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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 < >

Back Gallery Chang Presents Time-Shift Exhibition in an Abandoned Building Gallery Chang is presenting a time-shift curatorial exhibition titled CHASE Project: Phase Shift , using an abandoned building as its exhibition site. Originally conceived at the multidisciplinary cultural space “The Bank” in Middletown, Upstate New York, the project has been expanded and re-presented as a new version at Gallery Chang in Manhattan. Three artists—Shin Kiwoun, Kim Hong Bin, and Anon—are participating. The exhibition first presents works by Kim Hong Bin and Anon through August 5, followed by Shin Ki Woun’s solo presentation Illusion of Permanence through August 12. Shin also participated in the restoration project of Nam June Paik’s The More the Better at the National Museum of Modern and Contemporary Art, Korea. Video artist Shin Ki woun explores the meanings of “existence” and “non-existence” through images that inhabit a worldview of “generation” and “disappearance,” adopting and experimenting with technical methods that push beyond the boundaries of art. Gallery Chang explains that Shin revives images of memories that were once real but soon vanished—becoming ambiguous and lost—by using time-lapse filming to reconstruct them as psychological spaces within memory. Textile artist An On has developed her own visual language through flat works, reliefs, and installations using textiles as her primary medium. By tearing, layering, and stitching fabrics that she has printed herself, she creates surfaces that are both painterly and sculptural. Gallery Chang notes that An’s textile collages contain narratives of color and layers of sensation within meticulous structures. They visualize natural temporality, personal emotions, and fragments of memory through the materiality of fabric. Repeated cutting, reassembling, and sewing leave traces of contemplation, while restrained vertical and horizontal compositions maintain a steady rhythm, and colors evoke sensations of season, light, and emotion. Artist Kim Hong Bin, who works under the name “VANHADA,” expresses themes such as “the beauty one seeks” and “the challenge of something new.” According to Gallery Chang, Kim reflects the “anxiety of an unsettled life” in his works, exaggerating colors to express how he absorbs and even enjoys stimuli and stress from his environment. Working mainly with acrylic on flat surfaces, he uses paint like stickers and creates various forms by crumpling, tearing, and reconfiguring his materials. Curator Jinnie Kang commented, “This exhibition itself—the act of moving a project that began in Upstate New York into another urban space—is a ‘process of transition.’ It will be an opportunity to imagine together how space and art can meet.” Park Jong-won, Reporter www.koreadaily.com 갤러리 장, 폐건물 이용 시간차 작품전 | 미주중앙일보 ‘CHASE Project: Phase Shift’…신기운·김홍빈·안온 출품 은행으로 사용됐던 폐건물을 예술의 현장으로 옮겨 전시 < >

Back Shane Guffogg: Part 5, The Life of the Artist and the Creative Process: "Certainty and Truth" SHANE GUFFOGG: PART 5, THE LIFE OF THE ARTIST AND THE CREATIVE PROCESS: "CERTAINTY AND TRUTH" A segment from the studio manager (Victoria Chapman) on Shane’s creative life in the studio, and at the ranch The beginning layers of a new Still Point for Venice 2024 The Life of the Artist and the Creative Process – Part 5 Certainty and Truth A segment from the studio manager (Victoria Chapman) on Shane’s creative life in the studio, and at the ranch In Part 5, we are sharing Shane’s daily routine and how one thought leads to the next and, yes, there is some certainty and truth here. I have heard visitors to the studio say on many occasions, “Shane, this is amazing, things just seem to line up for you.” How does this unfold? As the observer in the room, I can honestly say, it’s not as easy as it may appear. Sure, there is a certain amount of luck, but the reality is there are no shortcuts. Shane works everyday all day, and he doesn’t take holidays. It’s like water that flows from one stream to the next-- it’s automatic for him. Whether he is in his orchard or vineyard tending to the fruit trees, remodeling a building (he is currently creating the “wine room” with two childhood friends), or applying the first layer of gesso to canvas, he is merely being in the moment. Somehow along the way of Shane’s early beginnings, this ability to stay in the moment took shape. And now it’s automatic. Whatever he touches, be it breakfast, a grapevine, or the brush to which he is about to create art, there is a certain consciousness that becomes absolute with all his heart, and in return the universe responds. Sometimes the circle is complete, an exhibition is booked, or a painting is sold. With total transparency, there is honesty that goes into a task. When I come across quotes from Hegel’s Phenomenology of the Spirit , it stops me in my tracks to reflect on what is going on in Shane’s life, and studio practice. Inside the Central California studio Looking out the studio window “In grasping the thought that the single individual consciousness is in itself - Absolute Essence, consciousness has returned into itself. Phenomenology of the Spirit page 139 If you have been following this series, you know I am thumbing through Hegel’s Phenomenology of the Spirit . Hegel’s book explores the principles of self-identity and reaches into the dialectic. I will not go into that, but I will share why I keep returning to this book. For me, it has been a proverbial jumping-off place. It is a reminder of why art is made and its process. And then there is the creative flow, which I believe is another intertwined topic. A few days ago, I was reminded of a conversation I had thirty-three years ago with a fellow art student, “How can I make art when I have barely experienced the world myself?” That was a wild thought, and it got me thinking about Shane and his life experiences as it’s translated into art. There have been two films and podcast that have been published about Shane’s studio and ranch life. Some might ask, how does Shane divide his time? What are his daily rituals, shifting from one task or painting to the next. There is minimal separation – separated only by what he touches. How does the physicality of being become the impetus of art making? Creativity is an alchemic process of transforming truth into evidence. We can see it from the beginning in cave paintings, and for thousands of years, this has been observed from stone to iron and now into the information age. Shane wrote an article that touches on this subject, The Art of the Ancients Art Confidential Magazine, April 2023 Notes on the studio wall Shane’s article, The Art of the Ancients In progress .. for 2024 Venice Biennale Artists have always contemplated the landscape. Whether this means tagging the wall or making mental notes, it’s the human condition to observe and document one’s findings. Cezanne spent years painting Mount St. Victore, observing nature, living in solitude, and searching for inner freedom. This practice of recording the world around him created some of the most unique works of art, setting the stage for the 20th century, starting with Picasso, which all began by honoring his truth. As I sit at my desk daily in Los Angeles, I contemplate why art is so important and what it does on an immediate level and for society. I take a break and walk over to another painting studio of Shane’s and gasp while looking at the vast Conscious Occupation of a Praying Mind a painting from the series, At Still Point of the Turning World. As I leave that studio and walk over to collect the mail, I am reminded of the street sounds and the thousands of cars and people trailing up and down Western Ave. daily. Returning to my desk, I glance over to the storage racks in the office, patiently holding Shane’s paintings. The office has become an art storage space as much as an office space. To my left are floor-to-ceiling bookshelves stacked with binders, catalogs, magazine boxes, and numerous books - all relative to Shane and his career on a global level. This man’s markings, documentation, and commitment to his art-making practice serve as a reminder of why art should never be forgotten or misunderstood. It’s been a hectic year thus far while finalizing plans for the 2024 Venice Biennale (Shane’s exhibition will be on display at the Bovolo Museum). There was also a new record set at a Parisian auction for At the Still Point of the Turning World – Only Through Time is Time Conquered oil on canvas, plus various exhibitions, musical concerts that intertwine music and art, and many lectures about the topic of art and how Guffogg is informed and inspired by different composers, that took place in and around Los Angeles. Two of Shane’s paintings are in the group exhibition Circle of Sam at the Bakersfield Museum of Art, where his paintings are featured alongside Ed Ruscha, Sam Francis, and more. This exhibition honors Sam's friendships with fellow artists; it closes on September 9th. Opening on October 19th, 2023, at the Forest Lawn Museum, Glendale, is Shaping Gravity: Abstract Art Beyond the Picture Plane, featuring seven artists. Shane will have six significant works that span 21 years. The Bovolo Museum, Venice, Italy where twenty new paintings will be on display from April - November 2024 Venice Biennale Guffogg’s At the Still Point of the Turning World - Only Through Time is Time Conquered oil on canvas, 84 x 108” a record was set at Paris auction ($480,000 USD) on May 4, 2023 Guffogg’s At the Still Point of a Turning World - The Conscious Occupation of a Praying Mind oil on canvas, 78 x 108” will be featured in October 2023 exhibition Shaping Gravity: Abstract Art Beyond the Picture Plane Los Angeles An intimate corner in the Central California Studio, in process paintings Neither Flesh nor Fleshness a stanza from T. S. Eliot’s Four Quartets to be featured in Venice during 2024 While supporting Shane’s endeavors, I observe him traveling back and forth from Los Angeles and Central California studios with the occasional business trip to Europe. I often wonder, “Where does Shane get his inspiration, and how does he start his day?” Shane, the tornado, as he sometimes refers to himself, is busily noticing all the tiny and minute, numerous layers around him, seeing and feeling his way around the landscape. Within 12 hours on any given day, Shane not only works on his latest paintings (he usually works on 5 to 7 at a time), but also farming and tending to his Cabernet Sauvignon vineyard, olive trees (yes, he is pressing his olive oil), and 100 plus assorted fruit trees. Shane is moving through time and space. If you could trace his patterns throughout the painting studio and working the earth, one might see a similar physicality and energy that permeates from his surroundings. Cabernet Sauvignon grapevine at the ranch/studio in Central California. Shane personally planted 350 vines. During Part 5 of this series, Shane has been too busy for our usual Q and A and he suggested sharing two videos made by Eric Minh Swenson, Part 1 and Part 2 filmed at the ranch, two years apart. These videos go into detail about Shane’s life and what he was and is planning. And to refer again to Hegel -- while becoming conscious and aware of the world, Shane acknowledges his thoughts, visualizing beauty and the positive wonders of the world. All these elements are the ingredients for his daily practice of art making and life. Victoria Chapman Studio Manager Guffogg Studio Los Angeles The progress today of the big painting for Venice (first image in this newsletter) Tags: #shaneguffogg , #victoriachapman , #thelifeoftheartistandthecreativeprocess , #part5 , #studiolife , #certainity , #truth [Source from VC Projects press release] www.vcprojects.art SHANE GUFFOGG: PART 5, THE LIFE OF THE ARTIST AND THE CREATIVE PROCESS: "CERTAINTY AND TRUTH" — VC PROJECTS A segment from the studio manager (Victoria Chapman) on Shane’s creative life in the studio, and at the ranch < >

Back KIM KANG YONG: SOLD OUT at KIAF 2024 The 23rd edition of Korea's largest art fair, Kiaf SEOUL 2024, kicked off with a grand opening ceremony on the 4th, running until the 8th for a total of five days. On the opening day, it held a joint opening ceremony with Frieze Seoul. Collectors flocked to see Kim Kang Yong from The Columns Gallery, widely known to the public as a brick artist, leading to the complete sell-out of his works featuring vibrant colors. 올해로 23회를 맞이한 국내 최대 아트페어 Kiaf SEOUL 2024(이하 키아프)가 4일 개막식을 시작으로 화려하게 막을 열었다. 8일까지 5일간 진행되는 키아프는 개막일 오전 프리즈 서울 (Freize Seoul)과 공동 개막식을 진행했다. 대중들에게 벽돌 작가로 잘 알려진 더컬럼스갤러리의 김강용을 찾는 컬렉터의 발길이 이어지며 감각적인 색감의 작품들을 완판하였다. [Source from Culturelamp press release, provided by Ryu Eun ] www.culturelamp.kr [2024 KIAF] 4일 개막, 세계로 확장한 한국 미술시장 올해로 23회를 맞이한 국내 최대 아트페어 Kiaf SEOUL 2024(이하 키아프)가 4일 개막식을 시작으로 화려하게 막을 열었다. 8일까지 5일간 진행되는 키아프는 개막일 오전 프리즈 서울 (Freize Seoul)과 공동 개막식을 진행했다. 이 자리에는 오세훈 서울시장, 용호성 The Columns Gallery sold out all of Kim Kang Yong's Brick reality+image pieces , while Kidari Gallery reported that most works by Choi Hyung Gil were sold out. Ocean Gallery also sold out ten pieces by Jenny Park. Seojung Art facilitated the sale of Hong Soon Myung's work for 30 million KRW, and pieces by Park Tae Hoon and Hwang Do Yoo from Kim Ria Gallery were sold for over 10 million KRW each. 더컬럼스갤러리는 김강용의 벽돌 소품 시리즈를 전량 판매했고 , 키다리갤러리는 최형길의 작품이 대부분 솔드아웃 되었다. 오션갤러리도 제니박 작가의 작품 10점을 솔드아웃시켰다. 서정아트는 홍순명의 작품을 3000만 원에 거래했고, 김리아 갤러리의 박태훈과 황도유 작품도 각각 1000만 원 이상에 팔았다. [Source from Newsis press release, provided by Park Hyun Joo ] v.daum.net '키아프가 프리즈 했다'…"달라졌다" 8만2000명 깜짝 [서울=뉴시스] 박현주 미술전문 기자 = "키아프가 프리즈 했다." 3라운드 '키아프리즈'는 이전과 달랐다. 키아프(KIAF)의 달라진 면모로 '프리즈(Frieze)가 키아프 같다'는 반응도 나왔다. '한지붕 두 가족'의 '키아프리즈'는 상생의 아트페어로 거듭났다. 3회 만에 '서울을 글로벌 미술 도시'로 올려 세우며 "아시아 최대 미술장터가 됐다" < >

Back Time, Colour, Sound and AI: What Happens When Paintings Sing Time, Colour, Sound and AI: What Happens When Paintings Sing Last month, the art world gathered in Venice for La Biennale di Venezia 2024. Among them is 61-year-old American artist Shane Guffogg, whose experiments in AI have made the impossible, possible. My one hope when people see my paintings is that they're confronted with the silence of colour. - Shane Guffogg In 1911, a then-little-known artist Wassily Kandinsky made steps to unite colour and sound through his seemingly unfinished painting Impressionism III (Concert) which, at its core, acted as an artistic exploration into the neurodiverse condition synaesthesia. Depicting abstract figures and onlookers in a concert setting, it's said Kandinsky was inspired to paint the picture after attending a concert by the composer Arnold Schonberg, feeling compelled to translate the sounds he heard into colour, hence why half the frame is awash with a distinct canary yellow. Despite marking the art world's first attempt at bridging multiple creative disciplines by uniting sound and colour, it certainly wasn't the last, as proven by the California-born and raised artist Shane Guffogg's current Venice Biennale exhibition At the Still Point of the Turning World - Strangers of Time, which uniquely marries all of Guffogg's interests AI, music, painting and poetry. 'Impressionism III' (Concert), by Wassily Kandinsky, 1911 Inspired by TS Eliot's Four Quartets poem, the series is made up of 21 kaleidoscopic paintings, spread over two rooms the first titled Reach Into the Silence and the second, Neither Flesh Nor Fleshless. Dense flushes of colour swirl, bend and melt into each other in quick succession and, depending on their layering, affect each piece's overall hue. While beaming with equal feelings of nostalgia, joy, sorrow and elation, (depending on which colour you hone in on first), each one radiates its own signature rhythm, a feeling magnified via the dimly lit room they're placed in which is nestled within the historic 15th-century Venetian palazzo Scala Contarini del Bovolo in Venice. 'We looked at a lot of different spaces' Guffog tells me when I meet him at the exhibition opening in Venice, an implication that getting the space right was as paramount as the work's creation; something that becomes obvious when you're stood in such an impressive structure as this one. Dating back to 1300, the palazzo lies equal distance from Rialto and San Marco, the commercial and political hubs of the city. What's more incredible is the building's miraculously delicate yet sturdy spiral staircase, commissioned by Pietro Contarini in 1499 to embellish the building even more. Contained inside a 26 meter-high cylindrical tower built in Istrian stone, the series of steps features exposed bricks and is perforated with a number of arches that are flanked by lodges connecting the structure to the adjacent building. 'I like this space, mainly because of the history of it and the staircase's circular movement. This is the context i want my work to be seen within', Guffogg declares. 'Reach into the Silence', by Shane Guffogg It's at the end of the staircase on the second floor where you'll find Guffogg's paintings, nestled tightly together in one room. When speaking of the emotion he wished to evoke with the works, Guffogg made it clear he wanted to stop people dead in their tracks 'and be confronted with the silence of colour' upon walking into the room, similar to how the artist felt when he first read T.S Eliot's Four Quartets poem, something that's reverberated through him ever since. 'There's a line in the poem' he begins, before reciting: At the still point of the turning world. Neither flesh nor fleshless;Neither from nor towards; at the still point, there the dance is,But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. 'I’ve been reading those lines for about 30 years', Guffogg recalls. 'It’s a blend of East and Western ideologies. And the way Eliot talks about time flickering back and forth, between the past and the future, it's taught me that I, we, need to learn how to be in the moment; these paintings for me are about being in the moment.' It's through wanting to pass on this knowledge to people that has directly informed Guffogg's creation process. 'I knew I wanted these paintings to bypass an intellect of sorts and just force you into the moment. Each work took between three and six months to make and involved me painting day after day, all freehand. I started with a wider brush for the bottom layer and as the painting built up, transferred to using smaller brushes. I kind of think of them like a camera lens that’s focused on the middle where everything is clear but the edges are out of focus; these paintings are intended to quite literally bring you to that still point T.S Eliot comments on.’ 'Neither Flesh Nor Fleshless', by Shane Guffogg As for the poem itself, Beethoven's Opus 132 is widely credited as an indirect influence of Four Quartets, creating a tenacious link between both Eliot and the composer that many music and literature scholars have tried unpacking in recent years. Of course, Guffogg's own attempt at bridging the gap between different creative disciplines isn't new, especially when you consider the aforementioned Kandinsky, 'or Mussorgsky's Pictures at an Exhibition ' composer and music lecturer Anthony Cardella points out to me when I speak to him about his involvement in the musical process, but the way in which Guffogg has intentionally channelled his synaesthesia into making paintings sing, is. 'There’s never been such a specific case of this', Cardella continues. 'There’s been famous pieces derived from art and vice versa, and we know that Mussorgsky's reasoning behind Pictures at an Exhibition was meant as a tribute to his friend, the Russian artist Viktor Hartmann. But there's one stark difference, those pieces were inspired by the painting, they were not the painting.' 'Neither Flesh Nor Fleshless' by Shane Guffogg Working together, Cardella and Guffogg - along with AI software programmer Jonah Lynch - have come up with a series of musical compositions that are directly linked to the paintings by translating each colour into a specific note. 'Each painting has its own voice and we wanted to translate that physically so everyone else could hear colour along with Shane'. As for the process behind composing music in tandem with the paintings, AI remained a useful tool but didn't take the 'hands-on' feeling away from all those involved. 'It started with zooming in onto a painting and picking just one shade and blowing that up until it covers the entire laptop screen', Cardella tells me. 'It's important to note that for Shane, every colour has a different function. It’s never, "This blue is bread" it’s, "This blue helps us to transcend our current state of emotion", "This red brings us to the depth of our understanding of the way the world is". It was these functions that I felt echoed how in Western music we treat harmony: a cord is never in a vacuum, it has to have a function if it’s in a Western song. So, throughout this process, we were fishing around until we found the right note. And once we got there, it was always a snap moment for Shane, he would know in an instant whether it felt right or not.' Whenever that happened, Cardella would write the note down that belonged to the colour on the laptop screen and before long, something remarkable started to happen... 'we noticed that each shade of colour belonged to the same family of harmonies, just with subtle differences. That was really a penny-dropping moment', admits Cardella. 'Because it was like, "Okay, we're not crazy", you know? These colours really do all have their own sound.' 'Reach into the Silence', by Shane Guffogg Not only do the colours used have their own sound, but they also take reference from the architecture specific to Venice. 'The yellows you see in my paintings represent many of the buildings in Venice, so really, it's a site-specific piece of work', Guffogg Chimes in. 'I've been coming to this city for 20 years and so I was thinking about the different times of seasons and how light changes throughout the day. When you come in the wintertime time, you’ve got this cool greyness with the fog rolling in, which is a stark comparison to when it's summertime here. So I wanted to create this fusion of colour that reflects the way the canal's greenish hue changes to blue and back to green, each line is a memory that embodies this city, its shades and façades...for me, the paintings become a series of memories compressed into one moment.' When you piece all this together, the prevalence of Kandinsky's life and work in art becomes all the more ubiquitous. Particularly when you hark back to the artist's Colour Theory taught alongside Johannes Itten at the Bauhaus, where the pair adopted a synesthetic relationship with color, associating particular colors with both specific geometric shapes and with musical tones and chords. For them, yellow was best expressed as a triangle and a middle C played on a brassy trumpet. In his book, Concerning the Spiritual in Art, Kandinsky wrote: 'Colour directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.' Although Guffogg refutes the idea he looked at Kandinsky as inspiration for At the Still Point of the Turning World - Strangers of Time, those vibrations Kandinsky speaks of pulse all around the Scala Contarini del Bovolo, thanks to the energy embodied and the poetry reflected. At the Still Point of the Turning World - Strangers of Time is open to the public at the Scala Contarini del Bovolo until 24 November. 'Reach into the Silence', by Shane Guffogg [Source from SHOWstudio press release, provided by Christina Donoghue ] https://www.showstudio.com/news/time-colour-sound-and-ai-what-happens-when-paintings-sing < >

Back The Encounter of Andy Moses and Jeff Koons 제프쿤스(왼쪽)와 앤디모지스. Photo: Gallery Chang 팝 아티스트 제프 쿤스(Jeff Koons)가 최근 맨해튼 미드타운 갤러리 장(Gallery Chang)에서 열리고 있는 추상화가 앤디 모지스의 근작전 'Andy Moses: Recent Works'을 찾았다. 두 아티스트는 앤디워홀, 키스 레어링, 장 미셸 바스키아가 활동했던 1982년 뉴욕에서 활동하며 교류했던 사이다. 갤러리 장 측은 "앤디 모지스의 작품 세계와 제프쿤스의 상업적, 대중문화적 접근은 서로 다른 뒈적을 그려왔지만, 그 출발점에는 예술을 통해 세계와 소통하려는 순수한 열정과 시대를 직시하는 감각이 자리하고 있다"고 설명했다. 2월 20일부터 3월 25일까지 열린 'Andy Moses: Recent Works' 전시에는 앤디 모지스의 빛과 컬러가 유려한 흐름 속에서 어우러지는 대표작들과 함께 1960-80년대 후반 로스앤젤레스에서 로버트 어윈(Robert Irwin), 제임스 터렐(James Turrell)이 중심이 되어 시작된 이 운동은 빛과 공간, 지각의 확장을 탐구하며, 유리, 네옴, 아크릴 등을 소재로 새로운 감각적 경험을 제공했다. 갤러리 장은 "앤디 모지스의 회화는 과학, 자연, 추상의 교차점에 존재하며 관람자의 관점에 따라 변화하고 발전하는 역동적인 구성을 만들어낸다. 화학적 반응, 중력, 점성(viscosity)에 의해 이끌리는 그의 독특한 기법은 물감이 유동적이고 유기적인 형태를 띠게 하여 움직이는 자연력의 덧없는 아름다움을 포착한다"고 밝혔다. 앤디 모지스는 1962년 LA에서 추상화가 에드 모지스(Ed Moses, 1926-2018)의 아들로 태어나 캘리포니아예술대학(CalArts)에서 공부했다. 18세 때 뉴욕으로 이주해 팻 스티어(Par Steir)와 함께 일하기 시작, 1987년 첫 개인전을 열었다. 2000년 캘리포니아로 돌아가 작업해오고 있다. 그는 캘리포니아 해안의 서핑에서 영감을 받은 컬러 팔레트의 추상화로 널리 알려졌다. Press by NYCulture beat https://www.nyculturebeat.com/index.php?document_srl=4147047&mid=Lounge2 < >

Back The Essence of Perception: Group Exhibition www.nyculturebeat.com 갤러리 장 3인전(김강용, 김세중, 셰인 구포그) 'The Essence of Perception: 시간, 현실, 그리고 빛'(12/12-1/18, 2025) - Lounge - NYCultureBeat The Essence of Perception: 시간, 현실, 그리고 빛 셰인 구포그, 김강용, 김세중 2024년 12월 12일-2025년 1월 18일 갤러리 장(Gallery Chang): 50 West 55th St. 맨해튼 미드타운의 갤러리 장(Gallery Chang)이 할러데이 시즌을 기해 12월 12일부터 1월 18일까지 셰인 구포그(Shane Gufforgg), 김강용(Kim Kang Yong), 김세중(Kim Sea Joong) 작가의 3인전 'The Essence of Perception: 시간, ... < >