Stella Im Hultberg | Sleep to Dream

Stella Im Hultberg’s paintings are conceived in varying combinations of ink, watercolor, and oils on paper, wood and canvas. Portraying women in easy, flowing lines with soft hues, Stella’s portraits transcend the typical critiques of feminine beauty inherent in today’s self conscious society.

As one of the artists participating in the ‘Femme Fatale’ show opening February 25th, we had a chat with this unique artist. Here Stella talks about how she ‘lucked out’ as an artist, the symbolism behind her subjects’ hair and why he’s so inspired by the female figure.

You’re work centers around the mysterious intricacies of feminine allure. What about female beauty do you find so intriguing and inspiring?

In all, I’m interested in people/humans in general, and their varying conditions, physiology and psychology. Women tend to be my vessel of choice to convey emotions, probably because I am one and can relate to the world and other people through them more.

Plus, there’s something more multidimensional, in a way, about women, with all the changes they go through their lifetime, at different stages of their life (such as motherhood) and reincarnating several times over… generally speaking, that is.

Stella Im Hultberg | Dreamer

In many of your works, the subject’s hair is given the same amount of detail and focus as their visage. Is there an underlying symbolism behind this?

The draw of hair, for me, is the fact that it’s a part of you, a part that grows from you, that you can manipulate to a certain extent, but at the same time have no control over – the way and the speed at which it grows, it’s as if it’s got a mind of its own. In that sense, hair feels symbolic of a part of yourself that you want to run away and hide from, but also something comforting that you can hide behind from the world.

Sometimes maybe even representing the internal maze of a mind.

After studying Industrial Design and working many years as a product designer, you stated to have ‘serendipitously fallen into the art world’. Tell us about the fortuitous moment that led to your art career.

It all sort of happened organically so I’m not sure if it’s much of a story. I used to have a full time job in California, but after moving out to NYC, I mostly freelanced and drew for fun on the side. I posted some results online, on my blog and some user galleries on art sites (like fecalface.com), just as a self-motivation. Then I got asked to put a couple pieces in a show that Vice magazine was sponsoring at what is now LeBasse Projects in Los Angeles – that’s when many currently established galleries newly open and recruiting artists for their group shows, so I just lucked out. It just went from there, until I got enough shows and sales so I couldn’t take on design jobs!

Stella Im Hultberg | Wanderer

If you could hang only one artwork from art history in your home or studio, what would it be and why?

Oh this is just cruel… I almost don’t want to have any at home because I don’t want to have to choose. But I wouldn’t mind having a Schiele figure drawing or a Klimt, or a Goya piece in the house. Actually I really can’t choose. Sorry!

Tell us something about yourself we wouldn’t necessarily know.

Maybe you would know this already – My last name “Im” (reads like Kim without the K) means “in the” in german. Also one of the shortest words & vowel/consonant combination I hear/see mispronounced (as “I am”) or spelled (as In or IM).

If I were to spend the day with Stella what could I expect?

Probably a lot of eating or talking about food. And art, too, I’m sure.

And some bike riding… to get to somewhere to eat, most likely!

To view more info about the upcoming ‘Femme Fatale’ show, visit our show info page. To receive an advance online preview, email stephanie@platinumcheese.com.

Morgan Slade | Cobra Command

Exploring the symbolic shorthand of corporate logos and brand identities, Morgan Slade’s work tackles the issues of consumerism that permeates American culture. Using the female form to anchor his mixed-media pieces, Slade confronts the symbolism behind the seductive figure, her poses, and attire as interpreted by society. The result is a strong and empowering image that engages the viewer while simultaneously challenging our ideas of traditional gender roles.

As one of the artists participating in the ‘Femme Fatale’ show opening February 25th, we had a chat with this unique artist. Here Morgan talks about his fascination with the female figure, Jesus Christ Superstar, and the type of woman he hopes to help his daughter become.

The female form is used as a way to anchor the symbols of corporate logos and brand identities within your work.  What about the female figure do you find so intriguing and inspiring?

The female figure has a complicated history within art and politics and advertising. In a way the female form has become a symbol in itself, both as a way to get people’s attention and sell a product, and as a way to discuss equality and identity. Because of this, both men and women are drawn to images of the female form for various reasons. I think photographing the female form in my work is both a comment on the corporate logos and state of advertising, etc and also falls prey to the same things I am commenting on, as it also is what initially draws someone to my work (assuming they are drawn to it!)

Morgan Slade | Company of Killers

In many of your works, the subject’s face is partially hidden or completely masked.  Why is their identity kept anonymous to the viewer?

I have been photographing the female form as a symbol or icon, and I want the piece to be more about a concept than about a portrait of a specific person. I want the image to represent an idea, and the woman in the photograph to be an icon. It is hardwired in the human brain that if you see a face you instantly relate to the person as an individual and begin to think about their life, personality, etc as an individual. So I try to make the person in the photo more an abstraction. I want them to be an empowered and usually in-charge kind of abstraction, and my intention is not to diminish their individuality in any way, but to make them more allegorical. That said, I have done more pieces with faces showing lately and intend to do more in that direction in the future.

Morgan Slade | High Lonesome

Less than a year ago, you and your wife welcomed an adorable little girl into the world. How has her arrival influenced your artwork? And what kind of woman do you hope to help your daughter become?

Sadie (our daughter) is super awesome and pretty much my favorite thing to do is hang out with her, so I really haven’t had a chance to do as much artwork as I have in the past. So Im not sure how it will influence my work yet. Of course I have the impulse that “I should just shoot pictures of Sadie from now on” that I realize is crazy. Although I do attempt to make my work show strong female figures, I do realize that photographing scantily clad women can be seen several ways. Having a child, and in particular a daughter does make me think about that more and makes me consider more how I am portraying people, how the work is perceived, etc. I think Im still working all that out in my head these days.

As far as what kind of woman do I hope she becomes – first and foremost I hope she becomes a happy woman, whatever that means for her personally. And I fully realize that at least initially, that responsibility is all on me and Liz. I would love for her to be strong and independent and self sufficient and secure in herself. But most of all I hope she finds what she loves, and finds the way she wants to live and then does that thing and lives that way – no matter what it is.

Morgan Slade | Tiger Balm

 If you could hang only one artwork from art history in your home or studio, what would it be and why?

I have a photo by artist Peter Beard that shows him with about 15 young African boys and a giant dead Alligator, probably in Kenya and probably sometime in the early 1960s. I can stare at that photo for hours. There is so much to wonder about all the people involved that I can create 100 stories in my head looking at that picture.

Tell us something about yourself we wouldn’t necessarily know.

I go absolutely crazy for the musical Jesus Christ Superstar.

If I were to spend the day with Morgan what could I expect?

These days? This answer will absolutely kill any cool factor I may have had (which was debatable to begin with) – You could expect to wake up about 6 am and play on the floor with a 9 month old until about 9 or 10 am. Then you would probably go to the zoo, the autrey museum, LACMA, on a hike with friends, or to some other kid friendly locale with the previously mentioned 9 month old. Then you would spend an hour or so driving around in circles so she can sleep, or if you are lucky and she is really passed out you would drive to the park and try to sleep in your car there while she dozes in the back seat. Back home to party with the baby some more until bath time and bed time for her. If shes agreeable you will be done with baby duties around 8; if not, 9:30. Then get to work on some art, catch up with emails, and have band rehearsal. Look at the clock and freak out that you aren’t in bed yet, and then read comic books on your phone until you pass out. Rinse. Repeat!  A big change from what the answer to this would have been a couple years ago, which I won’t type because my parents might read this. But worth every minute. I do want to say that as far as the above daily schedule goes, Liz does way more and really works super hard with Sadie. Partly because of her nature and partly because I think no matter how much we dads try to do, the main burden of early parenthood is on the woman –starting with the fact that the baby needs their mother to survive and eat. I have an even deeper respect and admiration for mothers and women’s contribution to the human race since having a kid.

To view more info about the upcoming ‘Femme Fatale’ show, visit our show info page. To receive an advance online preview, email stephanie@platinumcheese.com.

Sarah Folkman

Born and raised in Los Angeles, Sarah Folkman’s work is based on her fascination with nature and intense confusion with humanity’s place within it. Using exotic woods as her canvas and infusing each painting with our symbiotic relationship with nature, Folkman fleshes out the female figure in the most captivating ways.

As one of the artists participating in the ‘Femme Fatale’ show opening February 25th, we had a chat with this unique artist. Here Sarah talks about her love for a sparrow, why she prefers to work with raw woods and her fascination with the female figure.

Your art is a continuous exploration of the nude female form and you have even stated, ‘I love painting skin, layers and layers of it…’ What is it about the female figure that you find so intriguing and inspiring?

Sarah Folkman

In addition to the figurative elements, birds are a constant theme in your paintings as well. Tell us more about this. What symbolic meaning do these creatures hold for you?

The birds have all been inspired by the sparrow who lived (un-caged) with me for 4 ½ years. While I’d always had deep and sympathetic relationships with all sorts of animals, he brought the world of bird personality into my mind and daily life with astounding detail and clarity. So, I wouldn’t say that birds are symbols for me – it’s more that the birds I paint are echos of the heartbreaking love I felt for one particular sparrow.

Sarah Folkman

Using exotic woods such as Wenge, Zebrawood and Sapele as your canvas, simultaneously adds a bit of transparency while heightening the texture within your work. What about this medium attracts you over traditional canvas and paper?

The various woods all take the paint differently and impose constraints on my technique. I must be more controlled and deliberate – it’s a challenge. Plus, the right grain can be very like human flesh and influence the story I’m trying to tell. With canvas I allow my craziness to stalk around a bit more – it’s easier to hide under another layer of paint if it gets to be too much, something I can’t do with the raw wood.

Sarah Folkman

If you could hang only one artwork from art history in your home or studio, what would it be and why?

One? Impossible. It would be entirely influenced by my frame of mind when I chose and I’d end up with something I’d have to cover up half the time because of the emotions it’d bring up. And you don’t do that to a painting.

Tell us something about yourself we wouldn’t necessarily know.

I have a deep well of rage within my soul and I like climbing trees.

If I were to spend the day with Sarah what could I expect?

You could expect me to ask you to leave so I could get some work done – or I might ply you with alcohol and try to get you to go dancing.

 

To view more info about the upcoming ‘Femme Fatale’ show, visit our show info page. To receive an advance online preview, email stephanie@platinumcheese.com.

The German art duo Herakut are in Los Angeles preparing for their upcoming exhibit entitled ‘After the Laughter’, debuting at LeBasse Projects :: Chinatown on February 25th.

The exhibition will feature a new series of sculptures, photography and wall installations by the artists. In conjunction with the opening, Herakut will also be releasing their second book also titled “After the Laughter” – with a signing from 6-7pm.

After a period of producing a series of work on canvas and showing in ‘white wall’ style exhibitions, Herakut returns to an approach like their early years in presenting a fully immersive installation. The exhibition will showcase new original paintings, drawings, photography and a series of sculptures.

‘After the Laughter’ opens Saturday, February 25th from 7-10pm with a book signing from 6-7pm.

LeBasse Projects :: Chinatown
932 Chung King Rd.
Los Angeles, CA 90012
lebasseprojects.com

Paul Chatem

Deeply rooted in vintage advertising, comic books and animation, Paul Chatem’s work is a manifestation of the Southern California environment of his youth. Using wood as his canvas and infusing each piece with a socio-political narrative, Chatem’s kinetic blend of folk and modern illustration evokes feelings of nostalgia while simultaneously remaining utterly contemporary. With the simple turn of a crank, Chatem’s wood-gear work instantly springs to life thus engaging the viewer within his vivid, carefully painted scenes.

As one of the artists participating in the ‘Femme Fatale’ show opening February 25th, we had a chat with this unique artist. Here Paul talks about life growing up in Southern California, how he began working with wood and why he’s so inspired by the female figure.

Paul Chatem | Blowing Smoke Up Daphne's Ass

Paul Chatem | It Had to Happen

Over the years as I struggled to get my art career off the ground I worked in the the film industry as a prop maker and a carpenter. At the end of the day I would take scraps home to paint on. What really attracted me to working with wood was the durability that it has. I can make lots of panels and stack them up without the worry of ripping a canvas or destroying a piece of paper. If things do get dinged up I can fill holes with wood putty or sand and repaint scratches without compromising the finish product. I also feel that wood has a certain warmness and familiarity to it because from it’s origin to the store it goes through a lot less processing than canvas or paper.I don’t really think of my work as folksy or as folk art at all, though that term has been thrown around a lot lately in America to describe my work, Europeans seem to view my art in a different light. The work I do is made out of wood and some of the techniques I use are learned trades, but I also have a BFA in Illustration. Some of my subject matter is inspired from folk tales and songs but the way I draw and paint is inspired by underground comics and vintage animation. Whether it be folk inspired, Illustrative, cartoony, Low Brow, New Brow, New Contemporary, what ever it is, people either like it or they don’t.

Paul Chatem | Fiddle Fatale

If you could hang only one artwork from art history in your home or studio, what would it be and why?

I couldn’t hang it on a wall, I’d need a whole room built, but definitely,  Ed Kienholz’s,  Back Seat Dodge ’38 (1964). I love that he was able to make a whole experience out of viewing his work, he was a multi disciplinary artist who liked to make people think by pushing things beyond what they ever expected.

Ed Kienholz's, Back Seat Dodge '38 (1964)

Tell us something about yourself we wouldn’t necessarily know.

I’ve never been arrested.

If I were to spend the day with Paul what could I expect?

I usually wake up around 4:30, 5 o’clock in the the morning, panicked about how much I need to get done, make coffee, smoke a cigarette, clean my palette and get to painting. I paint until the sun comes up, listening to music on my headphones. Feed the animals, work in the yard, make breakfast, drink a beer and get back to work until noon. Eat a quick lunch, watch a little TV than move outside to cut, sand or prime wood for upcoming pieces. Answer emails, social networking, more TV, draw pictures, play a little guitar until dinner. Work on my truck, coffee, beer, coffee, beer, cigerettes, more painting, hang out with my girl, pass out, restless sleep, repeat.

To view more info about the upcoming ‘Femme Fatale’ show, visit our show info page. To receive an advance online preview, email stephanie@platinumcheese.com.

Scott Belcastro

On Friday, February 24th, Iam8bit Gallery will debut Brighter Doom, a solo exhibition of new works by Los Angeles artist Scott Belcastro. Brighter Doom explores the vivacity and chaos pulsating through all entities, whether natural or man-made, while simultaneously addressing the beautiful tragedy that is life.

“For this show I wanted to capture an imaginary essence or spirit that moves with things, whether it be a gun, an animal, or a building. I like to think everything has an essence. The depiction of guns and animals together have nothing to do with any sort of violence or harm. I chose the two due to their contrasting elements and how it felt and looked creatively. ‘Brighter Doom’ delves into my internal reactions to beauty and what it would look like as energy….motion ….and a bit of chaos.”

Brighter Doom opens Friday, February 24th from 7-11pm and runs until March 18th.

Iam8bit Gallery
2147 West Sunset Blvd
Los Angeles, CA 90026
iam8bit.com
818.807.6675

JoKa | Drippin' for Tippin's

Tongue-in-cheek humor is of the essence in the work of Philadelphia based artist JoKa. With themes of sex, violence, and beauty cleverly illustrated through pop culture imagery, JoKa’s twisted reality is an overwhelming delight not to be taken too seriously. Equally as mind-blowing is to know that JoKa creates all his art with toothpicks, a technique he refers to as “hyperpointillism”. In the vein of 19th century masters like Seurat or Paul Signac, JoKa paints tiny, distinct dots of pure color in patterns that when viewed from a distance forms an image.

As one of the artists participating in the ‘Femme Fatale’ show opening February 25th, we had a chat with this unique artist. Here JoKa talks about his creative process working with toothpicks, the concept behind his ‘Femme Fatale’ painting and why he’s so inspired by the female figure.

You’re work is created through the use of toothpicks, a technique you describe as ‘hyperpointillism’. What about this particular method attracts you over traditional brushes and graphite?

I’ve been painting this way going on eight years now, so I’ve just become very used to it, thinking about a piece in layers, breaking it apart, and putting the colors back together like a puzzle. I think traditional painters experiment more on canvas and make some happy mistakes or discoveries, while I pretty much have to make all my decisions before paint goes down, for the most part. Sometimes a color scheme will be altered while I’m working on a piece, but only slightly. Not having to deal with the hassle of cleanup is a nice little treat as well.

JoKa | The Gravity of Perfection

This chosen method sounds very time consuming. Tell us about your creative process.

I find very alluring, the process of taking elements of pictures out of their context and using them to build new, different meanings. I predominantly like recontextualizing vintage photographs to comment on my perceived changes of values, be they cultural, ethical, or stylistic. As I find images, usually in old magazines, I’ll scan them and make digital collages till I find something that works. If I need something specific to fit a theme, I’ll take photos of my own to use.

In the case of “Strung Up in Timelust” (in the Femme Fatale show), I began with a picture a friend sent me, and built around it, based upon an idea that struck me. Every piece ends up being an ironic or sardonic take on how I see things, and it doesn’t completely gel with me until an appropriate title is in place that drives that point home.

JoKa | Strung Up in Timelust

Your work often depicts feminine allure cleverly illustrated through pop culture imagery. What about the female form do you find so intriguing and inspiring?

I will never tire of looking at attractive ladies, especially relieved of their attire, to put it as eloquently as possible. I can remember when I was little, being told to not look during the sexy time parts of certain movies, and I think that made the mystique of seeing the nude female form even more intriguing.

In my work though, I do like to poke holes at the conventional perception of beauty by interjecting things like baldness, lazy eyes, peg legs, and other malformations, only to point out the occasional overexertion we put on trying to make things beautiful and how we strive for perfection. More effort should be put into accepting things as they are, rather then trying to gussy them up for acceptance.

JoKa | Mommy loves Us more than You

If you could hang only one artwork from art history in your home or studio, what would it be and why?

That’s a really tough one, on par with the ‘only one album on a desert island’ kind of question. I’d be hard pressed to pick just one, so I’m going to cheat, and go with one of Eric White’s larger ‘Collusion’ pieces, which have numerous pictures within one big painting. There would always be something new to discover within each tiny piece.

Eric White | Collusion Behemoth (2007)

Tell us something about yourself we wouldn’t necessarily know.

I’ve never pumped my own gas, and I really dislike flip-flops.

If I were to spend the day with JoKa what could I expect?

A lot of lounging, (consisting of lots of wasted internet time, watching movies, gaming and constant snacking), with intermittent breaks for painting. I don’t usually work in one long chunk, but will work for an hour or two, then break, and then go back and forth pretty much throughout the day. Oh, and I wouldn’t expect to get to bed before 6AM, so bring some caffeine.

To view more info about the upcoming ‘Femme Fatale’ show, visit our show info page. To receive an advance online preview, email stephanie@platinumcheese.com.

Lily Mae Martin in the studio

The figurative works of Lily Mae Martin are a seamless blend of dual forces. They are delicately rendered yet aggressive in nature, uncluttered in presentation yet complicated in scope, dark in tone but definitely not humorless. With every elastic push and pull of an expressive face or awkward pose, Lily Mae explores feminist, sexual and emotive themes while simultaneously capturing both the subject’s vulnerability and strengths.

I recently had the honor of interviewing the Berlin based artist for Hi-Fructose. Here Lily Mae Martin talks about the obstacles she overcame to become an artist, the painters who inspire her and the new outlook motherhood has given her.

Read the entire interview here.

Martin is one of many artists featured in the ‘Femme Fatale’ group exhibit opening February 25th at Cella Gallery. For more details, visit our show info page.

Sean Cheetham

Sean Cheetham has a gift for presenting alternative-looking people in a very formal, classical way and his latest show at Katherine Cone Gallery is no exception. ‘Champagne Wishes and Caviar Dreams’ continues upon his edgy, yet formal aesthetic with portraits of lone women wearing elaborate clothing and distant stares.

Take a sneak peek of a few of Cheetham’s latest works. ‘Champagne Wishes and Caviar Dreams’ opens Saturday, February 11th from 6-9pm at Katherine Cone Gallery.

Katherine Cone Gallery
2673 S La Cienega Blvd
Los Angeles, CA 90034
310.287.1558
katherineconegallery.com

ZES Promo from Ryan Correll on Vimeo.

On February 11th, Known Gallery will debut the collaborative exhibit from Zes and Retna entitled ‘Excavated Revelations’. This Saturday is a rare opportunity to see two street art innovators as Zes rarely does legal pieces and Retna has ‘blown up’ in popularity over the course of the year.

Check out the teaser above of Zes working on a piece in his studio courtesy of Michael R. Dueñas who co-directed and produced the video.  Michael also shared the studio images below of Zes and his work. You can view more of Michael’s street photography at his blog.