Author Archives: Daniel

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Through March 28th

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Texas native, Nick Flatt is known for his large-scale photorealistic portraits. Flatt typically makes work around themes of conspicuous consumption, celebrity culture, and anti-consumerism, however with this new body of work he examines the PC movement. Producing the new series at the epicenter of PC culture, San Francisco, Flatt proposes an empowering yet somewhat ominous vantage point. Will this movement that is bringing about rapid, constructive change get hi-jacked and be used as a means of rhetoric domination, or will the patriarchal means of dominance be dissolved to create a more equitable society?

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111 Minna Gallery is pleased to present the latest body of work by San Francisco artist, Leon Loucheur. For his inaugural solo exhibition with the gallery, ‘Pick Your Poison,’ Loucheur displays the full depth of his skillset in masterful fashion. When asked about his thought process behind the show, he had this to say.

“Ours is an era of unprecedented gluttony, where the abundance that meets our every need is outdone only by our mounting desires for more. This is the crux of our consumer culture, established on the fundamental notion that “enough” is never enough. Corporate overseers work tirelessly to ensure that our bottomless desires are satisfied only temporarily, and that every satisfaction is short lived, followed quickly by a stronger urge for more.  This cycle of indulgence is intentionally crafted by those who profit from it, and our resulting decisions inevitably come at the detriment of our own well-being.  Convinced our actions are our own, we are the unwitting accomplices to our own demise, indulging in gratifications that are deceiving, and often toxic.”

-Leon Loucheur

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For this exhibition, Loucheur takes a dive into this phenomenon, employing satire to address themes of consumerism, beauty, desire, and advertising. The body of work functions as a pop-tragic-comedy, juxtaposing elements of nature and beauty with the contaminants of corporate drug culture and advertising, operating on the explicit tension between the two. Corporate logos interplay with botanical designs and animals engaged in consumption to create a layered narrative that is simultaneously cheeky and dead serious. The work mirrors the phenomenon it addresses, presenting itself as desirable and alluring, and yet not hiding its devilish agenda; you know it’s bad for you, but you want it anyway.

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Micah LeBrun is a self-taught Bay Area artist who considers his understanding of art to be derived from what he visually identifies in everyday life. His influences range from the line-oriented work of Picasso, the bold graphic nature of Warhol, and the dominant colorful brushstrokes of Peter Max to modern-day movements such as car culture and graffiti. A self-prescribed wanderer regarding the creative process, he believes that each idea should be executed in the medium and style that best relays its intention.

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I often feel that in many factions of the art world there seems to exist an expectation of artists to deliver a river of conscious and carefully articulated work that reflects the current state of the universe or political climate in a such a way that the very nature of humanities existence will be forever changed and altered for the better, which I agree remains to be powerfully important, but jeez that’s allot of pressure and has no place in my next show, ‘Anything Goes.’

My new body of work represents my intention to abandon such expectations while exercising creative freedom of medium, genre, topic, content and technique, both subconsciously and impulsively.

– Micah LeBrun

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Opening Reception: Friday, NOV. 1st, 2019 | 5-11pm (Through Dec. 20th)

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“PMA” with new work by Ferris Plock and Kelly Tunstall Opens November 1 at 111 Minna Gallery. Tunstall’s tenth major show with the Gallery, and the duo’s 6th in partnership with Plock, “PMA” or Positive Mental Attitude, for long, will focus on San Francisco, where the two are based.

Known for their distinctive character portrayals, detailed pattern work, and a palette that contrasts bright neons with earthier brights, “PMA” brings the stylization to a charged subject. The process of living and working in San Francisco through many changes informs this body of work at the most personal of levels, and the return of the two to their home turf is an introspective take on the shifting landscape around them.

The idea of PMA is that through focusing your positive energy that great things can happen… That a single act of positivity can set off a chain reaction of good things. Can one person’s PMA full of good intentions get in the way of someone else’s PMA? Certainly… does it happen all the time?

Yes… How do we each do our part for the greater good while trying to rise above hate and negative thinking? Each act, successful or not, is an attempt to bring positive energy to yourself so you can go forward and attempt to share your positivity with the general population…

In many ways, these pieces are sticky notes to keep going, keep pushing, and of course, to continue to evolve, are also an ever expanding love note to the living beast that is San Francisco.

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Bio

Modern mythologists, Plock and Tunstall are colorists of a different order.

Their deliberate focus on human and animal form allows for a certain surrealism to the point of abstraction; playing with how far the mind can consider a rendering of the body animal and/or human, even with multiple useful appendages. As we relate to these fantastic or strange bodies, our mind extends to accept them as our own.

Tunstall creates stylized portraits of female or female-identifying characters and their environments; while Plock’s work centers around slightly more masculine characters.

The result is a continuing conversation between male and female, man and wife; but also a really strange person with another really strange person; a microcosm of the modern world at large; inhabited by people as they seem, where the paintings function as a mirror of our truest or most fantastic selves, or as we exist in dreams.

Though the work is centered around characters and their worlds, the pair’s techniques and styles continue to evolve.

Through a variety of mediums including acrylic, watercolor, spray paint, ink, gold or silver leaf and collage, Tunstall and Plock create highly detailed works, often character-based paintings, on wood panels. Their exhibits can also include installation, video, or sculptural components.

In San Francisco, the pair’s large-scale collaborative exhibitions have been showcased at 111 Minna Gallery, FFDG and Spoke Art. Their work is also represented by SFMOMA Artists Gallery. The two have shown with Park Life, Rare Device, Athen B and Giant Robot.

Tunstall and Plock were recently de Young Museum (SF) Artists in Residence and have had work in 2017 and 2018’s Fog Fair.

Additionally, both have been involved in solo and group exhibitions in Tokyo, San Francisco, Los Angeles and New York, and have participated in exhibitions in Tokyo, Mexico City, London, Paris, and Miami. Their work is featured in San Francisco’s Michelin-starred restaurant SPQR, a large-scale mural at Mr. and Mrs. Miscellaneous, SF, and at hotel Alcazar and restaurant Cheeky’s, located in Palm Springs.

Plock brings a dedicated focus to his work, paired with a wild sense of originality and morphing patterns, which combines contemporary pop culture with the aesthetic of Japanese ukiyo-e woodblocks.
Plock co-curates the ongoing “BONKERS\Parallel Worlds” international exhibition series with Yoshi 47, featuring select group of Japanese and American artists held in Tokyo, Japan in 2015 and 2018. Plock has created illustrations for Krooked, The Fillmore, Built to Spill, Trick Dog, and Element, and featured at San Francisco’s Robin.

Kelly Tunstall was born in 1979 and received her BA from California College of the Arts and Crafts in 2002. In stylized figural works, Tunstall deals with the contrast between a compositional, portrait-like formality and a more casual revelation of method.

Tunstall was selected by POW! WOW! Hawaii 2018 as a visiting mural artist. Her work is on permanent view in Bay Area restaurants A16, A16 Rockridge and Bar Crudo, and recently worked with Bulleit as a featured artist.

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Ferris and Kelly Duo Exhibitions

• 2019 Out of Sight | Talon Gallery | Portland Oregon
• 2019 Amongst Friends | Hashimoto Contemporary | New York
• 2018 Preservation | Luggage Store Gallery | San Francisco
2018 My Monsters | Stranger Factory | Albuquerque
• 2017 The Space Between | Artists in Residence | deYoung Museum | SF, CA
• 2017 Closer | Spoke Art | San Francisco
• 2016 WISH YOU WERE HERE | ell.sf | San Francisco (as Day Dreamers Limited, with Howard Cao)
• 2016 Aquatics | Artists Republic | Laguna Beach
• 2016 Food Faces | Rare Device | San Francisco (as Day Dreamers Limited, with Howard Cao)
• 2015 Holding Pattern | 111 Minna Gallery | San Francisco\
• 2015 Inside Voices | FFDG | San Francisco
• 2014 Floating World Part Two | Antler Gallery | Portland Oregon
• 2014 Floating World Part One | White Walls | San Francisco
• 2013 Loading | FFDG | San Francisco
• 2012 Edible Complex | FFDG | San Francisco
• 2010 Untitled | FTC | Tokyo, Japan
• 2008 Reconstruction | Limited Addiction Gallery / David B. Smith | Denver, CO
• 2008 Circus | 111 Minna Gallery | San Francisco, CA
• 2007 Subterranea | Fuse Gallery New York, NY
• 2006 Saints and Sinners | 111 Minna Gallery | San Francisco, CA
• 2005 Pet Show | Compound Gallery | Portland, OR

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[A note from the artist, Lee Harvey Roswell, as he creates his new body of work, Wild World, from Maui, Hawaii]

Wild World grows out of work I was originally calling, The Birthday Party Hits. These are oil paintings conceived through the interpreting of various songs by legendary Australian post-punk band, The Birthday Party. Though Nick Cave would go on to be known more for creating darkly poetic yet narrative tales in his later work, his youthful writing for The Birthday Party is like wild delirious sketches, lines like quick stabs. I set out to play off those lines as much as possible while coming up with my interpretations to the band’s songs.

From the mental illness and down-and-out destitution of King Ink, the drug-fueled and fetishized eschatological fantasy in Wild World, the bedroom betrayal and hot-blooded murder in 6″ Gold Blade, Sonny’s Burning, with it’s all-consuming ritualistic sacrifice, the victim’s phantasmal revenge in The Killed Waits for the Killer (Deep in the Woods), or the ambiguous nature of a stranger in Friend Catcher… the images and themes culled from those obscure songs were irresistible.

Beyond the Birthday Party Hits-end of Wild World, I’ve continued parading humanity’s underbelly with classic bloody scenes like those in Bacchae and Trusty John, the lonely metamorphosis of an addict in Junk Scene, and a sadistic treat called, Pop-Psycho. I’ve also included new collage work to compliment and round out the horror show. Incompetent monster-dictators, violin-faced war-mongers, diseased saints, and a revolution in hell.

Enjoy,
LHR, Maui, 10.23.09

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Lee Harvey Roswell is a self-taught artist from Freefall, New York, whose work is noted for its blend of angst and humor. Themes of death and entropy, tribulation and futility run amok in his distinctly surreal, often-slapstick/ often-nightmarish world. The result is at once mocking and melancholic.

Lee now lives in Hawaii & San Francisco, and his work is shown, collected and published internationally.

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