Known Gallery is proud to present “New Mathematics”, a new collection of paintings and drawing by Eric Haze.
With strong roots in the graphic arts, New York-based artist Haze has crafted a vocabulary of personal symbolism that delivers departures of an abstract and minimalist nature.
Recognized worldwide for more than three decades for his iconic design work and artistic productions – From the Beastie Boys to Casio to Nike – the 21st Century has also seen Haze returning to his fine art roots. His work in acrylic, ink and charcoal culminated in a critically acclaimed solo exhibition in 2008 at the Museum of Contemporary Art in Hong Kong. Now, with New Mathematics, the artist continues to promote a bold new language that reflects a truly unique style and vision.
Building on his commitment to the development of more organic personal work, New Mathematics displays a complex relationship between design, gesture and abstraction, incorporating geometric elements both with and without a basis in typography.
With repetition and the interplay of positive and negative as an underlying theme, New Mathematics reveals the development of a mature signature iconography that epitomizes Haze’s fine art work.
The roots of Haze’s history as a graffiti artist can also be felt in the nature of New Mathematics, with both speed and control as determining factors in the end result. Trading in the perfection of the imperfect, the intuitive confidence of stroke and line quality displayed in this new collection offers a celebration of form and gesture over narrative, presenting a fully realized dialectic that is steeped in the majestic flow of his signature hand style.
With this new body of work consisting of 35 new paintings and 15 new drawings, Haze marks yet another evolution in his commitment to expanding the scope of his creative process.
Known Gallery is pleased to announce, I Can See For Miles, an exhibition of recent works by New York collage/ graffiti artist Greg Lamarche.
This show offers a wide range of styles from hand cut letter pieces to abstracted paper remnants as well as representational collages. The exhibition also features a site-specific wall drawing of hand drawn and designed letter forms.
Inspired by the dynamism of his native New York City and its role as an incubator of the outlaw art of graffiti, Greg Lamarche’s collages combine the city’s relentless rhythm and graffiti’s aggressive presence to express the power, elegance and rebelliousness of urban creativity. Using found materials and commercially printed papers from his vast collection of vintage printed matter, Lamarche abstracts graffiti’s visual language, playing with a profusion of font styles, word fragments, multiple layers, bold colors, rhythmic repetition, multiple perspective and movement. Each unique work of precisely hand-cut paper thus becomes an interplay of the directness of graphic design and the aesthetics of fine art.
Born and raised in New York, Greg Lamarche created his first collages in the sixth grade when he used fireworks wrappers found in his schoolyard. In 1981 he began writing graffiti on the streets and subways, and published SKILLS, a seminal graffiti magazine, in the early 1990s.
Lamarche has worked as both fine artist and graphic designer since 2000, and has been featured in numerous publications including the New York Times, San Francisco Chronicle, Boston Phoenix, Print, Juxtapoz, Modern Painters and Arkitip among others. He recently designed the cover of WORLD PIECEBOOK, (Sascha Jenkins and David Villorente, 2011, Prestel Publishers) and is featured in CUTTING EDGES: CONTEMPORARY COLLAGE, (R. Klantin, H. Hellige and J. Gallagher, editors; 2011, Die Gestalten Verlag, publishers).
He recently completed a limited edition of Post-Pop wood boxes printed with the Krylon logo, which will be officially released this month at the Art-Platform fair September 30 – October 3, 2011, Los Angeles. He will also be exhibiting at the Pulse art fair, Los Angeles September 30 – October 3, 2011 where he has been commissioned to create a site-specific wall painting.
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