Jonas Mekas

Jonas Mekas, frame sequence from Reminiscenes of a Journey to Lithuania (1972), 16mm film, color and black-and-white, sound, 82 min.

In the latter half of the 1940s, following the end of the Second World War, Jonas Mekas and his brother Adolfas found themselves settled in a displaced persons camp in Wiesbaden, Germany. Previously, Jonas had lived a simple life in a quiet farming village in Lithuania named Semeniskiai, where he was born on Christmas Eve, 1922. Enchanted with poetry from a young age, Jonas’s penchant for language received public recognition, and his first collections were published at the early age of twelve. Although rooted in humble beginnings, he admits in an interview with the Brooklyn Rail that it was evident to his parents his future would not be restricted to the land on which he was raised. 

En route to university in Vienna, his train was stopped in Germany. For the next eight months Jonas and his brother were imprisoned in Hamburg at the Elmshorn forced labour camp, before escaping. Shortly after their escape the war ended, and Jonas relocated through a series of German displacement camps before finally immigrating to Williamsburg, New York in 1949. 

Jonas made great strides upon his introduction to New York City. Almost immediately he acquired an 8mm Bolex camera, and became an imminent figure in New York’s burgeoning film culture. Accordingly, starting in 1954 alongside his brother, Jonas founded Film Culture – a journal that critically discussed the avant-garde, Hollywood, and European art film. Having established his critical presence, Mekas also began writing for the Village Voice in 1958. Though his ambitions as a critic were soon superseded by a philosophy that would set the stage for what would later be coined as New American Cinema. In his Movie Journal, a collection of writings Jonas produced while at the Village Voice, he writes “I had to pull out…to protect all the beautiful things that I saw happening in the cinema, and that were either being butchered or ignored by my colleague writers and by the public.” It was this shift that marked the turning point away from feature film-making to a non-narrative kind of cinema.

Resembling more like collage than movie, Mekas’s irreverence for narrative structure appeals to one’s memory. This method neglects narrative for a more accurate reflection of how memory operates. Having circumvented the application of an overarching context, the collection of images are composed in a way that feels like they exist in a place outside of time’s grasp – the difference between past and present becomes irrelevant as it all becomes memory. Effectively evading the rigidity of cause-and-effect, Mekas’s films unfold more like poetry than a conventionally scripted film. From this canon, time – and its passing – is already understood. Thus, no further diction is necessary. Such is the nature of poetry; to reveal the essential without the burden of thesis. From this perspective, the images Mekas presents are given space to speak for themselves. 

World Trade Center Haikus (2010). Single channel video. Betacam SP / DigiBeta Master. 13 minutes, 58 seconds. Edition of 3 + 2 AP

Take World Trade Center Haikus (2010) for instance. This short film has no discernible dramatic structure. There is no rising action or resolution to draw from, but meaning persists all the same. As the tape unwinds in tandem with a melodic piano score, a tone reminiscent of a home movie is fostered. However, it seems that the way in which the imagery is treated takes precedence over what the imagery actually shows. Appearing like disjointed fragments of film caught in quick succession, the whole of the film feels more like bearing witness to Mekas’s stream of consciousness. Although it isn’t quite intelligible what may have been said, the viewer is left feeling like something intimate has been exchanged. As for a haiku, it also tends to lack the breadth necessary to generate a narrative, yet it is not uncommon for simple things to yield lasting impressions. Though probably the most important aspect of poetry is not what a poem is saying, but rather the impulse behind saying something in the first place.

Written by Grayson Chandler

All Jonas Mekas works and  films are available through Deborah Colton Gallery

Jonas Mekas

Ushio and Noriko Shinohara: Bullie the Boxer and Cutie’s Catharsis

Happy New Year and welcome to the beginnings of our 2020 blog series!  We have had such vast growth and momentum at the gallery recently that we had to let this go for a while, but we are so happy to start again!

Today I am going to focus on our artists who currently have exhibitions at Deborah Colton Gallery: Ushio Shinohara and Noriko Shinohara, alias “Cutie and the Boxer.”  

Ushio Shinohara, Yellow Iris, 2020, Acrylic on Canvas, 60 x 192 Inches.

Born in Tokyo in 1932, Ushio Shinohara (nicknamed “Gyu-chan”) is a Japanese Neo-Dadaist artist and international Pop painter who has lived and worked in the United States since 1969. His parents, a tanka poet and Japanese painter, instilled in him a love for artists such as Cézanne, Van Gogh, and Gauguin. Most recently known for his exuberant boxing paintings, which are artifacts of his performances, Ushio Shinohara works in several mediums, including painting, printmaking, drawing and sculpture.

Ushio’s bright and frequently oversized work has exhibited at prestigious institutions internationally, including the Hara Museum of Contemporary Art; Centre Georges Pompidou; the Guggenheim Museum, New York; the Japan Society, New York; the National Museum of Modern Art, Tokyo; the Museum of Contemporary Art, Los Angeles; the Metropolitan Museum of Art, Pusan; the Dallas Museum of Art, and the Tate Modern, among others. His work was also featured in International Pop, a landmark exhibition at the Walker Art Center that chronicles the global emergence of Pop art from the 1950s through the early 1970. A New York Times article on the exhibition reads: “Ushio Shinohara… engaged in a practice that might have been called punk if the concept had existed then…” reinforcing his position as a leading figure of the avant-garde art world.

Ushio Shinohara, Winter Sky, 2020, Acrylic on Canvas, 72 x 48 Inches.

Now to take a more personal shift, when I was first introduced to Ushio’s boxing paintings I was still in school at the University of North Texas. As a budding art student honing my critical eye, I must admit that the pressure to have something to say in class critiques — the desire to establish a voice, and demonstrate one’s competence — often led to a hasty judgment of the given subject matter. Ushio’s patented boxing paintings were no exception, and as such, I designated them as a gimmick. Much like how one may have determined Pollack’s style to be a gimmick; the idea is surely novel, but the novelty is quickly diminished across reiterations. I’ll explain why I was wrong, but first I need to provide some more context.

I’m sure you’ve heard the expression “my child could paint that,” which is a common critique regarding abstract expressionism. However, the reason this critique should be dismissed is because it considers only the treatment of the materials, while altogether ignoring the exposition of the artwork. In Ushio’s case, the apparent flippancy demonstrated in his boxing paintings often overshadows the commentary, and it seems to me that this is an issue he has grappled with for over half a century.

In 1960 Ushio helped found the Neo-Dadaism Organizers. Their mission: deviate from any conventional form of art. Akin to European Dadaists, who’s art sought to reveal the customary and often repressive conventions of logical order and rationality, the Neo-Dadaism Organizers embodied a similar ethos. This can chiefly be seen in akushon, meaning “action”, which is the practice of emphasizing the human body as an artistic medium. In particular, its aim is to shock the audience via impulsive and sometimes disturbing performances. Depending on the means and magnitude of such a performance, the disturbance may seem to take precedence over the object of the art.

Thus, the premise of the artwork, and why it remains challenging to some, is because the object of the art is not the artwork itself. Instead, the artwork itself is more like a consequence — an epiphenomenon if you will. The real substance of the artwork lies in the sensibility, or ethic, with which the artist is using to communicate with you, the viewer. For Ushio, this sensibility is encapsulated in what has become his personal trinity “be speedy, beautiful, and rhythmical.”

Artist Ushio Shinohara, Tokyo, 1961, photo by William Klein

I must confess that in the beginning the prospect of his “wild man” personality did not appeal to me, and in my haste to make a judgment, I let that prospect overshadow a more meaningful interpretation. Though now, with a better understanding of Ushio’s sensibility, I think you’ll find there is actually a great depth of complexity and sophistication in his artistic production.

For Noriko, the subject matter is a different story, literally. Whereas Ushio’s work is primarily drawing upon the sensations of the marks being made, Noriko’s work is presented as a narrative. Noriko’s work has been exhibited frequently in New York and Japan, and is part of the permanent collections of the Davis Museum and Cultural Center at Wellesley College.

Noriko Shinohara was born in 1953 in Takaoka City, Japan, moved to New York in 1972 to study art, and soon met Ushio in 1973. She has worked as an artist for many years, but the work she is best known for is her Cutie and Bullie series. Since beginning this series in 2006, it now includes drawings, paintings, and prints featuring her characters Cutie and Bullie, and gives us a glimpse into the dynamic between herself and Ushio. Truthful to the point of discomfort, the works which chronicle Cutie and Bullie follow Cutie’s early trials of being married to an alcoholic older man and the difficulty of being an artist in New York.

The scenes are graphic representations inspired by events highlighted in the award winning documentary Cutie and the Boxer. The film was nominated for the 2014 Academy Award for Best Documentary, placed second in Audience Awards during the 2013 Tribeca Film festival, and earned Special Mention in Grierson Awards for the London Film Festival. Cutie and the Boxer won Best Director Award at the 2013 Sundance Film Festival, where the committee cited: “It’s rare to see a film so beautifully crafted in all aspects. It captures the complex nature of love and art in a mesmerizing and deeply human way.” The film was also nominated for Grand Jury Prize at the same festival.

Artist Noriko Shinohara in front of The Metamorphosis of Cutie, 2019

On the surface, the imagery appears light and playful. The line-work and color palette of her illustrations have an outward pretense of levity, adolescence, and humor. However, these conditions are underscored by much deeper psychological motifs. Marked by growing pains characteristic of a coming of age drama, Noriko’s story chronicles the projection of herself — a character named Cutie — as she contends with the harshness of reality. Drawing distinctions between her experiences and her expectations, Cutie learns the difference between being idealistic and pragmatic. The imagery, maintaining the likeness of a picture book, invites notions of mysticism and fairy-tale. Yet, as the narrative unfolds, the strength of Noriko’s metaphors begin to dissolve through the allegory to reveal the real-life trials of an individual becoming disenchanted with her circumstances.

As one comes to understand the veiled comparison between herself and Cutie, the buoyancy of her figures cascades from something symbolic of simple light-hearted narration into an effigy actual consequence. In this process, the story of Cutie is an analogy for Noriko: as the tone of the Cutie’s story inflects from one of youth and amusement to one of rumination and humility, so does the viewer’s impression of Noriko. Furthermore, I only imagine that for Noriko Shinohara, the story of Cutie is a monument to her own artistic culmination into who she has become today.

Written by Grayson Chandler

All works of Ushio and Noriko Shinohara Available through Deborah Colton Gallery

Ushio and Noriko Shinohara: Bullie the Boxer and Cutie’s Catharsis

Focus : Suzanne Paul: Introductions

I’m sitting in an arts venue which I’ve become quite intimately familiar with over the recent years… Thinking about introductions…\n\nDeborah Colton Gallery is presenting a special pop-up exhibition in between it’s regular program of full scale exhibitions, illness which opens this weekend. The show will be up for two weeks and celebrates some standout moments in the gallery’s 12+ year history, and is the first time that the gallery-sponsored IMAGINE PEACE billboard from artist Yoko Ono will be presented on-site.\n\nI’m in the gallery as I type, in and out of writing and watching this billboard go up, as I begin work on a very special project. In this moment, surrounded by the preparation for celebration and altruistic intention, I find myself thinking of how intricately connected lives and timelines can be, and more faithful than ever that it is by no accident that we find ourselves in our present condition…\n\n\n\nI first saw this billboard while driving along I-45 in 2011. I wouldn’t say I was immediately struck in my tracks, I mean, I kept driving… but it did leave a subtle impression whose rememberance grew, and has grown, over time. The message is an important one and its expression was succinct – simplistic in its sophistication. I can still see the billboard from the freeway now in the vignette of my mind’s eye… And since then I have indeed imagined peace.\n\nLater that year, enjoying a free day with a new friend, I suggested we visit a gallery unknown to either of us, as it was the last day of an exhibitions of artworks by Yoko Ono. I’m not sure what we were expecting to encounter, but what we did take away was something neither of us could have anticipated.\n\nThat visit introduced us to Deborah Colton Gallery’s leader, Deborah Colton, and in the almost-five years since, that friend, Jessica Crute, and I have both worked for a time at the gallery and have also presented the most significant creative projects of our early careers. And for myself, that first encounter was the start of a series of many significant introductions in my life.\n\nIn 2014, as Assistant Director of the gallery,  I worked very closely with gallery artist Angelbert Metoyer in the co-curation and execution of Seasons of Heavena survey of recent works from the career of Angelbert Metoyer. In 2015 Deborah extended to me an opportunity to curate Collective Solid from concept to exhibition for the final iteration of ArtHouston, whose mission was to showcase emerging Houston talent city-wide.\n\n\n\nI must give credit where it is due: in my time working for and with the gallery, I’ve been exposed and come to know some outstanding artistic talent, from across a great many international borders. However, the artist whose work I find myself most sensitive to is a native Houstonian and a pioneering female photographer whose work chronicled the budding art scene in the city in the 70s and its evolution over the two consecutive decades. Suzanne Paul thoroughly documented the artists of her social experience – of her real life – and those influential in our artistic community, and in working with some of the artists she’s captured in my time at Deborah Colton Gallery I’ve come to realize the significance of her life’s work. Through pure creative impetus and for love of her craft and the pursuit of photography, she was able to document a broad cultural aspect of our city’s history. A large part of her life’s work now serves as a resource to draw from, critically, historically, and creatively.\n\n\n\nAt the end of last year, I stepped down from my full-time position and tackled an ambitions special project as an independent curator in partnership with Deborah Colton Gallery to present Proofan exhibition that shared a select few portraits of creatives significant to the Houston arts community and featured some work never-before seen from the archive of Suzanne Paul, which the artist left in the possession of the gallery at the time of her passing. The hope was that the exhibition might pique the interest of our community and ultimately lead to the preservation of Suzanne’s archive and the acquisition of her work by collecting institutions. It also just scratched the surface of examining her unique approach to photography, especially portraiture.\n\n\n\nIt’s funny how one thing leads to another – and to another – and on and on… and here’s where things come full circle…\n\nBecause of the positive feedback Proof received, we have been encouraged to continue with this special project and I have been commissioned by Deborah Colton to pursue this undertaking to ends we cannot yet know. There is a sense that as we work to digitize, catalogue, and archive the collected works of Paul’s, opportunities to expose her work to a broader and growing audience will reveal themselves. This is why I find myself again in the main space at Deborah Colton Gallery, in the beginning stages of a project dear to my heart and dear to my city, entitled Focus: Suzanne Paul.\n\nThis post is the first of many that aims to document this pursuit and shares the unique finds and critical moments we come to in this process, and I hope that a readership develops with me as I look more closely into the treasure left to us by Suzanne Paul.\n\n \n


\nContent originally published by Theresa Escobedo, here, on 8.26.16

Focus : Suzanne Paul: Introductions

Oleg Dou: A Journey Within

treatment patient 2015, discount Oleg Dou” width = “321” height “42” > “9 tears”, 2015, Oleg Dou

Internationally acclaimed artist Oleg Dou was born in 1983 in Moscow and graduated from the Moscow State Institute of Steel and Alloys in 2006. Since then, he has worked as an artist in cooperation art institutions and curators around the world.

They were never meant to just be faces, and they were never meant to just be beautiful. That is the talent that consumes Russian artist Oleg Dou. When his work is completed, the viewer will either be intrigued or indifferent. Every single photo done by Oleg Dou is not a simple process for the average Adobe Photoshop user. There is meticulous effort into whom he chooses, and the editing that goes into the photos. He never falls short of perfection when bringing the imagery of his mind to life.

Oleg’s inspiration is drawn from a constant personal narrative. We believe that we rarely see him in his photos, but the truth is each and every photo is an extension of himself. When his work is viewed, he doesn’t want to tell you what it means. Each image can be something different to every person, there is no wrong answer and there is no right answer.

“Narcissus In Love”, 2015, Oleg Dou

Dou speaks about how on social media we can display a happy and bright appearance, but that’s all it ever really is, a fabrication of who we are. With Broken Mirror we are given the chance to discover more about what we represent and ourselves. We can see the brokenness that we all can carry everyday. It is a chance to see us stripped down, to our very naked self.

Oleg’s work is continuously inspired by this interest in human individuality and self-expression and the attempts to solve the problem of identity in our age. Visually intrigued by the culture of fashion and surrealists, his 2006 Naked Faces project was devoted to the relationship between a human’s inner self and his behavior in society and proposes that the expectations of society set the standards of behavior and thought in terms of what is appropriate and acceptable.

“Narcissus 2”, 2015, Oleg Dou.

These themes continue to be prevalent in his works today. Oleg Dou has won countless International awards and his art has been exhibited in many major institutions internationally including the Pingyao International Photography Festival (China), the Seoul Photo Festival (Korea), the FotoFestival Naarden (Netherlands) and the International Photography Awards. His works were featured twice at the Kandinsky Prize (2007 and 2008), the main contemporary art exhibition award in Moscow. He has also been featured in exhibitions in France, Belgium, Germany, Spain, Poland, Republic of Korea, China and Turkey. Oleg Dou was also rated number 3 under 30 world wide according to Art Market Insight, in their “30 under 30.. Up and Coming Photographers.”

Oleg Dou first exhibited at Deborah Colton Gallery during the 2012 FotoFest Biennial in Focus on Russia II and has also been featured by Deborah Colton Gallery at the Dallas Art Fair, the Houston Fine Art Fair and ArtAspen. This year Deborah Colton Gallery will debut his newest collection of works in a solo exhibition entitled, Broken Mirror. The exhibition will open in March 2016 and will be in conjunction with FotoFest Houston.

Broken Mirror will be on exhibit at the Deborah Colton Gallery now through April 23rd, 2016.


Collective Solid: Darwin Arevalo

Darwin received his BFA in Painting from the Kansas City Art Institute. During his time in Kansas City, viagra buy he participated in community based non-profit for inner city youths and programs as an art educator, unhealthy  lead artist, and lead muralist while also showing in local galleries. He hopes, through his work, to engage with the local community on the street level and to contribute to the development of a progressive and innovative artistic environment in Houston. The result of his artistic experimentation is rooted in processes that exploit the unpredictable intersections of materiality and form, as each of his artworks is in the first place, a reaction to itself.

“Mountain” by Darwin Arevalo

1. What do you do to bring art to the surrounding community?

I would hope [to bring] a feeling of belonging and self awareness; a shared experience.

2. How did you first get into art?

In the beginning…I think it was just my intent to materialize images from story telling.

3. How has your talent evolved since you began?

I try not to define or stop the direction of the an instinctual vision.

4. What type of art/artist do you most identify with?

Photographers and sculptors, those who embrace material and narrative.

5. What is your biggest dream as an artist?

 I was always fascinated by videos of Picasso drawing and his decisive, [intended] marks and movement. I would like to have that sense of intent.

6. What is your favorite thing to do besides art?

Explore, be outside, take in the landscape. Voyeurism.

7. What was your inspiration for your part of the Collective Solid?\n\n Manifesting our relationships as creatives.  

8. What is the most memorable thing someone has said to you about your work?

I had a professor who was not my instructor, Carl Kurtz,compliment a sculpture piece of mine by saying how balanced and Zen it was. That has always stuck with me.

9. How do you think people should try to find art in their daily lives?\n\nArt is everywhere, you just need to find the intent.

10. Do you have any advice for aspiring artists?

If you are not creating you are not an artist.

Collective Solid: Darwin Arevalo

Collective Solid: Patrick Renner

Patrick Renner is a native Houstonian, search  and received his BFA from the Kansas City Art Institute and his MFA from the New York State College of Ceramics at Alfred University. Renner teaches art part-time at the Sharpstown International School and maintains a rigorous studio practice. His artwork has been exhibited in many venues locally and in various venues in the United States. In 2015 his sculpture Funnel Tunnel garnered critical acclaim and a national award for public sculpture. It moved to New Orleans for display earlier this summer. His presented works, tailored to this exhibition, make use of his familiar cloud motif and his signature wood-worked sculptural methodology but also incorporate kinetic and electronic applications.

“Billboard” by Patrick Renner

1. What do you do to bring art to the surrounding community?

When possible, especially with my larger public installation pieces, I hope to bring something to the surrounding community that not only is a point of interest, but also gives all people an opportunity to contribute their creative energy to the end product.

2. How did you first get into art?

I would attribute my inclination toward art making to my parents: my dad is an excellent illustrator and my mom got her terminal degree in a painting and printmaking. As a kid they took me to the museums often, and we frequented galleries and even some artists’ studios, so that it became familiar while still being exciting to see the process and the outcome.

3. How has your talent evolved since you began?

The woodworking skills I learned from my grandfather evolved in complexity with practice, aka trial and error.  Other techniques learned from various mentors along the way cycled into my practice and have given me the ability to make many of the things I see in my head…although some still allude me on how to bring them to fruition.

4. What type of art/artist do you most identify with?

Although I tend to identify myself as a sculptor, I get a lot in the way of influence from other art genres—especially painting—as well as many things not even directly in the conversation of art. Architecture, film, culinary, quilting, music, car culture, folk art, and an equally random assortment of other things filter into my work.

5. What is you biggest dream as an artist?

That my work could open doors for me to travel other places is something I would never tire of. The opportunity to see new places and meet new people as a result of my creative endeavors has been my goal from early on in my art career.

6. What is your favorite thing to do besides creating art?

Watching movies, reading, social discourse (preferably over beers).

7. What was your inspiration for your part of the Collective Solid?

All the works I made for this show used the stylized cloud icon. It has persisted as an interesting image to me because it can encompass a variety of ideas. Cloud gazing is an activity that may be as old as history, something people did well before the invention of any of the devices that tend to occupy so much of people’s time nowadays as a diversion. When cloud gazing, people are free to let their minds wander and the associative exercise of identifying pictures in the clouds can be quite fun and amusing. In general, my interest in presenting an artwork is that it become a container/a place for people to map their own ideas onto; for me there’s no such thing as right or wrong associations, just like with cloud gazing.\n\nConversely, since clouds are tied to weather and storms, there can also be a melancholy or tumultuous quality to the image. The ‘silver lining’ notion is one that’s been personally poignant for a period of time in my life, so it’s a useful symbolic device. And in regards to the show title Collective Solid, I love that clouds are just that…something that takes form out of a nebulous conglomeration of water vapor; the mutable nature of our ideas and working methods as artists in the show is akin to a shape-shifting cloud moving across the sky.

8. What is the most memorable thing someone has said to you about your work?

I don’t remember.

Maybe when a guy in a car yelled at me while I was working on an outdoor piece: “I know what it is, but what’s it gonna BE?!”

9. How do you think people should try to find art in their daily lives?

To me it’s not a requirement, like something people should do, and it definitely shouldn’t be forced. Having said that, I think everyone oughta enjoy whatever it is they feel excited by in the aesthetic realm.\n\nWhen you see a beautiful thing enjoy the beautiful thing. Maybe that’s a sunset, or an attractive person, or a beautifully decayed building that has weathered into a divine wreck. Eat delicious food, drink good drinks. Listen to music that transports you to a higher plane emotionally (happy, sad, etc.). Wear the clothes that feel comfortable and that express your self-expression.\n\nAnd if you’re so-inclined, go look at some capital A-R-T. If not, maybe get some ice cream or something.

10. Do you have any advice for aspiring artists?

Aspire. It’s your most powerful tool to get where you want to go.

Remember, you are the only one who knows the nuanced beauty of what that picture of your success looks like, the one in which your dreams are coming true for your future self.

Collective Solid: Patrick Renner

Collective Solid: Jonathan Paul Jackson

Jonathan Paul Jackson is a native Texan. He is a self-taught artist working in Houston. Having apprenticed with and been influenced by Houston artists Angelbert Metoyer and Robert Hodge, ailment  Jackson has inserted himself into a heritage of Houston art-making that begins, in some ways with patriarchal figures in Houston art Jesse Lott and Bert L,. Long, Jr. His artworks are the result of experiments in abstraction as he forages a new philosophy toward painting that is at once his own as well as part of a larger dialogue about the nature of painting and perception, executed through the filer of an African American perspective.\n\n\n\n1. What do you do to bring art to the surrounding community?\n\nI have been organizing art shows for emerging artist between the age of 17-35 at alternative spaces for the past 11 years in Houston.\n\n2. How did you first get into art?\n\nI have been naturally curious of art since I was a young child. Luckily enough my uncle and brother could draw really well so they taught me at about the age of 11.\n\n3. How has your talent evolved since you began?\n\nYes, for sure. And I hope it continues to do so.\n\n4. What type of art/artist do you most identify with?\n\nMy art has been called abstract expressionism. I mean there’s the obvious Jean-Michel Basquiat. But I love the work and philosophy of Albert Oehlen who’s a German Abstract Expressionist.\n\n5. What is you biggest dream as an artist?\n\nTo live incredibly comfortably off of selling my art work and have sculptures or installations in 5 major international cities.\n\n6. What is your favorite thing to do besides art?\n\nCooking and having dinner parties with friends. I also enjoy riding bikes.\n\n7. What was your inspiration for your part of the Collective Solid?\n\nPushing myself and my imagination in a different direction.\n\n8. What is the most memorable thing someone has said to you about your work?\n\nHaving an important mentor tell me to make art for myself and if others like it than that’s just a plus.\n\n9. How do you think people should try to find art in their daily lives?\n\nThey shouldn’t feel that have to find it. It’s everywhere. Maybe read about different disciplines in art. So when they are in their everyday lives they will be able to recognize the art that exist around them every day and when they go to museums and galleries they approach the work with a different mind set. I hope that makes sense.\n\n10. Do you have any advice for aspiring artists?\n\nNever stop working. Always be making art. Always have a sketch book out when not painting. And when not sketching or painting, be gathering resource material.  Always be working.

Collective Solid: Jonathan Paul Jackson

Collective Solid: David Adam Salinas

David Adam Salinas considers photography historically as being a medium  that is most often associated with clarity, sildenafil  free from any artifacts from which it was made. His aesthetic approach highlights the process of analog photo making with chemistry, the paper it is printed on, and evidence of hand crafted or applied alternative materials. He uses solvents and paints combined with custom developing recipes to manipulate the image in the same manner a painter would approach a canvas. He combines traditional darkroom photographic techniques with his own devices to produce a final image from his experience that weaves the subject matter of the photograph with the final treatments of the processes employed.\n\n\n\n1. What do you do to bring art to the surrounding community?\n\nI feel I like to get out in the surrounding area of the studio. I take portraits of the people in that community. They’re mainly \”street people,\” but it’s for me it’s different because I have developed a relationship with them. Almost everyone I photograph on the street loves that I spend time with them, it’s nice to not be ignored. I go out of my way to communicate with them because they deserve that. That’s what they want, not the money or the sympathy, but to be acknowledged. I know the story behind the image… that’s what I bring that’s different.\n\n2. How did you first get into photography?\n\nI’ve always wanted to be an artist. I tried painting, but I never developed an artistic manner. I grew up idolizing artists, it was a path I always wanted to follow, but I didn’t have the knowledge. I didn’t have the training to get there. Five or six years ago, I got really into photography. I would just read endless articles and watch videos to really learn. I got a job at a camera store, being around people in the photography community taught me so much. It was amazing hands on learning. I felt like I learned more than my friends who were taking classes at the local universities. The path I chose to take has really benefited my passion.\n\n3. What type of art do you most identify with?\n\nPainting. My photography gives more of a painterly feel, you can tell it was created by hand. I love the uncommonness to the tone. Its something handmade and the gesture is left with the image. That’s why I identify most with painters.\n\n4. What is your biggest dream as an artist? \n\nTo be remembered. I want to have images that will last, something that is iconic.\n\n5. What is your favorite thing to do besides photography?\n\nSleep, I never do.\n\n6. What was your inspiration for your part of Collective Solid?\n\nJust being around the group and knowing your’re part of something big. Being the inexperienced one in the group motivates me to make something great so I can feel like I belong with them.\n\n7. What is the most memorable thing someone has said to you about your work?\n\nA few years ago at a show I was showing photographs at, an older woman told me she loved my watercolors. She taught my photographs can be interpreted wildly differently and that meant so much.\n\n8. How do you think people should try to find art in their daily lives?\n\nTo just be a good observer. Seeing what would make a good photo or composition.\n\n9. Do you have any advice for aspiring artists?\n\nIt is important to have an incredible drive. There will always be set backs, but the drive to keep going early on will really set you apart.

Collective Solid: David Adam Salinas

Olga Tobreluts: A Summer Show in Budapest

Deborah Colton Gallery represented artist and international art star, patient Olga Tobreluts, advice  has been included as a featured artist in a group museum exhibition, Absolute Beauty – Neoacademism in Saint Petersburg, which opened earlier this month at the Ludwig Museum of Contemporary Art in Budapest, Hungary.

The artwork included in Absolute Beauty highlights the remarkable Post-Modern New Academy movement in Russian art, which was founded in 1988 in Saint Petersburg and aims to reintroduce to an art-savvy audience to the oft-considered taboo subject of “beauty.” Established on convictions of ideology and the idea of the ideal image, Neoacademism marks a return in Russian art of classical traditions and sensibilities, in the context of contemporary Russia.

Founder and Managing Director, Deborah M. Colton of Deborah Colton Gallery, had the pleasure of visiting Budapest to attend the Ludwig Museum Opening to support Olga, whose work will next be presented at the 2015 Houston Fine Art Fair and the 2016 Armory Show with a Private Gallery Show in NYC to follow.

Coming to Budapest to meet Deborah Colton and join the Ludwig Museum Festivities was one of Deborah Colton Gallery’s other Russian artists, Oleg Dou. Oleg and Deborah spent a day together planning Oleg’s world wide debut of new work for his 2016 solo exhibition at Deborah Colton Gallery which will take place next March during Houston’s FotoFest Biennale.

Olga Tobreluts before her show at the Ludwig Museum in Budapest, Hungary.

Olga Tobreluts with her son, patrons and Deborah M. Colton at the opening, Ludwig Museum in Budapest, Hungary.

A woman poses with a flyer for Olga Tobreluts show.

A photographer admiring Olga Tobreluts, “Models I-VI.”

Olga Tobreluts points at herself in artwork of all the artists from the group show.

“Models I-VI”, 2012, by Olga Tobreluts.

“Adam” and “Eve”, 2006, by Olga Tobreluts.

The large gallery space that exhibited Olga’s work.

“Models I-VI”, 2012, by Olga Tobreluts among a crowd.

“Models I-VI”, 2012, by Olga Tobreluts

“Battle of the Bare”, 2011, by Olga Tobreluts

“Hercules Wife”, 1995, “Adam”, 2006, and “Eve”, 2006, by Olga Tobreluts

“Hercules Wife”, 1995, “Adam”, 2006, and “Eve”, 2006, by Olga Tobreluts

“Empire Reflections I, II” ,1993-1994, by Olga Tobreluts

“Empire Reflections I, II” ,1993-1994, by Olga Tobreluts

“Empire Reflections” ,1993-1994, by Olga Tobreluts

“Empire Reflections” ,1993, by Olga Tobreluts

 Opening talk for Absolute Beauty-Neoacademism in Saint Petersburg exhibit.

 Deborah Colton and Oleg Duo in Budapest, Hungary.

Olga Tobreluts: A Summer Show in Budapest