When this team from Wells Fargo visited 1AM, we quickly realized that they were ready to put their artistic chops to the test. Before moving onto t-shirt stenciling and painting on the canvas they were bringing home, they practiced their hand styles and can control on plastic sheets to guarantee a beautiful outcome from the workshop, which certainly is reflected in their piece.They chose the simple but powerful word “Create” for their mural and ended up looking positively awesome! If you have any questions about the workshops or you wish to schedule one for your team, then contact us at firstname.lastname@example.org!
1AM Gallery is pleased to present, “Catch Me if You Can” with French brother duo street artists, Arthur Maslard A.K.A. Ratur and Oscar Maslard A.K.A. Sckaro. The exhibition opens Thursday, November 5th, 6:30-9:30pm. The event is free and open to the public, atists will be in attendance.
RATUR and SCKARO have painted side by side their entire lives constantly pushing the envelope with their developed fraternal pursuit. Inspired by not only graffiti art culture but also by traditional European and Flemish paintings, the brothers respond to each other’s work producing ever more extensive polished pieces; consequently creating a kind of back and forth battle. They so eloquently named this battle, “Catch Me if You Can.”
For advanced preview or questions email Adriana(at)1amgallery(dot)com.
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From the artists — “Hands are the fastest way to achieve something, which is why it is always present in our works. Hands are often the first link between the object and the human, between the painter and his work. They transmit on canvas what the painter imagines.
The character is important in our compositions but the identity is not , that is why the faces are rarely represented and hands are often more expressive than faces, they are enough to give the expression of the character.
We prefer to suggest a situation rather than represent it directly. This situation is often represented by characters in motion.”
Each painting of “Catch Me if You Can” is based off a computer-edited photo, usually of the artists themselves. They use the photo as a guide to manipulate depth of field, carefully rendering the foreground while allowing the mid and background to slip away into less contrasted illustrations. As a result, each painting contains in itself a sense of unreality; a dreaminess that seems to push forward out of the painting. The hands of his figures in particular seem to reach out of the canvas. Allying digital work and technical virtuosity, the series questions the painter’s place in our overwhelmingly digital society and challenges the relationship between street art and a more classical, academic current.
RATUR and SCKARO took after their father who was a graphic designer and photographer. After high school and studying visual communication they quickly gravitated toward graffiti after a chance meeting with a graffiti artist from the nearby town Rouen, Madkow. Their work has been mostly figurative in the studio and on the streets. They later formed the MV3 crew touring France and beyond painting at various festivals alongside other prominent graffiti crews.
Interview and Studio Visit with Ratur & Sckaro
Interview with owner/founder/curator Daniel Pan
High-resolution images available upon request
Catch Me if You Can
Opening Reception – Thursday, November 5th, 6:30-9:30pm
On View Through January 7, 2014
@ 1AM Gallery (www.1amgallery.com)
1000 Howard Street, San Francisco, CA 94103
Photographer and wheatpasting artist, Jetsonorama, recently completed this mural with the help and collaboration of Jess X Chen, in New York City. The wall is a tribute to the African-American abolitionist and women’s rights activist, Sojourner Truth. The inspirational piece was created as part of the O+ Festival – Kingston, NY. Sojourner was born into slavery in Kingston County, NY in 1797 but escaped to freedom with her infant daughter in 1826. The images were painted on giant pieces of paper and then pasted onto the wall by the two artists. To celebrate the contributions of Sojourner’s activism, the artists worked with and photographed three modern day poets, who like an untold amount of others, have been influenced by Sojourner’s work. Jetsonorama, using his photography talent, shot the poets in the studio for the work. Each poet’s words are painted around their portraits as halos and pertain to African-American womanhood. Jetsonorama states:
“Chen and I wanted to honor the historical contribution of Sojourner Truth to the women’s rights movement and her role as an humanitarian by asking three New York City based, African-American, female poets to share with us poems pertaining to African-American womanhood. The three poets included Jennifer Falu; writer, poet and teacher T’ai Freedom Ford and writer, poet and director of the Nuyorican Poets Cafe Mahogany Browne. Sadly, due to time constraints only Mahogany Browne and T’ai Freedom Ford were included in the mural.”
Thank you, Jetsonorama and Jess X Chen, for your tribute work and connecting history, activism, remembrance, and modern cross-disciplinary art practice!
(photos © Jetsonorama)
The Monument Art Project has been underway in New York City and the murals produced are incredible! Located in the El Barrio and Bronx districts of the city, the project has brought in big artists like: Sego, Faith47, El Mac, ROA, Viajero, Luis R. Vidal, and shared here, Argentinian artist, Ever. The themes for the murals have been about centered around Puerto Rican culture, local neighborhood histories, and immigration. Ever, in his signature vibrant kaleidoscopic style, painted this massive wall above a local park. The piece touches immigration, local history, cultural diversity, and the next generation. For image reference, Ever used a photo he took of a youth kid playing basketball next to the wall, and two photos of neighborhoods kids in the 1980s from Martha Cooper‘s archive.
Monday was Indigenous Peoples Day (formerly Columbus Day), and more US cities adopted the official change! Now Indigenous Peoples Day will took place in at least nine cities across the United States, including in Albuquerque, N.M., Anadarko, Okla., Portland, Ore., St. Paul, Minn., and Olympia, Wash. The state of Alaska officially changed the day, with Governor Bill Walker stating: “Alaska is built upon the homelands and communities of the Indigenous Peoples of this region, without whom the building of the state would not be possible. The State opposes systematic racism toward Indigenous Peoples of Alaska or any Alaskans of any origin and promotes policies and practices that reflect the experiences of Indigenous Peoples, ensure greater access and opportunity, and honor our nation’s indigenous roots, history.”
Indigenous Peoples Day began as a counter-celebration to Columbus Day, promoting Native American culture and commemorating the history of Native American peoples. Activists and supporters of the change say that Columbus Day overlooks the horrendous violences that colonialism caused, including war, disease, enslavement, discrimination, social cleansing, and landgrabs. Now the day is of honor and celebration instead of the Italian explorers so called “discovery” of the new world.
The cities to join the growing number of local governments making the change across the country may be a big push toward more joining next year. Artwork reflecting thoughts and ideas on this social change have been created around the country. Local San Franciscan artist, make believe, pasted up a couple new pieces last night in honor of the change happening. He states: “One of several pasteups I made to celebrate and honor the history and contributions indigenous peoples from around the world have shared with all of us. The Bay Area has a strong connection with the movement, as the first city to officially change the day was Berkeley in 1992. In order to move toward a more dignified future we must walk, ask, learn, share and accompany one another with empathy!”
Artist and culture jammer, Ivan Cash, of San Francisco recently took it upon himself to have people look up and question the present moment. This was done in the form of official looking city signs he made and installed around several public parks in SF. The signs state: “No-Tech Zone; No cellphones, tablets, laptops, or smart devices permitted; Violators subject to $300 fine.” On any given afternoon in any of the numerous city parks in San Francisco, you can find city residents congregating and enjoying themselves in the open air. While activities and types of people may vary between the parks, one thing links them together – though persons may be in the outdoors relaxing with friends or having a solitary moment, almost always at some point the phone comes out and they begin the downward stare.
And this is by no means only happening in SF! What is the point of being outside and at the park if you are only staring down at your phone?! Cash’s urban intervention prompts this question. Discussions and debates on the SF tech-boom, gentrification, and housing crisis aside, this piece is simply a friendly reminder. About his project, he states: “We designed and installed “No-Tech Zone’ signs in parks across San Francisco, encouraging people to question the role technology plays in our lives and environment.” That role, here in SF and beyond, is perhaps something that we need to have a little more of a philosophical conversation with. Cash, himself, is no outsider to the tech industry, having worked with Facebook and Airbnb, and so the question comes from a humble yet critical place. Technology can be a great and wonderful the, but at what cost?
This week we’re looking at an environmental justice piece! Polish artist, M-City, was recently in the Netherlands painting. This mural was painted in Breda, where the artist used his signature style of high-impact graphic imagery with underlying meaning. The image is of some sort of industrial beast, trudging through a forest, cutting trees down as it goes. The metaphor is very clear with this wall – the environmental cost of our industrial age. Working in greyscale, the only color in the piece is the red blood on the jagged scissors that are cutting the trees. M-City is a master at the use of specific color and placement! Be sure to check out M-City’s other work on this page.
Berlin-based Spanish street artist and activist, Vermibus, is strategically on tour right now to four major cities around the world coinciding with their Fashion Weeks. For his latest urban interjection and social critique project, called “Unveiling Beauty”, the anonymous artist is adbusting his way through the cities of London, Milan, New York City, and Paris during their influential Fashion Weeks. Central to his work is the questioning of consumerism, lifestyle, merchandising, sexism, capitalism, and the constant bombardment of advertisements in public spaces.
His method and style is unique – he goes into the street, unlocks ad windows, takes the ads back to his studio, manipulates them with solvents and brushes, and then goes and replaces them in the street.
Call it adbusting, culture jamming, civil disobedience, or decommodification, Vermibus’ art seems to peel back the perfectly sterile fake airbrushed representations of humans we all see in the street adverts every day. In fact, his art often stops onlookers in their tracks more than the normal image would. The ghostly images are of what may be under the masks of perfection. We’ll let him do the talking:
“As points of reference in the fashion industry, Fashion Weeks form and lay down specific standards of aesthetics and beauty, and market them via their advertising: just one more strategy in the globalization of Western consumer culture.
The beauty-cult is as firmly established on the catwalks of every Fashion Week as it is in the advertising they generate. The fashion industry uses the body as a tool in order to sell products, sell consumerism. The image of the body in advertisements limits and oppresses an individual’s true beauty, concealing it behind the false rhetoric of its own liberation.
In a new project, Unveiling Beauty, Vermibus will reflect on this use of the body, and on standards of beauty imposed from above, within the framework of the Fashion Week circuit, via a new series of public interventions.
Unveiling Beauty, as the name suggests, reveals the beauty that lies hidden behind the make-up and the retouching that are used within the fashion industry and also as it publicly stages itself through advertising.
This September, Vermibus will follow the route of the most influential Fashion Weeks, traveling to New York, London, Milan and Paris. And he will analyze and reveal the true beauty that lies hidden behind the various campaigns that are forced upon the public spaces of these cities.”
His art questions the effects of constant consumer advertisements on the psyche of our societies. His talent, motivation, and diligence are truly admirable. We greatly look forward to seeing the rest of the series! Keep it up, Vermibus.
The opening of our most recent show “Memento Mori” brought people from all over to view the amazing stencil works by C215 and Logan Hicks. These intricate pieces consist of layers upon layers of meticulous work by these talented artists who picked the memento mori theme to showcase and shed light on the medieval latin term that some people might not know much about. Memento mori, Latin for “remember (that you have) to die” is a theory and practice of reflection on mortality, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits.
A big thank you to everyone who came to the opening reception to support these wonderful artists. The show will hang through October 21st and is Free and open to the public Tuesdays-Saturdays from noon-6pm. For catalog requests/ inquiries about pieces please contact ARTSALES@1amgallery.com
The Unexpected Festival has just wrapped up in Fort Smith, Arkansas, a production of the good folks over at JustKids. The mural festival was organized to revitalize the downtown and waterfront of Fort Smith, by bringing vibrant murals to city walls in 8 days by 7 artists from 6 countries. Artist lineup includes: ROA, Vhils, ASKEW, Ana María, Maser, Bicicleta Sem Freio, and featured artist for this week’s article, D*Face! As one of the most active and recognized artists today, D*Face has been busy busy for years now, traveling around the world producing both large-scale murals and noteworthy gallery shows. In a different direction than his usual high impact pop-art style, the British artist took a more subtle approach on one of his two pieces for the festival that speaks to people and place, culture and history. Entitled “Trail of Tears”, this mural depicts a single white line heart painted on a raw red brick wall with many arrows around it and one within it on a red bullseye. Well designed and thought provoking, the piece can be taken many ways by viewers. However, the meaning is in the title – “Trail of Tears”.
After some research D*Face wanted to paint a tribute to local Native American history of the area. In 1838 and 1839 the Cherokee Native Americans were forced from their lands, across the Mississippi to present day Oklahoma as part of the Indian Removal Act. Because of this violent and tragic forced removal, the migration of the people is referred to the as the Trail of Tears. Perhaps the heart with one arrow in it is their original, lost land. Perhaps it is the new home they had to make. How do you perceive it? Thank you, D*Face, for touching on a heartbreaking social event from our past that we are still see the repercussions from today. Here at 1AM we see the message of let us not forget, so we may learn and not repeat.
(photos © Rom Levy, story awareness via Street Art News)