Exhibition

Nature’s Course: An Interview with John Newsom (Part 2)

John Newsom, Keep Watch, 2020. Credit: Oklahoma Contemporary Museum

Combining realistic representations of animals and vegetation, Abstract Expressionism, and hard-edge geometry, John Newsom’s paintings explore our intricate and complicated relationship with nature. I spoke with John about his origins, his practice, and his upcoming exhibitions – a mid-career retrospective at the Oklahoma Contemporary Museum and a two-person show with Raymond Pettibon in Palm Beach.

Continued from Part 1

JN: I grew up in a very solid family structure and being very close with my family. I have a family now and I just love family. I’m crazy about my family. So a strange thing happened on my 14th birthday. I thought that everybody had forgotten my birthday. Like everybody was playing dumb, they didn’t acknowledge it. And it freaked me out. It was a problem.

I went up to my room and was just kind of sad about it. It was on a Saturday. My Dad came up, and he peeked in and he said, “Hey, you want to drive downtown and get a Coke?” I said okay. And so we drove downtown. It was a beautiful sunny day. It was like a Norman Rockwell painting. We went into this soda stand and got Coke floats. We were talking about baseball and things like that. And then he said, “do you want to take a drive to Oklahoma City?” And I was like, yeah, sure, why not? I mean, that wasn’t totally out of the ordinary, but it was cool that he said that. But still no mention of the birthday.

Downtown Oklahoma City, 1987

So my dad and I drove to Oklahoma City. And at the time – this was before the ages of heightened security and terrorist alerts and all that – you could literally drive up to the tarmac of the landing pad at the airport, which is what we did. There was a small commuter plane waiting for us on the tarmac. I mean, it wasn’t a private jet or anything like that. It was just a small plane, which was cool. My dad looked at me and he said, “Hey, you want to take a plane ride?” Now this had never happened before. This was different. But he got up, we got on the plane and I was excited. I was just thrilled. This was an adventure.

 

We took off, I didn’t know where we were going. We were up in the air for a little over an hour, I’d say an hour and a half. We started making our descent and I look over and there are buildings around. We’re landing in a city. The plane lands, and we get out and there’s a car waiting for us. Not with a driver or anything fancy. It wasn’t anything fancy, but it was everything to me. This was the moment. My dad’s like, “Hey, you want to take a drive and see where we’re at?” It was amazing how he laid this out. So we get in the car and we start looping around and we are in heavy urban traffic and it’s going fast. It’s moving. It’s not stalled. It’s not like being in LA during rush hour. It’s fast-moving and we zoom off the freeway and I’m just wide-eyed looking out the window. The car stops. I look over at my dad and he puts his arm around me. He looks at me and he goes, “Happy Birthday.” Oh my God. And I look out the window and it says the Dallas Museum of Art. I blew open the door. There was a sidewalk, a long sidewalk between the car and the front door. And I just started running down the sidewalk, and there’s this giant leaning wall of steel on the left side of the sidewalk. And later in life, I would tell Richard Serra this story – I literally did that, Nathalie. I told him this story. I actually got him to smile. It was its own achievement, but that’s for another time.

NM: I’m smiling just hearing this.

 

JN: Yeah, man. But I didn’t know what it was at the time. I had no idea. All I could do was read the sign, Dallas Museum of Art. I run to the door. I walk in and I didn’t need to do check-in right away or any of that stuff – again, I was just 14 that day. So my dad was going to handle it. Because – because – installed right in front of me on the main wall was Robert Rauschenberg’s largest Combine Painting, Skyway, from 1964. And I just had an epiphany. John F. Kennedy was pointing down at me and I just saw my life flash before my eyes. I heard the calling. I was like, I’m going to be a painter. For real, for real, I’m going to go all the way with this, whatever that means.

Robert Rauschenberg, Skyway, 1964. Credit: Dallas Museum of Art

NM: Yeah, you flipped the switch.

 

JN: I really didn’t know what that meant, but I knew that it was happening. I knew this is what I wanted to do. So that was real, the real root of it. We had a great time. My dad came in, bless his heart, he didn’t know what was going on. He didn’t know what he was looking at.

 

NM: I have the same experience with my dad to this day. He always asks me to explain it to him, what does this mean, what am I looking at, you know, and I’m like, Dad, that’s beside the point.

 

JN: Right, he didn’t know, but thank God I had supportive, loving parents because they passed it on to me and I support my children like that. That’s a healthy chain of events, so that’s very cool beyond this discussion. So he walked in and he said, can you explain this to me? And I start talking about collage and painting, and there’s a giant Claes Oldenburg rope, anchor sculpture thing that’s extending from the ceiling down to the floor. There was a Jim Dine painting that has collaged tools in it, spray-painted elements, and just all this radical stuff. It was a radical presentation of Pop Art. It wasn’t so smooth. Even the Lichtenstein – it was the painted ceramic female bust. It wasn’t a domestic item. It was romantic, it was interesting, it was great. It was colorful. It was very tactile. I loved it.

But the Rauschenberg was the win for me that day. It really was, and I was kind of veering off the initial discovery of this whole thing via Warhol. I mean, I still love it. I admire it. I never got to meet him, but I hold his work in reverence. But just through self-discovery in life and your own painting practice, you come into your own. So I was, even then, veering away into other things, but I still was hoping to see a piece because I had never seen a Warhol in the flesh. But it wasn’t in the main gallery. So we walked through all this stuff, and before we left, I asked the person at the front desk where the restrooms were. I go to the restrooms, and there in between the restroom doors were two Warhol electric chair paintings. I was like, there they are! There they are. For some reason, they didn’t hang them in the main gallery. But if I hadn’t asked to go to the bathroom, I would’ve never seen the Warhol paintings. So I got to see them. They were really cool because those were some really edgy pieces. The electric chair series is just so intense, and I’ve seen thousands of Warhol paintings since then, but those are some of the best.

Andy Warhol, Electric Chair (Portfolio), 1971. Credit: Dallas Museum of Art

The Dallas Museum of Art is amazing. I saw a Philip Guston retrospective there. It’s a great space. I came back to Enid, the small town where I was from in Oklahoma, and my life would never be the same. I started taking pieces of found wood and plywood panels and I would staple TV dinner trays to the pieces of wood and throw paint all over them and take them into my art class, present them as art, and everyone thought I was crazy. Because that’s what I really wanted to be doing. But on the other hand, I was trying to draw as realistic as possible because that’s what everybody was getting off on. It was like, wow this guy can draw like the wind, it’s amazing, it looks like a photograph – but then I’m doing this crazy, really tactile, abject painting. I was just getting into it, you know, I had all this passion, but not really much direction. I was swirling and I continued to swirl for the next two years, which was good. It was all build up. I was still going to the library in my teenage years and I discovered an area of magazines that they had. I wondered if they had a magazine for art. So I asked the librarian about it and sure enough they carried ARTnews magazine.

 

I got a copy of ARTnews… and it was a still a little early, maybe late 13, 14 years old. I got back from Dallas and I was like, I gotta keep figuring this out, and we didn’t have Google. So I found ARTnews and I started reading it and I waited and anticipated when the library would get the new issue. I would look at the ads and I would read the reviews and articles and I’d discover artists. That was my junior high school into high school education of art. I knew what the galleries were showing in New York when I was 14, 15 growing up in Oklahoma. And honestly, Nathalie, I couldn’t wait to get there, because we had taken a family trip to New York around that time as well. I told my mother, I said, “this is where I’m going to live.” She was like, oh John, okay, whatever, and I’m like, no – mark my words. I’m going to do this. I’m a Taurus. So once I set my mind to it, it’s happening.

Julian Schnabel on the cover of ARTnews, April 1985

JN: So I found an ad in the back of ARTnews. It was a quarter-page ad for a summer camp called Interlochen in Northern Michigan, outside of Traverse City. It was advertised as a music camp, and I thought that was interesting, but I also read that they had painting. It was music, dance, and painting. It was basically an art preparatory school but a summer camp, and everybody was going to camp, including myself. I’d gone to baseball camp and church camp, but I didn’t want to go to those camps. I wanted to go to art camp. So I asked my parents, I showed them the ad and I said, “Hey, what do you think about this? This sounds really amazing. Can I apply?” Everybody was going to camp, so they were like, “well let’s see.” We looked into it and long story short, I got to go to the summer camp Interlochen.

 

That was kind of another pivotal point in this process because I just fell in love with it. It was just fantastic because there were instructors there, it was serious. It was life-drawing and still-life drawing and blind contour drawing and printmaking and introduction to woodcutting and intaglio etching. It’s all that stuff, you know, the classics. It was the academy. So while I was there, I discovered that they did offer the academy during the school year. I couldn’t go back home. I thought, how am I going to get to New York if I don’t do this? I don’t know how, but this is part of my journey. So I went, I left in the middle of high school to go to Interlochen Arts Academy. I got in and I worked really hard and I loved it. And it was just everything. It was –

 

NM: Where you needed to be. 

 

JN: Nathalie, it was just everything. It was just amazing. I dove into art history and the hardcore academics of art-making and the instructors were incredible. They were also interested in regional exhibitions that were happening in places like the Detroit Museum and Cranbrook and we would take trips there. I remember going to the Detroit Museum one time and they had a giant Rosenquist painting. I think maybe it’s where I grew up because I did grow up with a horizontal landscape, whereas my kids are growing up with a vertical landscape because they live in the city. It’s just a different site point, it really is. Day after day you get accustomed to it. So there really was an expansive field to the things, or paintings, physically, that I was attracted to. Just the scale of it. They’re like grand spaces you can walk in. If you get far back enough, it becomes another picture, you get close, it becomes an incredible physical reality. It’s just an amazing thing. So Rosenquist, how he was using aspects of visual collage was really interesting to me, especially the idea of remixing – again, revisiting notions of MTV and early days of Hip Hop. Even like certain types of rhythmic or electric guitars, metal, Kraftwerk, anything, listening to all this stuff. I’m thinking, like –

James Rosenquist, Star Thief, 1980

NM: Thinking what is going on!

 

JN: Yeah! Thinking that this is our time. This is now, it can’t be like the Italian Renaissance. It’s different, but you got to go and learn all that stuff. You asked me in the beginning about school and things like that. I really felt obligated to go in and learn as much as I could and just figure out the etymology of what it was I was getting involved with. And I love it to this day, I love just sitting down and getting into it like that. Doesn’t have to be about my own work. It can be about ideas of artistic thought and movement and other things. You know what I mean?

 

NM: Absolutely, I totally agree.

 

JN: So that was a really great period of work and development for me. And then the time came to leave and I applied to The Rhode Island School of Design and Cooper Union, and I got into both, but I decided to go to The Rhode Island School of Design. I applied there first, I got into Cooper after RISD and I just thought it would be a little buffer before New York, let’s put it that way. Being a late teenager, New York might’ve been a little much, but I knew I was going to be there eventually anyway, so it didn’t matter. So I went to Providence. It’s a gorgeous city. It’s a very, very European city. I felt a little stunted to be honest, the first two years there, and I came very close to transferring to Cooper Union.

 

NM: And you were in the painting program at RISD?

JN: Yeah, I was in the painting program. I was just ready to get to New York, but I still wanted to be in school. It just wasn’t time yet. But then I started to meet some people. I started to make some real friendships and I stayed there. I didn’t go. I finished at RISD and then I came to New York in 1992. So I’ve been here 30 years now. Then we get into New York itself, but I mean, we just covered a large swath of my history from the beginning to New York. Those are key points, the highlights.

John Newsom in his Spring Street Studio, New York, New York, 1992-93

Combining realistic representations of animals and vegetation, Abstract Expressionism, and hard-edge geometry, John Newsom’s paintings explore our intricate and complicated relationship with nature. I spoke with John about his origins, his practice, and his upcoming exhibitions – a mid-career retrospective at the Oklahoma Contemporary Museum and a two-person show with Raymond Pettibon in Palm Beach.

Continued in Part 3

Nature’s Course: An Interview with John Newsom (Part 2) Read More »

Artist Profile, Exhibition

Nature’s Course: An Interview with John Newsom (Part 1)

John Newsom, Beyond the Horizon, 2008-09. Credit: Oklahoma Contemporary Museum

Combining realistic representations of animals and vegetation, Abstract Expressionism, and hard-edge geometry, John Newsom’s paintings explore our intricate and complicated relationship with nature. I spoke with John about his origins, his practice, and his upcoming exhibitions – a mid-career retrospective at the Oklahoma Contemporary Museum and a two-person show with Raymond Pettibon in Palm Beach.

NM: I want to start from the beginning. How did you first get into painting and art history?

JN: I was born in Kansas, in the middle of America, in Hutchinson, which is a town outside of Wichita. I lived there for five years and then my family moved to Dodge City, which is kind of mythologized in the American west as this cowboy town, and Jesse James, etc. – it’s kind of a legendary place. So that kind of was a fun place to grow up from five to ten. During those five years in Dodge, I would go to this place called Boot Hill, which is a famous old Western subsidiary town within Dodge City. They had reenactments of old Western-themed plays, skits, narratives, salon girl dancers, and cowboy shootouts. It was wild. It was like the wild west. But it was an all-American childhood. I really am from that place, those early roots. That’s my foundation. Then at ten, my family moved to Oklahoma, and I spent my formative youth there. I was always painting. I was always drawing. I was just naturally engaged with the process from a very early age. I remember being three, four, and five years old and recalling vivid experiences of the process. It was definitely something more organic than normal. It was just in me. So I came to it very naturally and I just always did that. I mean, I did other things too; I played sports and ran around and did all that kind of stuff, but I was always drawing. I was always painting. That’s the early, early beginnings, the seedlings of how things started.

Dodge City, Kansas, 1878.

NM: Right. So in high school, when you applied to RISD, you knew you wanted to attend art school, and that painting was something you wanted to seriously pursue?

JN: Well, we got to step back a little bit before that. Again, in the context of where I was from, I didn’t have access to museums or galleries. I was growing up in rural America and it wasn’t the urban setting at all. It was just flat planes and a big, open sky. It was interesting, it was through the early days of MTV that sparked my curiosity. Whenever MTV first began, I can’t remember the exact date, but I remember watching it because it was exciting. It was new. Today, the young kids, they’ve got NFTs, they’ve got the metaverse, they’ve got all this stuff. We had MTV. That was what we had.

NM: I wish I had MTV.

JN: Yeah, man, I want my MTV! I remember I was watching MTV and Duran Duran came on the station and they were talking to this very strange person. I thought he was a new rock star because that’s how we were discovering music. And I love music. Music’s had a big influence on me, on my life and my work (and we can get to some of those things. Not to be long-winded about it, but I do have to lay out some of these stories for context). So I was watching Duran Duran interview this artist, and I thought, this guy has to be from London. I’m around 13, I think, when I’m watching this, like, oh man, I can’t wait to hear this guy’s music. And then they said that he was a painter! Then I really was like whoa, what? A painter? No way. I wanted to see his paintings. And it was Andy Warhol.

NM: Wow.

JN: So I was watching this interview with Warhol and I was really interested in his persona and how he was coming across as someone who could get on MTV as a painter. That was it. That was interesting to me because it was usually Duran Duran, ZZ Top, Def Leppard, you know, stuff like that. It wasn’t painting.

Simon Le Bon and Nick Rhodes (Duran Duran) Interviewing Andy Warhol for MTV, 1983

So my mother would drive me and my younger brother to the local library once every other week to check out books. I went to the librarian and I inquired to see if they had any information at all about Andy Warhol. And again, this is Enid, Oklahoma, a town an hour north of Oklahoma City, just south of the Kansas border. The odds of finding any information on Andy Warhol out there were slim to nil. So she came back with a book and it was a new book, a recent anthology on American Pop Art. And they had a little chapter on Warhol. So I checked out the book and I voraciously read it several times and looked at all the pictures, front to back cover. Through that I discovered the world of New York Pop Art – Lichtenstein, Jasper Johns, Robert Rauschenberg, Leo Castelli. I learned the story of the Stable Gallery where Warhol first started exhibiting before he joined Castelli. Leo had picked up Lichtenstein shortly before looking at two early Dick Tracy paintings of Warhol’s – that could get us down a whole other hole.

 

But anyway, I’m 13, I’m reading all this stuff. Very interested in it, I started drawing images of rock stars and sports figures and artists, things that I’m interested in. I had this kind of double-edge play, this double edge vision at work. One was kind of this Pop vernacular, and the other was just trying to learn the fundamentals of drawing from a more kind of academy style.

 

But again, where I was, I was restrained, because I didn’t have access to the knowledge, to really get it. And you really need, when you’re drawing, or when you’re doing form like that at any time, whether it’s hockey or painting or golf or whatever, you must have a live physical instructor to show you. You have to figure it out live. You can’t do that kind of knowledge via a book and have it be as effective. So I just kind of paralleled off into my own world.

Combining realistic representations of animals and vegetation, Abstract Expressionism, and hard-edge geometry, John Newsom’s paintings explore our intricate and complicated relationship with nature. I spoke with John about his origins, his practice, and his upcoming exhibitions – a mid-career retrospective at the Oklahoma Contemporary Museum and a two-person show with Raymond Pettibon in Palm Beach.

Continued to Part 2

Nature’s Course: An Interview with John Newsom (Part 1) Read More »

Artist Profile, Exhibition

COCO 144

Roberto Gualtieri, also known as COCO 144, is a master of a generation of writers, artists, and dreamers. One of the first ‘Writers’ of the late 1960s, COCO 144 embossed New York City subway cars, underground tunnels, and concrete walls with his spray-painted pen name—inspired by a popular Puerto Rican pet name and the street that he grew up on in Manhattan, 144th street. His art lives on, both literally and figuratively, throughout the hollows of New York City.

Growing up in the late ’60s with the backdrop of the evolving Civil Rights Movement, the Vietnam War, and growing class disparities, young adolescents found an outlet for these anxieties through their artistic expression all across the city that in part raised them. Their art, often ridiculed and policed, showed the tensions between the youths’ yearning for creative freedom, against the lack of resources and encouragement allowed to them. 

COCO144, emboldened by his peers, was one of the first to use stencils to sign his work. Rather than shy away from an activity considered highly illicit at the time, the artist stamped his name alongside the art. Whilst living within a system that sought to push out the marginalized, COCO began to write his name and claim ownership of the art. In an environment that was attempting to erase one’s existence, to do so was an inherently political act. 

In 1972, COCO made the decision to legitimize the urban style of art. He helped found United Graffiti Artists (UGA), which attempted to transfer ‘writers’ from subways to art galleries. The group had much success, as various artists were featured in exhibits across the country throughout the ’70s. His work helped establish urban art and elevated it as a global cultural phenomenon. Working alongside PHASE 2 and other ‘wildstyle’ artists, COCO continued painting and stenciling, spreading the written messages to communities who could relate to the experiences and emotions evoked by the works.

Since then, the art form has become an intrinsic part of New York City, as well as many other metropolitan areas. COCO’s work, in particular, has taught future generations of artists and creators the importance of the individual. This art movement was built by people who believed that their voices deserved to be heard, that their names deserved to be seen.

COCO 144 Read More »

Exhibition

My Name Was Writ in Water

MY NAME WAS WRIT IN WATER 

Curated by Mike Malbon & Nemo Librizzi 

Featuring: Phase 2, Jon One, Futura, Rambo, Coco144, Tracy168 

Projection Photography by David Schmidlapp 

In the wake of the Civil Rights movement, a generation of children took to the streets, and signed their  names to the trains and walls of a crumbling New York City infrastructure. If unique autographs- like Coco  144- were a significant form of self-expression in their unadorned form, this group practice would undergo in time a transformation, what Phase 2 described as an “evolution of style” towards a convoluted new application of the alphabet Tracy 168 called “wild style”. This innovative language dismissed as “graffiti”  by the media was illegible to the outsider, and a creative call-to-arms for the initiate, a battle of letters and  words Rammellzee dubbed “Iconoclast Panzerism”. Finally, writers would eschew the signature  altogether, and pure abstractions would serve as the artist’s calling card, beginning with Futura’s seminal  non-representational “break train”. The subway era was brought to a dramatic finale with the spontaneous  compositions of Jon One, who would go on painting in the same vein to artworld acclaim overseas. And in  the short, rich career of Lance De Los Reyes, this story is recapitulated from his first humble Rambo tags,  to an abstract body of paintings famed for sophisticated color instinct and poetic impact. In this historical  context, The Trops presents My Name is Writ in Water, a survey of abstractions curated by Mike Malbon and Nemo Librizzi.

ARTIST BIOS

Phase 2

P.H.A.S.E. 2 (1955- 2019) is known as a “hip-hop” pioneer for his artwork, fashion, music, dance and his often imitated “funky nous deco” party flyers.  His oeuvre set the groundwork for a growing inner-city culture and became a worldwide phenomenon. A first-generation ‘writer’ with roots in the NYC subway art movement, he was an innovator of what he called “wild lettering.” In 1972 he pioneered the “softie” letter used in the earliest subway “pieces” and introduced arrows, curls, twists and other connections that became universal visual elements in the art form. In the same year he was one of the first ‘writers’ to paint on canvas, where he would continue setting the bar for contemporary urban art. A style master whose works first focused on language, the letter, communication and then beyond to “unspoken words” and to themes of self-discovery and inner strength. P.H.A.S.E. 2 strode to be an underground artist, building his own worldwide network to advance his artistic narrative. 

Jon One (John Perello)

John Andrew Perello, also known as Jon One, is an American Graffiti artist. Originally hailing from Harlem, New York, Jon One is known for his abstract expressionism, influenced by the energy of the city he was born and raised in. He is also credited with founding the graffiti groups, 156 All Starz and Usines Ephémères, groups that would go on to heavily influence the graffiti scene of the 80’s in both New York and Paris. In 2015, Jon One was awarded the Legion of Honor in France, which is given every year to a foreign national in recognition of actions benefiting the country of France. Jon One now resides in Paris, and is internationally acclaimed for his work. 

Futura 

Born Leonard McGurr, in New York, NY, artist Futura has made a name for himself for his abstract take on graffiti art, by blending imagery with text. Starting with subway graffiti, Futura transitioned to being exhibited at Fun Gallery in the 80’s, alongside artists such as Jean-Michel Basquiat and Keith Haring. He has also gone on to collaborate with punk band, The Clash, and his work has been exhibited internationally in the Musée de Vire in France and Museo de Arte Moderna di Bologna in Italy. McGurr now lives in Brooklyn, NY and works as a graphic designer. 

Rambo (Lance de los Reyes)

Lance De Los Reyes, commonly known as Rambo, was a New York-based graffiti artist best-known for his depictions of upside down crowns and abstract poetry painted across billboards and buildings in New York. Born in Texas, De Los Reyes went on to study at the San Francisco Art Institute, and went on to adapt an abstract and symbolic style of creating his work. Through his eclectic use of symbolism it was clear he “saw himself as a messenger trying to tell us something—to open our eyes.” De Los Reyes died on November 6, 2021, at the age of 44. 

COCO 144 

Roberto Gualtieri, also known as COCO 144, was born in New York City. Getting his start writing his name on the subway lines of Upper Manhattan in the late 60’s, COCO introduced the usage of stencil, and used it to paint his name on walls and subways surfaces, allowing him to become well known across New York City. In addition, he is one of the founders of the UGA (United Graffiti Artists), a graffiti writing collective which helped usher in a new era of graffiti art that would transition it into becoming a global cultural phenomenon. COCO’s work went on to be featured in various exhibits, such as the Cartier Foundation’s Born in the Streets exhibit in Paris, and The Art in the Streets exhibit at the MOCA in Los Angeles.

Tracy168

Tracy 168 was born in New York City, and is recognized as an entrepreneur of the early graffiti movement. He was one of the first to adopt “Wild Style” lettering, which is an intricate form of graffiti that incorporates overlapping lettering and shapes to create visual depth. In 2006, an art piece by Tracy utilizing a subway car door to feature his work, was featured in the Brooklyn Museum of Art during its exhibit “Graffiti.” Tracy has maintained his street presence over the past few decades, and continues to create street murals in The Bronx and Brooklyn. 

David Schmidlapp

David Schmidlapp has been a New York City photography-based artist for over five decades. Schmidlapp has projected in countless international venues, highlighting in 2018 with an analog projection and live performance at MoMA in their “New York Film: No Wave – Transgressive” series. He gained influence in the counterculture movement of the 1970’s, Schmidlapp founded the IG Times in 1984, the first magazine dedicated to aerosol art and culture. Schmidlapp is now based in Hudson, New York, and has been featured in ACA Galleries and the MoMA.

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Exhibition

Looking Glass

CONRAD DE KWIATKOSKI

Looking Glass

#LookingGlass

Explore the mesmerizing art of Conrad de Kwiatkowski in this special exhibition curated by Nemo Librizzi

A student of anthropology, de Kwiatkowski is interested on the influence of the past and ancient cultures on the present. The continuum through time of central tenets of human existence are given voice through his heavily hand-worked pieces.

“I have a strong respect for things that are spiritual, hand-made and primordial objects and structures in particular reflect this hand-made ethos and speak to me through time,” he says. “It is the essence of the human touch that makes the work human as well as timeless.” Ancient objects feel imbued with meaning because of their connection to a past and that creates a sensorial nostalgia. His sculptures in particular relate to this thought of expressing an organic and timeless ethos echoing through millennia. “Essentially everything I make is intended to be a talisman of good intentions. A visual mantra of purity and rebirth. A search for a golden age, my work is a constant affirmation, guide and conversation with my heart.”

“Humankind for over 75,000 years, has projected transcendental energy onto stone. Although we still share many of these sentiments with our ancestors, we more often try and see objects for what they are. In regard to these stones, the best way to reconcile this paradox, in my opinion, is to project your own metaphorical context into the stone, as I do.

For example, a personal projection I yield to, especially when sanding them, is that of a junction point between the outer and inner world. I entertain the perception of these stones as an axis point between internal and external infinities: without effort, for the medium/process easily lends itself to that effect.

Also this interaction begets itself, so the more I project depth into the stone, the more in existence it comes to be.”

– Conrad de Kwiatkowski

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Exhibition

Away With Words

35 E 1st St, New York, NY

The Trops Gallery LES

7/15/21 – 7/29/21

ABOUT THE ARTISTS:

Ricky Powell was a New York born photographer known for his archiving of hip-hip culture in New York and the downtown scene of Manhattan. Powell was a tour photographer for the Beastie Boys, propelling him into a photo career that would lead him to have work featured in magazines such as Paper, Mass Appeal, and Ego Trip. Powell’s street photography of artists who frequently hung out downtown such as Jean-Michel Basquiat, Andy Warhol, and Madonna to name a few, would remain an important documentation of the New York art scene. 

 Khalik Allah is a photographer and filmmaker born in Brookhaven, New York. Allah’s love for photography began when he photographed members of Wu-Tang Clan using a camera he had borrowed from his dad. His work creates original worlds through portraiture that directly speaks to the photographed subject’s story. Shooting with a manual, analogue film camera, Allah tells stories of specific spots of the city such as the corner of 125th and Lexington through his imagery. Besides photography, Allah works with documentary film.

Sante D’Orazio, born in New York, is a photographer whom’s interest for art began while studying fine arts at Brooklyn College. He studied photography with Lou Bernstein and worked under contemporary painter Philip Pearlstein from 1979 to 1980. D’Orazio began his career working for Italian Vogue, and has since then worked for various recognizable brands and exhibited at galleries across The United States and Europe.

Artist and filmmaker Tom Jarmusch uses film and digital photography to tell stories of change and transformation. Through a kind of street-level vision, many of his photographs play with the concept of surroundings, how it affects us and how we change them. Jarmusch considers himself to be playing with “documentary and fiction” in his work. His work has been featured internationally at festivals such as the New York Underground Film Festival and Anthology Film Archives.

Catherine Simon, known as Kate Simon, is a writer and portrait photographer. She was born in Poughkeepsie, New York. Throughout her career, she took photos of many influential artists from all ways of life, such as Madonna, Andy Warhol, Patti Smith, and The Clash, just to name a few. Some of her most known photographs are the ones she took of Bob Marley and the Wailers; one of her most iconic portraits of Marley was used on the front cover of his 1978 album, “Kaya”. She was also the official photographer of Marley’s European Exodus tour in 1977. Simon’s work is internationally recognized and many of them can be seen in the permanent collections of the Smithsonian’s National Portrait Gallery, the MOMA, and the Andy Warhol Museum.

Splitting their time between New York and Dublin, artist duo McDermott & McGough are widely known for the appropriation of images from the late 19th century to early 20th century in their work. David McDermott and Peter McGough were both born during the 1950s, both studied in Syracuse University, and did not meet until they had both moved to New York City. They began their artistic collaboration in 1980, focusing on a Victorian Era style for all of their works. The duo has withheld a unique obsession with the past throughout their career that can be reflected in the subjects of their photographs. McDermott & McGough even converted a townhouse on Avenue C to its “authentic mid-19th century ideal”, lit solely by candles, and representing their refusal to embrace the historical present.

Fabian Palencia solidified his passion for photography in 2010 when returning to school for graphic design. He was born and raised in New York.  In his youth, he enjoyed taking pictures, writing, graffiti, and music among other mediums. Now, he is inspired by various aspects of life and art, particularly paintings he has seen in museums such as MOMA or the Met, and people on the street simply existing. One of Palencia’s favorite cameras is his iPhone camera, although he also works with 35mm and a medium format film. Palencia captures the essence of life through his candid shots across the city.

Kisha Battista is a New York based photographer, model and actress who has worked with mixed media from sculpting to painting and wood carving since her youth. A few years ago, Battista discovered photography and has since fallen in love with the process of her work, which includes the mixing of photography with wood workings and paint. Her work is unique due to their one of a kind processes and presentations.

Born and raised in New York, Armando Nin studied at Pratt and is now taking part in The Art Student League. A street photographer reaching into his archives, Nin captures the gritty extremities of his surroundings in the City starting in the mid 2000s into present day. Mostly on his 35 mm point and shoot camera, Nin captures moments in the metropolis, making paintings as well as prefabrications. He came upon a camera as a child but never considered photography something to “learn” or “practice”, now displaying his archived material through his instagram platform for all to respond to and experience.

T. Eric Monroe is a New Jersey based photographer who shot mainly in the 90’s capturing the hip hop scene’s intimate and behind the scenes moments. Working for magazines like Thrasher, the skate magazine, T. Eric got chances to form relationships with some of the biggest names in hip hop and photograph their performances, in the studio recording or behind the scenes as well as hanging out at their homes and neighborhoods in New York City. To name a few, T. worked alongside Lauryn Hill, Erykah Badu, Tupak Shakur, Biggie, RZA, Old Dirty Bastard and Missy Elliott.

Known for her costume design, Robin Newland has  had a life-long passion of collecting, dressing up dolls and has recently been posing for photoshoots. She is inspired by different pop stars as well as some of her favorite characters. She creates entire plots and stories for the dolls as if the images she takes are the dolls’ everyday experience and they are real to her.

Born and currently living in New York City, Michael Avedon is a portrait photographer who makes commercial work as well as personal stories, also recognized as being the famous photographer’s grandson, Richard Avedon.  He graduated from the International School of Photography in 2013 and went on to create iconic pop culture images through his commercial work. Avedon appeared on Dazed 100’s list of 2014 as well as Forbes’ 30 under 30 in recognition of his stunning imagery in photography.

Born and Raised in Boston, Massachusetts, Barron Claiborne is a self taught photographer who began at age 10. Later in 1989 he moved to New York City and began working alongside prolific photographers such as Richard Avedon and Irving Penn, which heavily influenced his path in print work, mostly working in large format. Claiborne has been in publications including The New York Times, The New Yorker, Rolling Stone and Esquire to name a few. Focused on 8×10 polaroids, Claiborne is working on a series both historical and mythological in relation to his African ancestry.

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Exhibition

ABOVE FRESH AIR

SUNDAY JUNE 27 2021

FEAT:

DJ SMOKE

CATCH THE VIBE

Kareem TaylorCatch A Vibe is a pop up dance improvisation session based in NYC. It is a safe space that is curated to explore movement through various prompts that are meant to challenge the minds and bodies of the participants.

THE SHOW

ABOVE FRESH AIR (FASHION SHOW)

STYLISTS

Joshua Joseph (@swordofthemornin) – Joshua Joseph is a fashion designer and stylist born in Trinidad, based in New York. Joshua has been creating since he was young, having learned with his father about sewing and working with leather. Now, he is the founder of his clothing line “Rebels to Dons”, and a stylist to many people across the fashion, film, music and sports industries. Joshua is curating “Above Fresh Air”, an experience that looks to encourage and uplift local creators who would like to show their work to the world.

John Taylor (@jtizalive) – John Taylor is a Menswear designer and Art director based inNew York City, he has designed for some of the most acclaimed menswear in the city, such as Thom Browne, Aimeé Leon Dore, and Willy Chavarria. John Taylor will be officially launching his line “Moment Homme” in Fall 2021.

DESIGNERS

Rebels to Dons (@rebelstodons)

Rebels to Dons is an innovative brand founded in 2012 by Joshua Joseph. Joshua’s label, rooted in the upcycling of garments, looks to encompass the merging of island and city culture through his designs. Elaborations such as cut and sew techniques on sportswear silhouettes make Rebels to Dons stand out as a brand that merges luxury with leisurewear. 

Daily Paper (@dailypaper)

Daily Paper is an Amsterdam based fashion brand founded in 2012 by Abderrahmane Trabsini, Jefferson Osei, and Hussein Suleiman. The three founders have been friends since school and creating together since 2008, evolving what once was a streetwear blog into an internationally recognized clothing brand. The designers look to make their African heritage an intrinsic element in the creation of their designs and prioritize giving back to communities across Africa. Daily Paper looks to represent a generation of underrepresented creators while breaking away with limiting barriers in the fashion world.

LAAMS nyc (@laams.nyc)

LAAMS is a streetwear shop located on 74 Orchard street that is difficult to confuse with any other clothing store. When it was first elaborated, its founder, Scott Selvin, envisioned a space that could house a vintage boutique, bookstore, juice bar, screen printing lab, and a tattoo shop, among many other things. The essence of community and creation can be seen within the multidisciplinary space. At LAAMS, creatives are welcomed to browse merchandise and are simultaneously offered an accessible space to view and produce art. 

Barriers NY (@barriersny)

Barriers NY is a New York based brand that uses its platform to commemorate important activists and revolutionaries such as Angela Davis, Malcolm X, and Fred Hampton among others, as it also offers a platform for upcoming artists to show their creations and get involved in streetwear culture. On their website, it is mentioned that the mantra “Create Your Opportunity” transcends across the brand’s vision.

Reus Laboratories (@reus_labs)

Established in Brooklyn, NY in 2018, ⓇEUS is a BIPOC-owned mind lab and high-fashion streetwear brand focused on sustainability and hand craftsmanship. The creator presents one-of-a-kind Upcycled and Reworked Custom designs to create timeless and environmentally conscious style.

New Way of Life (@newwayoflife.world)

New Way of Life is a clothing brand that consists of streetwear often displaying the brand’s name in the Pan-African colors of red, yellow, and green. On their website you can find tote bags, t-shirts, and jeans reading “New Way of Life”, often embroidered, making their pieces intricate and one of a kind. A recurrent phrase seen among their pieces is “We are from and of the people.” Besides clothing, other items such as the book “Nothing Changes if Nothing Changes”,  and necklaces with the Ethiopian Coptic cross can be found on their site. 

Pat’s Pants (@pats.pants)

Pat’s Pants, founded by Pat Hoblin and Cassandra Mayela, looks to produce sustainably made clothing and make use of all scraps and extra fabrics. The brand is currently run by Pat, who maintains a goal to make clothes that are intentionally sustainable as it is useful to whoever wears it. Pat’s Pants has a vision to make that one pair of comfortable and functional pants that you wouldn’t want to take off.

Gangsters Buy Flowers (@gangsters.buy.flowers)

Founded by Maxime Hilaire, The “Gangsters Buy Flowers” brand is about highlighting the duality of man. The art of being tough but having a softer side. Hustling & grinding all day, but picking up a bouquet or a few roses for the house on your way home. Having that tough exterior but still having a love & admiration for life & the beautiful atmosphere that flowers. 

Maison Monsieur Mikey (@maisonmonsieurmikey)

Maison Monsieur Mikey New York is a contemporary lifestyle designer brand, founded, designed and produced by Mickal “Mr. Mikey” Stubblefield, that seeks to answer the question ‘what is contemporary from a classic NYC style perspective?’ It is an anti-fast fashion experimental brand that offers a selection of ready-to-wear outerwear & apparel, accessories, home goods and jewelry that aims to appeal to both aspirational and luxury clientele. Its current Spring-Summer  2021 collection, titled “No Man Is An Island,”  seeks to find unity after going through an especially difficult and isolating time.

True Yorkers (@trueyorkers)

The True Yorkers brand represents “a connection between those that walk the talk and those eager to right NYC history.” Their apparel is made to represent the city lifestyle and energy, and, as seen on many of their pieces, True Yorkers are “often imitated, never duplicated.”

Western Elders (@westernelders)

Western Elders is a “physical representation of heritage, legacy, and culture.” Its founder is heavily influenced by their West African heritage and its culture, sharing in their website a fond memory of their grandmother reminding to “respect your elders.” Western Elders is an expression of the duality that is growing up in New York with West African roots, it is “built by Africa, Made in New York.”

Vinnie’s Styles (@vinniesstyles)

Vinnie’s Styles first opened up on Flatbush Ave in 2002. The store is named after the Panamanian grandfather of the three brothers who founded the space-Jacob, Paul, and Desta Parris. One of their most iconic pieces are their “Brooklyn” t-shirts written in varying scripts, besides these, Vinnie’s Styles supply shoppers with a wide range of streetwear coming from collaborations or their in-house brand, Paulie’s. The three brothers from Vinnie’s have also expanded their operations, setting up a store in Atlanta.

It’s important that we create a vision of what it looks like when we support each other and our communities. The concept of Above Fresh Air is to introduce people to new up & coming brands and artists.

This summer, the branded runway show and exhibition presented by The Trops will focus on highlighting the freshest brands from NYC communities.

This fashion show at FSG Park in LES is uniquely designed by some of the most creative stylists of NYC, combining different garments from each brand to create a series of unique looks for the runway.

ABOVE FRESH AIR Read More »

Exhibition

MOMENTS NOTICE

35 E 1st St, New York, NY

6/3/21- 6/17/21

Growing out of the pavement of New York City, The Trops offers a fresh new alternative to the typical gallery setting. In this dawn of the post-Covid age, artists have emerged from confinement with an abundance of highly-energized new work to share with the world. Moments Notice presents a survey of intimate drawings, from a diverse group of artists at different stages of their creative journey. These often personal, always meaningful, artworks are held together by common themes from dream logic, whimsical forms of caricature, and sketches of an imaginary exotic projected by creative souls under quarantine. These first blossoms are, we hope, the first sparks of a cultural explosion that will return a wounded New York City to the forefront of the international art world

FEATURED ARTISTS:

David Aaron Greenberg- David Aaron Greenberg was born in New Haven, Connecticut and is a Painter amongst other creative and critical endeavors. He attended college at Rutgers University, Phi Beta Kappa, majoring in Art History and now lives between New Jersey and New York. Greenberg’s a multi talented artist and his work varies from painting, drawing, poetry, prose as well as music. He has been exhibited in various galleries around New York City as well as a permanent collection at Stanford University.

Jordan’s sunburn
Acrylic on Paper
24” x 18”
2021
That face
Acrylic on Paper
24” x 18” 2020
That other face 
Acrylic on Paper
24” x 18” 
2020
Tough (Study) 
Acrylic on Paper
24” x 18” 
2020
He Called Me Daddy
Acrylic on Paper
24” x 18” 
2020

Ray Smith- Ray Smith was born in Brownsville, Texas and raised in Central Mexico. He studied the technique of fresco painting before attending art academies in Mexico and the United States and now living in both New York City and Cuernavaca, Mexico. Smith’s work is magical surrealism using surreal imagery to incorporate in his collages, painting in his anthropomorphic creatures. “They are an entity of the human figure,” says Smith. “They are beasts, but they are directly attached to a blueprint of our own existence.” 

American Calendar Series #1
Enamel on plexiglass, vintage calendar prints with artist frame
20” x 16”
2016
American Calendar Series #2
Enamel on plexiglass, vintage calendar prints with artist frame
20” x 16”
2016
American Calendar Series #3
Enamel on plexiglass, vintage calendar prints with artist frame
20” x 16”
2016
American Calendar Series #4
Enamel on plexiglass, vintage calendar prints with artist frame
24” x 18”
2016
American Calendar Series #5
Enamel on plexiglass, vintage calendar prints with artist frame
24” x 18”
2016

Francks Deceus- Born in Cap-Haitien, Haiti, Francks Deceus moved to and has settled in New York City ever since, currently working and living in Brooklyn, NY. He received a B.A in sociology from Long Island University and studied the skill of printmaking at Bob Blackburn Printmaking Workshop. His bright abstract, somewhat figurative series Mumbo Jumbo contains a single striped fire hose amongst, sometimes entangled around African American figures. Having no end and rarely a beginning to the hose, the symbolism signifies that there is no foreseeable future, that it is always right around the corner. Much of Francks Deceus’ work connects to his Haitian culture and the identity of Haitians and Africans.

Mumbo Jumbo Study #1  
Ink & Acrylic on  Paper  
24” x 18” 
2021 
Mumbo Jumbo Study #2
Ink & Acrylic on Paper  
24” x 18” 
2021 
Mumbo Jumbo Study #3
Ink & Acrylic on Paper  
24” x 18” 
2021 

Aurel Schmidt- Born in Kamloops, British Columbia, Canada, Aurel Schmidt is now residing and maintaining a studio practice in New York City. Influenced by the debris and litter of downtown New York, as well as the rest of the world’s issues with the amalgamation of refuse build up, Schmidt challenges the standards of beauty through chosen trashed items. By creating technically advanced drawings of waste that include elements of actual trash, Schmidt builds figures of dolls, mythical creatures as well as constructions of faces. Schmidt is fascinated with the decay and destruction that is caused by humans in contrast to the ideals people have regarding beauty. 

Untitled(Rat & Roach Dance)
Pastel on paper 
9 1/2” x 7” 
Untitled (Foreplay) 
Pastel on paper 
9 1/2” x 7” 
Untitled (Trio in Bed) 
Pastel on paper
 9 1/2” x 7” 

Lance De Los Reyes- Lance De Los Reyes was born in Texas and studied painting, performance, sculpture and video at the San Francisco Art Institute and currently lives and works in New York City. His abstract works of colors, formal and new shapes, Los Reyes believes in all the universe has to offer, with a chaotic mindset present in much of his work. He uses symbolism to communicate his mythological influences and archaic beliefs in his simple yet complex forms.

Actions of Willpower 
Graphite on Stonehenge paper
24” x 18” 
2021
Conspired for ruff Ashlar stone
Graphite on Stonehenge paper
18” x 24” 
2021 

Vahakn Arslanian- Born in Antwerp, Belgium and relocated with his family to New York City as an infant, Vahakn Arslanian is fascinated and inspired by roaring jet engine planes, explosives, luminous light bulbs and flickering candlelight. He has been nearly deaf since birth, his only sense of noise is from that which is thundering to the ears, for him, a glimpse at the vibrational frequency of sound. Along with his fascination with planes comes birds, where this biomimetic pair have in common, he mends the two, such as his rough paintings and drawings of plane wings with bird feathers. He takes much of his work and frames them in vintage plane windows, often broken and cracked.

Light of Jet MD
Nail Polish on paper
in old airplane light
11 1/4” x 8. 1/4” 
2020 
Melting of Heat  
Nail Polish on paper  
27 7/8” x 14” 
2019-20 
TWA Nail
Polish on paper  
16 1/2” x 19 1/2” 
2012 
Green Candle  
Oil on Canvas  
22 1/2” x 12 3/16” 
2003 (added 2016) 

Alfredo Martinez-  Alfredo Martinez lives and works in New Jersey. Drawn to controversy, he is well known for being convicted for forging and making large profits off of Jean-Michel Basquiat paintings and drawings. Martinez was jailed in New York City, where they do not allow inmates to make art, however this did not stop Martinez from making his gun drawings out of whatever materials he could find while inside. He smuggled these drawings out, as he had got into trouble a few times for making art, let alone blueprints of loaded arms. 

Chiapa Rhino
Mixed Media on Paper  
24” x 36” 
2018 
Prototype
Mixed Media on Paper
24” x 36” 
2018
Folding Trigger
Mixed Media on Paper
24” x 36” 
2018
C263 32cal
Mixed Media on Paper
24” x 36” 
2018
BHPPB 9mm 
Mixed Media on Paper
24” x 36” 
2018

Rick Librizzi- Rick Librizzi made an impact on the art scene in New York City when he joined the Art Students League as well as attending Cooper Union. He later became friends with significant artists of the time such as Andy Warhol, Robert Motherwell and Tom Wesselman. An artist, poet and curator Librizzi was influenced by the 1950s New York City streets, watching maintenance workers paint the fixtures with little care. His paintings and drawings are cutting edge, at the forefront for something new and inventive, chaotic with a level of technique that is unmatchable. 

Mexico DF
Pen & Ink and Watercolor
29 ¾” x 22”
2015
Good Luck
Pen & Ink and Watercolor
13 ⅞” x 11”
2021
Junk City
 Pen & Ink and Watercolor
11” x 13 ⅞”
2021
Cigarette Ball
Pen & Ink and Watercolor
11” x 13 ⅞”
2020
Fuck Politics!
Pen & Ink and Watercolor
12” x 9”
2015

Ben Ruhe- Ben Ruhe is a visual artist who grew up in Brooklyn, New York. His visual work was sold into private collections, he works on something a bit out of the ordinary. Now Ruhe is fascinated with building a quirky and extensive list of historical music on a radio station website called Magic Transistor with his colleagues. He began this musical endeavor by curating music at galleries, as well as listening to authentic music as he created his own work. He also has a blog in which he curates Google images which have been found while listening to these dazzling inspiring songs.

Untitled (Creature) 
Pastel on Paper 
5 1/2” x 8 1/2” 
Untitled (Trumpet)  
Pastel on Paper 
12 13/16” x 21 9/16” 
2021 
Untitled (Green Face) 
Pastel on Paper 
8 1/4” x 8 1/4” 

Rhys Gaetano-  Rhys Gaetano is an American artist who lives and works in New York City. He attended Cooper Union and participated in the The Bruce High Quality Foundation, an anonymous group of artists that world on a number of various mediums including but not limited to sculpture, installation, film and mixed media projects by establishing an art school that is alternative to that of traditional institutions. His abstract expressive work is a factor of his refusal of institutional and traditional art making. 

Untitled (Rabbit) 
Gouache & Ink on Vintage Bond
11” x 8 1/2” 
2016 
Untitled (Eat Take) 
Watercolor & Ink on Vintage Bond
11” x 8 1/2” 
2016 
Untitled (Honey) 
Watercolor & Ink on Paper
11” x 8 1/2” 
2016 

Kase 2- Kase 2, born and raised in New York City, is known as the God of Graffiti writers, also known as “The King of Style” . The magical, technical lettering you see today was invented by Kase 2, the legend of the streets. “Imagine you [are] a kid about 14 or 12 years old and you get on the train one day and you see it colorful.” He painted the city getting “high off the idea” and inspiration of coloring the trains and streets of New York. He was an artist as a kid before he lost one of his arms and resorted to “writing”, which we know as graffiti. He befriended Butch 2, the “king of all kings” in the grafftiti world, where he learned to get creative and write the constructive lettering that is familiar today.

Sketch #1  
Pen & Ink on Paper  
8” x 10” 
1976 
Sketch #2 
Pen & Ink on Paper  
8” x 10” 
1976 
Sketch #3  
Pen & Ink on Paper  
8” x 10” 
1976 

Mark Gonzalez- Mark Gonzalez, also known as “The Gonz”, is a professional skateboarder and artist from South Gate, California who now skates, works and lives in New York City. He was a contributor to the beginning of street skating; taking the board out of the bowls and ramps and onto the curbs and rails of the city. Mark Gonzalez, being a world famous skateboarder has also shown in galleries around the world for his avant-garde art, which started as designing the bottom of skate decks for the skateboard brand Alva Skates, owned by Tony Alva. His artwork is surreal and humorous in its illustrative manner, looking innocent yet profoundly ingenious.

“hollywood starlet gives birth to ten  pound baby general connsincess,  the fauther is Marcus Loew”
Graphite on paper sheet
5-1/2 x 9-1/8 inches frame: 9-1/4 x 11-3/4 inches
2014 

Lola Schnabel- Raised by her painter and filmmaker father, Julian Schnabel, in New York City at The Chelsea Hotel, Lola Schnabel’s background in the arts began as she was born, being surrounded by artists as well as being bred in the enthralling metropolis that is New York City. Lola Schnabel now lives and works in Sicily, Italy, where she found her inspiration to continue painting. Her work finds a space between abstract and figurative not knowing exactly what she is going to paint before she starts. Her intuitive painting style ranges from still lifes, portraits, landscapes to that of the abstract. Raised by her painter and filmmaker father, Julian Schnabel in New York City at The Chelsea Hotel, Lola Schnabel’s background in the arts began as she was born, being surrounded by artists as well as being bred in the enthralling metropolis that is New York City. 

Sumba priest Baiya  
Pigment watercolor on handmade  Indian paper 
30” x 22” 
2018 
And Martha his wife 
Pigment watercolor on handmade Indian paper 
30” x 22” 
2018

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Exhibition