After going through some inventory in our storage, we came across this original by Dave Kinsey on craft paper from his solo show last spring at FFDG. You can grab it in our online shop here.

We will be hosting an inventory blowout sale with some of our friends here @FFDG on Friday, Nov 30th with music, food and drinks. Details to come on Monday, but for now, mark your calendar. Tshirts, books, orginal artwork, prints and other goodies being sold at low prices. Should be a fun evening and a chance for you to pick up some gifts while we get to clear out some storage space.

The Dave Kinsey banner (on the right) is the last from his show at FFDG in May. Buy it online.

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A week ago Friday night, Book and Job Gallery in the Tenderloin branched out from their usual photography displays into some installations and mixed-media work by Christopher Burch and John Felix Arnold III in their new show Found in Darkness: Explorations in Personal Mythologies (through Dec 8th). The crowd was smaller than is usual for this gallery, but this was actually a benefit as it allowed more room to view much larger works. A small two-man band played later in the night, but I personally missed this part of the opening.

Downstairs displays both artists, with the right wall occupied by the detailed drawings of Chris Burch's Br'Er Rabbit figure falling down the existential rabbit hole. The subtle transitions from blue to black and white graphite provide a sensuous background for his figure who looks like a terrified or sneaky trickster. While not visually related, the opposite wall holds The Story of Shy, John Felix Arnold III's large mixed media on wood assemblage. This piece, and his other wood assemblage works, look like they were removed from old decrepit buildings. They are painted with what look like Japanese comic book drawings and phrases on top of layers of old graffiti and spray paint. The wood layers, spray paint, and drawings compound upon one another to provide a complex grounding for the drawings themselves. They seem to resemble fragments of a building that if only you could see the whole building, you could understand the whole mythology drawn and painted upon it.

A trip upstairs revealed two very large installations by each artist. To the right, you were shown In Memory of Shy by Arnold, another wall of wood assemblage, but this time, installed to look as if it was the actual wall of the gallery, covered over by smooth drywall finish at a sharp diagonal. The drawings on this piece span the division between wood and drywall and connect the two so that the division doesn't seem as sharp. A mat of grass extends from the wall, on which a skeleton-moped sculpture, called The Great Debate sits. The skull headlight is really beautiful and the cream coloration extends throughout the bike. It as if you can see a ghost riding through the desert on it; eerie, beautiful, and intriguing. The opposite wall holds an altar installation, a clear tribute to a lost friend. The walls are covered with decadent fabric and sitting in front of it are what look like black bottles, reminiscent of those used in Voodoo rituals. In the center of the wall is Portrait of a Trickster, a painting bringing back the Br'Er rabbit from downstairs and compounding the southern Creole mix of mythology of both Voodoo and folk stories.

Overall, the show was a successful break in the photo-heavy schedule of Book and Job. Since it didn't include as many artists, less friends were probably feeling like they needed to come to the actual opening. However, take the time to go and visit maybe even by yourself, so you can get into the work and reflect on its dark subject matter without the talking and laughing of other gallery visitors.

Words and photos: Rachel Ralph, rachel(at)fecalface.com

Br'Er Rabbit and Br'Er Death in the Land of Shadows by Christopher Burch

The Story of Shy by John Felix Arnold III

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A sampling of newish works from Mexico City based Curiot who opens his solo show at FFDG this March.

 

 

 

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The Adobe Books Backroom Gallery opened Valley a show of local Shalo P's new works on paper (through Dec 2nd). To get to the gallery, you have to go through the entirety of a bookstore, but this is a really great journey. The center of the store has a few couches, on which a lot of people were gathered and the first thing I noticed was the strong sense of community. These people weren't standing and having superficial conversations like at a lot of art openings, they were piled together with loving and deep connections between them.

As you stepped into the Backroom Gallery, which is demarcated by a small sign above the doorway, the ambiance was noticeably quieter, but people were still gathered closely when looking at specific works. These were all works on paper, with figures morphing in and out of one another, often in sexual relations and with hedonistic violence. This is a teenage boy's wet dream, but is much more complex than that. Because they were displayed on mostly yellow and white notebook paper, with a few on plain white, and because most drawings involved a fair amount of small text, viewers were really spending time with the work. It ranges from pen doodles to sharpie drawings, and the thickness of the lines in the works were very consciously decided. The column of sex drawings would not have worked had it been in sharpie, the pen allowed a more gentle approach.

The pieces which looked more like computer-generated drawings didn't really fit with the rest of the works displayed, although they referenced the small comic book that Shalo P also had on sale that night. These books are very nicely printed and I would like to buy one to spend some more time with these drawings. I don't know that I am finely attuned to his Robocop references, but I can feel the passion spilling out of the pages, which makes the work both endearing and inviting. However, I will make the disclaimer that once invited in, you may see some X-rated images, so don't bring the kids.

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A week ago Friday night, Ever Gold Gallery opened New York-based Adam Parker Smith's newest show Forever 21. The small space was packed with people, and I could very quickly see why; the work is really extraordinary. The only thing I wish was that there was more space to see more of his work, because it is impressive. But this is San Francisco, so space isn't exactly readily available, and Ever Gold balanced the available space perfectly by not overwhelming it with too many pieces. Furthermore, the intimacy of the space really added to the experience.

The gallery door opens to a small entrance space with a sculpture of a VW Bug inside a glass bottle as well as a fabric/painted piece reminiscent of Blinky Palermo's compositions. The VW Bug inside the bottle is painted to every detail, including a hole in the windshield with painted cracks extending from it. The car itself is a detailed sculpture, but placed within the bottle (somehow) it became an outrageously intriguing item. The draped fabric piece with its peachy hue was a great transition into the main gallery, where Smith shows his other sculptures. Unlike the Bug, these sculptures are direct references to gynecological genitalia, but become abject body parts rather than sexual references. These forms are made of foam, bound by rope and remove the fragment of the vagina from the rest of the body, creating a non-sexualized form. Instead of insinuating a sexual viewing of the work, these sculptures allowed pure formal interpretation. Then, placed on marble-like columns, which were bound by bungee cords and emphasized as not being actually marble, these genital forms were raised to classical standards of fine art. This was further connected to the draped front piece, which can either relate to classical dress or another sexual body part, without overt reference.

The rest of the show consists of other sculptures including the whimsical (Untitled) Kanye Shades which is a set of white window blinds cut into the shape of sunglasses. Shown on a white wall, the contrast between the piece and the wall is subtle, and the humor is muted, but insistently present. Also, the monochrome wall helped to balance its opposite wall which was hung with a "marriage proposal" made of sewn-together friendship bracelets. The texture and color of this piece are significant alone, but there is a complex meaning implicit in the fact that they are friendship bracelets and instead of symbolizing one relationship, it includes the connection of thousands.

Finally, the back room of the gallery is tiny, but provides the perfect space for what is displayed. The bodily innuendo of the show is continued with a floor sculpture of a watermelon with an inviting, glowing pink hole. The last corner holds what looks like an altar, with some really complex pieces inside of it. These works look like a poster hung on the outside of your bathroom window, to which you see through the steam after your shower by wiping away the condensation the glass. I am completely clueless as to how he achieved this look, but my god is it effective. Some works have writing and some are just cleared spaces to the poster, but no one could miss out on it; we've all wiped away steam from our mirrors, but more often, we do it to see ourselves, not celebrities who are usually displayed transparently.

Smith's work is so complex that much more could be said about it, but truthfully words don't do it justice – these pieces must be seen in person. I can't wait for the opportunity to see Smith's work in the large space of a museum, which I'm sure is just around the corner for him. For now, Ever Gold has done a great job in showing as much work as possible, and it must have been very difficult to narrow what works would be included in the show, because like me, I'm sure they just want to keep seeing more.

~View photos

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It's November. Mercury is in retrograde. Giants won the World Series, Obama won the president race, US drones are getting shot out of the sky, stores are ready to sell you EVERYTHING for Black Friday sales, and I don't think Santa is bringing me anything for Christmas this year. Whew, but back to Free Fridayz. Last week there was a decent turnout of drawings but not that many votes, which led to a tie. Which led to an official tie breaking decision by me. The winner of last weeks Free Fridayz goes to #16 by Solange who has won themselves a TShirt by Mel Kadel. It was a nice drawing and quite witty. Way to go.

There are some pretty nice entries this week. I had to keep a few out because they weren't in .jpeg format, didn't go with the theme or lacked blood, sweat and tears. Free Fridayz is transcending to the next dimension. To go where no drawing has gone before, which makes me think about space tourism. Over here in SF, the tourists are a bunch of bobble heads that block the sidewalk staring at food menus and store front pastries. Crowding shopping malls in their last chance to get a pair of denim. And they are all photographers now. A bunch of Ansel Adams. I pray to the Universe that if we ever have space tourism in this life-time, that these tourists travel with much more dignity and respect to the culture and places they visit or perhaps just start now. -Joe

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Tod Seelie's photos from Hurrican Sandy as he's been heavily enveloped in the aftermath and relief efforts. ~view

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If you can only get to one art show in the next couple of weeks, get to AJ Fosik's Lamplighter to the Promised Land at Guerrero Gallery. This is seriously not one to be missed. Guerrero opened their huge space to Portland-based Fosik and his wooden totemic animal figures this last Friday, and many took the opportunity to find themselves some awe and amazement.

The wood sculptures are either free-standing or wall mounted, looking like either a taxidermy standing bear or a mounted elk's head, but the color really separates them from any natural characteristics. For the wall-mounted pieces, spray painted patterns can be seen on their bases before layer upon layer of the figure extends from them. I was especially drawn to Strange Regions in Search of Beauty, Awe or Terror from this year which compounds a human face, a human skull, and a bull's head, revealing the animalistic nature in us all. Each of us has days when we feel there is a bull inside struggling to break free, and this piece reminds us of our own power to do so. For me, this one was all about internal drives and desires, and the power in embracing and releasing them unto the world.

The small Project Gallery in the back also held works by Daniel Albrigo with smiley face paintings and a sculpture made of smiley beach balls. The paintings are light and fun and have titles like Don't Forget to Smile with hues of pink and light blue. I kind of feel bad for Albrigo because his work does deserve attention, but I just had to get back to Fosik's pieces. They are endlessly exciting and each detail is superb.

One of my favorite details of the work was the shingle-like scales he employed on his free-standing figures such as Exploder Installation. These scales are sharp-edged and painted colorfully, so why do I believe them to be realistic? It seems like that head is going to start snarling and it is going to leap off the pedestal at any minute. And the hands! The animalistic figure has human hands, and unlike the other figures which have them in distinct gestures, these are positioned more as if in prayer-pose. Maybe its meditation is what is keeping the beast back, so it is necessary to be left in peace.

Words cannot do these pieces justice, and neither do the pictures that follow. Please, go see this show. You will not be disappointed. No matter what age, gender or culture you are coming from, you will find something in this work that speaks to you. With about twenty large pieces, Fosik's work will stick in your brain, and I have absolutely no doubt that you will be seeing a lot more of him in the future.

Exploder Installation by AJ Fosik, 2012

Everything is Fine on Mars by Daniel Albrigo, 2012

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The warm San Francisco days and nights seem to be coming to an end. World Series champs and everything is alright in the world once again as we head into the dark, cool and rainy winter months. Time to hibernate and move cautiously around with blinkies on our bikes. Can't believe the Holidays are just about here.

A collection of photos from this gallery owner/ art website editor.

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Brooklyn based painter Hiro Kurata, whose work we love, opened the solo show "This Land Was Your Land" at London's Ivory and Black last Friday. After watching the video, get a better taste of his work here.

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The Diamond Sea has concluded at FFDG, but there are some artists we've yet to profile that deserve to be.

Mel Kadel has just wrapped up her solo show Stuck On A Wave in Los Angeles at Merry Karnowsky Gallery and lives in LA where she now resides in a log cabin by the 5 Freeway with her partner, artist Travis Millard (also in The Diamond Sea). If you wanna have a look at their awesome cabin, check our visit from last year.

Los Angeles, 39, BFA, melkadel.com

It's like an old pillow case, with a narrative.

They are all over the place.

Port Antonio, Jamaica

I work every day but the time varies. I start with news radio in the morning, and bounce from music to silence for the rest of the day.

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Behind the scenes as to how Jay Howell and Jim Dirschberger put together the partly animated series Classic Tales produced by Vans.

Speaking of Jay Howell, his solo show at FFDG in San Francisco opens this February. If you wanna be added to the preview, which is filling up fast, let us know: info(at)ffdg.net

Check out Jay Howell's Moss Ball.

Skate legend Christian Hosoi recalls a psychedelic Hawaiian adventure from his glory days.

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