artists and ‘OUTSIDERS’ is a body of work completed in a new Berlin studio.

‘OUTSIDERS’ opens this Friday at 6pm (Oct 10th) at Backwoods Gallery.

TwoOne has been kind enough to chat and tell us a bit more about he exhibition and his processes. Keep reading as there is a terrific process video too!

Damo: Tell us a bit about yourself, how you got into art, and how you describe your work to someone who hasn’t been lucky enough to encounter it before:

TWOONE: I’m originally from Japan, move to Melbourne at age of 18. I then lived and started working as artist in Melbourne for 10 years. I moved to Berlin early this year.

I work with lots of different material, and form, and my style changes depending on what I use. There is loose theme that goes through my work, which is psychological portrait.
Psychological portrait is visual translation of people’s emotions, and personality, often usings animals as symbols.

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Kyle Hughes-Odgers

Kyle Hughes-Odgers is an Australian visual artist. For over a decade he has exhibited and created artwork throughout Australia and internationally: New York, Los Angeles, London, Hong Kong, Singapore, Berlin and Cambodia.  Damo was lucky enough to chat with Kyle at Sydney’s ‘Project 5′ and he has shared some inspirational videos.

First up we have ‘A Thousand Lights’. The concept for this work is based around an abstract aerial view of flying across the globe over Western Australia into Perth city. Abstract geometric pattern areas showcasing the environment with various colour changes from oranges, yellows of the desert to blues of the ocean and rivers. Bursts of colour highlighting life and activity within the growing metropolis of Perth and surrounding areas.
 
Keep checking back for more of Kyle’s work and an interview soon!

Kyle Hughes Odgers – A Thousand Lights (Perth Airport) from Peacock Visuals on Vimeo.

NO AD – Jordan Seiler Interview

Off the back of his awesome bus-shelter keys initiative, PublicAdCampaign, Jordan Seiler is taking back the streets and taking on the ads in the virtual world as well as the physical. Pioneering the way for real-life ad blockers, Jordan has spent years researching and mapping out all the New York subway adverts so they can easily be digitally replaced by a carefully curated selection of art from over 50 (and growing) different international artists. We spoke to him to get the lowdown on his subversive new app: NO AD.

vermibus

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Meggs: on Detroit

On September 19th, Australian artist David “MEGGS” Hooke concluded his one-month residency at Inner State Gallery with the opening of his solo exhibition, Spoiled Rotten.

Process Big Balloon_Miya Tsukazaki

The exhibition of over 40 new paintings and multiples explores the wondrous decay of social morality stemming from modern society’s obsession with pop culture and overindulgent materialism. The artworks, all of which were created in Detroit during his residency, continue MEGGS’ perpetual fascination with dualism and finding beauty in tragedy.

Small balloons_Mike Popso

The city of Detroit plays a major influence in MEGGS’ philosophy behind Spoiled Rotten. The exhibition highlights Detroit as an inspirational juxtaposition of a spoiled past and its position as a new canvas for growth and rebirth. MEGGS’ use of deteriorating signage and locally sourced materials from the city’s abandoned and forgotten places emphasizes the revival of social pillars such as community and the idea that destruction and decay breed new beginnings.

Process_Life's Ups and Downs_Miya Tsukazaki

“Detroit is a city of duality more so than many other cities I have been to. I sought to incorporate this by using objects and surfaces that imply decay, in what I consider to be a beautiful way. Old wooden materials and signs with layers of paint tell a story of their own. Although the colors and textures are aesthetically beautiful, I think it’s about giving these materials a new life, a second purpose,” MEGGS said while working in the Inner State Gallery loft.

Process Mickey_Miya Tsukazaki

The genesis of Spoiled Rotten lies in MEGGS’ painting entitled ‘Life’s Ups and Downs,’ which features a split image of the inflated iconic yellow happy face balloon juxtaposed with its discarded, decaying, and deflated other half.

Scavenging Eastown Theatre_Miya Tsukazaki

“This concept started when I saw a deflated happy face balloon, which is an image I’ve been obsessed with lately. The ‘happy’ balloon is a classic icon that depicts playfulness, optimism, and the idea of, “Have a nice day!” Yet, the balloon is also a very disposable item and has a limited life span. It deflates. I think this is something that people can identify with and it ties into that idea of duality in Detroit,” MEGGS said.

Scavenging_Toys_Miya Tsukazaki

The exhibition also marked the debut of a new sculptural collaboration between MEGGS and artist Rafael Batista of Brooklyn, New York. Batista, who hand-sculpted each piece, gives new life to MEGGS’ happy face balloon images, taking them from canvas to 3D collectors’ items.

Scavenging_Eastown Theatre 2_Miya Tsukazaki

www.houseofmeggs.com

Photo Credit Miya Tsukazaki and Mike Popso.

‘A Study of Hair’ – Dave Kinsey

In the ongoing series interviewing contributors to ‘A Study of Hair’ opening at Backwoods Gallery on Friday, we speak today with Dave Kinsey….

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‘Michelle, Ma Belle’ – detail – Dave Kinsey

Damo:  for the uninitiated, can you tell us a little bit about yourself?

DK:  Dave Kinsey, full time painter, part time designer, living la vida loca in the Sierra Nevada mountains north of Los Angeles.

Damo:  Can you tell us about your piece, and how you have responded to the artistic brief?

DK:  “Michelle” by The Beatles was playing while I was sketching the piece. I’ve always loved that song, and since my wife’s middle name is Michelle too, I had that all in mind. Such a calming sound to it.

Damo:  What medium have you used?  Why did you choose this medium?

DK:  I really enjoy working with acrylic and collage utilizing old books, discarded postal envelops. etc., which I feel melds nicely together on the canvas. I especially love working with vintage book pages because of their interesting visual tonality, fragility, and personal histories.

Damo:  Why did you agree to be part of the ‘Study Of’ project?  It is a very ambitious task – how do you think it will be viewed on completion?

DK:  I really liked the concept—it’s one of the few thematic group showings that really makes sense to me. It’d love to see a book produced after 10 years or so of this continued series.

Damo:  On a more personal note, what can we expect to see from you in the next 18 months?

DK:  I just finished a huge show that opened at Library Street Collective in Detroit and now I’m back in the studio working on new pieces for Miami in December and Cologne, Germany in 2015.

kinseyvisual.com

‘A Study of Hair’ – Miso

In the lead up to Backwoods Gallery ‘A Study of Hair’ Exhibition this Friday, 26 September we have been lucky enough to talk to some of the contributing artists.  Keep checking back as there will be drops for the next few days, and don’t forget if you want to see all of the work to contact sales@backwoodsgallery.com.  Today, we speak with Miso…

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‘Tangled 2’ – detail – Miso

Damo:  For the uninitiated, can you tell us a little bit about yourself?

Miso:  I’m so, so bad at answering this question!

Damo:  Can you tell us about your piece, and how you have responded to the artistic brief?

Miso:  Well, errr… I actually suggested the ‘hair’ idea to Alex, the curator, a while ago… and I think I found making the work actually a lot harder than any of the other artists, funny enough!  My hair is a bit of a bird’s nest, so I liked the idea of making a paper fold map of tangled hair, seeing how it got to that stage. A very clean map of something very messy.

Damo:  What medium have you used?  Why did you choose this medium?

Miso:  The work is a new experiment for me, making folded paper works – that are a little bit more sculptural.  The details are pin-pricks hammered into the paper, one by one, between the folds. It’s a medium I’ve been working with for a while now, and I really love the idea of drawing with nothingness – taking back from a blank sheet of paper, sculpting back – rather than adding on.

Damo:  Why did you agree to be part of the ‘Study Of’ project?  It is a very ambitious task – how do you think it will be viewed on completion?

Miso:  I suppose it’s really nice to be asked! It’s a very cool line-up to be a part of.  And it’s been a really, really great challenge – I think it’s a curatorial brief that made me make very different things, but work that I’m incredibly proud of – it’s not every day that a curator pushes you do that.

Damo:  On a more personal note, what can we expect to see from you in the next 18 months?

Miso:  Lots of publishing! More solo shows, and hopefully some architectural projects too.

@m_i_s_o_