Anagnorisis Fine Arts


The Horseman, Demon, And Dave Tree by dezzoster
February 24, 2010, 1:22 am
Filed under: interview, White Rabbit | Tags: , , , ,

I’d heard about Dave Tree’s work from other artists for ages, and eventually had the pleasure of meeting the man in person about two years ago at an art opening in the east village. He’s a friendly yet rumbustious character, seemingly always ready for a good old fashion art debate. He has an unwavering loyalty to tradition with a flexibility to approach and process. This juxtaposition of old and new has always fascinated me especially seeing how that translates in an artist as versed as Tree. Aside from painting, he enjoys a myriad of other artistic pursuits from singing to silk screening. That night, he bestowed upon me a beautiful necklace with one of his images screened onto it. There are two images outlined scenes that appropriately display some past moment lost in time. I thought I’d start off this interview with that in mind:

DE – Your work often references a medieval era. Where does that come from?
DT – I always loved wood cuts from the dark ages and their ideas on what Hell would look like. I’ve been huge fan of Hieronymous Bosch since I was a kid so its always been an influence. I also grew up a hardcore Irish Catholic in Boston, so I had the iron clad boot of the church pressed against my neck.

DE – There seems to be an underlying narrative… What are your clad horsemen and demon soul thinking about?
DT – The Horseman and Demon think only on devouring your soul.

DE – Do you have a mentor?
DT – I had not been making art on a regular basis and had concentrated on my band TREE, but when it finally broke I needed to make art again. Its a great way to lift one’s spirits. Cynthia Von Bueller had me in a show in NYC where I hooked up with my old SMFA buddies Travis Lindquinst and David Hochbaum. I don’t know if I’d call them mentors but they whipped me into shape, trained me in process, made me stand on my own art literally, and really helped me think like an artist again so I owe a lot to them.

DE – You also sing in a band. How does that, if at all, affect your artwork?
DT – Singing in a band helps with my art to a great extent, I make pieces about my songs, I make songs about my pieces, it all works together really well. Singing/screaming in a band is also a great therapeutic outlet,  art can be frustrating at times so I get to scream my blues away and start with a new slate the next day.

DE – Tell us a little about the process of art making for you…
DT – Sometimes I just see the image in my head and go for it, once in a while the final product looks like the image in my end or completely different, either way I got new art. Sometimes I make one piece and see a series in it so out comes a series. Why make one piece when I can make 10 that all correspond. Mistakes are my friends.

DE – Many of your paintings are on wood panels instead of canvas. Why?
DT – I really like wood as a material, it doesn’t “Bounce” like canvas, it is unyielding and has historic significance, the very texture of the wood and its grain can add to the work.I do a ton of trash pick dumpster diving and I raise recycling to an artform, so more wood get thrown away that canvases but I do find plenty of canvas too and started working more with it.

DE – What do you think about the contemporary art world now in relation to the economy and the advancements in social networking, etc?
DT – Online networking really helps get the word out, I still flyer shows but I feel archaic,  but I’m a creature of habit and I still believe the person to person contact works best for me. The economy hasn’t hurt me at all, but then again I operate underground and I champion the barter system like a motherfucker. I can make something from nothing and get something for it. Contemporary artists need to exploit social networks, get their art up on line and make their prices affordable. I make art in 3 different price tiers so that  my art is available for all the people not just the ones that have a big bank accounts.

DE – You live in Boston now, but often show in New York. What’s that like? Have you ever thought of relocating?
DT – I love NYC and Boston, I’ve made a conscious  effort to get to NYC as much as possible because the art scene  is by far superior to Boston’s scene but in Boston I have space to work that in NYC would cost a fortune. In an ideal world I  will build a reputation as an artist from Boston and  move to NYC or Brooklyn when I could afford to live their. I think it would really help to be in NYC for the art.

DE – Tell us a little about your silk screening parties, and how they started…
DT – I have been silkscreening for 20 years, I to a GoldmineShithouse party at David Hochbaum’s house/studio and I helped print and saw how they had it going on so I stole their idea. I brought it to Boston and would do parties in my studio.I then got a solo show at McCaig Welles and I had a silkscreen closing party to help get some eyes on my art and maybe some sales. It worked so well the gallery asked me to do one for all their shows, so I got to have a print party in Brooklyn every month for a year. I really enjoy printing for people live and have to thank the GoldmineShithouse guys for the idea.

DE – What do you procrastinate most with?
DT – writing down the unwritten word

DE – I agree, sometimes it’s hard to get into the habit of doing something. Regardless, how much you enjoy it. On that note, what’s your motto?
DT – The more you get done. The more you get done. The people and the land are one, and the people and land will not be divided.

Click on the show card above to see an online gallery of works Dave will have on exhibit for us in March.



Capturing the New Dana Bunker by dezzoster
August 21, 2009, 1:00 am
Filed under: interview | Tags: , , , , , ,

Dana Bunker is a fresh, emerging artist and recent graduate of Pratt Institute for Illustration. She is known for her lace-like portraits intricately woven of ink and cut paper layered to form multi-dimensional works. Her latest show, “Empirical” curated by Samantha Levin and myself at Anagnorisis has gained her some exposure and a captive audience excited for what’s on the horizon.

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Interview with Alex Passapera by our own Danielle Ezzo by Binnorie
August 14, 2009, 9:03 pm
Filed under: interview | Tags: , , , , , , , , , ,

Anagnorisis would like to share with you an interview with Alex Passapera about his work and upcoming exhibition, “Feral”:

Alex Passapera


1. So what brought you to this medium in the first place?

I have always been attracted to technical work rather than flowing strokes from other painting mediums, which is why I like the detail and control of working with Pen and Ink. My artwork seems to take on a more complex and rich feel when texturing with stipple pen marks.

2. What inspires you?

I get a lot of inspiration from music, film and books as do most people I’m sure. Usually I try to take away a certain feeling or idea that appeals to me and let it filter into my sketching.

3. Who are some of your contemporaries, and what about their work do you like?

I am very interested in the low-brow, contemporary work. Tara McPherson, John John Jesse, Shawn Barber, Jeff Soto, Lori Earley.

4. Some of your pieces remind me of Vania Zouravliov, are you familiar with him?

Yes, I am familiar with his work. I remember first reading about him in “The Upset” by R. Klanten while working on this show and thinking he was a more talented version of myself. Pangs of jealousy and rage surfaced, followed by a desperate need to own one of his pieces for myself, they are beautiful.

5. What does your process look like?

Well, about thirty percent of my process is preparation for the inking; the initial pre-sketches and arrangement of the composition. After that the rest of the time I spend hunched over my drafting table, working out the flat blacks and stippling/mark making for hours. I would say the latter phase is zen but that would suggest my mind is blank while working. My work usually grows and evolves at this point while I’m working in the textures of the particular piece. I will add and cover up, which can be problematic at this stage since ink cannot be removed but I can usually work around mistakes and make them an essential part of the work.

6. Its really quite interesting how your work often transforms from people into animals, or animals into other animals. The wolf seems to be a main character? It has a very Native American vibe.. Is there any significant behind that?

The wolf was the icon I started with and for me embodies the type of feeling I am trying to capture. I can see the Native American vibe coming across, and that fits with my theme a bit. The predator is an easy character to use when trying to describe instinct and I feel the wolf is a beautiful example of fierce unbridled wilderness. The transformations in my pieces are very straight-forward symbols for the relations between man and animal. I wanted to do more pieces dedicated to anamorphic characters but time did not permit.

7. Tell us a little more about the body of work ‘Feral’…

Feral is all about our basic needs and my own visual representation of them. I try to pick out similar traits people share with animals in the wild which have been suppressed and construed by social society. Simple but powerful urges such as the need to feed, to mate, and to protect our own. These primal impulses are dumbed down in our culture now, so much so that we hardly even feel a flicker anymore. It ties into such topics as the over saturation of media, food and sex today, so much so that we really don’t need these natural mechanisms anymore. I try to identify a few predominant archetypes and depict my own vision of their hold on the characters in each piece.

8. Do you know what your next body of work is going to be about? Or are the underlying themes in each series?

This show was just came from an idea I had mulling around my head for a while, I’ll probably take the next series in another direction. I am rereading some classic stories like the original “Alice in Wonderland” and “Through The Looking Glass,” and was thinking of creating a series based on the imagery in them.

9. I hear you went to Savannah College of Art & Design… How was that? Has there been a change in your work/process/etc since you moved to New York?

Savannah was great, although being born and raised twenty minutes from New York, the slow lifestyle never really appealed to me. Living in New York was my dream since I was little, and being here for just about two years now I can definitely say it has had an influence on my work. Just from the amount you are exposed to in this city means absorbing and evolving is an inevitable process.

10. What can we look forward to in the coming months? Any other shows or projects planned?

I’ll be looking for more venues for my work. Right now I’m talking to Daniel Quinn, curator and owner of Stand Alone Gallery about doing something in the near future, but nothing is set in stone yet.

Visit Alex Passapera and tell him how much you enjoy his work here, or come to see his work in person at the White Rabbit during the month of August.



Introducing Artist Interviews! by dezzoster

The past year has brought a myriad of exciting tid-bits for Anagnorisis. We’ve had the privilege of meeting some pretty fantastic artists and organized a variety of different creative spectacles. Through growing our artist community, helping to interconnect creative circles, we’d like to take it to another level of further exposing this incredible talent.

With many more to come, our first interview is with Alex Passapera whose work will be up throughout the month of August. Please take a peek at it here.