Introducing Sara Shamma & Her Upcoming Solo Show At StolenSpace:

April 22nd, 2015

‘WORLD CIVIL WAR PORTRAITS’ By Sara Shamma

Curated By Sacha Craddock

11.05.15 – 24.05.15

Unit 8, Dray Walk

The Old Truman Brewery

London E1 6QL

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A major solo exhibition of paintings by one of Syria’s best known artists, Sara Shamma, opens in London in May.

A powerful and moving product of the civil war in Syria, World Civil War Portraitsis informed by Shamma’s experience of the conflict. Forced to flee Syria in 2012 after a car bomb exploded outside her flat, she now lives in Lebanon with her young family although her husband remains working in Damascus.
Presented by StolenSpace Gallery, the exhibition runs from 11-25 May at The Old Truman Brewery.
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Syrian artist hopes to show human cost of conflict in new London exhibition.
Exiled painter Sara Shamma, a former leading light of the Damascus art scene, wants to open people’s eyes to the realities of the war in her homeland.
See full article on The Guardian online HERE.

Kai & Sunny: The Goss-Michael Foundation

April 10th, 2015

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Stunning section of Kai & Sunny‘s new piece currently on show at The Goss-Michael Foundation for the @mtvredefine show in Dallas.

Live auction April 10th.

You can bid now on auction site @Paddle8 https://paddle8.com/work/kai-sunny/58742-the-passing-line-pen

The show will be benefiting the MTV staying Alive Foundation and Dallas Contemporary.

Other artists include: Michael Craig – Martin, Jeremy Deller, Damien Hirst, Ryan Gander etc.

Instagram: @kaiandsunny

CYRCLE. Installation For Google Cultural Institute

April 10th, 2015

“You never know when a mural will be scrubbed out or painted over,” said Lucy Schwartz, program manager for the Google Cultural Institute, the umbrella organization that this week launched an expanded version of its searchable database of photos simply called Street Art. “Our goal is to offer a permanent home for these works so users today and tomorrow can enjoy them and learn about them.”

 

The project launched in June 2014 with 5,000 images and 31 partnering organizations internationally. This week Google added 55 partners who have helped to document more than 5,000 more pieces of public art, all viewable atstreetart.withgoogle.com/en/. The collection includes Australia, Sweden, Colombia, South Africa —34 countries in all. It also includes mobile apps and listening tours, as well as a map on which visitors can click to browse local art.

 

A launch party was held at the former mochi factory in LA. The central art exhibit at the party was an “interactive, experiential, sculptural installation” by our very own Cyrcle. The plywood booth, in the shape of a hexagon, has black-and-white Jesus imagery on the outside and a padded, soundproofed room on the inside. Guests were encouraged to reveal their sins or deepest convictions, privately, into a microphone. An audio-manipulated visualizer translated their words into landscape-like imagery that appeared on a large screen outside the booth.

 

“I think a lot of the times when I am creating or making something, the overarching thought in my mind is, ‘What can I say or what can I do that will outlive me?’” Torres said. “Technology is now what carries history.”

 

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In conversation with Pixel Pancho

April 7th, 2015

StolenSpace Gallery proudly presents ‘Memory Of Our Life‘ a solo exhibition from Italian artist Pixel Pancho. This new body of work focuses on the circle of life and the different moments portrayed as we grow, learn and make mistakes, Pancho shows this parallelism within his whimsical characters. His work mirrors the same feelings and emotions we experience to conjure up reactions within the viewer.pixel_painting1SS: Your name sounds really evocative, hinting at technology and recalling at the same time something from the past. Can you tell us why and how you chose it?

PP: The name was chosen a long time ago by myself and a close friend. We were in this project together but when he left he gave the name to me, so from then I’ve been calling myself Pixel Pancho.

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SS: How did you start painting? And why do you like painting in the street?

PP: I first started to paint graffiti in the middle of the countryside, where I was living in Torino. I was painting trains and the old tool houses of the farmers.

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SS: Can you tell us more about your main influences?

PP: My influences come from my curiosity, life experiences, failures, beliefs and more. I love the work of Isaac Asimov, Joaquín Sorolla, and Jenny Saville to name a few.

pixel_painting5SS: Robots are the main characters of your artwork. Why are you so attracted to them? Have they been your favourite subject since the beginning of you artistic career?

PP: I  chose the robot because the human body has been drawn by many artists already, so I decided to use a parallel subject that could get the same feelings and movement as us.

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SS: You always mention the ‘humanisation of the robotic form’. Can’t we talk of the robotisation of the human being instead?

PP: I guess as I explained earlier, this is a parallel between human and machine. In our culture (not myself but general culture) we believe that God created us and we destroyed God after, then Human created Robot. So should we expect to be destroyed by robots? I leave this answer for the viewer..

pixel_painting3 SS: Can you tell us more about the process of creation of your work, your technique, style and progression?

PP: I try to have as many possibilities with my materials; the more possibilities and techniques, the more my ideas are translated for the viewer.

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SS: You collaborated with various artists, such as Vhils in Lisbon. Can you tell us more about this experience? Do you prefer to work on your own or collaborate with other artists?

PP: I love work on my own but sometimes I love to collaborate with a good friend when the opportunity arises, usually this has happened naturally and I love it!

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SS: How do you choose the spots where you paint in the street?

PP: It depends as sometimes I’m offered a spot and sometimes I need to search for a location according to my idea.

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SS: How do you relate to and perceive the city? You painted in London. What feeling did you get from the city?

PP: The city is a cancer where people have forgotten about real life, for instance how to get food, I can’t stay too long living in a city. People living in the city become superficial and get too involved in the system, they lose the real nature and a lot of feelings. The city makes human become a parasite..

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SS: Can you tell us more about your ‘Memory Of Our Life’ installation at StolenSpace Gallery?

PP: This is a project that I have had for some years. The body of work is about family relationships, life experiences and decisions we make during our life. We make decisions for our life, or does the system indicates to us which decision and route we should take? ‘Memory Of Our Life’ is based on this concept and developing these questions..

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ROA: Metazoa opens tonight!

April 4th, 2015

StolenSpace represented artist ROA has been busy preparing for his solo entitled Metazoa in New York. The work for the show was being created during a residency in Jersey City with plans to also paint a mural. The show will open on April 4th.

Please email any enquiries to: contact@stolenspace.com

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In conversation with David Bray

March 25th, 2015

StolenSpace Gallery proudly displays ‘Wrong Turn’ a solo exhibition by London-based artist David Bray. Bray’s inspiration for this exhibition developed when traveling around America and meeting a man named Yossarian who helped and enthused Bray with ‘Wrong Turn’. A warped sense of humour and tone of voice is evident through his work, using basic drawing tools, such as pens, pencils and paper, Bray creates delicate and time consuming drawings which explore emotion, utopia and a world of fantasy through his subject matter.

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SS: With your father working at the Royal Academy of Arts, you grew up amid art and creativity. How was your relation to the art world and in what way did it influence your choices? Did you ever feel overwhelmed?

DB: Growing up I was pretty much surrounded by art and artists. I didn’t really know any different. As a kid you’d meet someone, and it was just a funny man with blonde hair and round glasses. I didn’t particularly know about their reputations or what they did, or particularly care. I would have been more interested in the Smurfs and the 6 million dollar man turning up at the house. I was always drawing, and knew I wanted to do something creative. That I ended up at art-college doing graphic design. I don’t think I was much of a designer – more interested in what I was into rather than trying to impart information on somebody else’s behalf.

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SS: Do you have any particular artists who influenced or inspired your work more than others? In which way?

DB: There are loads. Some are for stylistic reasons, others for subject, maybe just colour palette. The main one though I guess is Helmut Newton. Everything he has ever done is there: Beauty, humour, darkness, and a narrative.

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SS: Where do your characters come from? Are the ladies you depict in your work taken from reality?

DB: From reality, from life drawing, from art, from photography – wherever is necessary to get it looking right. I think I hoped that the drawing would be at such a level that you stop noticing the drawing and start noticing the humour or questioning what’s going on with the subjects, what their story is.

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SS: Your works are mainly delicate and beautiful drawings. Can you explain more about this choice and the path that lead you to that? Can you tell us more about your style and the technique you use?

DB: Its weird, I have never seen them as delicate. You know me, I am not a particularly delicate person and I certainly don’t look very delicate. I’m more of a bumblebee than a butterfly. However I guess the fine line work and detailing is quite fragile. I tend to use pen/pencil, whatever I have to hand. The nature of whichever pen I’m using tends to dictate the line. I was very short of funds for a while, so I started using the free biros from bookies. I like the idea that from something quite utilitarian you can create something unique and beautiful and otherworldly and fantastical. Its always been a part of what I do – cheap felt tips and jotter pads from the corner shop, free biros, avoiding the art shop but trying to create something ‘classical’. Sometimes it works, sometimes it doesn’t. However it is all about playing and having fun and not getting stuck in a rut.

I guess if I just had big chisel markers I’d be trying to create a fluid line with that the new pieces for ‘Wrong Turn’ are more graphic but I hope that the line used has the same flow. I’m not even sure I’m answering the question any more! The lines I create are just the lines that come out. Drawing is not a very conscious thing. The less I think about it while I do it the better it appears to work.

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SS: Is there any message behind your work that you want to communicate?

DB: Be excellent to each other.

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SS: Some of your artworks show dark elements. Is this related to life’s dark side in general or is there any hint to personal experience?

DB: My life has generally been a candy floss funfair, no darkness here. I think growing up in suburban London in the 1970′s and 1980′s has scarred me. Everything seemed normal on the surface, but just underneath bubbling away was always the threat of latent violence and being behind closed doors in these places everyone was a bit fucking odd. There were only 2 and a half TV channels and no internet. Computers were the size of buses and not for the likes of us – so there was more opportunity for idle hands to get busy.

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SS: Do you listen to music while you draw? Do you have an artist/ band/ genre that inspire you more?

DB:I always listen to music. No particular band or genre – depends on my mood when I get up. On rotation right now is the soundtrack to ‘only lovers left alive’. I am quite lucky, I used to do a lot of music stuff for bands and get sent stuff for free. A couple of labels couldn’t pay but send all their new stuff. I like getting music in the post. I’d prefer being able to pay the bills, but music in the post is good. Like Christmas every month.

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SS: Last year you spent few weeks on a trip getting lost in America. Can you tell us more about it, any interesting and exciting adventures?

DB: I went with Georg Lubitzer. He was off to the states because he wanted to record the sound of car tyres on American soil for a project he is working on. I didn’t ask why, but I’m always glad to be on board. We are very poor at orientation and took a few wrong turns. One in particular that led us up a mountain to a small encampment / community. At first there was a bit of suspicion with the hint of hostility but I think when they realised we were not the C.I.A or a couple of European idiots it was an interesting week. They introduced me to the illuminatus trilogy amongst other things and when we left handed us a list that we needed to use in our next respective projects. I’ve stayed true to the promise I rashly made.

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SS: You also mentioned the encounter with a character who gave you a list of things you should use in your work. It sounds as a magical encounter with a mysterious and mystical creature. Can you reveal more about both the character and the list?

DB: The main man up the mountain was calling himself Yossarian. He was the most ‘alive’ person I have ever met. He seemed genuinely interested in the things we were up to in our everyday lives. I’m not sure he thought too much about a lot of what I’d been up to, and said he would create a list of elements that I had to use to ‘open the gate that I found myself barred by’. He was very insistent and I was drawn in and fell right in line. So this is why the show looks like it does. Each piece has what looks like randomly placed elements, but these are actually placed specifically to map star constellations. These constellations contain a message from earth to the universe (so I’m told, and who am I to argue. I’m not going to argue with the universe. I’m from Bromley) there are many other codas that I barely understand / understood but visually they work and make a cohesive show so I think I followed the right

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SS: Can you tell us more about your ‘Wrong Turn’ show at StolenSpace Gallery?

DB: Everything is painted on found boards and framed in reclaimed timber. The paint used was found while clearing my father’s garage – the same with the brushes. The list that Yos wrote, the first 3 lines were ‘find wood’ ‘find paint’ ‘find brushes’. Within a week of returning home all this stuff had appeared, previously hidden but now ready and available. This made me feel quite weird to be honest. For every influence I told him I was currently into he wrote a ‘counterpoint’, with versus against it. So if I said ‘Eric Stanton’ he wrote ‘versus Eric gill’ and so on. So the drawings became a blend of these elements and subjects. The show is called ‘wrong turn’ because without the error in direction none of this would have happened.

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SS: Any plans for the future you can share with us?

DB: Looking for this gate that will apparently open up.

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Vinnie nylon solo exhibition “Nylonatronic”

March 20th, 2015

March 21, 2015 – April 19

Vinnie Nylon will be having his first Japanese solo show entitled “Nylonatronic” this month at Wish-Less gallery in Tokyo (5-12-10 Tabata Kita-ku Tokyo)

Among the work featured in the show are icons of consumer culture that have been reinterpreted and given his own personal twist

Here’s a sneak of whats in store, any enquiries please contact us on: contact@stolenspace.com

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Pixel Pancho: New mural in London!

March 11th, 2015

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Pixel Pancho is back in London where he just finished working on this stunning mural, organised by Global Street Art and Forest Recycling Project as part of the Colour the Capital project.

It only took two days for the artist to complete this wall ahead of his upcoming show ‘Memory Of Our Life’ which opens this Thursday.

For his first exhibition in London, Pixel Pancho will be transforming Gallery Two with an immersive installation which will transport viewers into a surreal robotic environment.

Photo’s courtesy of Julie, check back to stay up to date on Pixel Pancho’s upcoming show

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Beau Stanton: ‘Polychromasia’ Tonight

March 5th, 2015

Beau Stanton’s Polychromasia pop up exhibition curated by Lori Zimmer opens tonight in NY at the Library at Hudson Hotel (356 W 58th Street).

Here’s a sneak of whats in store, any enquiries please contact us on: contact@stolenspace.com

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In conversation with MEGGS

February 28th, 2015

StolenSpace Gallery proudly presents ‘Rise & Fall‘ a satirical solo exhibition by Los Angeles-based artist MEGGS. Following his residency and sold-out show at Inner State Gallery in Detroit last September, where he painted his largest mural to date at over 6,000 square feet, MEGGS continues his perpetual fascination with dualism, urban decay, and finding beauty in tragedy. We caught up with MEGGS at his ‘Rise & Fall’ show, which explores current fractures in the social fabric of urban society, such as imploding over-indulgence, fallen idols, and the detriments of pop culture.

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SS: You are a founding member of the Everfresh Crew from Melbourne. How does it feel being part of a collective of street art pioneers?

Everfresh was something that happened organically when a group of artists started sharing a warehouse studio. It grew into a collective as we started hanging out, collaborating, and doing street art missions together.

We never really had any intentions for it, it just grew into something more significant because all of us were hard working and it was a unique situation to have several street/graffiti artists in one space, collaborating on street works. We may have made a lasting impression because of the mixture of unique styles and the amount of work we put up consistently, as a group and as individuals. In retrospect, I’m thankful for having those years and partnerships, which shaped me into a legit full-time artist. It’s amazing that we could be so influential in the Melbourne scene, and contribute to the growth of Australian Street Art culture in general. I definitely wouldn’t have learnt so much about painting and making art, or have met so many dynamic people over the years if I wasn’t a part of Everfresh.

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SS: Your bio says that “your life manifesto is that the ‘journey is the reward’”. What do you mean? How does this statement reflect in your work?

I believe that being an artist is a lifetime journey of continual growth and that the freedom and experiences I can have along the way are the most rewarding part of doing what I do. It’s hard work to make a living as an artist, so it’s easy to forget to appreciate the people and life experiences I have. I try to remind myself of this and not get too distracted by material gains. I feel that this transfers to my work by trying to continually evolve and improve, and hope that each body of work is influenced by my experiences and the places in which they are shown.

Specifically, for ‘Rise & Fall,’ we created banners one night at the gallery with a good crew of people (shout outs: Miya, Louis, Andy, Lee, Jarus), just having some fun experimenting with the fire. Working with other people, sharing stories and ideas is what is rewarding for me and I think it adds something to the story and meaning of the work being created.

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SS: You believe that art is an international language and a universal avenue for the free expression of creative ideas’. Do you think that art can change something in the world? Can it affect people’s conscience?

Art, especially public art, can affect people’s consciences and ideally make them a part of their surroundings and community. It also simply just spreads the idea of creative expression and colour to the world.

In my experience, art is a powerful way to bring like-minded people together worldwide and I believe it can contribute to positive social change. It’s important for us to value creativity and individual expression, as well as reflect on and document people and culture.

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SS: Talking about your technique and style, you combine different influences and mix skillfully street art and fine art. Can you tell us more about your creative process and the progression of your style?

Thanks! My creative process is a combination of illustration, sourced imagery, collages, and painting using screenprinting, inks, aerosol, and acrylics. I’m constantly collecting and storing source material. When I have an idea in mind, I start playing with different elements and create illustrations and a collage composition that I will paint from.

I begin with a black and white illustration/composition and build the colours and textures during the painting process. Its important to me to have a plan but also partly leave the development of the final piece to intuition and experimentation.

Essentially my process is a continual search for the balance between form & abstraction. Which is also an important part of the ‘journey being the reward.’

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SS: What is your inspiration behind your work? What are the themes you are interested in investigating?

The idea and inspiration can come from various sources, from a combination of ideas I have about life and society, down to something as simple as a photo I saw or movie I watched. Obviously duality is at the core of most of my work, especially the idea of conflicting roles (i.e. hero vs. villain). I work with the idea of heroism and role models as an ongoing theme, partly inspired by comic book narratives. A large part of the inspiration for future pieces comes purely from the process of making work and being excited by new techniques and the development of my work. I think one of the most important things for an artist is just to continually be creating and trying new things.

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SS: What was the most exciting thing that happened to you during the last year?

One of the standouts for me last year was doing a residency in Detroit, which allowed me to first-hand experience of the extreme rise, fall, and regrowth of one of America’s most significant cities. It was definitely an inspiration in the direction of my work and the exploration of duality, opposite extremes, and consumer culture. This led to my 6,000 square foot ‘Rise Up’ mural for the city – my largest solo artistic undertaking to date, and a satisfying personal milestone.

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SS: Can you tell us more about your exhibition ‘Rise & Fall’ at StolenSpace Gallery?

‘Rise & Fall’ is a continuation of the themes and pieces I worked on in Detroit. With this show, I had a slightly more playful take on consumerism gone wrong and focused on my fascinations with duality and beauty that is found in the decay of pop-culture icons, heroes, and the values that they represent.

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SS: What are your future projects, plans and upcoming exhibitions?

This year I am working on several new murals, brand collaborations and group shows. I am painting at SXSW in Austin with Pow! Wow! Hawaii in March & Seawalls: Mexico with PangeaSeed in July. My next solo show is with Thinkspace Gallery at the LA Municipal Art Center in October, as part of the larger ‘Beyond Eden’ multi-gallery Event.

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