Some artwork shots from Todd Jame’s recent show at Gering Lopez Gallery new york.
Red, White and Blue
Gouache & graphite on paper
55 x 87 inches
Gouache & graphite on paper
60 x 101 inches
Leather Boy Grimace & Drill Tank.]
29 January 2010 6pm onward
29 January – 11 February 2010
Brunswick Street Gallery
322 Brunswick street Fitzroy
7 days 10am – 10pm
Light Years is a collection of works that are drawn from the artists inner
world, a dreamlike state of being.
Gods emerge in all their glory, littered with mechanical devices, costumes
and tentacles, both beautiful and dangerous. Mysterious structures, faces
and galaxies are brought forth from another dimension.
Dark and light collide and a new world is the result.
Keep checking www.LTRHDS.com/blog for more interviews leading up to the LTRHDS show.
Born 1985 in Yokohama Japan. TwoOne’s interested in art was initiated by the famed but unfortunately recently buffed 2km graffiti wall of his home town. When Two arrived in Melbourne at the age of 18 he became involved in the Melbourne street art scene and has since developed into one of the cities most prominent artists, both on the street and in galleries with The One Thousand Can show in 2008.
Two is joining the LTRHDS show with his reinterpretation of the letter T.
Last time we talked it was for your 1000 Cans show. Where has your art taken you in the meantime?
I have been involved with a few group shows. I had my second solo show So Far that included painting, sculpture, lino cut prints, and installation works in October 2009. And I have been working on a live performance project called Lo2′s Fleet with Melbourne legend mc ELF TRANZPORTER. I paint, cut wood, construct sculptures, and while doing it all I also make sound with the equipment that I use to make the visuals… So my art has taken me in lots of different directions.
There is a dreamy, zen-like quality to your work. Where do you find the inspiration for your impish little world?
I used to get lots of inspiration from my dreams, but now I get more inspiration from everyday life. It’s the world everyone sees, but everyone sees it int heir own way. I like seeing the world as it is. No expectations, no sugar coating. I don’t particularly try to make my work zen or dreamy.
Your works are an oasis of peace and balance. Do you inhabit that same bubble? Does your art insulate you from the world and its worries, or does it represent a state of being that you are striving to reach?
I’m not creating work to escape from the wold. I guess I can maybe say it is representing a state that I’m striving to reach, because when I create I try to make something that I haven’t seen before. This process is like striving to reach the next state, and normally when I start a new project I don’t know what that next state looks like.
Goldfish are a motif that keeps popping up in your work. Do you keep fish yourself? How important is your relationship with animals and nature to your work?
I don’t have fish myself, but animals and nature are very important to me, because that’s where all the life comes from. We can’t live with out them. At the same time I think that the relationship between nature and myself isn’t so important when it comes to creating. When I draw or paint them, I bring the canvas’ character out from them.
So it’s more of a relationship between canvas and nature. I think that’s because I have been working on wood a lot, wood seems to bring out more organic images in my head. I don’t know why that is or how it works. but that’s how I feel. And now I’m start to feel a soul in artificial things, stuff that’s human made.
They makes me want to do something with them. I imagine it’s more about where I channel my head… everything around you could become interesting and important.
I’m guest arts editor for this months issue of ACCLAIM mag, featuring Dalek, Usugrow, Jagi and Dante Horoiwa.
One of the 26 interviews going up with uncanny regularity on the LTRHDS exhibition blog.
The 4th interview in the LTRHDS mini interview series is with New York typographic artists Greg Lamarche, who began writing graffiti in 81 as SP.One and working as a designer and artist since 2000.
Greg’s style reflects the fonts, lettering and graphical noise of the NYC street. Working with collages, bold colors and applying the aesthetic approach of graffiti and street signage to artwork Greg’s swirling lettering is both familiar and truly unique.
More artwork and info on Greg Lamarches’ site.
Was your move away from being SP.One partly due to a feeling of dissatisfaction of boredom with what graffiti has become? Is it still the progressive medium it once was? Or had the time just come for you to do something fresh and new?
SP is only one aspect of what I do and branding my tag was never something I really wanted to do. I am a purist when it comes to graffiti. For me graffiti is in the streets, highways, tunnels and yards and has nothing to do with the art world. My artwork is directly informed by my experience and the energy that was once used for bombing is now put into my work to create, in your words, something fresh and new. But for me they are two different things.
That said, I try and paint whenever I have an opportunity.
When did you develop an interest in collage? What is it about collage that fascinates you?
I have been making collages since about 1980-81 around the time I started to write graffiti. I used to pick up old fireworks wrappers and empty rolling paper packs in the schoolyard near my house. I’d rummage through the desks in the classrooms to find scraps of papers and wrinkled-up love letters to make collages.
There are many things that fascinate me about collage primarily the unique nature of old worn paper and that sense of time that each piece evokes.
Creating a new collage must be a painstaking process… tell us how a piece typically comes together.
My process goes in cycles. I sketch and draw all the time and constantly take photos for ideas and reference. I am always digging for materials and amass boxes of papers, wooden letters, books and all sorts of ephemera I use in my work. Then I spend several months sorting and cutting and cutting and cutting.
Then I begin the process of laying works out and creating compositions. Usually there are anywhere from fifteen to twenty different works in various states of completion. This process varies, sometimes I make pieces right away and other times I will play with a composition for months till it is finally right.
What does your current style represent? Your works seem like a viral swarm of letters, all splitting apart and swarming across a neutral space… there’s a slight (albeit orderly) menace to it. Is there a reoccurring theme or mood that you like to explore in your works?
For the most part I take elements of graffiti like movement, booming colors, repetition and spatial relations and utilize them in my work. It’s like how we use only a small percent of our brains – I feel with graffiti it’s the same thing. There is so much to explore and create beyond and into other mediums using graffiti as your base for inspiration.
What’s your most fertile source of inspiration? Of all the print you scavenge to create these works, where do you find the most striking typography?
I have bagged materials from all over the States and in other countries but for me my biggest source of inspiration and materials is NY.
Because I am a native and have lived here most of my life I have my spots. As time goes on it becomes harder and harder to find good collage stuff.
Most mom and pop operations are long gone and there are only a few thrifty junk stores left, so it is always a challenge.
It’s not like I can just go to the art store.
Greg Lamarche is represented by Anonymous Gallery in NYC
Shots from the Under the Influence opening at gallery 1988 are up on Arrested Motion, including the work of Meggs and this crazy installation.