my love for you is a stampede of horses.

Jen Pack.

Chiffon. Thread. Wool. Yes, that is what you're seeing here. Beautiful work by Jen Pack.

Treasure Frey & Kyle Jorgensen: Chromatics and Canopies

Gallerist, Jillian MacKintosh, introduces us to artists Treasure Frey and Kyle Jorgensen and walks us through their current (and so beurifully colorful!) show Chromatics and Canopies at Gallery Hijinks. ~meighan

Ribbons of warm color wrap the walls of Gallery Hijinks' January exhibition, Chromatics and Canopies. The two artists work, though slightly different in medium, both utilize the color spectrum organically with strong design and architectural influences. Both Scorpios, only one day apart in birthdays, Treasure and Kyle came in from out of town to install the show, make new friends, eat soup and play with our dog, Walter (of course).

You might expect something special to come from an artist with the name Treasure Frey. The minimal nature of her works draw on the space and the feeling of each composition. The walnut shell stained paper she dyes has the most beautiful texture. I once dropped a novel in the tub and when it dried the pages had a similar texture appearing delicately wrinkled. Treasure's paper is patched together much like a quilt, and floats freely within it's frame. The abstract design of acrylic ribbons feature all the colors of a rainbow. Treasure told us, "I used to live in Alameda, so when I took the bus across the Bay Bridge I would always see rainbows. I was really touched by the simple colors and space and the image has really stayed with me."

In the process of attending architecture school and taking art classes to get into architecture school, Kyle Jorgensen fell in love with painting. He professed, "I definitely paint like a print maker" which makes sense considering his training in printmaking. The layers of bold, flat color are set aside jagged lines of ink and an endless galaxy of midnight stars. In this series of work Kyle focuses on a simple theme of thought, contemplation as well as location. 

Chromatics and Canopies is showing at Gallery Hijinks until January 28, 2012.

New Work: Richard Pearse.

I chatted with Richard Pearse recently via email — about his latest group of work. Many of the pieces you see here are featured in Richard's show, WINTER IN THE COWSHED that opened last weekend at KRETS.

I have featured Richard's work a few times (first as a Reader Love post back in 2010). I've never asked him about his process or the time he puts into it until recently, he happily told me:

"I couldn't say how long exactly but if you consider all the cutting, gluing and then
contemplation & consideration time it all starts to add up. It's a
challenge managing time but I try to have around 3 or 4 on the go at
once to keep the whole gluing/drying phase of the process in check and
to obviously keep my mind stimulated by not staring at the same pieces
for too long - well at least thats the plan."

I'm not sure why (or why I am admitting this outloud), but I never actually realized that Richard cut and glued each and every piece of wood within his work. I just thought he was lucky enough to find awesome salvaged wood that he painted. That's what you get here folks, me admiting to being somehow oblivious to completley obvious happenings. Regardless, I now have an even deeper appreciation and love for his work.

Do you have a favorite of in this new group? It's so hard to choose, but I love the one right below.

New Work: Richard Pearse.

Richard Pearse shot over an email with images of a new group he's been hard at work on for the upcoming group show, Linear Empires at White Walls Gallery. Richard's detail and ability to connect color & shape in his work is what really draws me in. So much to look at.

Check out Richard's blog to see all of the work that will be in the show. Linear Empires opens on February 12 and runs through March 5.

Q&A: AJ Fosik.

I have long admired AJ Fosik's wooden beasties. His ability to transform wood is astounding. Every time I am in the presence of one of his pieces, I always feel like I am staring into a frozen beast, that is just waiting for the right moment to bust free. Each piece is quite literally epic in its construction. So incredible and fierce, and so easily tell a number of different stories to every viewer. I recently asked AJ via email about his beasts and his upcoming show at Guerrero Gallery. Take a gander - meighan

AJ Fosik New Works opens Saturday, November 13th and runs through December 4th, 2010 at Guerrero Gallery.

Your pieces seem almost ritualistic. They remind me of Southeast Asian temples and quite possibly something you would find within a temple. Can you talk to us a little bit about your influences?

People have been trying to top each others mystical nonsense from the beginning of time with some really amazing ideas and imagery. I'm just another in a long tradition of these con artists, only I'm putting it all on the table. My 'gods' represent an embrace of uncertainty, doubt and the absurd.

There is a lot of repetition and symbolism within your work. Is the symbolism conscious?

Yes and no, the overarching themes are consistent and intentional though the individual parts tend to be more about enticement and change from piece to piece. I try to tap into that same seductive power that the purveyors of mysticism and religion have always employed but I would like to lead the viewer to a much different conclusion in the end.

I have read that you hesitate to use the word sculpture to describe your pieces, how do you see them?

It's stupid really, I just think there's a preciousness and a formality to that term that I tend to shy away from. I don't make art about art so I don't really care either way. It just seems anytime I try and describe what I do to someone they either think I'm chiseling marble or carving eagles out of tree stumps with a chainsaw...I wish I could do either of those.

Can you take us, briefly through the formation of one of your pieces?

Well they always start with a drawing. From there it is 2x4s, screws and framing nails to form the skeleton. Plywood and finishing nails for the sinew and muscle. Birch faced luan cut into a million pieces, paint and pin nails make the skin and hair.

Splinters?

Are a constant nuisance to be sure but sawdust is the true enemy. Never forget.

What can we expect to see at your upcoming show at Guerrero Gallery?

Idols for the mind, freed from the burdens of superstition.

And in 2011? What's coming up for you?

2011 I plan to spend more time mocking the obvious liars...reality in general is very confusing and not something I claim to have any real hold on. I could just do with a few less idiots in funny robes mucking it all up.