I'm pleased to announce the release of new prints of two favorite paintings from the past few years--"Asleep at the Wheel" and "We Went Into the Dark and Came Back With Our Colors". Visit the STORE or robsato.bigcartel.com to order. If you want your prints to ship before Christmas, the order deadline is Thursday, December 18th.
"Asleep at the Wheel"
8x8" ultrachrome print on archival cotton rag
"We Went Into the Dark and Came Back With Our Colors"
16x12", ultrachrome print on archival cotton rag
820 NORTH FAIRFAX AVENUE
LOS ANGELES, CA 90046
t. 323 951 1068
"Squaring the Sun".
On view at Martha Otero Gallery through October 25th, 2014
When I was a kid I used to draw the legs of insects and bird feet as maze-like patterns because I thought that was how they actually were. I don’t even remember it being fun to draw so much as I was determined to get them not tolook how they looked, but feel how they looked. Birds have mazes for feet, and bugs have legs that make mazes, right?
This piece sprang from being asked to do the cover for the band Upsilon Acrux' upcoming album. I was given the phrase “Square Sun Dialect” and told to make whatever I wanted based on that alone. I had been thinking about nature illustrators like John James Audubon and Ernst Haeckel who made very stylized but scientific drawings under the banner of documenting and categorizing plants and animals. These pictures of the natural world are often so stylized to me that they feel unnatural, like science fiction. So many people have drawn the same bird or flower or whatever, but they all turn out wonderfully varied. Every mind is a unique prism that refracts the light of existence in different ways. Combining these thoughts with my memory of trying to capture the maze-iness of insect legs, my own early effort to document my perceptions in a deeply subjective way, “Squaring the Sun” came out. Birdmen and bugmen got mixed with planes and insignia and I was happy and surprised that things organically became much more geometric than originally intended. Incidentally, much of this piece was made with a broken right drawing hand and a healthy and surprisingly reliable left hand. Another fun fact is that this image will not be on the album cover. I ended up submitting something else.
Writer Liz Ohanesian came by Martha Otero Gallery to discuss my show "Curses" with me for KCET's Artbound. Click HERE to read the article.
Coinciding with the 20th anniversary of groundbreaking alternative art and culture magazine Giant Robot, OMCA features the major exhibition, SuperAwesome: Art and Giant Robot featuring works by 15 contemporary artists who have been a part of the magazine's social and cultural evolution. Co-curated by Giant Robot visionary Eric Nakamura and OMCA’s Associate Curator of Art & Material Culture Carin Adams, SuperAwesome presents new or recent works by California and international-based artists affiliated with the influential magazine that brought Asian, trans-Pacific popular culture to mainstream audiences in the United States.
Artworks in the exhibition represent a range of mediums, including mural art, sculpture, illustration, portraiture, large-scale installations, graphic novels, photography, and more. Featured artists include:
Deth P Sun
The exhibition also features Giant Robot magazines, ephemera, vinyl toys, custom vending machines, and the original Giant Robot Scion XB inspired by Nintendo's Famicom gaming console, designed by Eric Nakamura and fabricated by Len Higa. The car-turned-interactive gaming station boasts built-in sound and projectors, ennabling visitors to use the car to play the original game Return of the Quack by Chevy Ray Johnston with graphics by Matt Furie.
Over the past 20 years, the Giant Robot brand has expanded to include retail stores and galleries in San Francisco, Los Angeles, and New York, a restaurant, museum and gallery exhibitions, and a popular website. It has also become an important outlet for a generation of emerging artists, several of whom have achieved mainstream success—such as Adrian Tomine, whose work has graced many New Yorker covers, and James Jean, whose is best known for his work for Prada, ESPN, and Atlantic Records.
SuperAwesome connects to OMCA’s other spring exhibition Vinyl: The Sound and Culture of Records through programs and in-gallery experiences celebrating how a range of communities comes together to create shared popular culture.
SuperAwesome: Art and Giant Robot is made possible in part by generous support from Deluxe Corporation Foundation.
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