Items by leejoseph

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  La Luz de Jesus? Annual Laluzapalooza Artists Announced

  Posted: 19-February-2013, 9:00am EST by leejoseph

  After publicly extending their annual Laluzapalooza juried group show submission deadline an extra month, La Luz de Jesus Gallery's Billy Shire and Matt Kennedy sorted through over 15,000 images to select over 220 paintings, drawings, sculptures, assemblages, and photographs to be included in their biggest show of the year Continue reading →
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  The Reckoning: An Interview with Christopher Ulrich

  Posted: 17-December-2012, 8:18pm EST by leejoseph

  On December 7, 20012,  Christopher Ulrich?s The Reckoning opened at La Luz de Jesus Gallery.  This exhibition is a milestone for both the artist and the gallery. Ulrich filled both Gallery I and II with the twelve large and detailed oil-on-wood-under-resin masterworks which Ulrich worked on for two years, logging in endless sixteen plus hour a day sessions.

  Christopher Ulrich?s passion for mythology, alchemy, mysticism, and all of the fantastic images that he has accumulated and filed away in cluttered corners of his mind, are evident in every painting.  He dances dangerously with his estrangement from the controlling force of Catholicism, which was key to his upbringing, challenging established notions of the Christ story.

  Each painting was rendered in oil paint on wood panel and then covered with resin.  The high-gloss resin coating gives the work a luminous, vibrant quality as though each piece was painted on a star.  Though he uses non-traditional techniques, the effects he achieves are reminiscent of the masters of the Renaissance, the Late Gothic period and the Baroque period and the icons he draws from are obviously much older.

  ? Dahlia Jane from her Upon a Midnight Dreary blog.

  Ulrich kindly answered these questions in detail for BeinArt, via email; we hope you enjoy the insight into his process for this truly amazing show.

  Did you follow a planned path f0r your Demoneater series or did your ideas change and evolve as you created each piece?

  The process for me is akin to the shape of a spiral. At the outer edge is the ?plan? and as I descend into the work, the process itself evolves and changes. This Plan is more of a flash of the whole body of works, which I call the series. I have a vision of myself there in the exhibition or the gallery amongst them completed. Now I do not see all the details, perhaps some strong elements will percolate through the etheric void, which my mind?s eye penetrates. Once I absorb the feeling and energy of the completed journey, an empathic future thought-feel, I am thrust back to the present state. There I wonder how am I going to manifest that which is already completed deep down inside me. The work must be both summoned forth and experienced through.

  Your sketchbooks are fascinating and detailed; they are like art books in themselves. Though some of your drawings appear in the Demoneater book, would you ever consider publishing one of your sketchbooks as is from front to back? It would give art fans quite a visual journey.

  I would love too. Do you know someone who would like to take that journey with me? I have many friends and colleagues who may not be able to buy the paintings but would purchase the opportunity to view the process. Like any captain sailing into the primordial waters of the subconscious I try and keep a log of my experiences. I have had to sell many of these pages just to pay my bills between series. This is a shame since the notes themselves are more valuable to me. It would be great not to have to lose the originals, but instead have a record of them in a book. I am willing to give everything just to take the next project on. This does not have to be, if more people had the opportunity to show their support for the process itself.

  Are all of your pieces derived from the works and ideas in your sketchbooks?

  No, the sketchbooks are not a brainstorming source unto themselves. I use them as a diary, and as a short hand record of the fury of images and codes bubbling up through the concentric circuitous walls of the descending spiraling experience; which is induced by the driving need to return to the future manifested point of completion.

  At what point of the process do you apply resin (how long after you are finished laying down the oils)? Considering that resin has a toxic nature, do you work in a studio with open windows and doors? What types of precautions do you take when using the resin? Do the colors change once the resin is applied and if so do you take any special steps when painting to compensate? Does the temperature and weather effect and if it does how do you compensate?

  The Resin in the last series was unknown to me until I had reached deep into the near completion of the Christ Chronocrator series. I did not know this detail beforehand. I had no idea that I would be pouring toxic hot resin over my oil paintings, nor could I have imagined taking a blowtorch to them. They say the devil is in the details and boy that is the truth. He loves to hide at the almost point where the unsuspecting traveler, or artist, who has braved the tough climb, is about to reach the zenith point of the future dream element which is forming into a reality. The furthest point between you and your goal is Almost. This is the birthplace of tragedy and the devil jumps out and bites you on the ass. I found myself at this point and was not understanding as to what was missing. The paintings were done and all I had to do was apply a traditional varnish, photograph them, and sit back till the hour of the opening. The work had something else in mind. The real question is, had I known what I do now, would I have done it. The answer is yes. Indeed the process was dangerous, daring, and painful. The alchemy of it was far more complicated than advertised, and was a whole new part of the puzzle. Like a fool I rushed in, and truly, it nearly ruined me. I thought I had destroyed the show. Forget the cost of it, and how expensive a single mistake is, or the fact that humidity, hair, a bug, or any multitude of monkey wrenches can kill the work. Imagine only the damage, which causes havoc and madness to one who is being crushed by a deadline.  One must face this fear, and it is hard work to do so. The process itself if you are able to apply it with minimal mistakes does ultimately cover the hand of the artist, which was a huge sacrifice for the mirrored effect. However with these paintings the resin worked because once I ?mastered? the process they resonated the energetic vibration of the completed work, which I had only envisioned as a future potential. Remember that by mastering this new technique for me I mean only that I faithfully followed what my process dictated despite the bone crushing doubt generated by the overwhelming lack of experience needed to produce a satisfactory effect. I made a mess of myself, my home, and everything else in order to achieve the singularity of the final works. At the same time I got to fall back in love with the paintings only after I had ?lost? the originals to the resin finish. It then became evident why these works had called out to me to be painted on wood. For me the third and first series are connected as the head and the tail of the self-swallowing snake are. Yes I did experiment on a Demoneater painting before I applied it on the current series. I had to. Yet nothing can prepare you for the real thing until you jump in and gamble all. I started this saga by gazing into a mirror, which shattered. I ended it by creating mirrors of revelations. The worst truth I had to face was the one that my persona, or reflected portrait painted in the Last Supper was Judas. I had felt at one point that I had murdered my ?children? through the resin process. Imagine that?

  What and who has inspired your deep and beautiful colors, crisp and detailed figures, and the depth of each of your scenes?

  Thank you for saying so, but the answer is a mystery. You ask ?what? if not the art spirit than what other force? Could it be that we are guided by something else? As far as ?whom? every series calls upon different influences. In my notes I detail and document the names and works I pay homage too and whose voices I?ve heard.

  Do you do any sort of meditation or ritual before you start painting? I imagine that your entire being ? mental, physical and spiritual goes into each one of these pieces and wonder what you do to prepare yourself for painting each day.

  No-thing can prepare you once you start, although meditation and ritual can strengthen your nerve. Of course the left hand way would be drugs, intoxicates, or other extreme methods. I feel that these distractions are a necessary part of the process but not part of the real work. I for one do not need these things as access points. I may use them as shields to temporarily stop the process. Perhaps I need to recover or I am not ready to handle a new obstacle, or remember a new truth? In the end you must realize to simply let go.

  The Monday after the opening, La Luz de Jesus hosted a book signing featuring Chet Zar and KRK Ryden. Present at the signing were both Christopher Ulrich and Mark Ryden. Though both were included in the La Luz de Jesus 25 exhibition last November, this was the first time the two maestros actually met. Ryden remarked that Ulrich’s exhibition was “Incredible and Impressive,” as he admired the sixteen-feet-wide “Last Supper” painting.

  Images:
  Christopher Ulrich with “The Last Supper”
  “Baptism” Resin on oil on wood, 37.5″ x 73.5″ in 47.5″ x 83.5″ frame (from La Luz de Jesus show preview page)
  Crowd at opening reception mesmerized by “The Last Supper”
  “The Last Supper” detail far right

  View a photo album of the show with detail shots
  View a photo album of the show opening
  Photo album and interview post photography by Lee Joseph

  Christopher Ulrich
  The Christ Chronocrater Series III: The Reckoning
  Remains open through December 30
  La Luz de Jesus Gallery
  4633 Hollywood Boulevard
  Los Angeles, CA 90027
  (323) 666-7667
  www.laluzdejesus.com

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  The Reckoning: An Interview with Christopher Ulrich

  Posted: 17-December-2012, 8:18pm EST by leejoseph

  Ulrich kindly answered these questions in detail for BeinArt, via email and we hope you enjoy the insight into his process for this truly amazing show. Continue reading →
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  The Macabre Show at La Luz de Jesus

  Posted: 5-October-2012, 12:44am EDT by leejoseph

  La Luz de Jesus Gallery presents “Macabre“, a special autumn exhibition — a curated aggregate of like-minded individuals. Come discover the archetypes and alchemy that makes each of them awaken: from Gothic iconography & morbid symbolism to arcane occultism and allegorical romanticism.

  Steven Daily Melchizedek
  

  “This series is based on growing up in a spiritual home, yet being attracted to the macabre.
  The dark things in life the mystic, the odd, the essoteric.

  The images in this series are based on supernatural stories from the book of Enoch, old and new testament. This is how I’ve visualized them as a adolescent until now.

  I always found the stories in the bible to be so surreal. The imagery to be so vivid and descriptive. Border lining the macabre. Yet through all the pain suffering and evil there was always a glimpse of light.

  I wanted to explore this ideal, through hard armor and sharp weapons. and the softness of ruffles, pearls and light.”

  Myron Conan Dyal Equinox

  In Myron Dyal’s recent retrospective at the Indianapolis Museum of Contemporary Art, the most important art critic in the midwest had the following to say:”Myron Conan Dyal is rivaled only by Richard Serra in the contest for the greatest living scupltor.”

  Certainly those who have seen his works in person find it impossible to be ambivalent about it. Some find his life-sizes sculptures of paper mache and acrylic paint to be festive reminders of carnivale, while other are absolutely horrified and experience an oppressive claustrophobia in their presence. To those of us who know Myron, it’s impossible to find anything but a warm presence of goddess energy in his often vibrant figures.
  

  Scott Holloway Janis

  Scott Holloway fuses medieval medical text with biblical icon painitngs to create images of great reverance for both death and spirituality. This dichotemy is the subject of his latest show, Janus. His four years at Montserrat College of Art placed him in close proximity to the Gallows Hill of Olde Salem, Mass where the witch hysteria of the late 17th century is still a topic of institutional controversy. More macabre than outright gothic, the power of anatomical illustration is rarely in better hands.

  “La Luz has been great to me! I’ve been in the Kitschen Sync show every year since 06, and was also in a four-person show in 09. “Macabre” brings together a great group of artists that I love, admire, some of whom I consider good friends! It’s a great pairing of artists. All different but also sharing a common theme.”

  Craig LaRotonda Rise of The Robosapiens

  In Rise of The Robosapiens, artist Craig LaRotonda reveals a vision of the future where the evolution of humanity has resulted in a new version of man – an amalgamation of flesh and machinery. These are the Robosapiens. In this dark and unnerving environment, mankind suffers in a world of ominous mystery. Though technologically advanced, man struggles with existence while he continues his search for a higher consciousness and enlightenment.
  

  Mavis Leahy Rest in Peaceful Slumber

  Mavis Leahy works in mixed media textile collage. Her quilted creations have featured in Country Living magazine, she’s written numerous articles on beading and other techniques,and her art work has exhibited in galleries and museums worldwide.

  

  Her inclusion in The Macabre Show should officially change her status as the best kept secret in the San Fernando Valley. The exquisite detail found in vintage linens, laces and wools is matched and expanded to reflect the many rich cultures of her native Los Angeles. Bones, ceramic, jewels and metal also find their way into her patchwork paradise instilling a forlorn nostalgia for funerary craft art of the Victorian age. The result? Dolls, ornaments and alters that could very well pass for undead.

  Miso Birth

  A continuance of her sold out 2011 exhibition, “An Introduction to Pathology,” which dissected the creatures of her Miso world, Birth is an exploration of mutation, defect, and the agony of imperfect existence. In a universe that challenges every newborn, mutation is necessity, and imperfection is survival. These specimens are presented in micro portraiture, oft with Byzantine frames or against crushed velvet, wood or gold foil.

  Gail Potocki Unkept and Whispered

  

  Gail Potocki will be debuting a single new work as part of our Macabre Show. That work is a triptych titled, “Unkept and Whispered,” and like the ouvre that preceeds it is an oil on linen painting in a handmade frame.

  “A chain of dire events have been set into motion by this woman. This action she regrets remains secret through the silenced bird sentinels at her sides. The inevitable outcome is kept at bay by the banishing spell that is broken when the panels are separated” states the artist.

  Jasmin Worth Poor Mother

  In this series, Jasmine Worth focuses on the conflicted imagery of woman as both holy mother and originator of sin. Embracing the Pagan roots of the Goddess Mother image, as well as the iconography of other religions, she seeks to unify the diverse depictions of the divine mother into one entity. In these works she reunites the image of the divine mother into a whole, encompassing both aspects of the dichotomy that has torn her in to an object of both reverence and fear.

   

  Macabre opens Friday, October 5, 2012 at 8pm and remains on display through November 28
  La Luz De Jesus Gallery
  4633 Hollywood Blvd,
  Los Angeles, California 90027
  www.laluzdejesus.com
  Preview the entire show here

  Images (all courtesy of La Luz de Jesus Gallery)

  Steven Daily “Fallen” Acrylic on wood, 12″ x 12″ plus frame
  Myron Conan Dyal “Marching Silence” Acrylic on papier mache 42″ x 72″ x 36″ 48″ x 70″ x 50″
  Scott Holloway “Claddagh III” Oil, ink and leaf on panel 14″ x 11″
  Craig LaRotonda “Phantasma” Acrylic and found paper fragments on wood 8″ x 10″ in 18.5″ x 20.5″ frame
  Mavis Leahy “George” Bird skull, antique china doll body 4.5″ x 5″ x 1″
  Miso “The Infant” Oil on panel 5″ x 6″
  Gail Potocki “Unkept and Whispered” Oil on linen in custom frames 10′ x 24″ (left) 24″ x 24″ (center) 10″ x 24″ (right)
  Jasmine Worth “Patron Saint of Freaks” Oil on board 4″ x 6″

   

   

   

   

   

   

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  Interview with Heather Watts, ?Small Heroes? show at La Luz

  Posted: 25-April-2011, 8:41am EDT by leejoseph

  Heather Watts "Small Heroes" show at La Luz de Jesus Gallery closes in one week. Click here to see the entire show. Watts will be included in the upcoming La Luz de Jesus 25th Anniversary Masters Exhibition which will be a two - part show in October and November of 2011. This short interview with the artist touches on her influences, her use of "light sources" and the concept of "The Rat King."
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  Interview with Mark Gleason about his La Luz show ?Mannerisim?

  Posted: 31-March-2011, 4:14am EDT by leejoseph

  Mark Gleason will be displaying his new works in a show called ?Mannerisim? at La Luz de Jesus Gallery, opening Friday April 1 and remaining up through May 1. Gleason continues his use of Mannerist techniques with oil on canvas as his medium, exploring existential themes via absurdest situations. We asked Mark a few short questions about these works
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  121 artists announced for ?Everything But The Kitschen Synch 2011

  Posted: 17-February-2011, 8:11pm EST by leejoseph

  La Luz De Jesus Gallery proudly presents their annual juried group exhibition, "Everything but the Kitschen Sync.? This year's list of 121 Kitschen Sync artists showing 225 pieces were chosen from over 8000 entries that were sent to the gallery throughout the year
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  Myron Conan Dyal and Jennifer Logan at La Luz de Jesus

  Posted: 3-February-2011, 6:34am EST by leejoseph

  Myron Conan Dyal and Jennifer Logan's "Charon's Pantheon" at La Luz de Jesus features Artist Lectures every Saturday in February. Exhibition open from February 4 - February 27.
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  Kris Kuksi book signing at La Luz de Jesus Gallery

  Posted: 20-January-2011, 4:18am EST by leejoseph

  Kris Kuksi Book Signing Friday, January 21, 2011; 6-9 PM La Luz de Jesus Gallery 4633 Hollywood Blvd. Los Angeles CA 90027 323-666-7667 www.laluzdejesus.com info@laluzdejesus.com
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  ?A Fertile Madness.? Tammi Otis speaks of her show at La Luz de Jesus

  Posted: 7-January-2011, 5:48am EST by leejoseph

  Tammi Otis paints in oil glazes because they convey a luminosity that she can't get with other mediums. ?I need that special light effect because it's an integral part of what I want my work to convey...an inner world - maybe not seen clearly, but definitely felt? states the artist. Otis conveys through her artwork, the emotional being manifesting itself as a tornado, a halo, or a bird such as a crow. She paints the joy, sorrow and spiritual secrets of our intimate minds.