"Unseen"
Dates:
Sat May 18, 2013 19:00 - Sat Jun 15, 2013
Location:
Culver City,
United States of America
HUSH
“Unseen”
Solo Exhibition
Opening Reception Saturday, May 18, 2013 from 7-10pm
On View May 18 – June 15, 2013
Corey Helford Gallery
8522 Washington Boulevard
Culver City, CA 90232
T: 310-287-2340
www.coreyhelfordgallery.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, May 18th, 2013, Corey Helford Gallery presents “Unseen,” an exhibition of new paintings by international street artist HUSH, his first solo exhibition with the gallery.
The women of “Unseen,” enciphered with street tags and abstractions, appear as graffiti specters, colorful visages of noir street action. Under street influence, HUSH paints the exhibit’s imagery as an inward vision, revealing layers of urban histories and figurative dimensions. “In this new work I’ve covered, tagged and erased the eyes of the women which takes away a relationship to the character, a focal point which makes your eyes want to discover the painting and mark making within it,” says HUSH. As the female forms are materialized by the tags, throws, and dubs of his superimposed marks, the paintings of “Unseen” project the visual imagery of the streets, sensualized by the urban classicism of its feminine faces.
“I look to take something like tagging that is generally seen as aggressive, ugly and masculine out of context and present it to the viewer as something beautiful,” HUSH says. The painted street tag is the quantum mark of HUSH’s fusion of Eastern and Western themes: a visual syntax of urban expressionism and cross-cultural contrasts, embodied within his figurations. “The presence of the female form within my work is important as a symbol and for me it symbolizes beauty and the power of sexuality and supports the perception of how the graffiti should be viewed.”
The 24 canvases of “Unseen” and site-specific works will also exhibit, for the first time, abstract paintings of mixed media, screen-print paintings, pencil studies, minimal pieces, screen prints and sticker collages on wood. In the featured painting, “Unseen I,” the figure’s eyes are tagged and stare darkly beyond its large 64” by 44” canvas, layered with acrylic, screen, spray paints, and screen inks on linen, syncretic with medium, style, and theme. “It’s a diverse body of work that should make an interesting show and explain the depth of my working process,” says HUSH, describing the show as, “The beauty of tagging, graffiti, and the female form.”
The opening reception for “Unseen” takes place Saturday, May 18th at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through June 15, 2013.
HUSH
From his London studio, HUSH paints for exhibition and site work in Japan, Europe, Australia, and North America. A UK native, his street art, murals, and paintings have been featured in numerous books and publications and was recognized by London’s The Independent as one of the ‘Top 20 Up and Coming Artists’. His OneThirty3 project space in Newcastle UK, presents the best in street and urban art from around the world. For more information about the artist, please visit www.studio-hush.com.
“Unseen”
Solo Exhibition
Opening Reception Saturday, May 18, 2013 from 7-10pm
On View May 18 – June 15, 2013
Corey Helford Gallery
8522 Washington Boulevard
Culver City, CA 90232
T: 310-287-2340
www.coreyhelfordgallery.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, May 18th, 2013, Corey Helford Gallery presents “Unseen,” an exhibition of new paintings by international street artist HUSH, his first solo exhibition with the gallery.
The women of “Unseen,” enciphered with street tags and abstractions, appear as graffiti specters, colorful visages of noir street action. Under street influence, HUSH paints the exhibit’s imagery as an inward vision, revealing layers of urban histories and figurative dimensions. “In this new work I’ve covered, tagged and erased the eyes of the women which takes away a relationship to the character, a focal point which makes your eyes want to discover the painting and mark making within it,” says HUSH. As the female forms are materialized by the tags, throws, and dubs of his superimposed marks, the paintings of “Unseen” project the visual imagery of the streets, sensualized by the urban classicism of its feminine faces.
“I look to take something like tagging that is generally seen as aggressive, ugly and masculine out of context and present it to the viewer as something beautiful,” HUSH says. The painted street tag is the quantum mark of HUSH’s fusion of Eastern and Western themes: a visual syntax of urban expressionism and cross-cultural contrasts, embodied within his figurations. “The presence of the female form within my work is important as a symbol and for me it symbolizes beauty and the power of sexuality and supports the perception of how the graffiti should be viewed.”
The 24 canvases of “Unseen” and site-specific works will also exhibit, for the first time, abstract paintings of mixed media, screen-print paintings, pencil studies, minimal pieces, screen prints and sticker collages on wood. In the featured painting, “Unseen I,” the figure’s eyes are tagged and stare darkly beyond its large 64” by 44” canvas, layered with acrylic, screen, spray paints, and screen inks on linen, syncretic with medium, style, and theme. “It’s a diverse body of work that should make an interesting show and explain the depth of my working process,” says HUSH, describing the show as, “The beauty of tagging, graffiti, and the female form.”
The opening reception for “Unseen” takes place Saturday, May 18th at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through June 15, 2013.
HUSH
From his London studio, HUSH paints for exhibition and site work in Japan, Europe, Australia, and North America. A UK native, his street art, murals, and paintings have been featured in numerous books and publications and was recognized by London’s The Independent as one of the ‘Top 20 Up and Coming Artists’. His OneThirty3 project space in Newcastle UK, presents the best in street and urban art from around the world. For more information about the artist, please visit www.studio-hush.com.
“Ray Caesar, New and Rare Work”
Dates:
Sat Apr 13, 2013 19:00 - Sat May 11, 2013
Location:
Culver City,
California
United States of America
United States of America
RAY CAESAR
“New and Rare Work”
Solo Exhibition
Opening Reception Saturday, April 13, 2013 from 7-10pm
On View April 13 – May 11, 2013
CHG Circa
8530-A Washington Boulevard
Culver City, CA 90232
www.chgcirca.com.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, April 13, 2013, CHG Circa is pleased to present “Ray Caesar, New and Rare Work,” an exhibition of Ray Caesar’s digital art work highlighting a decade of vibrant persona.
Caesar’s vision resonates with the changing psyche of his figures, reflecting memories of his childhood and experiences employed at The Hospital for Sick Children in Toronto. “My work is about hunting back innocence and using archetypes to develop spiritual growth,” says Caesar. “It is a self-portrait of my subconscious and spiritual development through imagery.”
In “Mother and Child,” Caesar explores familial sustenance as nourishment for the soul. “I was thinking about the nature of nurture and my own childhood and relationship with my mother.” Caesar describes his “Mother and Child” as Venus feeding her child Cupid on “the cup of human kindness.” Through a dreamtime family, Caesar renders the pain of allegorical healing. “By creating an image, I can form a foundation of healing.”
Modeling his figures in 3D animation software, Caesar wraps his sculpted surfaces with a skin of painted imagery. 3D modeling is a medium of points and planes in a virtual space; geometries Caesar creates with emo tive dreams and memories. Illuminated by self-reflection, his forms are realized through exhibition, sharing psychic intimacies. “I try to create an image that is in my view ‘pretty’ but pain and deformity creep into that world beyond my control. I try to make my own pain and struggle and confusion in life as something pleasant and endurable.”
“Ray Caesar, New and Rare Work” will exhibit six new works with three studies, and a catalogue of works reflecting his evolution. With the evocative “Winter” and “Fallen” providing contrast to the more playful works, Caesar reveals the changes of his past decade. “As a retrospective, I wanted to show a selection of work from the different stages of the past and definitely show work that hasn’t been seen on the West Coast before,” says Caesar. On his aesthetic: “Pretty pictures with a little pinch of pain and putridity portraying the past of a person with more than a few peculiar problems.”
The opening reception for “Ray Caesar, New and Rare Work” takes place on Saturday, April 13 at CHG Circa. The reception is open to the public, and the exhibition will be on view through May 11, 2013.
“New and Rare Work”
Solo Exhibition
Opening Reception Saturday, April 13, 2013 from 7-10pm
On View April 13 – May 11, 2013
CHG Circa
8530-A Washington Boulevard
Culver City, CA 90232
www.chgcirca.com.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, April 13, 2013, CHG Circa is pleased to present “Ray Caesar, New and Rare Work,” an exhibition of Ray Caesar’s digital art work highlighting a decade of vibrant persona.
Caesar’s vision resonates with the changing psyche of his figures, reflecting memories of his childhood and experiences employed at The Hospital for Sick Children in Toronto. “My work is about hunting back innocence and using archetypes to develop spiritual growth,” says Caesar. “It is a self-portrait of my subconscious and spiritual development through imagery.”
In “Mother and Child,” Caesar explores familial sustenance as nourishment for the soul. “I was thinking about the nature of nurture and my own childhood and relationship with my mother.” Caesar describes his “Mother and Child” as Venus feeding her child Cupid on “the cup of human kindness.” Through a dreamtime family, Caesar renders the pain of allegorical healing. “By creating an image, I can form a foundation of healing.”
Modeling his figures in 3D animation software, Caesar wraps his sculpted surfaces with a skin of painted imagery. 3D modeling is a medium of points and planes in a virtual space; geometries Caesar creates with emo tive dreams and memories. Illuminated by self-reflection, his forms are realized through exhibition, sharing psychic intimacies. “I try to create an image that is in my view ‘pretty’ but pain and deformity creep into that world beyond my control. I try to make my own pain and struggle and confusion in life as something pleasant and endurable.”
“Ray Caesar, New and Rare Work” will exhibit six new works with three studies, and a catalogue of works reflecting his evolution. With the evocative “Winter” and “Fallen” providing contrast to the more playful works, Caesar reveals the changes of his past decade. “As a retrospective, I wanted to show a selection of work from the different stages of the past and definitely show work that hasn’t been seen on the West Coast before,” says Caesar. On his aesthetic: “Pretty pictures with a little pinch of pain and putridity portraying the past of a person with more than a few peculiar problems.”
The opening reception for “Ray Caesar, New and Rare Work” takes place on Saturday, April 13 at CHG Circa. The reception is open to the public, and the exhibition will be on view through May 11, 2013.
“Japanese Ideology of Puberty”
Dates:
Sat Apr 13, 2013 19:00 - Sat May 11, 2013
Location:
Culver City,
California
United States of America
United States of America
Corey Helford Gallery presents
Kazuki Takamatsu
“Japanese Ideology of Puberty”
Solo Exhibition
Opening Reception Saturday, April 13, 2013 from 7-10pm
On View April 13 – May,11, 2013
Corey Helford Gallery
8522 Washington Boulevard
Culver City, CA 90232
T: 310-287-2340
www.coreyhelfordgallery.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, April 13, 2013, Corey Helford Gallery presents the “Japanese Ideology of Puberty,” featuring the light and shadow paintings of Japanese artist Kazuki Takamatsu, his first solo show with the gallery.
Takamatsu’s paintings of contemporary awakenings are a catharsis of tonalities. “I use computer graphics-digital-and painting-analog-to make a work and it indicates the emotion of boys and girls metaphorically,” says Takamatsu of his painting method. Through the computer graphic technique of depth mapping, three-dimensional space is digitally visualized in a series of multiple depth plains. Takamatsu hand paints the emotions of his teenage subjects modeled on deep computer visual space. “Each graduation from surface to depth means the distance and there is no light and shadow. The color of black and white are metaphor for truth and evil, race and religion.” With acrylic black and white paints and gouaches, Takamatsu renders his girls with a method mediated on social fields of sexual identity, depth-fields mapping emotions engaging with a “systematic society.”
In the featured painting, “What is Important to Me Now?,” Takamatsu reveals a girl’s contemplation as a defense of being overwhelmed: “Weapons to protect something or to get rid of something. Information, life, politics, culture, religion, friends, nature, animal, plant or mind?” Youth becomes a field of awakenings, multiple perceptions of an adulterated world. “A pure emotion of Teenager who can’t get used to the society of adult has a mirror of inconsistency of society. I think there is a beauty in it,” he says. Takamatsu celebrates the adolescent’s vision as a purity blossoming through technology media, a venus fly-trap of tech culture and viral thinking.
“Japanese Ideology of Puberty” will exhibit twelve oil paintings painted in acrylic and gouache, focusing on the emotive depth of coming of age. Of his painting, “The Flu” depicting a virus complicating life and transmitted by people, he visualizes metamorphosis. “The information, society and people always keep changing,” says Takamatsu of his ephemeral figures’ world, a vibrant, noir mapping of the rites of youth, where growing-up is a surreal awakening, a beauty transcending technocracy.
The opening reception for “Japanese Ideology of Puberty” takes place Saturday, April 13 at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through May 11, 2013.
Kazuki Takamatsu
“Japanese Ideology of Puberty”
Solo Exhibition
Opening Reception Saturday, April 13, 2013 from 7-10pm
On View April 13 – May,11, 2013
Corey Helford Gallery
8522 Washington Boulevard
Culver City, CA 90232
T: 310-287-2340
www.coreyhelfordgallery.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, April 13, 2013, Corey Helford Gallery presents the “Japanese Ideology of Puberty,” featuring the light and shadow paintings of Japanese artist Kazuki Takamatsu, his first solo show with the gallery.
Takamatsu’s paintings of contemporary awakenings are a catharsis of tonalities. “I use computer graphics-digital-and painting-analog-to make a work and it indicates the emotion of boys and girls metaphorically,” says Takamatsu of his painting method. Through the computer graphic technique of depth mapping, three-dimensional space is digitally visualized in a series of multiple depth plains. Takamatsu hand paints the emotions of his teenage subjects modeled on deep computer visual space. “Each graduation from surface to depth means the distance and there is no light and shadow. The color of black and white are metaphor for truth and evil, race and religion.” With acrylic black and white paints and gouaches, Takamatsu renders his girls with a method mediated on social fields of sexual identity, depth-fields mapping emotions engaging with a “systematic society.”
In the featured painting, “What is Important to Me Now?,” Takamatsu reveals a girl’s contemplation as a defense of being overwhelmed: “Weapons to protect something or to get rid of something. Information, life, politics, culture, religion, friends, nature, animal, plant or mind?” Youth becomes a field of awakenings, multiple perceptions of an adulterated world. “A pure emotion of Teenager who can’t get used to the society of adult has a mirror of inconsistency of society. I think there is a beauty in it,” he says. Takamatsu celebrates the adolescent’s vision as a purity blossoming through technology media, a venus fly-trap of tech culture and viral thinking.
“Japanese Ideology of Puberty” will exhibit twelve oil paintings painted in acrylic and gouache, focusing on the emotive depth of coming of age. Of his painting, “The Flu” depicting a virus complicating life and transmitted by people, he visualizes metamorphosis. “The information, society and people always keep changing,” says Takamatsu of his ephemeral figures’ world, a vibrant, noir mapping of the rites of youth, where growing-up is a surreal awakening, a beauty transcending technocracy.
The opening reception for “Japanese Ideology of Puberty” takes place Saturday, April 13 at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through May 11, 2013.
CHLOE EARLY “Rainbow Ruins”
Dates:
Sat Nov 10, 2012 19:00 - Sat Dec 08, 2012
Location:
Culver City,
California
United States of America
United States of America
On Saturday, November 10, Corey Helford Gallery is pleased to present “Rainbow Ruins,” a new solo exhibition of oil and watercolor paintings by artist Chloe Early.
The paintings of “Rainbow Ruins” are a chromatic meditation on the lush contrasts of nature and technology. “Lullaby Lost” reveals an urban secret garden, characters reflective in an organic environment, where bright and autumnal abstractions frame tonal perception. “I wanted to invert that feeling of technology taking over and show nature and the environment in retaliation, my new paintings and the figures in them are almost being subsumed by the plants and foliage around them.” Early describes her work as colorful classicism, a painterly lyricism infusing contemporary hues with classical persuasion. Finding a balance of optimism and decay, Early explores poetic contrast, where an urban wilderness reveals unexpected songs of transcendent extremes.
“Lullaby Lost” is as Early describes, “an abandoned journey, a dead end, a downpour and a radioactive palette.” Central to all the work is emotion, grounding mercurial worlds with human presence. “The idea was to create a kind of Lost scenario, people taken from contemporary society but placed in an ambiguous environment, surrounded by wild nature and various degenerate machines,” says Early. The painting’s thematic shifts reflect in the moods of its human figures, vibrant with transformation. “The changing pace of technology, the distance between how we live now and even 50 years ago, these old machines that I’m painting seem almost organic compared to our new shiny internet based world.” As painting with oil on aluminum symbolizes change, Early’s work explores evolutions of painterly consciousness, finding hypnotic dreams in aesthetic polarities.
“Rainbow Ruins” will feature seven oil paintings on linen and aluminum with a series of small watercolors. With a stronger theme of nature than before, the paintings are unique in composition. As previous paintings have been composed from Early’s photo montages, the paintings of “Rainbow Ruins” are sourced from singular photos, as can be seen in the new works.
The opening reception for “Rainbow Ruins” takes place Saturday, November 10, 2012 at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through December 8, 2012.
The paintings of “Rainbow Ruins” are a chromatic meditation on the lush contrasts of nature and technology. “Lullaby Lost” reveals an urban secret garden, characters reflective in an organic environment, where bright and autumnal abstractions frame tonal perception. “I wanted to invert that feeling of technology taking over and show nature and the environment in retaliation, my new paintings and the figures in them are almost being subsumed by the plants and foliage around them.” Early describes her work as colorful classicism, a painterly lyricism infusing contemporary hues with classical persuasion. Finding a balance of optimism and decay, Early explores poetic contrast, where an urban wilderness reveals unexpected songs of transcendent extremes.
“Lullaby Lost” is as Early describes, “an abandoned journey, a dead end, a downpour and a radioactive palette.” Central to all the work is emotion, grounding mercurial worlds with human presence. “The idea was to create a kind of Lost scenario, people taken from contemporary society but placed in an ambiguous environment, surrounded by wild nature and various degenerate machines,” says Early. The painting’s thematic shifts reflect in the moods of its human figures, vibrant with transformation. “The changing pace of technology, the distance between how we live now and even 50 years ago, these old machines that I’m painting seem almost organic compared to our new shiny internet based world.” As painting with oil on aluminum symbolizes change, Early’s work explores evolutions of painterly consciousness, finding hypnotic dreams in aesthetic polarities.
“Rainbow Ruins” will feature seven oil paintings on linen and aluminum with a series of small watercolors. With a stronger theme of nature than before, the paintings are unique in composition. As previous paintings have been composed from Early’s photo montages, the paintings of “Rainbow Ruins” are sourced from singular photos, as can be seen in the new works.
The opening reception for “Rainbow Ruins” takes place Saturday, November 10, 2012 at Corey Helford Gallery. The reception is open to the public, and the exhibition will be on view through December 8, 2012.
Sylvia Ji: "La Catrina"
Dates:
Sat Nov 03, 2012 19:00 - Sat Dec 01, 2012
Location:
Culver City,
California
United States of America
United States of America
CHG Circa presents
SYLVIA JI
“La Catrina”
Opening Reception Saturday, November 3, 2012 from 7-10 pm
On View November 3 to December 1, 2012
CHG Circa
8530-A Washington Boulevard
Culver City, CA 90232
www.chgcirca.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, November 3, 2012, CHG Circa will feature “La Catrina,” Sylvia Ji’s new paintings of sublime Catrina beauty and her fifth solo exhibition with the gallery.
Central to the paintings of “La Catrina” is the specter of La Calavera Catrina, an iconic deity of Mexico’s “Day of the Dead” celebrations, invoked by Sylvia Ji as a chromatic presence enciphered with allegory. “I wanted to revisit this female figure that haunts me, the Catrina, and put her in a less sexually provocative form to a more concerned, almost sad tranquility and reflection,” says Ji.
La Calavera Catrina, or The Elegant Skull, was originally portrayed in 1910s by the Mexican artist José Guadalupe Posada as a richly adorned skeletal figure and became an enduring icon of the “Day of the Dead” celebrations. The Catrina was adoptive of the Aztecan goddess Mictecacihuatl who in the afterlife watched over the bones of the dead and all commemorating festivals. In “La Catrina,” the Lady of the Dead oversees the artist’s changes, divined through painting, and reflective with her unearthly visage.
“The color red is still prominent in a lot of the work, but takes on new meaning as the color of blood,” says Ji. “Not only is red prominent, but other colorful jewel tones as well; also intricate use of gold, copper and silver leaf.” Red hues change from the noir to traditional, shapeshifting its figure’s lives from the past to the present. As a painterly possession, “La Catrina” reveals the contemporary as a translucent identity of the past. “Many of the eyes are closed, mouths drawn in a sort of calm resignation to fate.” “La Catrina” exorcises the contemporary, where the past remains an ongoing force, grounding the present with an unworldly vibrance.
“La Catrina” will exhibit twenty-three paintings, including a series of smaller works. “I’ve tried to incorporate many of the textiles and patterns that evoke the indigenous spirit of Mexico,” says Sylvia. The rich hues and tonalities inlaid with traditional patterns and metallic foil motifs create an exhibition of saturnine beauty, resonant with life.
The opening reception for “La Catrina” takes place Saturday, November 3 at CHG Circa. The reception is open to the public, and the exhibition will be on view through December 1, 2012.
SYLVIA JI
“La Catrina”
Opening Reception Saturday, November 3, 2012 from 7-10 pm
On View November 3 to December 1, 2012
CHG Circa
8530-A Washington Boulevard
Culver City, CA 90232
www.chgcirca.com
Open Tuesday - Saturday, Noon to 6:00pm
On Saturday, November 3, 2012, CHG Circa will feature “La Catrina,” Sylvia Ji’s new paintings of sublime Catrina beauty and her fifth solo exhibition with the gallery.
Central to the paintings of “La Catrina” is the specter of La Calavera Catrina, an iconic deity of Mexico’s “Day of the Dead” celebrations, invoked by Sylvia Ji as a chromatic presence enciphered with allegory. “I wanted to revisit this female figure that haunts me, the Catrina, and put her in a less sexually provocative form to a more concerned, almost sad tranquility and reflection,” says Ji.
La Calavera Catrina, or The Elegant Skull, was originally portrayed in 1910s by the Mexican artist José Guadalupe Posada as a richly adorned skeletal figure and became an enduring icon of the “Day of the Dead” celebrations. The Catrina was adoptive of the Aztecan goddess Mictecacihuatl who in the afterlife watched over the bones of the dead and all commemorating festivals. In “La Catrina,” the Lady of the Dead oversees the artist’s changes, divined through painting, and reflective with her unearthly visage.
“The color red is still prominent in a lot of the work, but takes on new meaning as the color of blood,” says Ji. “Not only is red prominent, but other colorful jewel tones as well; also intricate use of gold, copper and silver leaf.” Red hues change from the noir to traditional, shapeshifting its figure’s lives from the past to the present. As a painterly possession, “La Catrina” reveals the contemporary as a translucent identity of the past. “Many of the eyes are closed, mouths drawn in a sort of calm resignation to fate.” “La Catrina” exorcises the contemporary, where the past remains an ongoing force, grounding the present with an unworldly vibrance.
“La Catrina” will exhibit twenty-three paintings, including a series of smaller works. “I’ve tried to incorporate many of the textiles and patterns that evoke the indigenous spirit of Mexico,” says Sylvia. The rich hues and tonalities inlaid with traditional patterns and metallic foil motifs create an exhibition of saturnine beauty, resonant with life.
The opening reception for “La Catrina” takes place Saturday, November 3 at CHG Circa. The reception is open to the public, and the exhibition will be on view through December 1, 2012.
