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Back Kim In-ok’s New York Debut: ‘FAIRYTALE’ Kim In-ok’s New York Debut: ‘FAIRYTALE’ Gallery Chang is pleased to present Fairytale, the debut solo exhibition of Korean artist Kim In Ok in New York City. Kim In Ok, a female artist from Korea, has been actively creating works using traditional oriental painting techniques, specifically the use of powdered pigments and mineral pigments. Her unique soft and soothing painting has recently led her to explore various new approaches in her work. This exhibition features many of her representative pieces, including the well-known series The Way Back to Hometown and Waiting. Additionally, it will include new works that have not been previously shown, drawing significant attention. Kim In Ok is a recognized painter who has received acclaim through numerous solo and group exhibitions. Her work is known for its lyrical quality and the delightful contrast of vivid colors. Although the materials and techniques she uses follow traditional Oriental painting methods, her work also shows notable Western influences in its formal aspects. Her paintings often incorporate elements of minimalism and surrealism, such as trees that float away like cotton candy or broccoli transforming into trees, showcasing a blend and transition of styles. The artist skillfully navigates the boundaries between figurative and abstract art, as well as realism and surrealism. Her labor-intensive process involve repeatedly applying and drying layers of powdered and mineral pigments, resulting in works that are even more beautiful and naturally colored when viewed in person. Using the metaphor of tree standing tall amidst a storm, the artist conveys her philosophy:”Everyone hopes for happiness, not misfortune. While we cannot turn back time, we can look forward to future dreams.” Through her work, she aims to offer comfort and hope to viewers. In a reality filled with carious challenges, Kim In Ok invites us into a pure and warm world of fairy tales and imagination. 김인옥 뉴욕 데뷔전 ‘FAIRYTALE’ @갤러리장(8/20-25) 김인옥(Kim In Ok) 작가가 8월 20일부터 25일까지 맨해튼 갤러리장(Gallery Chang)에서 뉴욕 데뷔전 ‘FAIRYTALE”을 열었다. 김인옥 작가는 고향에 대한 그리움과 보편적인 정서를 독특한 시각적 언어와 감성적인 스타일로 묘사한다. 한국의 전통적 정서와 현대적 감각을 조화롭게 표현해 동서양의 경계를 넘어 섬세한 감성과 서정성을 전달하는 작가다. 갤러리장 장준환 대표는 “김인옥 작가의 작품은 감정선의 교류를 통해 예술의 진정한 가치를 보여주었다. 동서양을 아우르는 그의 예술적 표현은 우리 모두가 공감할 수 있는 보편적인 정서를 담고 있으며, 이를 통해 관람객들은 새로운 예술적 경험을 하게 되었다”고 밝혔다. 김인옥 작가는 홍익대학교에서 동양학을 전공한 후 동대학원 동양학과를 졸업했다. 고려대, 강릉대, 홍익대 등에서 강사로 가르치다가 전업작가가 됐다. 홍익대 선배인 벽돌화가 기강용 작가의 부인이다. [Source from nyculture press release, provided by Sukie ] www.nyculturebeat.com 김인옥 뉴욕 데뷔전 'FAIRYTALE' @갤러리장(8/20-25) - Lounge - NYCultureBeat FAIRYTALE: Kim In Ok Aug 20 - Aug 25, 2024 Gallery Chang, NYC 김인옥(Kim In Ok) 작가가 8월 20일부터 25일까지 맨해튼 갤러리장(Gallery Chang)에서 뉴욕 데뷔전 'FAIRYTALE'을 열었다. 김인옥 작가는 고향에 대한 그리움과 보편적인 정서를 독특한 시각적 언어와 감성적인 스타일로 묘사한다. 한국의 전통적 정서와 현대적 감각을 조화롭게 표현해 동서양의... < >

Back Two Masters Meet at Gallery Chang Seoul: A Dual Exhibition by Kim Kang Yong and Shane Guffogg Gallery Chang will present a two-person exhibition featuring two leading figures of Korean and American contemporary art—Kim Kang Yong and Shane Guffogg—this coming October at Gallery Chang Seoul, located inside the Oakwood Premier COEX Center. Titled Infinite Dialogue , the exhibition unfolds as a stage for a philosophical exchange in which two masters from East and West pose questions and offer responses in their own distinct visual languages. Over the past five decades, Kim Kang Yong has explored the essence of existence and perception through the everyday motif of the “brick.” His canvases, built up with layers of sand and shadow, are not simply depictions of objects but are widely regarded as philosophical spaces that question the very act of seeing. Shane Guffogg, meanwhile, has constructed a body of work that moves fluidly across the boundaries of light and time, science and art, grounded in the fundamental question: How can time and space be compressed into a single moment? Last year, in conjunction with the 60th Venice Biennale’s official theme, Stranieri Ovunque – Foreigners Everywhere , Guffogg held a solo exhibition at the Scala Contarini del Bovolo Museum in Venice titled At the Still Point of the Turning World – Strangers of Time . Through the concept of “strange time,” he wove the Biennale’s central inquiry into his work, drawing widespread international attention and coverage from major outlets including the BBC. This Seoul exhibition brings Guffogg’s globally recognized projects into dialogue with Kim Kang Yong’s long-standing investigations, collectively posing the question, What does it mean to see? The conversation between the two masters, initiated in Seoul, is set to continue in a New York exhibition in 2026, further expanding an artistic discourse that bridges Korea and the United States. Chang Junhwan, CEO of Gallery Chang, commented, “We have continued a two-way exchange by introducing Korean artists in New York and global masters in Korea. This exhibition is a concentrated expression of that identity and will serve as an important opportunity to demonstrate the stature of Korean art on the world stage.” www.mk.co.kr 서울 갤러리장에서 만나는 두 거장, 김강용·구포그 2인전 - 매일경제 갤러리 장(Gallery Chang)이 오는 10월 오크우드 프리미어 코엑스 센터 내 ‘갤러리 장–서울’에서 한국과 미국의 미술계 거장 김강용·셰인 구포그(Shane Guffogg) 2인전을 개최한다. ‘무한의 대화’라는 타이틀이 붙은 이번 전시는 동서양 두 거장이 각자의 언어로 질문과 응답을 주고받는 ‘철학적 대화’의 장으로 펼쳐진다. 김강용 작가는 지난 < >

Back Gallery Chang Seoul Opens Its First Exhibition of 2025 with Ahn Sungmin’s “Minhwa-Inspired, Minhwa-Esque” www.mhns.co.kr 갤러리 장 서울, 2025 첫 전시 안성민 작가의 ‘민화답게, 민화롭게’ 개최 (문화뉴스 박선혜 기자) 갤러리 장 서울의 2025년 첫 전시 ‘안성민 개인전 : 민화답게. 민화롭게(Minhwa Inspired, Minhwa Esque)를 개최한다고 21일 밝혔다.호텔 오크우드 프리미어에 위치한 갤러리 장 서울에서 1월 21일(화)부터 2월 28일(금)까지 진행되 < >

Back Shin Ki Woun’s Works Presented in New York: Solo Exhibition, Illusion of Permanence Artist Shin Ki Woun has developed a multidisciplinary practice encompassing video, installation, and performance, grounded in a background in sculpture and philosophy. His work is distinguished by its exploration of time and materiality as tools for dismantling structures of authority, symbolism, and memory, inviting viewers into a sensorial and reflective mode of thought. Based between Seoul and Daegu, Shin presents his first solo exhibition in the United States with Illusion of Permanence in New York. Gallery Chang New York opened Shin Ki Woun’s solo exhibition Illusion of Permanence on August 7. The exhibition brings together, for the first time in New York, a range of works—from Shin’s representative projects examining the erosion of time, matter, and power, to his latest works documenting the demolished interior of a former Chase Bank branch in Middletown, USA. The exhibition title, Illusion of Permanence , exposes the fiction and instability inherent in the concept of “permanence.” Over extended durations, Shin Ki Woun wears down materials or dismantles symbolic objects to reveal how emblems of authority and institutional power—things often believed to endure indefinitely, such as coins, clocks, chess pieces, and even the remnants of a demolished bank—can in fact be easily disintegrated and erased. On view are video works capturing the slow abrasion of a coin’s surface, installation works documenting the gradual erosion of metal sculptures, and experimental video pieces that physically and visually overturn the notion of “endurance” and continuity. Shin Ki Woun describes his practice in his artist’s note: “I use time as a tool to scrape the surface of power, reducing it to dust. Permanence is not a reality, but a structure of belief. By slowly wearing down symbolic objects—portraits of those in power, currency, and chess pieces that signify hierarchy and force—I reveal how easily they can disappear. This process is not merely destruction, but a ritualistic act that asks viewers to consider both the durability and fragility of belief itself. By juxtaposing the speed at which images vanish in the digital age with the illusion of material permanence attached to authority, I contemplate new forms of memory.”— Shin Ki Woun Shin Ki Woun’s solo exhibition Illusion of Permanence runs through August 12 (local time) at Gallery Chang New York. Founded in New York in 2019, Gallery Chang is a contemporary art gallery dedicated to presenting internationally influential artists while engaging with their artistic trajectories from a long-term perspective. In 2023, the gallery established its flagship space on West 55th Street in Manhattan, strategically located near major cultural institutions such as MoMA, Carnegie Hall, and New York City Center. Since then, Gallery Chang has expanded to additional spaces in Midtown New York (C2), Englewood, New Jersey (C3), and Seoul (C4), and now operates across four cities with active curatorial programs and community-based projects. www.ikoreanspirit.com 미국 뉴욕에서 선보이는 신기운 작가 작품, 개인전 《Illusion of Permanence(영속성의 환영)》 신기운 작가는 조각과 철학을 배경으로 영상, 설치, 퍼포먼스를 아우르는 다매체 작업을 전개해 왔다. 그의 작업은 ‘시간’과 ‘물질’을 통해 권위와 상징, 기억의 구조를 해체하고, 감각적으로 사유하게 하는 것이 특징. 서울과 대구를 오가며 활동하던 신기운 작가가 이번에 눈을 외국으로 돌려 미국에서 첫 개인전을 연다.갤러리 장 뉴욕(Gallery CHANG, New York)은 신기운 작가 개인전 《Illusion of Permanence(영속성의 환영)》를 8월 7일 개막했다.작가는 이번 전시에 대표적인 작업인 시간, 물질, 권력의 < >

Back The Mark of Time: Tracing the Origins of Eastern and Western Abstraction Gallery Chang in Midtown Manhattan presents the four-artist exhibition The Mark of Time from January 8 to February 17, 2026. Bringing together works by Korean and American artists Cho Yong Ik, Kim Kang Yong, Ed Moses, and Jimi Gleason, the exhibition examines the origins of Eastern and Western abstraction through the shared lens of time as a mode of thought. The Mark of Time does not approach abstraction as a singular style or a linear outcome of art history. Instead, it considers abstraction as a way of thinking that emerged simultaneously across different cultural contexts. The exhibition traces how artists working within distinct environments and traditions have shared fundamental questions of time, material, and action. Here, abstraction is understood not as a finished form, but as a process through which experience accumulates and is recorded. What appears on the canvas is less a completed image than the residue of time—repeated gestures, countless decisions, and moments of choice and withdrawal layered over duration. The exhibition is structured around two interconnected dialogues. The first dialogue brings together the works of Ed Moses and Cho Yong Ik, viewing abstraction as a trace of time. For Moses, painting is not a means of representation but an event shaped by action and decision. His canvases bear not only visible brushstrokes, but also erased movements, hesitation, and the temporal span of the painting’s making. Cho Yong-Ik’s work is likewise formed through repetition, restraint, and a meditative rigor. Rather than completing an image in a single gesture, he gradually builds density through sustained and deliberate actions, allowing abstraction to function as a vessel for the experience of time. The second dialogue connects the practices of Kim Kang Yong and Jimi Gleason, expanding abstraction into a materially constructed world. Kim’s brick paintings are the result of labor, weight, and time meticulously layered onto the canvas. While they evoke physical structures, they operate less as representations than as painterly inquiries into material, structure, and illusion. Gleason similarly constructs his surfaces through repetitive gestures and layered silvery pigments, allowing resistance, reflection, and material tension to shape form. Curator Jinnie Kang explains, “Rather than deeply comparing or opposing East and West, The Mark of Time seeks to show how different modes of abstract thinking, formed within distinct contexts, can converge into a single flow. By viewing abstraction not through cultural divisions but through attitudes toward time, action, and material, the exhibition highlights moments where the artists’ works intersect and resonate naturally within parallel relationships.” https://www.nyculturebeat.com/index.php?document_srl=4174429&mid=Lounge2 < >

Back Kim Kang Yong Solo Exhibition 《REALITY + IMAGE》 Opens The solo exhibition 《REALITY + IMAGE: Revisiting the Works of the 2010s》 by master of Korean contemporary art Kim Kang Yong will be held from September 30 to October 22 at Gallery Chang New York, located on 55th Street in Manhattan. This exhibition centers on major paintings created during the early to mid-2010s, when the artist was based in New York. Kim Kang Yong’s paintings explore the boundary between materiality and image through the use of distinctly Korean materials such as sand and fragments of brick. From a distance, the works resemble photographs, but as viewers approach, the density of texture and material presence becomes vividly apparent. His practice is built on a dual structure of “reality” and “illusion,” “material” and “image.” During his years in New York, Kim actively engaged with the international art scene, achieving an artistic synthesis that combined contemporary universality with his own distinctive formal language. This exhibition is especially meaningful in that it revisits the representative works from that period in New York once again in 2025. Kim Kang Yong was born in 1950 in Jeongeup, North Jeolla Province, and graduated from Hongik University College of Fine Arts. For decades, he has worked primarily in painting, presenting his work at major museums and galleries in Korea and abroad. Through his sand-based paintings in particular, he has established a unique visual language and is recognized as one of the leading figures in Korean contemporary art. Gallery Chang has for several years consistently examined Kim Kang Yong’s artistic world from a philosophical perspective. This solo exhibition continues that curatorial trajectory while also being expected to reaffirm the presence of Korean contemporary art within the New York art scene. Curator Jinnie Kang commented, “The 2010s marked the peak of Kim Kang Yong’s artistic maturity. By reintroducing the works from this period in New York, where they were first created, we hoped to once again present the depth and possibilities of Korean contemporary art on the global stage.” The exhibition is held at Gallery Chang on 55th Street in Manhattan. The opening reception took place on Friday, October 3, and was a great success, attended by many figures from the art world and collectors. Meanwhile, at Gallery Chang Seoul, located in the Oakwood Hotel at COEX in Seoul, a two-person exhibition titled Infinite Dialogue featuring Kim Kang Yong and American West Coast contemporary master Shane Guffogg is currently on view and will run through November 15. The Seoul exhibition focuses on Kim’s recent new works, offering a different perspective on his current artistic world from the 2010s masterpieces presented in the New York solo exhibition. www.art-culture.co.kr 김강용 개인전 《REALITY + IMAGE》 개최 > 전시 - 아트앤컬처- 문화예술신문 한국 현대미술의 거장 김강용 작가의 개인전 《REALITY + IMAGE: Revisiting the Works of the 2010s》이 9월 30일부터 10월 22일까지 뉴욕 맨해튼 55번가에 위치한 갤러리장 뉴욕(Gallery Chang New York)에서 개최한다.김강용, Realiy+Imag… < >

Back Cosmic Inspiration from the James Webb Space Telescope: Past, Present, and Future United on a Single Canvas The solo exhibition Memories of Our Future by American artist Shane Guffogg is on view from September 2 to October 10 at Gallery Chang Seoul (B2, No. 8, Oakwood Premier, 46 Teheran-ro 87-gil, Gangnam-gu, Seoul), bringing the artist’s lifelong inquiry into time and consciousness to Korean audiences. Memories of Our Future poses a deceptively simple question at the heart of its experience: How can memory become the future? From the center of Gangnam, Guffogg invites viewers to contemplate this paradox through a body of work that fuses cosmology, perception, and painterly time. As part of the fall exhibition season, Gallery Chang Seoul (CEO Jang Jun-hwan) presents this major solo show, which centers on large-scale canvases completed at the artist’s Strausmore Ranch studio in California. The exhibition distills Guffogg’s decades-long philosophical exploration of light, time, and perception. While Guffogg employs traditional materials, his process resists fixed plans. Working without preliminary sketches, he relies on the subconscious and improvisation, building up dozens of translucent glaze layers over months. As colors and forms accumulate on the canvas, past and future, consciousness and the unconscious, become intricately intertwined—forming a unique painterly “record of time.” Guffogg explains, “Time is not linear; the past we perceive is, in fact, the present.” This philosophy forms the core of the exhibition and translates into the multilayered experience of time that viewers encounter before his works. A key source of inspiration for this exhibition comes from images captured by the James Webb Space Telescope, particularly scenes of stellar birth and extinction. Reflecting on these cosmic images, Guffogg notes, “Looking into the universe, I realized that the past is constantly touching the present. We must recognize the past to understand the now, and only then can we prepare for the future.” The ribbons, veils, and oscillations of color that unfold across his canvases evoke refractions of light and tremors of time, generating the sensation that human memory and cosmic movement are intimately connected. Beyond visual pleasure, Guffogg’s paintings carry a synesthetic resonance. Color can feel musical; brushstrokes ripple like waves. Viewers experience not a single point in time, but multiple temporalities and sensations simultaneously—an encounter that encourages a sense of presence extending beyond the confines of the “now.” This exhibition does not merely recall the past or predict the future. Rather, it is an invitation to inhabit the present more deeply. Memory flows into the future, and the future, Guffogg suggests, is already being formed within memory. The gallery space becomes a site of contemplation, where viewing transforms into an experience of rethinking time itself. Guffogg recently drew international attention during the Venice Biennale period with an installation combining painting and music at Palazzo Contarini del Bovolo. The Seoul exhibition is expected to mark another pivotal moment in his expanding global trajectory, further deepening his central themes of memory and time. Born in California in 1962, Shane Guffogg currently works at Strausmore Ranch, surrounded by vineyards, olive trees, and the rhythms of seasonal change. Nature’s cycles permeate his work. He explores science, music, and the inner landscapes of human memory, translating the meeting point of cosmic order and personal consciousness into a painterly language. By merging classical techniques with contemporary thought, Guffogg reveals the temporality of painting itself. His method of layering dozens of transparent glazes allows light to permeate the surface, enabling physical time and psychological time to coexist within a single frame. The resulting works are not merely images, but traces of time and consciousness. Art critic Victoria Chapman (Los Angeles) describes the exhibition as “an artistic shock that revives senses lost in contemporary society.” She emphasizes that even in an era where technology and convenience mediate human experience, art retains the power to return us to the essence of time and sensation. “We fear the future,” Chapman notes, “yet we are already living inside it.” She points to autonomous vehicles, robots, and digital systems that dominate daily life, warning that while machines learn faster than humans, our capacity to feel and reflect deeply risks growing dull. Emotional connection and shared language, she argues, are increasingly endangered. In this context, Chapman sees Guffogg’s work as offering a vital alternative: “His paintings are not technological spectacles. They suspend us in a state of weightlessness, freeing us from clocks and efficiency. By redefining time and reconnecting past and future, they restore human sensibility.” She concludes emphatically, “Who today still descends into the depths of identity, traversing darkness out of a necessity to create? Shane Guffogg is the answer.” Chang Jun-hwan, CEO of Gallery Chang, explains that Memories of Our Future marks Guffogg’s first overseas engagement following his Venice Biennale presentation. After his acclaimed exhibition Stranger of Time at Palazzo Contarini del Bovolo—widely covered by international media including the BBC—Guffogg chose Seoul as his next destination. “This decision signals Seoul’s emergence as a global center for contemporary art,” Chang notes. “The city is rapidly becoming a hub where major galleries converge and leading artists begin their international trajectories.” The exhibition features new works inspired by James Webb Space Telescope imagery, alongside paintings that condense light and time onto the canvas. Within the paradoxical title Memories of Our Future , viewers are invited to reconsider the meaning of time and existence. Chang adds, “That Seoul is the first stop after Venice demonstrates how the Korean art scene is shifting from consumption to discourse. We hope this exhibition will become a new bridge between Korean and global art communities.” www.bzeronews.com 제임스 웹 우주망원경서 얻은 우주적 영감, ‘과거·현재·미래 한 화면에 담다’ - 불교공뉴스 ‘기억은 어떻게 미래가 될 수 있을까?.’ 미국 작가 셰인 구포그(Shane Guffogg)가 서울 강남 한복판에서 이 질문을 던진다.그의 개인전 ‘Memorie < >

Back BECOMING WITHOUT END: The Ever-Transforming Practice of Ed Moses Gallery Chang in Midtown Manhattan is presenting the retrospective exhibition Ed Moses: Becoming Without End from August 14 through September 27. The exhibition introduces key works from Ed Moses (1926–2018), a leading figure of the postwar Los Angeles art scene, including representative pieces from his Acota , Magma , and Grid series. In the 1950s and 60s, Ed Moses was active in the art group known as the “Cool School,” alongside artists such as Craig Kauffman, Ed Ruscha, Robert Irwin, Larry Bell, Edward Kienholz, John Altoon, Ken Price, and Billy Al Bengston. Centered around the Ferus Gallery in Los Angeles, the Cool School developed an experimental and free visual language that stood apart from the New York–centered Abstract Expressionism of the time. For Moses, painting was a “laboratory,” and he continuously pursued change. Every six or seven years, he would shift his style—cutting and reconstructing canvases, or mixing materials such as resin, sand, and metal powder to create entirely new painterly surfaces. A representative work from the experimental Magma series, Ocnal (2002), shows intense energy, with lava-like red tones erupting from within black fissures. Check #2 (2003) introduces an orderly grid, yet disrupts it with irregular brushstrokes and colors, creating a surface where order and chaos coexist. In the late work Grid B (2017), Moses returns to the grid, but layered color planes seem to vibrate, giving the illusion that the painting itself is alive and breathing. Ed Moses was born in 1926 in Long Beach, California, and received his BFA and MFA from the University of California, Los Angeles (UCLA). From 1968, he taught at the University of California, Irvine, and in 1980 he was awarded a Guggenheim Fellowship. He participated in the Whitney Biennial in 1991, and in 1996 the Museum of Contemporary Art, Los Angeles (MOCA) held a major retrospective titled Ed Moses: A Retrospective of the Paintings and Drawings, 1951–1996 . His works are in the collections of the Art Institute of Chicago, the Museum of Modern Art (MoMA), New York, the Philadelphia Museum of Art, and others. His son, Andy Moses (b. 1962), is also a painter and earlier this year held a solo exhibition at Gallery Chang titled ANDY MOSES: RECENT WORKS . Curator Jinnie Kang of Gallery Chang stated that she organized this exhibition in the hope that “for New York audiences, this will not be merely a retrospective, but an opportunity to encounter Moses’s experimental spirit as it is newly reactivated each time.” https://www.nyculturebeat.com/index.php?mid=Lounge2&document_srl=4161812 < >

Back Shane Guffogg presents At the Still Point of the Turning World – Strangers of Time Shane Guffogg presents At the Still Point of the Turning World – Strangers of Time American artist Shane Guffogg is among the estimated 4% of people with synesthesia, a perceptual phenomenon in which stimulating one sensory pathway involuntarily triggers experiences in another. In Guffogg’s case, he ‘hears’ colors. This unique ability is one of the main elements that inspires his art, as well as his latest exhibition , At the Still Point of the Turning World – Strangers of Time, which coincides with the Venice Art Biennale and is held at the historic Scala Contarini del Bovolo. Collaborating with pianist Anthony Cardella and AI programmer Jonah Lynch, Guffogg has translated his dynamic paintings into musical compositions. Performed by Cardella, these musical pieces accompany Guffogg’s vibrant artworks, which reflect an ongoing dialogue with T.S. Eliot’s renowned poem cycle, Four Quartets, and explore the intersections of time, space, consciousness, and transcendence. ‘We think of time as linear. I don’t think it’s linear. On a quantum physics level, there is no time, at all. It’s strange, the concept of time and space,’ Shane Guffogg tells designboom . ‘How do you paint this moment of time? Is it possible? Each of those brushstrokes is a passing of time. There are thousands of lines in those paintings and each of the colors summons up very sensorial memories that don’t have a specific time or place but have a general feeling. So, I’m creating my tapestry of memories and feelings that become fused into a singular moment.’ At the Still Point of the Turning World – Strangers of Time at Scala Contarini del Bovolo A Spiraling Narrative at Scala Contarini del Bovolo With the historic architecture of the Scala Contarini del Bovolo as his backdrop, Shane Guffogg (find more here ) presents a new series of 21 large-scale paintings. The spiraling 15th-century staircase leading guests to the exhibition space mirrors the circular motifs in Guffogg’s works, creating a striking parallel between the venue’s architecture and his artistic vision. ‘It wasn’t until the paintings were done, that I saw images of the staircase. Subconsciously, that’s what I was doing. It wasn’t intentional,’ the artist shares. This series explores concepts of movement, escape, and migration, highlighting the inherent transitory nature of human existence throughout history. These themes are deeply autobiographical, as Guffogg’s father immigrated to the United States from Northern England in 1957, driven by the pursuit of the ‘American dream.’ Similarly, Guffogg moved from California’s Central Valley to Los Angeles in the late 1980s in search of artistic and cultural acceptance. Only Through Time is Time Conquered 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) integrating augmented reality and artificial intelligence The exhibition is divided into two rooms, each inspired by different passages from T.S. Eliot’s writing. It features elements that create a direct dialogue between the poet’s celebrated work and the artist’s canvases through the use of augmented reality (AR) and artificial intelligence (AI). By incorporating AR and AI, Guffogg expands the possibilities of art, inviting viewers to engage with the works in a meaningful and immersive way, encouraging them to look beyond the 24/7 age of information. In the first room, visitors utilize a mobile screen to observe the paintings, witnessing the lines and circles move in rhythmic patterns, while glimpses of Guffogg at work blend into the vibrant dance of color and form. ‘What I was after was that when someone walks up here and enters that room, they’re almost confronted with this movement within stillness, stopping them and bringing them into the present moment. And then, as they step into the next room, they find Neither Flesh nor Fleshless, and they find themselves in an in-between state. From me, the first room is very much about the spirit, about the unseen world. The second room is about the physicality of the world,’ the artist explains. Shane Guffogg presents a new series of 21 large-scale paintings Harmonizing Hues: The Creation of ‘Sounds of Color’ A key component of the exhibition is Sounds of Color, a visual symphony stemming from the collaboration between Guffogg, pianist Anthony Cardella, and AI software programmer Jonah Lynch. Leveraging Guffogg’s synesthesia, Guffogg and Cardella translated the hues from Guffogg’s paintings into chords. These chords were then interpreted by Lynch’s AI program, drawing inspiration from the painter’s brushstrokes and movements. The result? Musical compositions essentially composed by Guffogg’s paintings. ‘I started discussing this with Tony about a year and a half ago. I saw him play somewhere, and I said, You’re an amazing pianist. I’m going to propose an idea. What if there was a program that could read my paintings? What if it spits out some sheet music? Would you be willing to play it?’ Cardella embraced the idea, and together, they devised a method to match colors with chords and notes. Guffogg assigned specific hues to chords, and Cardella experimented with variations of these chords. ‘I’m looking at the color, and when he hits the right thing, I know,’ Guffogg says. ‘In this way, color becomes extremely important. Because it’s not only visually charged but also emotionally charged.’ Cardella performed the music live at the exhibition’s opening on April 17th, 2024. The fusion of sounds with colors and lines against the backdrop of historic architecture created a multisensory dialogue that engaged all senses. At the Still Point of the Turning World will be on view until November 24th, 2024. Reach into the Silence #1 2023 oil on canvas 72 x 60 inches (182.8 x 152.4 cm) visitors can utilize a mobile screen to observe the paintings, witnessing the lines and circles move in rhythmic patterns Neither Flesh nor Fleshless series the paintings explore concepts of movement, escape, and migration Neither Flesh nor Fleshless series ‘the second room is about the physicality of the world,’ the artist explains Neither Flesh nor Fleshless series Reach into the Silence #6 2023 oil on canvas 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #7 , 2023, oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Shane Guffogg: At the Still Point of the Turning World – Strangers of Time, Neither Flesh nor Fleshless #1 , 2023, oil on canvas, 40 x 36 inches (101.6 x 91.4 cm) Neither Flesh nor Fleshless #5 , 2023, oil on canvas, 30 x 24 inches (76.2 x 60.9 cm) Neither Flesh nor Fleshless #8 , 2023, oil on canvas, 60 x 48 inches (152.4 x 121.9 cm) project info: name: At the Still Point of the Turning World – Strangers of Time artist : Shane Guffogg location: Scala Contarini del Bovolo dates: April 20th – November 24th, 2024 myrto katsikopoulou I designboom [Source from designboom press release, provided by myrto katsikopoulou ] www.designboom.com shane guffogg's synesthesia transforms paintings into music at venice exhibition < >

Back ILLUMINATED REFLECTION: Jimi Gleason Gallery Chang in Midtown Manhattan presents Illuminated Reflection , a solo exhibition by Jimi Gleason, on view from April 3 through May 6. Gleason’s practice has long explored themes of light, reflection, and temporality. Jimi Gleason is a painter who reinterprets the aesthetics of the Light and Space Movement—which shaped the California art scene from the 1960s through the 1980s—through a painterly language. Moving beyond traditional abstraction, he employs silver nitrate, a material historically used in ancient mirror-making, allowing chemical reactions, oxidation processes, and the reflection of light to generate surfaces that continually change over time. Within these canvases—where minimalism intersects with Light and Space—viewers encounter a synesthetic experience in which light and time unfold simultaneously. Rather than offering a purely visual encounter, Gleason’s work invites a philosophical dialogue between being and perception, material and immaterial, chance and control. Born in Newport Beach, California, Jimi Gleason studied art at the University of California, Berkeley, and later studied printmaking at the San Francisco Art Institute. After working as a photography assistant in New York, he returned to California and worked in the studio of Ed Moses. This exhibition coincides with Gleason’s exhibition Vapor Wave at the William Turner Gallery in Santa Monica (April 5 – May 31). https://www.nyculturebeat.com/index.php?mid=Lounge2&document_srl=4147405 < >