News

JLG Relocating to Jersey City

Jonathan-LeVine-Gallery

Jonathan LeVine Gallery is pleased to announce its forthcoming relocation to Mana Contemporary in Jersey City, New Jersey.

After twelve years of operating in the Chelsea art district of New York City, gallerist Jonathan LeVine will return to his Jersey roots, bringing his cutting edge aesthetic and ethos along with him. With a newfound focus on community and collaboration, the newly named Jonathan LeVine Projects will be an essential venue within the up and coming arts community of Jersey City and an integral part of its cultivation towards becoming a thriving creative center.

Jonathan LeVine Projects will be located at Mana Contemporary, a leading arts destination dedicated to celebrating the creative process. Founded in 2011, the organization unites artist studios, exhibition spaces and ancillary services in a single location. Jonathan LeVine Gallery began working with the Mana Urban Arts Project in 2014 and have since collaborated on an array of public art initiatives, including murals by Shepard Fairey, How & Nosm and Nychos, as well as The Juxtapoz Clubhouse presented at Mana Wynwood during Art Basel Miami 2016.

This dynamic partnership with Mana Contemporary will continue to allow Jonathan LeVine Projects the ability to further develop engaging and unique programming, such as pop-up shows and museum quality exhibitions with the possibility of travelling to satellite Mana locations in Chicago and Miami.

LeVine elaborates, “Moving out to Mana in Jersey City is like moving to Chelsea in the mid-90s’. My aim is to pioneer new territory, rethink the changing nature of the brick and mortar gallery and collaborate with artists on new ideas. A partnership with Mana comes with multiple resources, endless space and the possibility of reinvention in new and exciting ways.”

The inaugural exhibition at Jonathan LeVine Projects,  Welcome to New Jersey, will open on February 18th and feature the following artists: Adam Wallacavage, AJ Fosik, Alessandro Gallo, Alexis Diaz, Andy Kehoe, Ashley Wood, Augustine Kofie, Beth Cavener, Camille Rose Garcia, Carlos Ramirez, Chloe Early, Cryptik, Dan Witz, Diego Gravinese, Eloy Morales, Erik Jones, EVOL, Gary Taxali, Haroshi, Hush, Jeff Soto, Jim Houser, Joel Rea, John Jacobsmeyer, Jorg Heikhaus/Alex Diamond, Josh Agle (Shag), Kazuki Takamatsu, Mab Graves, Martin Wittfooth, Mary Iverson, Matt Leines, Matthew Grabelsky, Michael Reeder, Miss Van, Nick Walker, Nychos, Phil Hale, Ron English, Shepard Fairey, Tara McPherson and Tristan Eaton.

Jason deCaires Taylor’s Underwater Museum Inauguration

Europe’s first underwater museum opens off Lanzarote

Almost three years in the making, Museo Atlántico, off the south coast of Lanzarote, in the Bahía de Las Coloradas, officially ‘opens’ on 10 January. The project consists of 12 installations and more than 300 life-size human figures, created by British sculptor Jason deCaires Taylor, 12 to 14 metres under water. This work, called Portal, forms part of an underwater botanical garden. The mirror reflects the moving surface of the ocean and is elevated on a series of supports which contain small compartments and “living stations” designed to attract octopus, sea urchins and juvenile fish.

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The collection of sculptures is designed to provoke environmental awareness and social change, with each piece creating an artificial reef that will promote marine life, and can be ‘toured’ by scuba divers, with a start and an end. It can be accessed by scuba divers (€12pp) and snorkellers (€8pp) with departures from the Marina Rubicón port located in the south of the island. See cactlanzarote.com for details

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The new installations include 35 figures walking towards a gateway in a 30-metre-long, 100-tonne wall. The work, called Crossing the Rubicon, is ‘intended to be a monument to absurdity, a dysfunctional barrier in the middle of a vast fluid, three-dimensional space, which can be bypassed in any direction,’ says deCaires Taylor. The work “aims to mark 2017 as a pivotal moment, a line in the sand and reminder that our world’s oceans and climate are changing and we need to take urgent action before its too late.”

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Particularly poignant in the current political climate the artist says the wall sculpture emphasises that ‘notions of ownership and territories are irrelevant to the natural world. In times of increasing patriotism and protectionism the wall aims to remind us that we cannot segregate our oceans, air, climate or wildlife as we do our land and possessions. We forget we are all an integral part of a living system at our peril.’

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A local fisherman was cast to create the figure in this work, the Immortal Pyre, which depicts a funeral pyre. While the sculpture represents the departure of life, the concrete sticks that make up the firewood have been designed as a habitat for marine life.

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Creating the underwater artworks was a monumental task, involving a team of scuba divers. Local residents and visitors were also involved in its creation, by modelling for life casts.

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Deregulated is a work that features a children’s playground being enjoyed by men in suits. The see-saw references an oil pump, a commentary on the arrogance of the corporate world in relation to the natural one. A swing and play dolphin are part of the work.

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Designed to create a large-scale artificial reef, the first works installed in February 2016 have already seen an increase of over 200% in marine biomass and are now frequented by rare angel sharks, schools of barracudas and sardines, octopus, marine sponges and the occasional butterfly ray. It is hoped that the project will be a boost for the local economy, creating revenue for diving and boat operators.

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The Human Gyre is the final installation in the tour, a vast circle of over 200 life-size figurative works consisting of various models of all ages and from all walks of life.

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Originally featured on The Guardian

 

Anton Vill on Hi-Fructose

Anton Vill’s Surreal, Baby-Infested Drawings

By Andy Smith

Anton Vill, an Estonia-based artist, crafts intricate, surreal drawings of wild scenes and characters. Though Vill’s background was in concept art, working in pre-production in films like “Mad Max: Fury Road,” Vill pivoted toward illustration in recent years. The result is a world overrun by hordes of babies and unsettling creatures. Vill was last featured on HiFructose.com here.

As described by Jonathan Levine Gallery: “In his intricate, grotesque works, we discover the anatomy of the mind, full of haunting experiences and curious emotions,” the gallery says. “Characters are sectioned, decomposed or distorted, always seeming helpless in their bizarre condition with a hypnotic and empty gaze.”

Though you’ll find his work within the pages of sketchbooks, Vill’s talent for detail and immersive texturing extend beyond the page. Recent works feature vibrant colors integrated into Vill’s psychedelic world. Rendered in colored pencil, these works maintain the hyper-detailed linework for which Vill has become known.

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Originally featured on Hi-Fructose

The Shape of Things to Come featured on WideWalls

THE SHAPE OF THINGS TO COME – WINTER EXHIBITION AT JONATHAN LEVINE GALLERY

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Big Little by Jaime Brett Treadwell

Founded in 1995, Jonathan LeVine Gallery is committed to new and cutting edge art. The gallery will present its annual winter exhibition featuring work by emerging artists who will exhibit for the first time in the gallery alongside established artists who have previously been shown at the venue. Titled The Shape of Things to Come, the exhibition will be a final one in New York City before relocating to Jersey City in February 2017. After twelve years of exhibiting avant-garde work in the Chelsea venue, the gallery will bring the same cutting edge aesthetic and ethos to the new one. Serving as a retrospective of the gallery’s evolution and a preview of its future, it will feature works by Armando Veve, Ben VenomChris Berens, Jaime Brett Treadwell, Jasmine Becket-GriffithJeffrey Gillette, Lee Chen-Dao, Nigel Cox, Sam Gibbons, Paolo Del Toro and Peter Ferguson.

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The Council by Chris Berens

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Sling by Sam Gibbons

Veve, Venom, Berens, Brett Treadwell and Becket-Griffith

The work of Massachusetts-born and Philadelphia-based illustrator Armando Veve creates highly tactile realms in his work. Focusing on quilting, the textile artist Ben Venom juxtaposed traditional handmade crafts with extreme elements found on the fringes of society. Using ink on photo paper, Chris Berens creates compellingly executed, enigmatic, and emotionally resonant paintings that feature a fantastical mélange of exotic creatures and 18th-century imagery. The recent work of Jaime Brett Treadwell leans towards a series of invented forms, which employ optical deceptions, often bending the space between ambiguity and certainty. Jasmine Becket-Griffith paints strange beings from fantasy and gothic artwork including fairies, rainbows, skulls and pirates. She tells stories with familiar characters that awaken the feelings of deep connection to the viewer.

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Bosch Princess by Jasmine Becket-Griffith

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Mickey Slum Shack #3 by Jeffrey Gillette

Gillette, Chen-Dao, Cox, Gibbons, Del Toro and Ferguson

Best known for his paintings that explore the aesthetic structures and visual patterns of human settlement, Jeffrey Gillette creates satirical narratives that suggest the high level of awareness of not purely political, rather of economic, social, geographical context. A figurative painter based out of Taipei, Taiwan, Lee Chen Dao creates oil on canvas pieces and describes himself as a modern day storyteller with an old soul. Inspired by ordinary people and their everyday lives, the Irish painter Nigel Cox paints in a minimalist manner to emphasize the realistic character of his artwork. The artist Sam Gibbons creates colorful painted cartoons that explore dark themes, subverting the notions of innocence and moral value in children’s entertainment. Combining realism with a grotesque cartoon aesthetics, felt sculptures of Paolo Del Toro depict bizarre, sometimes nightmarish faces and figures, yet still having a strangely inviting texture. Lastly, Canadian illustrator and painter Peter Ferguson creates work situated between fantasy, surrealism, and realism.

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Stranger in a Strange Land by Nigel Cox

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Tender Girl V by Chen Dao Lee

Winter Exhibition at Jonathan LeVine Gallery

Having an eye towards honoring and connecting with the history and context of Post War art, Jonathan LeVine Gallery contributes to the dialogue by challenging the conventions of the canon – exploring the terrain of the high/low and everything in between. The exhibition The Shape of Things to Come will be on view from January 7th until January 28th, 2017. The opening reception will be held on Saturday, January 7th, from 6 to 8pm.

Originally featured on WideWalls

Ben Venom on The Creators Project

F**k You, Grandma! There’s a New Quilter in Town

J.H. Fearless

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Ben Venom with Don’t Tread On Me! 2015. All pieces are handmade with recycled fabric. Images courtesy of the artist

If ever you’ve sewn a patch on a jacket, you’ve done appliqué work. Quilting is a populist art form, requiring no more than fabric, thread, and a vision—but most punk sewers don’t take it any further than the odd swag or repair job. Ben Venom, on the other hand, is the guy who decided to take it all the way.

Venom’s quilts and fabric art mix punk and metal imagery with traditional quilting—a compelling juxtaposition. There’s something charming and exciting about seeing “DON’T TREAD ON ME” spelled out in colorful patchwork, or an eagle with wings of stitched Iron Maiden tees. It’s all familiar, but you’ve never seen it combined in this way before.

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“I have always been drawn to ideas and imagery that can be described as ‘over the top’ or ‘fringe’ [because] they simply go beyond traditional thought and reasoning,” Venom says. “Riding that razor’s edge between complete absurdity and pure genius is where I want my art to live.”

Growing up in the punk rock, metal and skate community, Venom was exposed from a young age to the imagery he still uses: tigers, skulls, pinup girls, chains, eagle wings. These are 20th century motifs with ancient roots. They suggest virility, power, wildness, masculinity. It’s hard to imagine anything more opposed to that, at least in American culture, than quilting. The contrast lands Venom firmly at the intersection of absurdity and brilliance—and the strangest thing is, it works.

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Venom does all his work with a Juki F-600 Quilt and Pro Special sewing machine, fabric scissors, seam ripper, recycled fabrics, and thread. He doesn’t have formal training in textiles or craftsmanship, either. “I consider myself a top-seeded amateur,” he says. “When I began sewing I had no idea what I was doing… simply a concept I wanted to create.” Self-taught, with a little guidance from more advanced quilters and sewers, he has always allowed the vision to drive his technique.

This includes incorporating secondhand materials: “People literally mail me boxes of their used clothing to use in my art. Occasionally, I will purchase items from the thrift store or eBay when I want a particular type of material, i.e., leather, white denim, etc.” Using secondhand fabrics is an integral part of quilting—some would say it’s the most important part of the process. Venom embraces this concept. From his artist statement: “Everyone’s unexplained stain, tear, or rip will be included and when displayed visitors will be able to see a piece of themselves woven into this larger history.”

Venom’s quilts range from wall-sized tapestries to smaller jackets. They’re exhibited internationally in fine-art galleries and museums. While the bigger pieces tend to be bought by art collectors, Venom makes his smaller work available and affordable to all types of art lovers.

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Ben Venom will be showing at Jonathan LeVine Gallery as part of group exhibition The Shape of Things To Come, January 7-28.

Originally featured on The Creators Project

Fulvio di Piazza on The Creators Project

Painter Constructs Human Faces From Natural Elements in His Surreal Landscapes

Nathaniel Ainley

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A demonic dog made up of what looks like comet trails themselves stands atop of a lake amidst the cosmos in one of Italian artist Fulvio di Piazza’s new paintings on display at the Jonathan Levine Gallery beginning Jan 7. Piazza’s Entangled exhibition features a number of painstakingly detailed oil paintings where in the artist constructs animals and abstract human faces from different natural elements taken from the surrounding landscape. di Piazza pieces together a nose, mouth, and face from things like the side of a mountain, a cloud of fog, or a pit of lava.

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Despite his attention to detail, however, Piazza doesn’t withhold anything from the viewer; each one of his compositions has an obvious focal point or subject that sits suspended in the very center of the painting. There is something inexplicably frightening about these characters. Piazza works within a particularly dark color palette that gives each piece of work a rather haunting undertone. The faces of these anthropomorphized landscapes are warped and molded like shrunken heads and appear threatened and on guard. Nonetheless, Piazza creates a clear image of his surrealist universe through a combination of precision and whimsy. Check out some of our favorites from the show below:

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Entangled is up at the Jonathan Levine Gallery in New York from January 7th to the 28th. This is the last solo exhibition at the Jonathan Levine Gallery before they relocate to Jersey City. Check out more work by Fulvio di Piazza on his Facebook.

Originally featured on The Creators Project

 

New Mural Series by Faith47 in India

Lotus Blossoms by Faith47 Sprout on the Streets of Goa, India

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South African street artist Faith47 is attracted to the lotus flower because of its strength. It is a plant that must fight through mud and water before it can blossom on top of its high stalk. This ability to find clarity through the murkiness of its surroundings was the inspiration behind her latest series of murals titled Le Petit Mort which she recently finished in Goa, India. You can see footage from the making of the works in this video, as well as further work by Faith47 on her website.

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Originally featured on Colossal

Dylan Egon featured on Hi-Fructose

Dylan Egon’s Collages Mix Symbols, Ideals of Western Culture

By Andy Smith

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Dylan Egon, a New York City-born artist raised by two fine artists, creates sculptures and assemblages that reflect American culture, whether through religious or monetary iconography. A New York Times review once referred to his work as “sites of cultural compression, fetishization and wonder.” Egon was last featured on HiFructose.com here.

Egon’s work often branches otherwise separate tokens and structures together, bridging concepts in holistic reflections of Western commercialism and other ideals. In this process, flat, screen-printed objects and three-dimensional pieces are also blended, offering engrossing points of entry. In a statement, Egon’s work is described as such: “His studies in anthropology, archeology, and film have proved valuable in communicating the themes his artwork often explores. Themes have included commercialism versus artistic integrity and the social implications of misplaced perceptions of value, with references to pop culture and iconology.”

Egon’s works have been commissioned by Dior, Rolex, Chanel, and several other high-end brands and fashion houses. Last year, NO TOFU Magazine ran a Chanel Beauty editorial that included objects created by Egon. The artist is currently based in Jersey City, New Jersey.

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Originally featured on Hi-Fructose

Aron Wiesenfeld Interview in Juxtapoz Magazine

ARON WIESENFELD:

LIMINAL STATES

David Molesky

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Portrait by Monica Wiesenfeld

Aron Wiesenfeld’s work immediately triggers childhood memories of my explorations into the woods of suburbia. Wandering these fringe landscapes between civilization and wilder nature, I forged new territories while discovering myself. In the stillness of being alone in nature, we can watch our own thoughts as moods drift by like clouds. Aron’s work perfectly captures these mind states, blurring the boundary between his art and personal reflections.

“Communing with nature” is the colloquial reference we use for the universal emotional or spiritual response we often have outdoors. Aron sets a stage by often dwarfing the scale of his figures within enormous spaces. His youthful subjects seem caught in a melancholy of reflection and realization as they stare off into the enigmatic abyss. Child psychologist David Elkind describes the concept of “personal fable,” when adolescents commonly have experiences of “irreparable sadness,” believing that no one has ever felt the way they do. When I was younger and felt upset, I would often escape into the woods, amazed at how quickly I could be reconstituted by simply staring at patterns of leaves and plants, and hearing a forest rustle as a wind passed by.

Nature is both healer and teacher. Out of its immensity, awareness of a greater sense of connectedness whispers to us. These revelations are capable of elevating nearly anyone out of a rut of detached despair. Perhaps this is why, in the Renaissance, melancholia was a revered trait, and the people affected by it were considered to be closer to God. You may have noticed that religious music is always in a minor key. Most of us experience some kind of normal emotional growing pains as we transition from child to adult. Nowadays, some parents seem to forget their own childhood and react to their children’s trials with prescriptions of Prozac, Adderall, and other pharmaceutical inventions. Nature is a more effective, pleasant pill to swallow. To feel small, and to realize our place within a larger ecosystem helps give appropriate scale to smaller upsetting events. It’s hard to make mountains out of molehills in the face of real mountains.

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The fragility of Aron’s innocent youth conjures concern and empathy. Their bodies verge on sexual, but gangly limbs and oversized features secure them in the world of childhood. Even those carrying the markers of the adult—a briefcase, a string of pearls, breasts and hips—read childlike with their opaline skin and rounded foreheads. Their heavy eyelids with an indiscernible stare help transport us into their inhabited landscapes and psychological worlds. The universal appeal of a child’s face also adds to the projection into our own childhoods. Aron creates soft, fictional fairy tales about lingering adolescence.

The landscapes in Aron’s paintings are also stylized. He takes the time to carefully paint each leaf and blade of grass with finesse and delicacy through confident applications of paint. The tactile and sensual understanding of the plant shapes and textures makes the landscape believable as an extract from reality, enhancing our scrutiny of the painting’s main character. Like a master chef balancing flavors, Aron creates a perfect visual feast, pairing subtle color palettes with suggestive narratives, atmospheres and moods.

Aron’s work is a hybrid that occupies the liminal space between illustration and traditional painting. His ability to mimic an array of surfaces and materials carries on the tradition of many great landscape painters. His rendering of detail brings to mind Durer’s Great Piece of Turf from 1503, and John Ruskin’s Victorian ideas about the careful observations of nature. His paintings of lone figures, gazing into vacuous space are in the family with Caspar David Friedrich’s painting Wanderer above the Sea of Fog, 1818. The pastoral narrative painter, Nicolas Poussin, was one of the first to visually show the concept that “the tragedy of mankind is small in the big nature” in his seventeenth-century painting Landscape with a Man being Killed by a Snake, 1648.

These paintings transmit real, sincere, emotional states where we can project ourselves. Perhaps it is the exercise of having empathy for these deeply melancholic figures that fortifies us to face the truth and inevitably of the loneliness of our existence. It is counterintuitive that pleasure might come from feeling empathy for a person or a figure in a painting whom we recognize as going through a difficult experience. And yet, I find myself pleasantly immersed in Aron’s paintings, returning to them because of that unexpected jolt of pleasure/pain. Merging his imagination with techniques that harken back to Old Master painters, Aron builds compositions that powerfully transmit mood and childhood nostalgia.

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I caught up with Aron at his studio in San Diego as he made the final touches on works for his first solo exhibition with Jonathan Levine Gallery in NYC, his ninth solo show in ten years.

David Molesky: I recently discovered that your painting was on the cover of a poetry book. How did that come about, and were the poems written about your paintings?
Aron Wiesenfeld: There is a book of poems and paintings that I made in collaboration with Bruce Bond, or I should say he made it. Bruce was a collector of my work and we talked a lot about art and books. I asked if he would ever want to do a collaborative project, not really knowing what that might look like. Three days later, he sent me a poem based on one of my paintings, and maybe forty days after that, he had written enough poems (all based on my paintings) for a whole book. It was really fast. I was so happy to see what he had written. Every poem had a progression that started with the image, and went off somewhere with it. It expanded the time and space of the painting.

Have you made paintings based on poems?
I’ve been inspired by poems, but I never did a painting based literally on a poem. It would be an interesting challenge. I wouldn’t want to make an illustration of it. Maybe it could be liberating; I think I would want the art to be about a feeling rather than the story. It’s not poetry, but I love the drawings Balthus did of Wuthering Heights. They are really emotional.

Taking a closer look at your new painting, Bunker, it looks like you’ve painted the foliage on top of a warm brown underpainting.
That painting was a little different as far as the approach because I wanted something really specific with the foliage. I started with a couple layers of dark brown and green paint, scumbled roughly to have a texture underneath. Then I painted the plants that were close to the ground, and last, the shoots that came up above. It is detailed, but the texture underneath gives it the impression of being more detailed than it actually is. I love the way Waterhouse paints foliage, very loosely, but with a few sharp areas—the eye creates the rest of the information.

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What’s your general process for developing an image? Where do the ideas come from, and how do you capture and develop them into paintings?
Ideas come from anywhere… places, memories, movies, art, etc. A book called Art and Fear said, “Notice what you notice.” I thought that was great advice. So many times something that flashed by my consciousness might be lost just as quickly. There is a kind of discipline to saying, “Wait, there was something interesting there, what was it?” Memory is so transitory; it’s hard to keep an idea in my mind when that happens. I want to get to my sketchbook as quickly as I can. It’s difficult to sketch that inspiration and replicate the thing that was interesting in the first place. But then the sketches evoke other ideas too, so I end up doing a lot of sketches at a time.

When starting a painting, I usually work from a sketch that I like. It’s painted as much as possible from imagination and memory. A lot of times, I will get an idea of a better image along the way, and make some drastic changes, sometimes destroying weeks of work. The paintings are usually started with no color, just value, to get the forms and the light, and color is added at the end.

I love your charcoal drawings. What is your method for making these?
The charcoals are really fun to do, and come more naturally than oil painting. I tape a big sheet of toothy paper to a panel and cover it with rubbed-on vine charcoal to get a medium-grey tone. Then I erase out the lights to start getting the form (usually a figure) and add some soft vine charcoal shapes for the dark areas. I keep it in that loose state of big shapes until it looks good, and then go in with details using charcoal pencil and compressed charcoal for deeper darks. It’s a great medium because it’s so easy to make changes, and very quick to bring it to a finished state. That malleability is also its drawback, though, as the finished drawing is very fragile.

What were you going for in Night Grove? I love that sense of imagined presence that we feel lurking in the dark that makes us fearful to look.
I think presence is the right word. It’s not a question of “what” is in there, but “who.” I think a dark entryway is a very potent symbol that can evoke a lot of things; it’s a matter of the mind filling in the blanks. Probably the first thought is that it’s something threatening, but it doesn’t have to be. It’s like the Jungian shadow—it’s all the things you can’t accept about yourself, the bad but also the good, including your own greatness.

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Have you ever been psychoanalyzed? Or have you ever had a child psychologist study your work?
I was in analysis for years. I learned that the unconscious is not just a sleepy, animal level of thought, but it’s really a second mind underneath, just as intelligent as the one on top, with its own personality and agenda. So in the dark places, that’s the unconscious. Dreams are a good way to access the unconscious, and painting is also. Once you let the unconscious speak, the question is, what do you do with it? One of the main functions of analysis is to translate the dream, and receive a useful message from it. In art, it’s more ambiguous. I think it’s enough to simply let it out and say to the audience, “Here’s what I got, make what you will of it.” My analyst wanted to interpret my paintings like dreams, but I resisted because I don’t want them to be reduced like that. A dream is a problem to be solved, but for painting to have any universal relevance, it should be an open question.

Do you think it is possible that these are actually self-portraits?
Yes, I think they are. They are how I feel, and my memory of how I felt when I was younger. It’s often an internal thing, a deep feeling of doubt, uncertainty, and not knowing what to do. Female figures seem to express that best for me most times. I don’t know why.

What does the lone figure in the landscape mean to you personally?
It means that we are all alone, always. “The world” will never be anything other than the perception of my own senses. I personally was aware of that more acutely, maybe more than is usual, that sense of being separate.

What do you think elongating the figures does to the viewer’s experience?
Right off the bat, it says that it’s a fantasy. The painting is not trying for an imitation of reality, so I suppose it gives me some license, and tells the viewer that he or she doesn’t need to judge it on that criteria. But it adds a responsibility in the sense that, with any stylized alteration like that, the artist is saying, “This is my world,” and it has to have its own logic and believability. I didn’t set out to make elongated figures. I set out to make figures that were constructed from imagination, so there were going to be oddities to them. When I started painting, I gave a lot of thought to what the medium of painting could do that was unique, that other mediums like photography couldn’t. My thought was that I could make them unique by putting realism into an invented armature, if that makes sense. In other words, give my fantasy world as much verisimilitude as possible to try to create a world that was different but logical as well. I’m not sure I ever really succeeded, but that was the intention.

Originally featured in the January 2017 issue of Juxtapoz Magazine

Art Money: Take Your Art Home Now and Pay Later

We’re excited to announce that JLG now accepts Art Money, a loan that makes owning art easy and affordable.  After paying a 10% deposit you can take your artwork home and pay the remaining balance over 9 months, interest free!  Here’s how it works:

1.  Apply for an Art Money credit so you’re ready to go when you find a work you love. Or apply for an Art Money loan with us when you find a work you’d like to purchase…it only takes a few minutes.

2.  Once you’ve found a work you’d like to buy, confirm the artwork price and pay a minimum 10% deposit directly to the gallery. Then log into your Art Money account to finalize the purchase and choose how you’d like to pay the 9 monthly installments.

3.  Art Money will handle the rest!  You’ll be sent a confirmation email and your next payment will be debited one month after purchase.

Art Money loans are available from $1,000 to $30,000 and, since it’s interest free, an artwork that costs $5,000 is only $500 a month over 10 payments (your first payment is your deposit).  Check out their art calculator to see how affordable Art Money makes buying art or feel free to reach out to sales@jonathanlevinegallery.com for more details.