Adam Neate's art career started in the early 2000s painting as a graffiti artist. He went on to a term he calls free art, where he would paint on found pieces of cardboard and leave them around the streets of London for people to find and take home. Over the years he left thousands of individually painted works and was one of the early pioneers of the movement that is now called Street Art. In 2006 he was given the opportunity to show his paintings in a more traditional gallery setting at Elms Lesters, showing alongside established names like Futura and Phil Frost. Since then he has been featured in prominent solo and group exhibitions worldwide to great critical acclaim.
Adam Neate (born 1977) is a British painter, conceptual artist and described by The Telegraph in 2008 as "one of the world's best-known street artists". He specialised in painting urban art on recycled cardboard, and has left thousands of works in the street for anyone to collect. He is a contributor from the movement in transferring street art into galleries. Neate's street art has garnered global interest, having been documented on CNN reports and European television. Major collectors and celebrities are fighting for his original works and international critics have lauded the artist's work. Since 2011 Neate has been mastering his own language of 'Dimensional Painting'. Elms Lesters publish a range of Adam Neate's Dimensional Editions and Multiples
Claudio Parentelais an illustrator, painter, photographer, mail artist, cartoonist, collagist, journalist free lancer. He has been active for many years in the international underground scene and has collaborated with many zines,magazines of contemporary art,literary and of comics in Italy and in the world. His work can be categorized as street art but with a variety of mediums. He describes his illustration style as,"anarchic, cool, conceptual, twisted, schizophrenic, obsessive, and chaotic."
"I feel completely absolutely free only when I’m amongst my 'artistic things' and in my studio, with my photos, my papers, my colours, my glue, my scissors, my ropes, tapes, plastics, all my 1000 things I found around in the city. It’s been difficult to arrive here where I’m now but it’s a wonderful continuous magical journey, every moment and every day," he says.
What advice would you give to other artists? To be and to continue to be, and try to be themselves. It’s so important, and then to have fun to have fun to have fun.
Intense and deeply personal, the Japanese self-taught artist’s work, now in its first-ever New York solo survey, defies easy labels.
In recent years, some of the most active dealers and collectors in the outsider-art field have been looking beyond Europe and North America in search of interesting discoveries from other parts of the world, including East Asia and Southeast Asia.
Among the more interesting finds to recently emerge have been the hard-to-classify drawings and paintings of the prolific Japanese autodidact Issei Nishimura, which pose something of a challenge for art sellers and buyers alike who want or need category labels to help them grasp what’s going on in his work. For Nishimura’s art is all punch and potency; its genre label might be something as unique as “expressionistic/psychological/automatist/psychedelic-baroque.”
Now, with Painting the Japanese Blues: Introducing Issei Nishimura, Cavin-Morris Gallery is presenting a first-ever US solo exhibition of this artist’s works (on view through February 15) at its Chelsea venue. Although the gallery showed a handful of his paintings at the Outsider Art Fair in New York a few weeks ago, and at last year’s fair as well, this presentation offers a broader survey of Nishimura’s inventive techniques and a concentrated sampling of the intense creative energy — and often bizarre imagery — that characterize his oeuvre.
Issei Nishimura, “Untitled” (2013), acrylic and crayon on fabric, mounted on plywood, 28.75 x 28.75 inches (photo courtesy of Cavin-Morris Gallery, in collaboration with Galerie Miyawaki)
Yutaka Miyawaki, the Kyoto-based dealer who represents Nishimura in Japan, and with whom Cavin-Morris has collaborated in mounting its current show, told me during his visit to the recent Outsider Art Fair in New York: “Perhaps it’s not even worth referring to Nishimura as an outsider, because what he produces is not what people who are familiar with that kind of art expect to see. I regard him as a contemporary artist — period. However, he is self-taught and he does live in isolation, on the margins of society, and his work reflects an unusual, deeply personal vision. These characteristics are all associated with art brut or outsider art.” (An illustrated Galerie Miyawaki catalog of Nishimura’s work from 2014 can be found here.)
Nishimura was born in 1978 in Aichi Prefecture, in south-central Japan. Today, he lives with his parents in their family home in the hills on the edge of Nagoya, a commercial-industrial city that is Aichi’s capital. There, Nishimura keeps a modest studio space that spills out into a garden, in which he has painted the rocks of a stone path and even some sides of the house.
As a youngster, Issei enjoyed making drawings; later he became interested in American blues music and began playing the electric guitar. He remains enchanted by the mythical legend of the Black American bluesman, Robert Johnson (1911-1938), who supposedly sold his soul to the Devil in exchange for his musical talent.
Issei Nishimura, painted exterior wall of the artist’s house in Nagoya, Japan, summer 2019 (photo by the author for Hyperallergic)
As a young man, Nishimura moved to Tokyo to study music, but he did not easily adjust to big-city life, and socializing was difficult, too. Ultimately, he withdrew from society, returned to the family home, and devoted himself to his art-making, which had begun to occupy a central place in his life. He still enjoys and plays music, but he almost never ventures out or receives visitors.
Last summer, however, during a research trip to Japan, I was invited by the artist and his family to visit them at their home. That day, his parents told me, their son was both nervous and excited to receive a visitor who was interested in his work. As Nishimura began to feel at ease, he explained that he often begins a new composition spontaneously, without a lot of preliminary planning, and that his subjects may be inspired by his interests — music, his cat or other animals, plant forms, or a sudden thought or visual impression.
Various rooms of the Nishimuras’ house were stocked with Issei’s stored artworks, including many picture-filled sketchbooks and boxes full of small, postcard-size ink drawings. From one box, the artist pulled out a remarkable suite of portraits of his uncles, aunts, and other relatives. “Are these accurate likenesses?” I asked his parents. “Yes!” the artist’s mother responded enthusiastically, adding, “They’re both caricatures and recognizable portraits at the same time.”
Issei Nishimura, “Moonrise” (2018), ink on paperboard, 16.5 x 11.75 inches (photo courtesy Cavin-Morris Gallery, in collaboration with Galerie Miyawaki)
By contrast, many of the images to be found in the artist’s Cavin-Morris survey feature exaggeratedly distorted faces or bodies; these are the kinds of pictures that tend to fill his sketchbooks. In the drawing “Moonrise” (2018, ink on paperboard), Nishimura stretches out a woman’s neck like gooey taffy, topping it with a noseless, girlish head that resembles a balloon tethered to a long string. This peculiar nude’s breasts seem to dangle from her body like misplaced ornaments, and each of her hands resembles some kind of leafy growth.
In other drawings in ink on paper or paperboard, Nishimura obscures faces or body parts in thickets of dense, wiry lines, or he depicts mysterious, toothy creatures that appear to emerge from a common body or share a common tail. (Japanese viewers may recognize their inspiration in monsters from Godzilla stories.)
Nishimura’s paintings can be completely unpredictable from one to the next. In the current exhibition, bold palettes and abstract shapes that sometimes camouflage or unexpectedly transform themselves into more recognizable forms turn up in such images as “Untitled” (2013, acrylic and crayon on fabric, mounted on plywood), in which what appears to be a yellow fish with an open mouth makes its way horizontally across the composition, only to blend into what may be read as a human figure in profile, even as the artist throws in the outline of a front-facing body.
Issei Nishimura, “My Mother’s Permed Hair” (2013), acrylic on fabric, mounted on plywood, 28.75 x 28.5 inches (photo courtesy Cavin-Morris Gallery, in collaboration with Galerie Miyawaki)
In “My Mother’s Permed Hair” (2013, acrylic on fabric, mounted on plywood), a voluminous, yellow-pink coif surrounds a distorted, abstracted face that would have made the Surrealists proud. In fact, Miyawaki told me, Nishimura made this painting one day right after his mother returned from a beauty parlor, where, for the first time in many years, she had had her hair permed, a change in appearance that shocked her son.
“Fear of Eye” (2013, acrylic on canvas), the largest painting on view, is also the exhibition’s most complex image. By e-mail, Miyawaki sent me several photos documenting this work’s evolution over time; through several different stages, the artist frequently — and often rather thoroughly — overpainted his composition until arriving at a final, bold image, in which a big, broad face with what appear to be four eyes stares out more eerily than menacingly at a viewer. Later, commenting on this picture, Nishimura explained to Miyawaki that he had been bullied as a child and that, even today, he feels a traumatic reaction when people look at him.
When I met the artist last year, he told me that he works feverishly on his drawings, sometimes filling several sketchbooks in a single day, and that he tends to work intensively for varying periods of time, with in-between lulls, during which he rests, enjoys his music, and develops new visual ideas.
Issei Nishimura, “Fear of Eye” (2013), acrylic on canvas, 52 x 63 inches; (photo courtesy of Cavin-Morris Gallery, in collaboration with Galerie Miyawaki)
But he can be impulsive, too, seizing his pens or paints to immediately capture something he has observed or an image gestating in his imagination, from lounging cats to mushrooms, lyrically abstracted females forms, and enigmatic, fractured faces.
In Japan today, difficult-to-categorize artworks like Nishimura’s can — and perhaps should — be appreciated in the wider context of expressionist and abstract art forms, of which Japanese modernists, from members of the postwar Gutai group to the multidisciplinary artist Tarō Okamoto (1911-1996), certainly have put forth their own distinctive offerings.
For now, Nishimura’s US debut opens the door a bit wider to contemporary developments in the field of so-called self-taught art in Asia, shaking up expectations about the character and appearance of the work of such remarkable autodidacts.
Nathaniel Mary Quinn is one of the best portrait painters working today and the competition is steep.
The outsize number of black artists now working in the portrait genre awakens the art world with vital new means of representation. It makes sense that artists who have been kept on the margins of the mainstream art world for centuries might emerge with the idea of visibility front and center. Without a definitive canonical art history of Black self-representation, there are fewer conventions for the work to adhere to. Much of this output feels urgent and compelling, either expanding the language of figure painting or, in the case of Nathaniel Mary Quinn, using collage-like compositions to address the dynamic clamor of contemporary life.
Nathaniel Mary Quinn (b. 1977) is a Brooklyn-based artist who grew up in Chicago.
On Instagram, Quinn’s images look like collages. In real life they also look like collages. But they aren’t. The viewer strains to translate the illusionistic mark making created with charcoal, pastel, oil stick, and gouache on paper. The result lies somewhere between human and machine made with his compositions running both hot and cold. Quinn withholds evidence of the hand, releasing the means of his trompe l’oeil trickery to viewers willing to lean in and decode the marks. The controlled surfaces, sourced from picture clippings, ooze and flow in cut-and-paste, smeary amalgamations. One senses Quinn’s Chicago origins in noticing homologies with Ed Paschke’s irradiated, blurred figures and the general free-wheeling cultural appropriation of the Imagist group. From Dadaist collage to Romare Bearden and African American quilts, Quinn joins those who believe that reality might best be recognized by its disjunctions, patchwork sensations, and complex social strata, rather than by insistent, single-point perspectives.
Quinn’s subjects are based on memories of people he has known. His mother, Mary, appears in “Bring Yo’ Big Teeth Ass Here!,” (2017), with a pig nose and square, squat body, staring out of the picture. Quinn notes that this is a tribute to her love of pork hocks and ears. Mary, who was influential and supportive, died when Quinn was 15 and living away at a boarding school. He subsequently adopted her name. “My mother had never had an education, so this meant she would have her name on every diploma I received,” said Quinn in a 2018 British Vogue article. Her name appears on his 2000 BFA degree from Wabash College, Indiana and his 2002 MFA degree from New York University. His parents did not read or write and no one else in his family had ever attended college.
Other characters are recollected from the neighborhood of his youth, the Robert Taylor Homes in Chicago, built in 1962 to be the largest public housing development in the country with 28 buildings and more than 4,000 units. Gangs and drug dealers, including Quinn’s four brothers who had dropped out of school, ruled the terrain. One of the strongest paintings in the show, “Junebug,” (2015), is a portrait of Quinn’s uncle, a drug dealer. “He was a walking Christmas tree,” Quinn recalled. “He had nice clothes, gold chains.” Quinn only met him once because his mother tried to avoid men like him having any influence on her son. The portrait is a gleaming, joyous celebration of Junebug’s self-styled swagger against a gentle, star-flecked gray background. Multiple, pieced-together bits of eyes, ears, patterns and textures form a formal head and shoulders view held together by a large gold nose ring that is both slick and outrageous. One edge of the image’s border is ragged to interrupt the otherwise smooth, round-cornered perfection of the piece. If the Dutch Baroque artist Frans Hals walked into the room, I imagine he would fall to his knees in admiration of where Quinn has taken the notion of “likeness”: a blend of artifice and recollection. Human beings are compilations of inherited and adopted identities, of place and circumstance, luck and genetics, real messes of the vulnerable and volatile percolating within societal restraints. Quinn gets this down on paper. [“Discord in perfect harmony,”] is how one curator aptly described his style. What simmers under the human surface becomes the surface in Quinn’s work. The sensations are unsorted but adhere with compassion.
Quinn’s process begins with a vision: “maybe from the universe or from God,” he says in an interview published in the exhibition catalog. “I have a visceral, physical response to each vision, which means that I want to create it.” He then looks to magazines and the internet for source material. He may find a mouth or an eye and work from there. When he starts to draw he creates one segment of the composition and then covers it with paper before he moves to the next section. This technique ensures more pronounced seams and jagged transitions. He doesn’t want the compositions to fully settle. A controlled chaos of shape and pattern keeps them stirring. He tries to protect his process, he says, “from the pollution of my mind,” meaning he doesn’t want logic or predictability to interrupt. There are no preliminary sketches.
Charles was the brother who convinced his mom that Quinn’s pencil drawings on their apartment walls, made when he was five years old, were actually good. His mom encouraged his artwork after that. Eventually a teacher helped him obtain a scholarship to a private high school in Indiana. One month after moving there, his mother died. When he later returned home for Thanksgiving, the family apartment had been abandoned. He never saw his father and brothers again until Charles recently resurfaced after hearing Nathaniel on the radio. That all of Quinn’s portraits are composites that emerge through intuition and chance encounters with images that trigger recollections makes sense.
Shinichi Sawada is a ceramic artist who creates unique and mystical figures with great detail and delicacy.
Born in 1982, Sawada started attending Shiga Prefecture (a local social welfare facility for persons with intellectual disabilities) three or four times a week from around the year 2000. At this time he also started creating his ceramic art works at a kiln-equipped pottery workshop up in the mountains. This was only feasible during the spring and summer months due to severe winter weather conditions affecting the ceramics.
Sawada is a prolific artist taking around four days to complete each ceramic piece. When Sawada works, he demonstrates such confidence and assuredness that it seems he has already envisioned how his final pieces will look. With his delicate fingers, he applies each ‘thorn’ onto the main body of the piece without showing any kind of hesitation and always works in silence. These ‘thorns’ have evolved over time, becoming denser and more rounded. Sawada often has them laid out in straight orderly lines across the pieces too.
Being autistic with little communication means that his works and their ‘thorns’ remain a mystery to us. There are however around fifteen different motifs that he looks to replicate each time but, saying this, each finished product is totally unique.
Sawada’s work is now in the Collection de l’Art Brut in Lausanne and featured in the Venice Biennale in 2013.
has changed his approach to pottery. Previously he concnetrated on large scale, highly detailed sculptures. Now his work is of single, low fire vessels.
"Spending a lot of time looking at things is one of the privileges of working as as artist. For me, drawing and sculpting are extended processes of looking, of studying, of understanding. This gives me the opportunity to sit with, and really see, whatever it is around me that interests me, be it an insect, or a decorative object, or a landscape. Drawing and sculpting are both my chance to look at a subject and, then, to say to someone else, "This is amazing, you have got to see this." I like to think that the time, care, and focus that I put into understanding a subject, and then into portraying that subject, bring people in, to share what I am looking at and marveling at. This can happen on an intimate scale, with a small wall piece inspired by the incredible structure of a grain of pollen. It can also happen on a wider, community scale. In my project for MTA Arts for Transit and Urban Design, "Bees for Sunset Park", I tried to give to the passing city traveler a moment to think about the beautiful intricacy of nature, and maybe to remember that they are part of the natural world, and, with all the bustling about, not that different from Nature's other inhabitants. This show and tell is a central pleasure of my work."
Julie Mardin is a New York based photographer who gives the viewer a fuller look at object whether snow globes, dolls, artists or a range of other subjects.
She says, "I have used toys in my work for many years. I find that it helps to approach difficult issues and what feel like daunting problems. This image grew out of a series that photo collages souvenir dolls in and around New York, the city I was born and grew up in, celebrating our diversity and our heritage, though oftentimes questioning what it is we consider progress. The location, a well known superfund site, illustrates the toxic legacy that many residential communities live with throughout the borough of Brooklyn. The doll and the various props celebrate the regenerative spirit I have seen in Bushwick, one that I imagine can only continue to strengthen, through its combination of art, science, sensual pleasures, and practical environmentalism. The souvenir doll also makes reference to the refugee crisis, making one wonder at the interconnections between resource wars and the spent state of our own backyard, and how studying both together could lead to synergistic solutions. I think this brings up another natural role for the Bushwick creative and ecological collectives, one that encourages more events and voices from these regions of conflict, as we are in the midst of the largest human displacement ever recorded, and there is such a big hole in our understanding from the main stream media."
David Molesky is an internationally recognized fine artist based in New York City known for his landscapes and figurative works.
David has a self-proclaimed preoccupation with the magic of painting; the way a gooey substance is transformed to an illusionary image that arouses states of contemplation and empathy.
His representational paintings of humans and environments have been featured in many museum exhibitions including: the Baltimore Museum of Art, Maryland; Pasinger Fabrik, Germany; Casa Dell’Architettura, Italy; and Telemarksgaleriet, Norway. David’s paintings are in the permanent collection of the Long Beach Museum of Art among other museum collections on both coasts and in Europe and Asia. He is the recipient of artist residencies through the Morris Graves Foundation, California; Fine Art Base, California; and the Fundacja Nakielska, Poland. Many publications have featured Molesky and his paintings including, to name a few: LA Times,The Washington Post, OC Weekly, New American Painting, Hi-Fructose, and Juxtapoz.
David Molesky is an internationally recognized fine artist based in New York City known for his landscapes and figurative works.
David has a self-proclaimed preoccupation with the magic of painting; the way a gooey substance is transformed to an illusionary image that arouses states of contemplation and empathy.
His representational paintings of humans and environments have been featured in many museum exhibitions including: the Baltimore Museum of Art, Maryland; Pasinger Fabrik, Germany; Casa Dell’Architettura, Italy; and Telemarksgaleriet, Norway. David’s paintings are in the permanent collection of the Long Beach Museum of Art among other museum collections on both coasts and in Europe and Asia. He is the recipient of artist residencies through the Morris Graves Foundation, California; Fine Art Base, California; and the Fundacja Nakielska, Poland. Many publications have featured Molesky and his paintings including, to name a few: LA Times,The Washington Post, OC Weekly, New American Painting, Hi-Fructose, and Juxtapoz.
Brandi Martin uses poetry to inform her art. She says, "The slurry grammar of the social networking used to bother me. But soon I found myself wanting to do the same. Why? I found that complete thoughts were drained of emotion. Phrased like evocative definitions of an unnamed something, in the voice of the second person, this shredding of language denies the academic third person; it feels visceral.
I tried diagramming it old school style. Breaking it up and rebuilding it again felt educational and metaphorical at the same time.
The ongoing nature of how we change language as it changes us. The fixed rules are actually temporal, and it’s our play with language as it flows past us that really remakes it. A few words on a card cut off from a sentence is poignant, it could end any way, we easily insert our lives into just three words. Less gives more. The fragmented sentences and phrases in my works are not broken instead of whole, they are open instead of closed. Every day we break the authority of text- and the shards aren’t the waste; they are how we enter into the conversation."
Brandi Martin's research-based practice delves into the the quiet crises of analysis and translation. Her work challenges the authority of any singular medium or moment by transparently layering imagery, media, and time.
Martin classifies these works as ‘metacognitive objects’. Connections and conflicts between self-referential elements create a rich friction for extended engagement, highlighting the viewers’ own thought processes.
Inspired by the poetry and mechanics of instructional methods, as well as the evocative qualities of found objects, Martin's most recent work refers to the photographic canon, the use of second person voice as applied to art, the poetics of broken language in ‘memes’, and searching out the indexical trace in the mundane.
Brandi Martin holds an MFA From the School of Visual arts in NYC. She makes sculpture, video, images and installations that struggle to resolve conflicting narratives. Brandi lives and works in Brooklyn, NY. She is the recipient of residency awards in Gorna Lipitsa, Bulgaria (funded by the Cultural Heritage and Contemporary Arts Programme of the EEA) and The Bridgeguard Residency between the Mária Valéria bridge between Štúrovo, Slovakia, and Esztergom, Hungary (funded by the Štefan and Viera Frühauf Endowment Fund).
