HOW & NOSM / DAZE / KNOWN GALLERY / OCT 15th

ACHTUNG!

The staid cleanliness of a single-colored surface is a disturbing testament to society’s uniformity and the pressure society places on one to conform. Such a surface, standing alone and dull, cries out for attention. Answering its call ‹ and recognizing its potential ‹ HOWNOSM bless the surface with confidence, courage, action, vitality and just a touch of the world’s inevitable darkness and death, transforming it into a truer reflection of both the world around it and their own varied lives. ACHTUNG! is a collection of pieces that resemble broken mirrors, each filled with messages that are, by turns, sharp-edged, blurred and fast-changing. They serve as a reminder of the need to, and the dangers of failing to, walk alertly through this life.

HowNosm – Achtung
Opens: October 15th, 2011 | 8-11pm
-
Known Gallery
441 North Fairfax Avenue
Los Angeles, CA 90036

DAZE – The Grey Scale

The Grey Scale Paintings
Walking along what seemed like an endless series of tracks my senses became accustomed to the dark labrythiniun tunnels that lay below. My eyes adjusted to the darkness and my ears acclimated to the endless series of subtle noises. Dripping water, the squeal of rats chasing each other, the release of train compressors, the clicking of the tracks as a train approached the next station, then, all at once, the roar of a passing train echoing through the tunnel, and then, silence.

This new series of works entitled “The Grey Scale” is an exploration into the context in which many of my subway works were created. Walls layered with years of tags and signatures, gravel floors covered in dust and debris, flickering lights, and the gleam of sharp steel tracks piercing the darkness are all portrayed in the context of subterranean tunnels that lead to nowhere. This is a world in which we are encouraged to stay away from the light at the end of the tunnel. These new works call to mind some of the layered complexity of Rauschenberg’s early black paintings or perhaps the subtlety of Cy Twombly’s blackboard paintings. Others yet clearly show references to the gritty urban landscapes of the New York ash can school: John Sloan, William Glackens, Robert Henri, and later most of all, Reginald Marsh. These artists chose, as I do, the streets as their primary source of inspiration. The paintings are a kind of hybrid that draws from the vocabulary of both the graffiti world and urban realism.

Opens: October 15, 2011 | 8-11pm
-
Known Gallery
441 North Fairfax Avenue
Los Angeles, CA 90036
310-860-6263

12