Monday, July 20, 2009

Kelly Vivanco and Jason Limón's "Under the Cover of Darkness"

On July 31st, two amazing artists will be sharing the walls of Subtext in San Diego for a exhibition entitled "Under the Cover of Darkness." In anticipation of the show, I've asked them to share some insight into their work.

The wildly talented Kelly Vivanco, who will be no stranger to Erratic Phenomena's regular visitors, has been painting like a whirling dervish lately, having just completed an extremely successful solo show at Thinkspace, as well as participating in the "Crazy 4 Cult: 3-D" and "Meanwhile... at the Hall of Justice" group exhibitions this month. Her work for Subtext will describe a nightscape inhabited by young ladies who explore a strange twilit land in their nightgowns.

"Crossing View"


Kelly will be paired with the ingenious Jason Limón, who has made a impression on the pop surrealism scene in the past couple of years with his meticulous paintings inspired by vintage electrical devices and retro toys. His realistic three-dimensional painting effects are often enhanced by the jigsaw-tiled custom canvas panels he creates. Recently, he has begun to explore a more overtly emotional landscape, and this show will be his first full exposition of this new direction in a gallery setting.

"Eternal Entanglement"


Erratic Phenomena: So the theme for your joint show at Subtext is "Under the Cover of Darkness." Who or what can we expect to see lurking in the night... or will this darkness be more of the metaphorical variety?

Jason Limón: Yes, that is actually the title of a small piece I did recently. It's a single owl-shaped figure that to me felt very lonely and downhearted. It was a reflection of how I've felt for a good part of my life. So the title is used in a metaphorical way to help release a great portion of these trapped emotions – though to an outsider looking at the images, it can be viewed as the darkness of night, when mysterious and unknown beings are unveiled as they come out into the open. I'd rather the viewer see things that way, so as not to leave with sad or depressing thoughts.

"Lantern Tangle"


Kelly: Quite literally, the characters in my paintings for this show are doing things 'under the cover of darkness' – witnessing strange lights and phenomena, exploring dark forests and magical places. Most of the girls are even in their pajamas. Everyone is enveloped in darkness, but there are saturated fields of color behind the wash of darkness, giving unique hues to many of the scenes as well. The environments are quite dreamlike, but none are taking place in dreamland – it’s more like the odd logic and imagery of dreams has crept over into 'reality,’ making odd things and happenings for the characters to discover.

"Tethered at a Fixed Distance"


EP: Jason, lately you've been concentrating on exploring more personal work with an organic, almost medieval sensibility somewhat reminiscent of the ancient manuscripts illuminated by Celtic monks – as opposed to your earlier work, which focused on vintage electrical doodads, anthropomorphic batteries and retro toys. How would you describe the aesthetic behind these new directions you're beginning to explore?

Jason: Well, I recently sat alone and started to think about where I wanted to go with my art before "life" got in the way and influenced my direction. I thought about the ideas I had fresh out of high school, when all I really cared to do is paint and work with galleries. Back then – around 1992 – I looked at art differently and a lot more simply. The images I had in my mind were complex, yet they flowed out with ease. It was about nature and all that is in the world, and twisting it, shaping it into new things that we have never seen.

But then life interrupted, though not in a bad way. I got married, had children and worked day in and day out as a graphic designer. It didn't seem so bad. At least I was still being creative. In time, my new world was more commercial, and I started to lose that sense of exploration.

After a good long while of working this way I felt it was time to get back to where I was trying to go. The thing is that a lot of this world was still attached to me. I wanted my work to have that commercial feel in an interesting way. I had also grown very fond of typography during that period, so I tried using it as often as possible. I did enjoy that stage of my art, but every day that passes, I get closer to that initial goal, from when I saw art with fresh eyes.

"A Little Night Music"


EP: Kelly, we've spoken in the past about the sense of wonder that permeates your work. As a child, you were fascinated by the work of Beatrix Potter and Richard Scarry, whose timeless children's books continue to enchant children many decades after they were published, and even now you seek out the oddments of vintage children's literature in secondhand shops. You also have a son, Sebastian, whose refreshingly unique perspective and ideas seem like they could be a source of inspiration or intellectual rejuvenation. How does one keep a childlike heart and eye in this jaded, materialistic, media-cluttered world?

Kelly: I think it helps that we don't watch TV. If we choose to watch a film or something, we do it on our own time and watch things that are inspiring or entertaining. We always try to be playful and push imagination and creativity on a daily basis. It is good to make up games and stories about things around you, to help enmesh playfulness into everyday interactions, so we do that as much as we can. When I paint, I try to keep an open mind – trying not to create something over-thought, not to get mired in being rigid. Instead I keep an open feeling of wonder or mystery, like I am exploring as I am painting, so I can be just as surprised by where it takes me as the viewer is. It’s like when an author is creating a character and the character takes on its own life, often to the surprise of the author.

"Dependence"


EP: Jason, in past interviews, you've revealed that painting and drawing are the only way you can express how you truly feel about the trauma in your childhood. Your more recent work involves an element of sheltering oneself behind various types of armor. The small, bright-eyed creatures hidden inside those protective layers seem to have been weeping blood from their eyes and ears, as if they have seen or heard something that hurts terribly. Would you say that you're searching for new ways to be more emotionally honest – new avenues to explore the more intense areas of your history? How have people responded to the juxtaposition of pain and cuteness in your work?

Jason: You hit the nail on the head there in reading into the elements. It is all about those emotions from my childhood and how they still cling to me today. A lot of times when I meet someone new, they get the feeling that I don't care to interact with them. The truth is that I am just a very reserved person. I tend to shy away from people in general. I've also had serious issues with social anxiety in the past and sometimes it's still a problem.

It all spawns from my past, which I now try to use to my advantage in my art. I create shields, armor and masks to portray that sense of protection. Inside or underneath these layers, it's a place packed full of fear, anger, sadness and seclusion. These are the things that come pouring out, and as they do it becomes easier to let them flow into the open, regardless of what the world thinks. It helps me to stop being afraid and brings out the thoughts and visions I'm truly feeling. The public seems to be welcoming these new images. It's still early. Of course, I'm not sure they know the meaning behind it. I might have just scared everyone off.

"Dollhouse/Dreamhouse" detail


EP: Kelly, your amazing "
Dollhouse/Dreamhouse" was a huge hit at your recent solo show at Thinkspace. Aside from its remarkable shingled-and-shuttered dollhouse framing device, the painting itself was haunting and unsettling in unprecedented ways. Should we expect to see more work along those lines at any of your upcoming shows? Do you have plans for any epic pieces you'd like to unveil in the future?

Kelly: Definitely! I had a lot of fun with that piece. I am playing with adding more detail and creating imaginative spaces for my characters to inhabit. I just love adding random things and flourishes. Even if they end up buried behind washes and glazes, they still add richness and depth to the painting. Painting that way certainly pushes the stream-of-consciousness way of working that pleases me most. I do have some epic ideas for the future, but I have to keep them in the cooker to stew a bit longer!

"Slow Tunes"


EP: I know that you two are big fans of each other's work.

Kelly: I have been following Jason's work for a few years and it never fails to be compelling in both subject and technique. I am constantly delighted to see his new work pop up on Flickr. His fantastical characters are full of personality and life (unless, like some of his electronic guys, they have run out of batteries!) and are painted with such skill I feel like I could reach out and grab one of their tendrils or poke one of their watery eyes. He is constantly imaginative and creative with his surfaces. We own his "Generate 1" piece, which is painted upon several interlocking canvas-covered panels he made himself. It is really amazing!

"Generate 5"


Jason: Yeah, I discovered Kelly's work through Flickr, among other artists that I admire. She invited me to take part in this exhibit with her back in March. (Thanks for that, Kelly!) I don't know the story behind her work, but as I peer into them, I feel I can relate. There is that sense of mystery and the characters hold quite a bit of emotion. To me, they tend to display familiar dark feelings. An interesting story can be imagined with every one of her pieces.

"Find a Way"


EP: What's next on the horizon? Hopes, dreams, future aspirations?

Jason: It's wide open. I mostly just plan to paint and to continue exploring. As for exhibitions, I'll be showing at Gallery 1988 SF in November, with Jeremiah Ketner, Jonathan Bergeron and Ken Keirns. In December will be Heiko Müller's "Don't Wake Daddy IV" in Hamburg, which will feature nothing but drawings. And in 2010 I have two solos scheduled, the first being in Chicago, which will be my first solo ever.

Kelly: I have a solo show at Halogen Gallery in Seattle this October, and then a smattering of pieces in group shows into the next year. I am looking forward to keeping an even stream of work going to keep me on my toes, but also longing for a bit of free time to explore new things. I will die if I stop painting! We are working on offering some more prints in a dedicated shop on my site and I would, eventually, love to put a book together of my work. I always have a myriad of plans!

EP: Thanks, you guys!

"Under the Cover of Darkness" will open on July 31st at Subtext in San Diego.
I'll see you there!

"Solitude"

Sunday, July 12, 2009

Tessar Lo's Abstract Evolution

When Tessar Lo departed Los Angeles to return to his native Toronto, one of the promises he made was that we would be seeing some major evolution from him before long. Just a few months later, that growth has already begun to bear fruit, and several of his new paintings will be on view at Nucleus Gallery's "Momentum" show this Saturday, July 18th.

"Meeting Place"


In his latest body of work, Tessar is reaching for a looser aesthetic, trying to see with a child's eye and a naive heart. One could say he's trying to get lost as an artist – to break loose from the habits and preconceptions of the past and find a new path around which to construct his dreamlike themes of transformation and desire. This exploration involves an element of improvisation, which is inherently risky in an art movement wedded to the idea of the unique "brand" or "style," though it is accepted and even lauded at the higher end of the contemporary art market.

"Shan 2"


Although Tessar is pushing farther into abstraction, the work remains quietly full of wonder, somehow simultaneously dynamic and suspended, and imbued with a solitude that could evoke sorrow or longing with equal fluency. Moving farther away from the sepia-infused, muted color palette of his early, more illustration-based work, he is beginning to embrace an array of warm, rich hues which are cooled and tempered by the negative space in which they are suspended. His compounded layers of color conjure a sense of luminescence and his streaking, spattered, scribbled textures give the viewer an almost sensual awareness of surfaces, which can be somewhat frustrated by a layer of glass. As Tessar is currently working on canvas instead of his customary paper, that alienating element will be absent, which may make for a more immediate experience of the work.

"lapinlapin"


In "lapinlapin," there is a real power in the depth of the negative space and how the fragments are being pulled away into it as if drawn by some outside force. The ambiguous, organic way the white fragments are integrated could be read as disintegration – stuffing coming out – or something benign and beautiful, like flower petals or snow, or memory.

While Tessar's journey is still incomplete, this is certainly an audacious start. When he finds that lostness he seeks, the result will be unique and compelling... and then he will no doubt endeavor to lose himself again.

"Monster"


Join me on July 18th at Nucleus to see his paintings, as well as the surreal natural history of Tiffany Bozic and the sexually charged vision of Ina Kyung Lim. Tessar is also currently contributing work to the "Monster?" show at Copro Gallery and the Kokeshi exhibition at the Japanese American National Museum. Last but not least, be sure to check out Tessar's extremely limited hand-touched gocco print on wood – another facet of his mountain/muse motif.

Wednesday, July 1, 2009

Travis Louie's "Monster?"

On July 11th, a group art exhibition entitled "Monster?," curated by the wise and wonderful Travis Louie, will open at Copro Gallery. It will include work by more than 50 amazing artists, including Ron English, Femke Hiemstra, Jessica Joslin, Audrey Kawasaki, Tessar Lo, Martin Wittfooth, Chet Zar, Amanda Visell, Ana Bagayan, Annie Owens, Attaboy, Bill Basso, Bob Eggleton, Brandt Peters, Brian Despain, Brom, Chris Ryniak, Dan Quintana, Ekundayo, Dave Chung, Dave DeVries, Davey Wong, Deseo, Dice Tsutsumi, Donato Giancola, Francesco LoCastro, Fred Harper, Heidi Taillefer, Isabel Samaras, James Zar, Jason D'Aquino, Kirk Reinert, Kris Kuksi, Kris Lewis, Lola, Mari Inukai, Mark Elliott, Mark Texiera, Mark Garro, Mike Lee, Mike Knapp, Miles Teves, Molly Crabapple, Nash Dunnigan, Nouar, Peter Nguyen, Robert Mackenzie, Stephen Hickman, Steve Ellis, Steve Price, Vince Natale, Tim O'Brien, Tristan Elwell, Vincent DiFate, Willie Real, Vincent Nguyen and Xiaoqing Ding.

Mark Garro "Allure"


Though he's been painting like a madman for his upcoming solo show at Roq la Rue – not to mention Ron English's Godfather-themed "Family Tradition" show, Gallery 1988's "Crazy 4 Cult: 3-D" show and the Japanese American National Museum's "Kokeshi: From Folk Art to Art Toy" exhibition – Travis was kind enough to take some time to answer a few questions about this show and what he is looking for as a curator.

Robert MacKenzie "Noodles and Romance"


Erratic Phenomena: One of the reasons you wanted to curate this exhibition was to showcase some amazing illustrators you know who haven't yet infiltrated our neighborhood of the gallery circuit. Tell me a little about why you selected this particular group of artists, and how you see your role and responsibilities as curator.

Travis Louie: I picked these artists mostly because I thought their work needed to be seen. Many of the artists in this show are production artists whose work is never really appreciated on a singular level. We usually see their names in the closing credits of a motion picture, but don't really know what they actually did for the film we were watching – or as illustrators, we see their work as book cover illustrations, or in magazines like Rolling Stone, Time, Playboy, etc., but the beauty of what they've done is taken for granted.

I would love to see artists like
Nash Dunnigan, Vincent Nguyen, Mike Knapp from Blue Sky or Dice Tsutsumi from Pixar get some love from this gallery scene. They are creative minds with great drawing and painting skills. I did put some veterans from the scene in the show as well, like Audrey Kawasaki, Isabel Samaras and Ron English.

Greg Couch "The Thing With Feathers"


EP: Every day, more and more artists and galleries are jumping on the lowbrow/pop surrealism bandwagon. Which trends would you like to encourage in this burgeoning movement? Are there tendencies that we should guard against, as well?

TL: I'd like to see more creativity. I think a lot of the new artists fall short conceptually. Also, I see a lot of copying of other artists' visual styles and elements coupled with mediocre painting technique. The galleries should stop promoting secondhand artists who are obviously trying to blend in with a current trend (big-eyed girls, anime, robots, faux-graffiti, etc.).

A gallery owner (I won't say who) tried to tell me how great someone's brushwork was, and he really had no clue about what constitutes "good brushwork." Folks, there is a significant difference between having a strong style that exaggerates anatomy, and exaggeration because of a lack of anatomical knowledge. I'm not saying I'd like to see all things painted realistically or naturalistically, but I would prefer that the artists know how to draw something, at least. I've seen so many artists whose drawing was so bad I can't believe they got shows.

That said, a well-rendered piece can be kind of stale-looking too. It is not just how well you paint, but what you paint. We should ask ourselves: Stylistically and thematically, what are the common denominators in this scene? Is it the galleries who decide such things, and artists that just happen to show in them are lumped together? Is there a definite sociopolitical ideology that we are all following or expressing? I don't think so. What defines this scene? I can definitely tell you there is no connection stylistically between
Lori Earley and Mars-1, or Craola and Natalia Fabia, or Amy Sol and myself – yet all are considered part of this scene.

Kirk Reinert


EP: What qualities do you look for in an emerging artist with potential?

TL: Ideally I would want to see artists that bring not only a uniqueness or freshness to their vision, but also the feeling that their work could expand beyond just being a gimmick. There is a confusion about what some artists perceive to be a trend or style in this scene, which is actually nothing more than being derivative or copying what others have done.

I like to see some skill and technique married to great concepts and vision. I like whimsical work, a sense of humor – it's too easy to be political or to be posturing. I enjoy artists who understand what they are referencing when they do a homage to work from another era, or are influenced by what they saw as children.


EP: Thank you, Travis!

"Monster?" opens at Copro Gallery in Santa Monica on July 11th. Travis Louie and many of his talented friends will be in attendance.

Tim O'Brien "Chuck Brown"