All posts tagged: Mecka Gallery

Martha Cooper and Elle and a Fire “Unextinguished”

Martha Cooper and Elle and a Fire “Unextinguished”

Two women, two distinct generations. The same fight for recognition, let alone to determine the direction and manner of discourse.


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)

Martha Cooper in the 1970s newspaper world found herself as the only woman photographer in a huge room full of men at the New York Post – and she was often pushed into doing “weather” related or “soft journalism” photographs because only men could be presumed to handle the important hard news like politics and crime.  Luckily for us, she didn’t accept those limitations and blasted her own path into the streets and shot what she wanted – but she had to fight for it.

In 2014 a certain kind of man still has a hard time finding space for the women to be in the game, so Elle gets hit with the vitriol often out on the street from some of the graff and Street Art dudes. Sometimes its just the banter of a beef-loving competitive spirit. Other times it takes on the undertones of gender related models of patriarchy.

Sorry Judy Chicago, the work isn’t done yet; that “feminist artist” who coined the term in the 1970s celebrates her own 75th birthday tonight in Prospect Park by spraying her pyrotechnics across the sky, but she also is under no illusion that women have reached parity in the art world, or almost any other.

Even the most fundamental expectation of mutual respect on the New York streets cannot be assumed as harassment by men is still prevalent. Obviously if women were respected on the street we wouldn’t see Tatyana Fazilazadeh creating her postering campaign with New York women called “Stop Telling Women to Smile”.


Martha Cooper and Elle “Unextinguished” Installation in progress. Elle made these dresses from printed photos of Martha Cooper’s work. (photo © Jaime Rojo)

That’s a long intro – and a sad one to have to write but the context somehow gives more power to the dual show by Cooper and Elle tonight. A combining of their skills, “Unextinguished” unites a flame of a mutual determination to take over a space and to define it.

Who knew that a  Boomer and a Millenial would enjoin in the epic battle to extinguish the bullshit and make room for experimenting with new ideas while accommodating the old ones?  For the viewers tonight it’s a juxtaposition of styles that merges into a collaboration of spirit.


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)

“We thought this had to do with a sense of history, through different generations. My pictures are all from 1978, so we are using some old school pictures but re-invigorating them with some new school techniques – like splattering them with a fire extinguisher with a sort of abandon,” says Cooper as she scans the gallery of plastered blown-up images she took thirty five years ago now newly splashed with color.

The view of her shots shown this way is an adjustment for Cooper’s eye too, but one she’s willing to go with for the spirit of collaboration.

“I wouldn’t want to see it every day –  but in the context of this rough-and-ready kind of gallery, I think its kind of cool.”

Here are some shots of the show in preparation.


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)


Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)


Elle (photo © Jaime Rojo)


Martha Cooper (photo © Jaime Rojo)


A completely extinguished extinguisher outside of the Martha Cooper and Elle “Unextinguished” Installation in progress. (photo © Jaime Rojo)

Martha Cooper and Elle “Unextinguished” opens today at Mecka Gallery. Click HERE for more details.

Check out this cool video interview just released on AnimalNY.



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Judith Supine: Unmasked Bridge Climber, Gender Bending and Art

Judith Supine: Unmasked Bridge Climber, Gender Bending and Art

Looks like Judith Supine is probably having a helluva week. He unmasked himself publicly for all, opened a new gallery show, climbed a NYC bridge over the East River to install a sculpture, and released a video of it that inadvertently sparked a mini media/bridge security frenzy.

Also, he created twin “hermaphrodites” with cigarette penises.


Judith Supine “Golden Child” (photo © Jaime Rojo)

Last week during a an open press interview at Mecka Gallery he only talked about the new “Golden Child” show and the fact that he had decided to stop hiding his face – which itself was sufficient news. Most fans of his art never had seen him and many thought Judith was an actual woman because he took his mom’s name as a prank. The stunt-loving Street Artist has always had a penchant for light trouble, whether it was dangling big freakish images off bridges, floating them down the river (reportedly nearly drowning himself), or simply smacking them up in doorways; these twisted fluorescent hallucinations he creates have more personalities than a Sunday talk show with LSD in the candy dish. And we’re not even mentioning his career-long examination of the he/she continuum that could inspire a syllabus in gender studies.


One of Supine’s new ladies puffing away and staring blankly while nursing a cocktail above the traffic streaming on the Ed Koch Queensboro Bridge into Manhattan. (photo © Steve Duncan/

The video of him on the Ed Koch Queensboro bridge looks like it was coordinated to promote the show, and he has said as much in interviews since then, but now it probably seems ill-timed. He had done bridge art installations at least twice in the past (on the Manhattan Bridge in ’07 and the Williamsburg Bridge in ’09) but recent news items about thrill-seekers trespassing at the new World Trade Center put this video in a new light and caused concern about bridge security.


A still from a live interview with Greg Kelley and Rosanna Scotto on Fox 5 “Good Day New York” (© Fox5)

The video brought sudden interest and even live televised interview time for the newly unmasked Supine as well as the news that police were reviewing the video and would probably like to interview him as well.

And yet for all his exotic subject matter and the media hubbub swirling around him right now, last week he was perplexed about how to supercharge his creative process  – the same mundane challenge to stay fresh that most artists have.

“Sometimes I get ‘art block’, or I feel like I start to make repetitive images. It’s frustrating. I try to break that by playing little tricks on myself by saying, ‘Alright I’m going to make like ten collages in an hour’ and they are all going to be shitty. But I’m forcing myself to work quickly, so I’m not over-thinking things and I’m trying to break through because its easy for me to get into a pattern,” he explained at Mecka where his new sculptures laid across benches and a couple of assistants helped to finished their construction.


Judith Supine “Golden Child” (photo © Jaime Rojo)

For this show Supine began assembling collages 12 weeks earlier, and through a process of elimination he saw the few images that emerged above the others.

“I began by making 50 or more collages – going through multiple extremes, edits, trying to cut things and edit things down to the core goodness, get rid of the shit”

In kind of a stream of consciousness process, a pulling-together that attracts him?

“Yeah, it varies from day to day. When I do try to make a more narrative set image, I have difficulty doing that, and I feel like it comes off kind of stilted. So I try to keep it loose, and do lots, and then edit and try to find that little kind of gem amongst the crap.”


Judith Supine “Golden Child” (photo © Jaime Rojo)

With more attention and friendly sorts around than before, who does he look to now that the proverbial road to stardom is getting crammed with yes-men? He points to his brother, a writer of prose with whom he has collaborated creative projects continuously since they were kids.

“I kind of like to make things with my brother as the audience, so I make things that I think he would enjoy. So I have one person that it is directed towards,” he explains as he recalls one of their childhood collaborations, a zine that he illustrated and his brother provided the text for.

“He would also draw and we would staple it all together. Like we kept it in a huge thing we called ‘The Picture Book’. It was almost like a series of them and for a few years we did that. He continued on with that and I think that’s when I started making collages, actually, around that time.”


Judith Supine “Golden Child” (photo © Jaime Rojo)

“I would say that I wasn’t directly trying to illustrate. He wouldn’t want me to illustrate. It was more a feel for it. I was more inspired by our visual, written conversation that we had. It was like this ongoing thing where we would like bounce. It was this thing where I was kind of this creative obsessive, and I was living with another creative obsessive. And we were just constantly bouncing things off of each other and being comfortable saying ‘Oh, that looks like shit’.”

“Most people are not comfortable telling you that, even when they think it and they wait and tell someone else afterwards. So it was good to have a true honest critic and a true sounding board and we still do that with each other. When he writes or finishes a chapter he sends me a chapter. When I’m working on stuff I show it to him and ask his opinion and he’ll be like, “no it’s boring” or “that’s good”. I know when he says ‘it’s good’ that it is genuine, you know, sincere. Like creatively we have this sincere honest relationship with each other.

And what would be the best reaction to an artwork that he could get from his brother?

“I like that one”, “That one’s great”.


A new piece with the collage that inspired it at Judith Supine’s “Golden Child” show. (photo © Jaime Rojo)

Presumably Judith’s brother would approve of the pair of dual gender darlings hanging in the main gallery space, a white washed former industrial spot in the Bushwick section of Brooklyn. But the artist thought the average visitor might want to have a cocktail first.

Brooklyn Street Art: So when an individual walks into this space and sees this piece, what is their reaction going to be?
Judith Supine: Probably, “Where’s the bar”?

Brooklyn Street Art: Can you describe these twin greeters that are going to be hanging from the ceiling?
Judith Supine: Yeah they are kind of, you know I’m very interested in the kind of the hermaphrodite* thing, so these are kind of hermaphroditic – is that a word?

Brooklyn Street Art: Yeah that’s a word.
Judith Supine: So these are kind of hermaphrodites with these cigarette penises smoking vaginas with mouths. When you see the front image they form what I would consider a beautiful image and in the back is – a kind of Apollonian/Dionysian sort of thing. The back is a woman getting choked out. It’s sort of an optical illusion thing – like the one face with the two wine glasses inside. So when you walk around back it forms another image.


Judith Supine. Outdoor, unrestricted installation. (photo © Jaime Rojo)

Brooklyn Street Art: Is it another aspect of that person’s character, the dual nature?
Judith Supine: I mean I know it’s a very well trod path to talk about the duality of man, or personalities. To me I think I would be bullshitting if I didn’t just say I thought it looked cool and it was interesting. It’s not like ‘the duality of man’ or some – there is like a grey area of trying to be honest and sincere and then… it’s not that when I work on these I don’t have these ‘deeper thoughts’ about art but saying them out loud kind of takes the power out of them, trying to articulate them just kind of sounds like bullshit.

So I try to just describe things at face value. But also maybe I have difficulty articulating, translating the thoughts in my head into words and I’m better at translating them into images.

Brooklyn Street Art: Maybe you are just concerned about sounding trivial.
Judith Supine: Maybe. It might be anxiety.


Judith’s off-the-cuff show with a piece of ripped painting.  (photo © Jaime Rojo)

Brooklyn Street Art: What’s it feel like to be more public with your face?
Judith Supine: On the one hand I think it shouldn’t matter, because I do try to live my life according to the law of God and not the law of man – That type of thing. And I do what I feel is right. But I don’t know, it’s probably fucking stupid.

Brooklyn Street Art: It’s probably stupid?
Judith Supine: I mean it’s probably ill-advised, for obvious reasons. But who knows, I’ve done dumber things.


Judith Supine models something for spring outside last week as he prepared for his show at Mecka, “Golden Child”. (photo © Jaime Rojo)

Judith Supine



Judith Supine “Golden Child” is currently on view at Mecka Gallery in Brooklyn. Click HERE for further information.


*Editor’s Note: HuffPost and BSA acknowledge that the more appropriate term here would be intersex and intersex individuals.



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Judith Supine Lights Up at Mecka for “Golden Child”

Judith Supine Lights Up at Mecka for “Golden Child”

Cigarettes for all! That includes you kids! Come on, smoking is cool!

You can just imagine a critique by helicopter moms of this new work for Judith Supine’s “Golden Child” show somehow morphing into an anti-smoking crusade. The fascination s/he has with those slender white smokable sleeves is unabated – if anything cigs are proliferating throughout Judith’s fun house.


Judith Supine “Golden Child” Detail. Mecka Gallery, NYC (photo © Jaime Rojo)

Truth is, you never know quite what to expect from the Street Artist who waves in and out of our consciousness, punctuating our pedestrian plod by popping up in doorways, hanging off bridges, and lurking in sewers with these blossom gilded child-model-smoking-sex-toy-puritan-slut-monsters who cavort and collide, limbs akimbo and entangled in acid greenwash.


Judith Supine “Golden Child” Detail. Mecka Gallery, NYC (photo © Jaime Rojo)

Same goes for a Judith Supine gallery show for that matter; There are no pieces on sale tonight at Mecka, and the centerpiece installation is a suspended couple of double-sided hermaphroditic twins who ooze personality and whose luscious lips are smokin’.

While there are no artworks to buy, there will be a strange lottery-type print sale presented grab-bag style. According to the folks at Mecka, what is inside the long thin tube will be at least what is advertised, and in some cases, more than you bargained for. Need a light?


Judith Supine “Golden Child” Detail. Mecka Gallery, NYC (photo © Jaime Rojo)


Judith Supine “Golden Child” Detail. Mecka Gallery, NYC (photo © Jaime Rojo)


Judith Supine “Golden Child” Detail. Mecka Gallery, NYC (photo © Jaime Rojo)


Judith Supine “Golden Child” Mecka Gallery, NYC.  This is the print that will be available for sale and we are told that what’s is in the tube will vary. (photo © Jaime Rojo)


Judith Supine “Golden Child” Detail. Mecka Gallery, NYC (photo © Jaime Rojo)


Judith Supine “Golden Child” opens today at Mecka Gallery in Brooklyn, NY. Click HERE for more details.



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Priest Comes to Brooklyn and Puts Ego on the Alter

Priest Comes to Brooklyn and Puts Ego on the Alter

Priests are really taking a beating in public opinion these days, and with good reason (see U.N. report this week). One New Orleans priest visiting Brooklyn this week hopes to change all those negative perceptions and replace them with new ones by taunting the church, law enforcement, the KKK, illegal immigrants, Street Art fans, and, well, anyone really.


PRIEST (photo © Jaime Rojo)

Priest is the Po-Boy’s Banksy, a less talented stencillist perhaps by half, but equally smart and witty if he applies himself. You won’t need to buzz saw through a concrete wall to get a Priest piece – if you arrive early tonight he’ll give you one. For that money you won’t find a better blender of graffiti’s nihlism with street art’s self-indulgent sarcasm as he rifles through the visual tropes and winking in-jokes you have grown to know and tire of.


PRIEST at work on his installation. (photo © Jaime Rojo)

Without reading into it too far, it appears that he’s also questioning the necessity for polarization between the vocabularies of graffiti and Street Art. For the new kids who didn’t absorb the context the styles were developed in and have no interest in it, the practices and visual vocab have all been dropped into a cultural food processor. Welcome to the ‘teens.


PRIEST (photo © Jaime Rojo)

Originally from Mobile Alabama, “Priest landed in the only place a person with zero skills and a computer could: the superficial world of street art,” says his wife in the press release for the solo “ALTARed Ego,” opening tonight at Mecka Gallery in East Williamsburg. The approach could be the self-conscious disarming of critics by an out-of-town bomber but don’t let it cloud the reality of a certain underlying sophistication and pathos. When realized, the social critiques meet with a harsher edge and still retain the humor we need to swallow it: Witness the silhouette of ET in the front bicycle basket as a sombrero- and-poncho-wearing alien.

It’s just frank enough commentary to engage with and contemplate without droning on and on about immigration policy. Did we say droning? That’s a different painting.


PRIEST “Graffiti has always been a grey area of the LAW” (photo © Jaime Rojo)

Taunting everyone from the NSA to Big Oil to consumerism, the police and the shallowness of art fans, Priest experiments with stencils, the paint brush, and losing control of his spray across the wall. With “ALTARed Ego,” Priest tells us to calm the f**k down about all the ginned up hype and consider the mess we’re actually in. It’s one of the new faces of activism that we are seeing more of these day, and just one tip of the iceberg.


PRIEST. The stencil in the middle is of the Gray Ghost. The infamous graffiti buffer in New Orleans. (photo © Jaime Rojo)


PRIEST (photo © Jaime Rojo)


PRIEST at work on his installation. (photo © Jaime Rojo)


PRIEST (photo © Jaime Rojo)


PRIEST at work on his installation. (photo © Jaime Rojo)



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Images Of The Week: 01.12.14

Images Of The Week: 01.12.14



Great week in NYC with the new mayor shaking hands for hours in the cold outside City Hall with all New Yorkers last Sunday, then we got smacked with the devastating cold, then sleet, then high winds. Next up, ice locusts! Also, if your Christmas tree is still up, don’t plug it in because that puppy will go up in 25 seconds of flaming glory. Wait until it is safely on the street before igniting.

This week we also featured not one but two yarn artists, which has gotta be a first for us – London Kaye and the Olek. Yarn on the street isn’t exactly a trend, but it is sort of a trend.

– In a related story, Olek is now reporting that the piece we documented her installing in 4 degree temperatures has mysteriously disappeared. Street Art vanishes all the time but the size of this piece was gargantuan and it was a complicated install and it was hung in a very heavily traversed part of Little Italy. Says Olek in her FB/Twitter all-points-bulletin “Alert: 376 square feet of #crochet art stolen.” Keep your eye on Grandma, also Aunt Betty. ‘Cause you know, knitters sometimes get competitive, that’s all I’m saying.

And here we are with our weekly interview with the street, this week featuring Beau Stanton, EC13, Etnik, Haculla, Icy & Sot, Miron Milic, Olek, Pyramid Oracle, Rene Gagnon, Seville, Sexer, Steep, Swoon, Team Low Brow, Team Mishka, and Zimad.

Top Image >> Haculla. We are happy to see this veteran Street Artist on this old spot in Manhattan and of course back on the streets of NYC. Nice stash. (photo © Jaime Rojo)


Pyramid Oracle (photo © Jaime Rojo)


Swoon’s collaboration with Groundswell was tagged very heavily during the most recent snow storm in the city. Luckily, the color palette of the new graffiti work complements the overall scheme. (photo © Jaime Rojo)


Miron Milic’s sketch for his most recent work in Croatia. (photo © Miron Milic)


The finished piece by Miron Milic. When translated, we still didn’t understand the meaning but here it is: “We played at war because it was healthy that were as much in the air.”  (photo © Jaime Rojo)


Steep at The Bushwick Collective. (photo © Jaime Rojo)


Icy and Sot depict a feeling of impotence fighting the war machine and the ubiquity of guns and violence. What’s your interpretation? (photo © Jaime Rojo)


Beau Stanton for The L.I.S.A. Project NYC. (photo © Jaime Rojo)


A new piece in Turin, Italy by Etnik, who is preparing for his first solo show at Square23. Dude’s got skillz. (photo © Etnik)


Zimad at The Bushwick Collective. Detail. (photo © Jaime Rojo)


RIPO for The L.I.S.A. Project NYC. (photo © Jaime Rojo)


EC13 new installation in Spain. (photo © EC13)


Team Mishka vs Team Low Brow for The L.I.S.A. Project NYC. (photo © Jaime Rojo)


Sexer at The Bushwick Collective. (photo © Jaime Rojo)


“There is no such thing as part freedom”. Olek for The L.I.S.A. Project NYC. (photo © Jaime Rojo)


Rene Gagnon opened with an extensive solo show at the new Mecka Gallery last night. Heavily attended. Read more about the venue, the show, and an interview with the artist HERE. (photo © Jaime Rojo)


Untitled. The Golden Hour becomes the Manhattan skyline. January 2014. (photo © Jaime Rojo)



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Rene Gagnon Inaugurates Mecka Gallery : Opening Today in Brooklyn

Rene Gagnon Inaugurates Mecka Gallery : Opening Today in Brooklyn

“HI! My name is…

Brooklyn hasn’t opened a new Street Art gallery in a little while – in fact it has lost some formal spaces that welcome artists of the street kind over the past couple of years. So you’ll be happy to know we can now announce a new Street Art show at a new Street Art centric gallery is opening tonight. And you’ll jump out of your boots when you find out there will be a free print release to the first hundred people in line.


Rene Gagnon (photo © Jaime Rojo)

“HI! My name is… A Solo Exhibition of This and That”, a new show by Rene Gagnon opens tonight and inaugurates the Mecka Gallery in Bushwick, or East Williamsburg, depending on which real estate agent or Midwestern transplant is showing you the neighborhood.

“Its really fitting actually,” says Gagnon, whose wheat-paste and stencil work was more prevalent on the streets in North Brooklyn in the mid to late 2000s when the neighborhood was still an industrial wilderness for arriving scrappy artists looking for space, and Ad Hoc gallery was the only game in the area. “This show is a formal introduction of me and my conceptual work in a gallery setting in NYC and a formal introduction of Mecka Gallery. I think it’s perfect.” brooklyn-street-art-rene-gagnon-jaime-rojo-01-14-web-2

Rene Gagnon (photo © Jaime Rojo)

Ironically, it was at another event begun by Ad Hoc’s Garrison and Alison Buxton in Queens in recent years that facilitated this opportunity for Gagnon and Mecka to work together.

“I met Justin DeDemko at the Welling Court Mural Project,” says Gagnon of the huge free Street Art event sponsored by the Buxtons as an opportunity for artists to get get exposure and, not surprisingly, it worked. After discussing the idea of a smaller show with a second artist at Bottleneck Gallery, Justin offered a new possibility.

“He was like, ‘we got something better for you’,” recalls Gagnon about the brand new raw space that DeDemko had in mind as a showcase for street artist. “I was super excited and overwhelmed at the same point,” he says of the October conversation. “I went into high gear and completed the entire body of work for this show in about two and a half months.”

Along with partners Joseph Bouganim, Arseny Libon, and Joshua Harris, DeDemko runs the small south side Williamsburg gallery that focuses on pop art and posters.  Mecka Gallery however  plans to be more of a street art and contemporary art gallery space.

“I have been collecting street art for years,” says DeDemko of his primary expression of interest in the scene thus far. He lists favorites of his eclectic collection to include How & Nosm, Miss Bugs, Judith Supine, Faile, Priest and Banksy. Although this venture will include his three other friends, DeDemko says they “just starting to get into” collecting work by Street Artists. “They have been slowly grabbing some pieces from Phlegm, Faile and Banksy.”


Rene Gagnon (photo © Jaime Rojo)

Already Mecka is lining up a varied roster of artists for planned installations that is spread widely among folks known for Street Art, graffiti, murals, fine art, and one remarkable one known for photography – many of which are not commonly associated with one another. 2014 will showcase names like Pr1est, Judith Supine, a dual show with Martha Cooper and ELLE, a group show with GraffitiPrints including artists like Martin Whatson and Dot Dot Dot, and another duet by Pahnl and Romacouch. DeDemko says the selections are based on who the partners like personally as artists and who is looking to push themselves forward with a certain degree of creative risk involved.

“We want to challenge the artist – we want them to push the boundaries of what they thought their gallery show would be,” says DeDemko of the open approach to planning and installing that Mecka plans to offer artists and that will combine elements of the street in an environmental way rather than simply as a storefront with pieces for sale. “We want to infuse the street and a viewing gallery into one place,” he says. Also, “Expect some very large scale installations down the road.”

The choice of Rene Gagnon as the inaugural show is remarkably appropriate because the artist has ventured into a wide variety of styles that reflect the contemporary idea of what urban art is during his career as a graffiti writer and Street Artist, which started around 1986. Over that time his work has reflected the visual language popular at the time as he likes to investigate processes and techniques that he sees and hopefully to create a new take on a style. Notably, he’s had a few hits that are his and his alone, like the “Cash Rules Everything Around Me” stencil.


Rene Gagnon (photo © Jaime Rojo)

“As you know I have a very diverse body of work,” explains Gagnon when describing the array of pieces he’ll be showing tonight. “It’s always been hard for me to lock down to one approach when creating my work – but honestly it’s the most fulfilling aspect of being an artist. I get to do something different every day which is an extreme positive but the negative is that galleries never know what to expect from me. So when I got this opportunity I wanted to take a look at what I envisioned was one of my greatest strengths. I believe my conceptual ability was at the forefront.”

Will visitors see works that span the previous twenty plus years? You bet. There are plenty of stencils and wheatpasted works that he considers some greatest hits –as well as some more sculptural installations and video work that he has explored in recent years.


Rene Gagnon at work on his installation. (photo © Jaime Rojo)

“When I decided to go the conceptual route for this show I went back into my print and street archives and realized there were a lot of classic images that I had never made fully realized pieces of fine art so that was my starting point. Also during the first month of preparation I was on a super creative high. I think one day over 20 concepts I deemed worthy of creating were recorded. When I finally had to go into production mode I think I had enough fodder for two or three more shows,” says Gagnon of the font of ideas and inclinations that flooded his mind.

“I’ve always had the ability to turn my creative flow on and off, but that doesn’t mean ideas don’t strike me on a daily basis. I just usually have a balance between creating and producing. For this show it was all creating then a mad fury of producing.”


Rene Gagnon (photo © Jaime Rojo)

Doors open at Mecka Gallery tonight at 6 pm and the first hundred or so people in the door will score “Heart Breaker” a print release that will not be offered for sale, as well as a copy of a book by Michelle Gaudencio titled ‘A small collection of This and That’. It is a pretty generous gift that most galleries and artists would never think of, but Gagnon feels like it is a cool way for people who are not familiar with his work to get to know him better. “It was produced to give the gallery goers some insight into the vast array of artistic approaches I have experimented with.”


Rene Gagnon (photo © Jaime Rojo)


Rene Gagnon (photo © Jaime Rojo)


Rene Gagnon (photo © Jaime Rojo)


Rene Gagnon (photo © Jaime Rojo)


Rene Gagnon (photo © Jaime Rojo)


Rene Gagnon (photo © Jaime Rojo)

Mecka Gallery
65 Meadow Street
Brooklyn, NY 11206

More information on “HI! My name is… A Solo Exhibition of This and That” is HERE.





Please note: All content including images and text are ©, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!



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