Anagnorisis Fine Arts


Han Hoogerbrugge’s Flash by Binnorie
January 21, 2012, 4:47 pm
Filed under: Artist Spotlight | Tags: , , ,

I discovered Han Hoogerbrugge years ago about when Flash software was first becoming popular.  To this day I think that he is the only artist to use the medium in a purely artistic fashion without getting distracted by Flash’s…well…flashiness.

He’s about to have a solo exhibition in Rotterdam.  Since most of you aren’t there, check out his online animated interactive artworks which are surreal, dark and humorous.  Make sure you have your sound on and are ready to use your mouse to click and roll-over his images.  Curiosity will give you more rewards in Hans’s work:

Flow (this is my favorite – you need to take part with your mouse to see the entire show)

Modern Living / Neurotica Series 

Hotel (an interactive story in ten parts – takes serial art in a new direction)

Spin

Nails

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Thanks to Who Killed Bambi for reminding me of this artist!



That Which Remains by Binnorie

What remains after all decor is stripped down to our bare bones is what makes us who we are. What happens when we are forced to see this part of ourselves?

When diagnosed with Crohn’s Disease, artist Yuri Leonov became forced to see his young life from a new perspective, and to rely upon modern technology to keep his angry immune system at bay. Through his art, Yuri explores how he feels rooted, stuck and limited by those tools that are intended to help him, and what Remains of his self: past and future.  His explorations extend out to the world at large, how our own artificial advancements remove us from what is most important, and the paradox of how our efforts are quite possibly leading to our downfall.

Yuri pulls no punches. His work and the ideas behind it are wrought with emotion: questions about life and memories of the past. His work is introspective, offered to the world en masse as possible catharsis for all of us suffering from mortality. Yuri’s is a case of illness in youth, yet he is a very strong and determined individual; honestly he looks very healthy. His work is very well thought out, intelligently emotional and meaningful. His art is not his heart on his sleeve; it is an earnest search for relief.

Taught old master technique as a boy in Russia, he has some serious old master technique chops in his arsenal, yet he is not a realist. Much of his work is abstract and his paintings which incorporate realistic figures, interiors and landscapes are often created with non-traditional mediums including bugs and his own spit. “Though the work is figurative, the initial structure is an abstract framework of composition that allows the series to be interpreted as a unified body.” Additionally he adds meaning to his painting technique (the use of unmixed white paint, for example, is used on several works in this series as a connective visual element), and each series of paintings tell a story of growth, change or realization. There are very strong concepts underlying all of his works, some of which he describes openly and some of which he has chosen to keep private.

Remain is ethereal, ghostly and, at the same time, very human.  In my mind, the concepts behind the series connect to Parke-Harrison’s Counterpoint series, and the surrealistic story-lines and imagery of some of Adrei Tarkovsky’s films.  Additional man versus technology connections can be made to Masamune Shirow‘s Ghost in the Shell.  Remain is representational of a review of the past and an uncertain future filled with metaphor, private and shared.

A personal and philosophical description of his work:

Remain, which focuses on my own shortcomings and limitations is my most intimate and personal body of work to this day. The strange conviction of self-importance is present in everyone, all of whom will undoubtedly leave this realm of existence; and so all of us attempt the best we can to avoid the inevitable constraint of time by shifting the significance of existence to the things we attempt, or pretend to know. We ignore the larger, unknown to us, scheme of things in which our whole existence is just a miniscule fragment of the general process far beyond our control, instead focusing on trying to control what we think we can.

As such, control, time and scale are the major concepts I have explored in Remain. The act of making art is an excellent example in itself: convinced by a blind ambition that this determination will somehow hold back the weight of time, and prolong my existence even if in a non physical sense. After developing and now living with serious health problems, I have also developed a solid understanding and a persistent reminder that I will die, along with everyone. What will remain?

Remain will be on view at the White Rabbit’s White Box for only a short while longer.  Some works have sold and others are still available for collection.  To view them online and for further details about his exhibit, please visit the Remain gallery here.




A Curious Commotion | About Artist Jeremy Hush by Binnorie
February 16, 2011, 11:13 pm
Filed under: Art Shows, Artist Spotlight, White Rabbit | Tags: , , ,

Birthmarked

Jeremy Hush is a prolific artist who has been creating illustrations for the punk and heavy metal music scenes for many years.  With his love for animals and attraction to storytelling, Hush’s work evinces a wonderful balance of masculine and feminine, his dark aesthetics setting off gentle linework and shading.  His works are heavy with symbolism, but the meanings behind his symbols are personal.  An extremely warm and generous man, he rarely shares such meanings with anyone.

Hush didn’t grow up anywhere; he grew up everywhere.  Like so many military families, his parents moved every year, living on military bases across the United States.  Old habits die hard and Hush still can’t sit still.  He travels constantly, heavily entrenched in the world of heavy metal music, touring as crew with some of the music genre’s up and coming bands.  Baroness, dubbed as one of the ‘nicest bands in metal’ by the LA Times, is his current gig.

But while he is a fan of punk and metal, members of both scenes are fans of his.  Not too long ago, Hush became known in Savannah Georgia’s underground punk scene for his illustration work.  His spidery, mysterious and scratchy characters began to show up on albums, posters and flyers everywhere.  For 11 years he was involved with Slug and Lettuce, a newsprint punk zine currently coming into its 20th year of publication.  If you have been into the punk scene in the past 20 years, you’ve probably seen Hush’s work.

Cover design for US Christmas's "Run Thick in the Night" album

Hush became involved in all this while attending the Savannah College of Art and Design for sequential illustration (BFA 1997).  He found the education at SCAD to be lacking as many artists do, but was heavily inspired by his peers.   Hush’s most well-known cover to date is for metal band US Christmas’s Run Thick in the Night album, which is bringing him lots of new international attention.

Hush’s work is not what you would expect from metal and punk.  His style is reminiscent of the past and holds strong masculine and feminine characteristics.  I wasn’t surprised to learn that Hush is heavily influenced by Arthur Rackham and other 19th century illustrations.  The mysteries of nature and his fondness for animals also have a considerable amount of influence over the subjects of his art.  His spidery drawings are dark and mysterious, but, like Rackham’s drawings, evoke the fear, love and awe one might have for nature and her power.  One never knows what she’ll pull on you next, yet she is beautiful and sublime.

Hush largely uses found materials to create his works.  He prefers using ball point pens (many of which he’s found in hotels from around the world), and, while he uses traditional india ink and watercolor, he also experiments with a plethora of other media such as coffee, for example.  Also unique are his tools.  On his blog, he mentions that he fingerpaints a lot – he’s being jocular.  If you look closely at his technique you’ll find that he uses his fingerprints to shade.  The swirly patterns of his skin create a unique and expertly blended cross-hatch-like texture in the shadows of his art, adding a wonderful element of abstraction to his figures.

Detail of “Wake” showing finger print shading technique

Here I am writing all formal-like.  Breaking away from that, I’ll quote Out of Print Magazine about Hush’s work: “Jeremy Hush, this guy’s just gorgeously sick. His [work]… Well, remember that scene in Legend before Tom Cruise got all fucked in the head, when petals and dust are swimming in the air and it’s beautiful and peaceful and then suddenly everything turns to chaos and the angry hell boy destroys the unicorn, well… Yeah, they’re like that.”

Couldn’t have said it better!

The title for his upcoming solo exhibit, A Curious Commotion, refers to the mystery of what’s in store.  You can hear that something’s coming (a loud rustling in the trees or some indiscernible movement up ahead in your path), but you don’t know what or who it is, nor can you know if you are safe or in danger.

Please join us for the opening reception taking place at:
White Rabbit Lounge
145 East Houston (between Forsyth and Eldridge)
7-10pm

You don’t need to RSVP on our Facebook event page, but we’d appreciate it if you do.

The beautiful Mz. Margo who DJed for Buddy Nestor‘s exhibit back in July, will be back again along with a mystery video artist.

This will be a very special weekend for Anagnorisis Fine Arts as it will also be taking part in its first New York art fair.  It is teaming up with the Brooklyn Art Project on a booth at the inaugural Verge Brooklyn Art Fair taking place in DUMBO Brooklyn from March 3-6th.  Of course, we will have Hush’s work on the booth wall.



Anagnorisis Picks | February by Binnorie

Yikes – it’s almost February.  What happened to the first month of 2011?!  Lots of snow and cold is what happened.   Please don’t hide away in your homes during this weather – come out to see art!

Besides our own opening reception for James Moore’s Rebirth Control on Friday, February 4th at the White Rabbit, there are a couple notable shows you should most definitely attend.  I’ve already recently posted about Bill Viola at the newly renovated Museum of the Moving Image in Queens, and the closing party in Philly this Saturday with artists Jeremy Hush, Paul Romano and Mike Wohlberg at Masthead Gallery, but you also shouldn’t miss these two:

Robin Williams | Rescue Party | P.P.O.W.

Cabbage Patch  |  2010, oil on linen, 44 x 72 inches

I love the dreamy quality of Robin Williams’ works.  His paintings remind me that I should relax: summer will eventually return.

This exhibit will be up from January 27 – February 26, with a reception on February 3, 6-8pm.  P.P.O.W. has apparently moved again (?) and is now located at 535 West 22nd Street, 3rd floor.

Ray Caesar  |  A Gentle Kind of Cruelty |  Jonathan Levine

Calamity | digital media on panel (UltraChrome print on Epson Luster paper, mounted on Dibond) 40 x 60 inches

If you missed the opening, you can still catch this exhibition of Caesar’s work which will be on view until February 19th.  Caesar’s use of lighting and color, mixed with a Rococo spirit, are a feast for the eyes.  Almost belying that spirit is the digital medium Caesar employs to explore reoccurring themes of, “fantasy, escapism, human cruelty and disguise…”

Jonathan Levine Gallery is located at 529 West 20th Street, 9th floor.



Technology Collides with Nature in Rebirth Control by Binnorie
January 11, 2011, 5:31 pm
Filed under: Art Shows, White Rabbit | Tags: , , ,

a transferral of energy that happens in the process of technology colliding with nature

One major motif that I often run across in artists’ work is the mixing of man with animal.  Caitlin Hackett, Alex Passapera and Jeremy Hush are among those artists with whom Anagnorisis has worked who frequently explore instinct, environmental concerns, scientific exploration and spirituality through combinations of or intimate interaction between man and beast.

James Moore, who will be exhibiting a new set of works in February at the White Rabbit, is yet another artist whose current work explores yet another facet of this animal/human mix.  What is unique about Moore’s work is that he is a storyteller, working in sequential art and creating zines to communicate a fantastic idea or concept.

This series, entitled “Rebirth Control,” is based upon a story that he originally published as a comic strip (pictured above) after he saw a deer being hit by a car and shot along a mountain road in north Georgia. Grotesque, frenetic and evocative of pulp fiction monsters, the comic shows a woman growing antlers after the spirit of a deer she’s run over passes into her; “a transferral of energy that happens in the process of technology colliding with nature.”  The Fawn image below is “the spirit child who takes a wary pose, its angry gaze (prepared to avenge) suggests the animal world may have intuitions that humans take for granted.”  The new works will evoke and involve elements from “science fiction & heavy black liquid (possibly blood) opening psychological gateways, levitating, portraits deteriorating & evolving.”

Moore’s linework makes his subjects look like they’re melting or eroding, as if he’s constantly re-imagining pulp fiction horror creatures’ rotting flesh, swamp bodies or zombie faces, and applying it to our everyday lives.  To me, much of his work is stressful, yet stimulating and exhilarating.

Fawn | ink and spray paint on paper

A successful illustrator, James makes sure to set aside a good amount of time to work on his own artwork, the nature of which changes each time he works on a new project.  His works have been featured by Giant Robot, Printed Matter, American Illustration and many more.  A graduate of Pratt University, James currently works from his studio in our dear old Brooklyn, creating multi-media works for us all to enjoy.

He creates a new zine for each new series he works on, and plans on doing such a thing for his upcoming show, which will be on view at the White Rabbit from February 2nd to the beginning of March.

Please join us for the opening reception on Friday, February 4th from 7-10pm at the White Rabbit, 145 East Houston Street, between Forsyth and Eldridge (click for map).

Check out more of his work below:

Illustration for Paper Spaceship and the CMJ Music Festival