As I walked into The Status Factory on West Broadway in SoHo, who else do I see, but Ron English himself. Sadly, he was leaving and I was walking in.
Mr. English spent about a year and half preparing for the show, mostly painting in upstate New York. Well planned and visually articulated to a tee--the eye wanders from oil paintings of the cartoons we grew up with to installations pieces that merely amaze. As you walk towards what appears to be a reflection in a mirror you get closer to what you think is 2-dimensional and feel compelled to stick your hand through the illusionary glass-- to now see an enlarged diorama of neon green camouflaged deer grazing upon the turf. The holistic color scheme throughout the show is what ties it together: bright abrasive colors, that seem to harmonize with the direct lighting of the gallery and the dark, a bit more eerie, feel in the basement. Recalling the likes of Leonardo Da Vinci's Last Supper, Andy Warhol's Self Portrait , Pablo Picasso's Guernica, and Charles Schulz's Peanuts English fuses past and present: a satire of the world we live in only painted meticulously and fashioned classically.
Today I found myself at Corridor Gallery, thanks to Sami's invite, to peep the artists Cecile Chong and Jaye Rhee.
"The current three bodies of works by Cecile Chong do not shy from seducing viewers with familiar tropes then turning on these static constructions of identities. The fantastic scenarios she has produced run the gamut from signature, figurative mixed-media encaustic paintings to more recent sculptures and installations. Introductions to narrative content are coupled with ornate accessibility and earthly delights. Comfortable, muted images are infused with contradictions and conflict."--Edwin Ramoran, 2010
"Jaye Rhee presents the interchange between real and fake proposes and accentuates themes of self-determination, self-definition, self-reflection, and self-construction. Here, numerous aesthetic devices--installation as large-scale collage, pastiche, appliqué--help transform the living, breathing animal into a trope, directly referencing the Lacanian mirror stage. Through digital manipulation and other techniques, her work emphasizes more of the psychological or emotional side of identity formation and the unfixed relationship between the signifier and signified. In exploring the boundary between 'real' space and reflected space, she tackles big issues: how we see, how meaning is constructed, the relation of physical place to psychological space."--Edwin Ramoran, 2010
Also, Daniel Simmons is working on a new project. Check it out please. YOU NEED TO SUBMIT YOUR ENTRIES BEFORE OCTOBER 6th.
Last night I went to the NYSFF (because I'm a lucky bitch with a friend who works for JetBlue and surfs). Matt Beauchesne's "Scratching The Surface: The Julian Wilson Project" was aesthetically incredible with rad helicopter shots; music selection was bomb (went wild when M.I.A. track came on); and locations they shot at were beautiful (West OZ, Europe, Africa, bambambam...).
"Scratching the Surface documents the adventures of Julian Wilson, along with friends and fellow professionals Dane Reynolds, Taj Burrow, Dusty Payne, Mick Fanning and others as they spend a year hitting some of the world’s most beautiful surf spots. Scratching the Surface also teamed Wilson and Beauchesne with Brain Farm Cinema, whose goal was to evolve the way surf films are made by utilizing helicopters and the Phantom HD camera, shooting entirely in HD and incorporating an energetic and unique soundtrack." --NYSFF
Also, went to the viewing of The Westsiders. By the end of the documentary I fell in love with Ratboy and his life. Barney has an insanely creative mind and story; Flea was the master Maverick; and the Godfather was a motherfuckin' honest gangster transformed into giant teddybear.
Check the trailers out. Event runs today as well with four viewings (3 films): NYSFF TICKETS HERE