It was a cold rainy day in Culver City on February 2nd when exhibitions Way of Life II and No Broken Promises opened to the public, but art enthusiasts and fans of Kisung Koh and Jana & JS braved the weather for the opening reception. Both exhibitions featured new work by the artists that highlight their unique artistic voice and style.
Last week Convergence opened at the Rubin Center for the Visual Arts at the University of Texas at El Paso. The group exhibition featured an installation by Michael Reeder and works by Alex Garant, Brian Mashburn, Casey Weldon, Cinta Vidal, David Rice, Drew Merritt, Jolene Lai, Michael Reeder, Scott Listfield, Telmo Miel and Wiley Wallace.
Convergence will be on view now through April 6th at the Rubin Center for the Visual Arts.
Rubin Center for the Visual Arts
The University of Texas at El Paso
500 W. University Avenue
El Paso, Texas 79968
We’re excited to be showing husband and wife duo Jana & JS in the Thinkspace Project room for “No Broken Promises” opening Saturday, February 2nd. The exhibition will show new stencil and acrylic spray paint works by the French/Austrian pair who have been collaborating since 2007. The two have developed a stylized stenciling practice, often using site-specificity and portrait-based interventions into a city’s architecture to produce unexpected encounters.
In anticipation of “No Broken Promises” our interview with Jana & Js discusses the inspiration behind the exhibition, their feelings towards their creative process, and what they do after completing a body of work.
SH: You’ve shared with us before how you began to work together, but for those that are not familiar with your work as a duo, can you give us three words that describe the evolution of your artistic partnership and each other’s respective zodiac sign?
J&J: More personal, More sensitive, More introspective
Jana is Taurus / Js is Virgo
SH: Is there a particular piece in this exhibition that really challenged you both? If so, why and what makes you proud of this piece.
J&J: We can’t really think of a piece that was more challenging to create than the others. But we can say that we are very happy with the works “All I want to see is that you’re ok” and “Waiting”.
We have been introducing some new elements lately, and we really like how these precise pieces came out!
SH: What inspired this latest body of work?
J&J: “Memories” is the main inspiration for this body of work.
All the images that we painted were inspired by our memories, or feelings induced by past moments. The objects we painted are carrying history and memories from others.
All the pieces we’re presenting for this show are painted on found objects, assemblages of wood fragments that we found in abandoned houses or factories.
These objects had a previous life, all the objects have accompanied people in their everyday life or in their works. We love to think about all the history they have and use the mark of the time passing in our work.
SH: How do you capture ideas for pieces; do you have a sketchbook on hand or is it just a note to yourself in your phone?
J&J: We don’t really have a sketchbook, for that kind of work. it’s more of a notebook where we are writing ideas, phrases, lyrics…
Our camera would be our sketchbook. The basis of our stencil work is our photographic work. We take a lot of pictures… and some of them will be transferred into paintings.
SH: What excites you about your work / creative process?
J&J: We never get bored of what we are doing. We love our “job” and living something special like that together is the most exciting thing for us.
Being able to be creative, travel, discover new environments, meet new people (and especially because we can do that together) is amazing.
And being able to perpetually share ideas and
SH: What frustrates you about your work/ creative process?
J&J: Right now, what frustrates us the most is not having enough time to experiment more.
SH: What do you think the role of artists is in society? How does other artwork inform how you move through life?
J&J: We believe that artists are providing society with emotions, reflexions that lead to make the world a better place.
SH: What is the best advice you’ve received as an artist? The best advice you’ve received in general?
J&J: The best advice we’ve received as an artist is “Be true to yourself, express the things that
SH: Favorite way to celebrate the completion of a project/body of work?
J&J: Spend time with the kids, and forget about the painting for a little while.
Join us for the opening of “No Broken Promises” this Saturday,
February 2nd from 6 – 9 pm.
JANA & JS
NO BROKEN PROMISES
February 2 – February 23, 2019
Concurrently on view in the Thinkspace project room is No Broken Promises, featuring new stencil and acrylic spray paint works by husband and wife duo Jana & JS. The French/Austrian pair, collaborating since 2007, has developed a stylized stenciling practice, often using site-specificity and portrait-based interventions into a city’s architecture to produce unexpected encounters. Working with existing structures and found materials, the pair explores the relational tension between past and present, new and old, static and variable.
Based on their photography, these images often stage emotionally jarring or poignant figurative compositions, capturing unexpected moments of intimacy, disclosure, or tenderness in impossible or unlikely contexts. With the help of dramatic shifts in scale and contrast, the superimposition of these disarmingly vulnerable narratives onto the structurally immovable or permanent alters our perception of place. Ultimately, the pair modifies the reception of context by colonizing it with the meaningful assertions of personal experience. Jana & JS explore the position of the individual within the homogenizing expanse of the urban landscape and consider how that subjectivity must find a way to exist in spite of the potentially negating and impersonal nature of life in the modern city.
Concise and impactful, Jana & JS’ works are bold, chromatic, and graphically circumscribed, recalling a quality of line essential to the language of print. Their insertion of the personal and emotive into the public domain disrupts its fundamental disavowal there, perhaps in the hopes of reassuring its continued expression and visualizing a politics of empathy.
“WAY OF LIFE II”
February 2 – February 23, 2019
(Los Angeles, CA) – Thinkspace is pleased to present new works by Southern Korean, Toronto-based artist and illustrator Kisung Koh in Way of Life II, the artist’s first solo exhibition in the gallery’s main space. Koh creates an allegorical universe through which to explore human loss and longing. The animal subjects in his paintings are laden, haunted, in a way, by a parabolic significance beyond their nature. Hyper-realistically rendered but staged in abstracted or imagined spaces, these creatures become emissaries of a spiritual dimension. Inexplicably prescient as both surrogates and revenants, they’re split between past and present tenses, animated by memory, the insatiable pining of nostalgia, and the impossible projections of fantasy. In search of the spiritual in nature, Koh’s emotionally heightened naturalism stages the animal as a manifest vehicle of the inexpressibly human.
Born in South Korea, Koh moved to Canada in 2006. His earliest childhood memories are of exploring rural settings where he grew up in Korea, a place that has fostered his lifelong love and attachment to nature. Koh studied illustration at Sheridan College in Toronto, Canada, graduating with a BAA in 2012, and works professionally as an illustrator in tandem with his fine art practice. He has exhibited extensively in group shows internationally, though Way of Life II is only Koh’s third solo exhibition to date. Inspired by the intersection of nature, memory, and dream, his world of imagery is an extended metaphor for the personal and intrapsychic struggles in which our modern humanity is mired.
The artist describes an early experience of witnessing a family of deer at close distance in the wild, and the inexplicable ‘presence’ of the spiritual harbored within nature, often thought to be an ingress or gateway to the spectral or supernatural. The animal world attentively and lovingly brought to life by Koh, is steeped in this inscrutable magic. He accesses an ancient and collective impulse towards the enigmatic displacement of the human onto the animal found in myth and archetype; a storytelling convention and psychic tool shared, since time immemorial, across multiple locations of culture and place, perhaps due in part to the animal exemption from language and its self-conscious legacy of human bondage. Koh projects affect onto the creature threshold, dramatizing a world of animal proxies to explore mortal fear, loss, hate, dislocation, isolation, mercy, and love, in the absence of any divisive human ideologies of belonging.
In Koh’s works, the inexpressible elisions of language are given a tangible, universally approachable guise in animal form. In previous bodies of work, he has explored elephants, deer, fox, owls, tigers, and has even dedicated an entire series of peaceful portraits to the itinerant polar bear, personally moved by the tragedy of his forced nomadism and rapidly receding habitats. Hoping to inspire pause, appreciation, and an increased awareness of our responsibility to protect the nature in our midsts, Koh’s dramatically high contrast and yet simultaneously diffuse and dreamlike works in oil, oscillate between the idyllic and the unsettling.
In Way of Life II, Koh considers the necessity of interrelationships, and the fundamental exclusions and reciprocities established between creatures in wild coexistence to survive. Koh hopes to encourage the viewer to question the basis of these exchanges and to think about how we occupy its propositions. Are we aggressors and predators, or hapless victims? Or, as is more generally and imperfectly the case, a complex and unreconciled embodiment of the two.