All posts tagged: Other

Show and Tell Gallery Presents: “Good Folks” A Group Show (Toronto, Canada)


Silkscreen on fabric, hand dyed, embroidered, painted, and coffee stained.
Signed edition of 10
10.5″ x 24″ (26.67 cm x 60.96 cm)

Click here to purchase this special limited edition print online now.

Entitled Good Folks, this exhibition features an exciting line up of multi-disciplinary artists whose works express a concise cultural identity by conveying shared community values, aesthetics, and a delicate understanding of society and their place in contemporary culture.

While the artists in this exhibition can be linked to folk art, on a more one-dimensional level the name simply celebrates some Good Folks who have contributed to the successful and exciting journey of Show & Tell Gallery for the past two years.

Participating artists include:

Swoon, Monica Canilao, Jeremiah Maddock,
Derek Mehaffey, Felix Berube, and Troy Dugas

If you are interested in being added to the collector preview list for this show please contact the gallery.

1161 Dundas St. West
Toronto, ON
M6J 1X3

+ 647.347.3316

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On the Street Art Continuum He’s Overunder.

On the Street Art Continuum He’s Overunder.

In Jonathan Swifts Letter to a Young Poet the satirist writes at length about the daily exigencies and the less obvious qualities that will be necessary to pursue a life of letters and creativity.

“ is to me a plain account why our present set of poets are, and hold themselves obliged to be, free thinkers.”

Outside the rigors of academia and the confines of the white box, our street artists continually challenge all of us to be free thinkers.  Of course, we’re not all going to be free. Maybe because thinking is only one route to understanding.

Among Street Artists who can suspend their limiting thoughts and embrace an inner discovery of the creative spirit, Overunder is fluid enough to explore and discover before your eyes without concern about matters that may hinder his peers. To him, process trumps product, and exploring may produce an  expertise previously unfound. The act of collaboration colors the experience in ways he could not possibly have accessed singularly. His roots in graffiti are not reason for stylistic rigidity, rather a route to other paths that may include Street Art and fine art, abstraction, absurdity, symbolism, signage.

In a grueling journey by bicycle with street artist OTHER this spring, Overunder traveled by bicycle through 7 countries in Europe with little more than a backpack and sketchbook. He stopped in small towns and hamlets after exhaustive hours of plumbing an inner world he accessed on mind-numbing rhythmic rides in silence for hours. Somewhere along the way Overunder pierced the veil of his conventional thought and opened a portal for his creativity. Since returning to New York, he’s discovered brand new work that is flowing without judgment, and he is reveling it it’s direction without questioning it. A free thinker yes, and a free spirit too.

Overunder (Photo © Jaime Rojo)

Overunder (Photo © Jaime Rojo)

Brooklyn Street Art: You recently returned from a trip across Europe. For seven weeks you pedaled your way through seven countries in your bike. Was that trip the inspiration for your new art?
The trip definitely exposed me to a new way of working and inspired me but I can’t quite pinpoint where these new figurative works came from. On the surface it makes sense where these pieces came from. I mean I’m on this crazy bike ride with OTHER, a guy that has mastered portraiture and creates phenomenal situations where life-like characters are decked out in beautifully crafted patterns and goofy demeanors but, to me, my new works are more connected to graffiti.

The new pieces on paper are actually letter studies in the guise of nudes. I use traditional graffiti and signage as my muse to paint these spontaneous and dirty translations that take on human form. I’ve never been one into nudes or figurative work but these pieces came out of somewhere inside of me and I’m the type of person that believes in chance, serendipity, and all the hogwash of following where the wind blows you; such as biking across Europe with a sleeping bag and a mean streak.


Over Under (photo © Jaime Rojo)

Brooklyn-Street-Art-Quote-OverUnder-mother-loverBSA: You are now drawing and painting males and females nudes. Do you use a live model or are you painting from your imagination?
Overunder: All the new work is not from live models or photos or even really my imagination but my hand. I don’t know if that makes too much sense but what I’m getting at is a looser, gestural, non-overworked or over-thought process.

Painting should be fun so I try to treat it playfully. The pieces are excuses to loosen up and laugh at myself. Coming from a graffiti background will tighten ones’ bolt, most likely strip most of ’em, so what I love about these new wheat pastes is that they balance my two worlds while giving me incentive to get up.

Overunder (Photo © Jaime Rojo)

Overunder (Photo © Jaime Rojo)

BSA: With the colorful head portraits you are collaborating with ND’A. Many artists shy away from collabs. You seem to thrive doing them. Why?
Overunder: I think collaborations are important for artists, and people in general, to understand themselves. When I work by myself I may tend to have a higher output and tailor the work to exactly how I see it in my mind but the work is more closed. It’s like working behind a castle wall. For me, collaborations allow me to drop the draw-bridge and open up the work to new concepts, aesthetics, even accidents. The pieces with ND’A are testament to that and we bounce a lot of ideas off of each other. I’m excited to see where he takes his work in the next year and it’s a pleasure to merge our styles.  In some ways each collaboration is an extension of oneself, almost more like a separate personality, that you can let run its course or its mouth.

Overunder (Photo © Jaime Rojo)

N.D’A (Photo © Jaime Rojo)

Brooklyn-Street-Art-Quote-OverUnder-residencyBSA: You lived briefly in San Francisco. What’s the difference, at this time in your life as an artist from living in SF and living in NYC?
Overunder: I can’t really speak generally about the difference but for me personally SF is a dead city. I grew up in Reno and would go to SF in the early 90’s when it was crushed. There were abandoned buildings, foundations, tunnels, you name it. It was all up for grabs and it was a graffiti writer’s paradise. That city erased its graff-cosmetics and replaced it with an urban-tummy tuck and facelift. You can still find good work there but I believe that a city has a responsibility to an artist. A city needs to nurture a person like a mother or a lover. It needs to inspire them and afford them places to explore, run wild, and f*ck sh*t up a little. You can do that a bit in SF but it will be a one-course meal and you’ll still be hungry when you’re through. At least that’s my take on it after moving to NYC. I think NYC is the best unadvertised residency program an artist could ever have. It’s got a constant flow of new work on the streets, visiting artists, and resident artists. Rent is affordable when you get out a bit and the further out you get, the more it forces you to explore the city. SF was just too expensive, obsessed with food, and like the try-hard little brother of NY. The big apple has fermented and is intoxicating with absurd realness.

Overunder (Photo © Jaime Rojo)

Overunder  and N.D’A(Photo © Jaime Rojo)

Brooklyn-Street-Art-Quote-OverUnder-LickBSA: Are you being inspired by other artists now or by music to do your work?
Overunder: There are so many artists that inspire me but just the other day I was walking through Brooklyn and thinking that my favorite artists are my close friends. CASH4 inspires me with his work ethic, bluntness, and invented visual language. OTHER inspires me with his proclivity to travel, storytelling, and use of the word “wicked” in most sentences, ha! READ MORE inspires me with his typography and lifestyle. Adriana Valdez Young influences my drive to have fun while being smart about it. The list is long but the ones on the top are buZ blurr, Matthias Wermke, ADAMS, Broken Crow, JoinsOne, NohJColey, and Specter. As far as music I’m on a kick of Reno bands like Bindle Stiffs, Molesters, and the Frontiersmen.

Overunder (Photo © Jaime Rojo)

N.D’A (Photo © Jaime Rojo)

BSA: How important is it for an artist to take risks?
Overunder: If art was baking, risks are like the eggs and flour of art-making. Now I’m not trying to make some Vegan cupcakes or some bullsh*t like that; I’m talking about fried-chicken-and-waffles-at-5a.m.-art. For me personally, I wouldn’t have a lick of work to show for if I didn’t take risks.  It’s not something one should really discuss or think about, it just is part of the whole picture.

People take shits, artists take risks.

Overunder (Photo © Jaime Rojo)

Overunder (Photo © Jaime Rojo)

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Elisa and Seth: The Dynamic Duo “Books” You at Carmichael Gallery (CA)

Hands up, the new sheriffs of Culver City saw you lustily ruffling those pages with your flirting fingers!

Opening Saturday night, “Booked” at Carmichael Gallery

An unusual confluence of art and artists and the books that love them, this show satisfies your yearning for adventure and mystery, and more conventional pursuits like oggling and drooling. The art of reading tactile 3-D books has not completely been supplanted by glowing rectangles that are poked and prodded – much like the art of photography and painting, we were all silly to think they ever could have been replaced.

Dave Kinsey (Image Courtesy of Carmichael Gallery)
Dave Kinsey (Image Courtesy of Carmichael Gallery)

There’s nothing like pouring over a big fat book, page after page, staring and stalling, drifting and imagining expansive vistas on an overstuffed couch on a Sunday afternoon, or even Saturday night after many cocktails at a kitchen table, bleary and carnivorous for images.

But I gush.

Martha Cooper (Image Courtesy of Carmichael Gallery)
Martha Cooper (Image Courtesy of Carmichael Gallery)

If Street Art has stars (an idea anathema to many), this event will bring many under one roof:

Aiko, Dan Baldwin, Banksy, Beejoir, Blek le Rat, Boxi, Bumblebee, C215, Henry Chalfant, Martha Cooper, D*Face, Brad Downey, Eine, Ericailcane, Escif, Faile, Shepard Fairey, Stelios Faitakis, Gaia, Hush, Mark Jenkins, Dave Kinsey, Know Hope, Labrona, Anthony Lister, Lucy McLauchlan, Aakash Nihalani, Walter Nomura (a.k.a. Tinho), Other, Steve Powers (a.k.a. ESPO), Lucas Price (a.k.a. Cyclops), Retna, Saber, Sam3, Sixeart, Slinkachu, SpY, Judith Supine, Titi Freak, Nick Walker, Dan Witz and WK Interact

Anthony Lister (Image Courtesy of Carmichael Gallery)
Anthony Lister (Image Courtesy of Carmichael Gallery)

With a large selection of books and magazines from: Drago, Gingko Press, Murphy Design, Prestel, Rojo, SCB Distributors, Studiocromie, Very Nearly Almost, Zupi and more.

If you had plans you can go ahead and change them, call your friends go and enjoy fine art and the hospitality of Elisa and Seth Carmichel. They’ll quickly have you “Booked”


Carmichael Gallery
5795 Washington Blvd
Culver City, CA 90232
June 5 – July 3, 2010

Opening Reception: Saturday, June 5, 2010, 6-8pm

(Exhibition will open for view from 12pm on Saturday to coincide with Culver City Art Walk)

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Fauxreel: Putting Faces on the Faceless

Fauxreel: Putting Faces on the Faceless

Facing the Public Can Be a Huge Challenge for a Street Artist. Fauxreel has no problem looking you in the eye (and heart).

Street Artist Fauxreel shows BSA some of the images he uses to create his new series from.

Street Artist Fauxreel shows BSA some of the images he uses to create his new “Face in the City” series.


The finished Fauxreel on the street.

Dan Bergeron, AKA Fauxreel, has been bringing realistic-looking people to the street for about a decade.  Using photography, sociology, and psychology, the Toronto-based artist likes to pay homage, increase visibility, and give voice to people we may not usually see or hear.  Time and again he returns to issues of social justice and the individuals who he sees have been overlooked or outright ignored by our greater society on some level.

Fauxreel’s work is deliberate, thoughtful, careful and heartfelt. A great amount of study and preparation takes place before any piece is finally up, as if doing less would be dishonest. His newest project is a departure from these heavier sentiments and takes a step back from social policy. Instead his portraits seek to fuse with the walls, camoflauge themselves with graffiti and weathered brick. In these partially missing portraits, the topic of invisibility is addressed yet again, but this time with more poetry and a bit of mystery.

As usual, Fauxreel is putting his best face forward, and following it up with action. Here he talks with BSA about three of his most recent projects and what motivates him to hold a mirror up before us.

Looking at Cody in progress. (photo Dan Bergeron)

Fauxreel selected people who lived in this public housing project and created huge portraits for the buildings in the complex. (photo Dan Bergeron)

Brooklyn Street Art: When we last spoke with you, you were working on a large project in a public housing area in Toronto (The Regent Park Portrait Project). Was that a good experience for you and the residents?

Fauxreel: It’s hard to speak for all of the residents of the Regent Park community, but the ones that I did keep in touch with were very happy to either have participated as subjects or to have a positive spotlight shone on their community. Did the project help residents in terms of being displaced from their community? No. Although no concrete outcome emerged from installing the images, I think that a lot of Torontonians got out to visit Regent Park when they normally wouldn’t have and with the help of Luminato (the festival that commissioned the project) there will be a new arts center built when the redevelopment is completed.


Fauxreels' portrait of Valda.

Fauxreels’ portrait of Valda.


Personally, the project was rewarding for a number of reasons. The scale of the work was a challenge to create and install. I had gone 10′ high before, but doubling the size made me tighten up both my shooting and pasting skills.

The impact the work had (and still has as I still get e-mails from people who have just discovered it) made me realize that my work can have merit, can exist for the greater good and not just in an anti-establishment sort of way. But most importantly the project was rewarding and memorable for the people that I met and the process involved in its undertaking.


Fauxreel worked with people who are homeless in Toronto to bring their humanity to the street.

Fauxreel worked with people who are homeless in Toronto to bring their humanity to the street.

Brooklyn Street Art: Recently you have been working on a project called “The Unaddressed”. Similar to the other project, it contemplates people who are marginalized by our society.

Fauxreel: The Unaddressed project came about through a commission I received from The Royal Ontario Museum and The Contact Photography Festival. The exhibition was entitled Housepaint Phase II: Shelter. Devon Ostrom curated the exhibition and The ROM chose to work with 5 artists – Evoke, Other, Elicser, Specter and myself. The other four artists chose to work with interpreting structures in accordance with the theme of homelessness. As such, I thought I would work to my strength and focus on people. Over four months I spent time meeting various homeless and formerly homeless residents of Toronto.

Brooklyn Street Art: This time out, you gave people placards with messages – a bit more direct way of getting the idea across?

Fauxreel: In completing research for this project, I read a book called Dying For A Home by Cathy Crowe, who’s a street nurse living and working in Toronto. Through reading the book I got the impression that to combat an issue like homelessness you have to be very much in other people’s faces.


Simple placement and simple message sometimes is the strongest. Fauxreel's "The Unaddressed"

Simple placement and simple message sometimes is the strongest. Fauxreel’s “The Unaddressed”

Never insult people or chastise them for their fortune in life, but definitely talk about the homeless situation as directly as possible. Be frank and be honest. As such, I thought that using panhandling signage for the subjects to convey their messages was as simple and straightforward as you can get. So I brought the subjects over to my studio, we chatted about their experiences and they came up with messages that they wanted to convey to the public; messages that were counter to what is usually seen on most panhandling signage today.

In the end, the signs revealed some of the issues surrounding homelessness, showed the public that some necessities that we take for granted (think about having a phone or identification) are actually quite valuable and hard to come by and they allowed the subjects to speak their minds.


Brooklyn Street Art: Why do you think we walk right by people in need without seeing them?

Fauxreel: Unfortunately we ignore many things, people and situations in life as a pure means of survival. I’m definitely guilty of it. Imagine if you were to walk to work everyday and stop and chat, give money or help everyone that needed it. You wouldn’t get to work on time, you would feel pretty depressed and you would have a little less money in your pocket. And because reasons for being homeless are so complex – drug addictions, mental illness to name a few – it’s often hard for the average person to reach out to someone in a situation like this. That being said, we shouldn’t ignore others in need in order for our own perseverance, but we should try and find a balance between giving of our time or money to individuals and organizations that need are help and working towards our passions and goals. I think someone once said that it’s easier to give of yourself when your cup is full.


"Everybody Deserves Respect", by Fauxreel

“Everybody Deserves Respect”, by Fauxreel

Brooklyn Street Art: Can you talk about one of the individuals you worked with, and how the process evolved?

Fauxreel: I met a lot of the subjects through Andy Coats, a family friend who works with Project 417 here in Toronto. Project 417 is responsible for sandwich runs, providing clothing and specifically working with homeless youth, amongst many other efforts. Andy was able to introduce me to a number of homeless youth through a weekly meal drop in at Knox Presbyterian Church. With Andy as a liaison, I was able to meet a bunch of great folks and help them get their messages out.


"Don't You Dare Deny My Existence" by Fauxreel

“Don’t You Dare Deny My Existence” A portrait of Ron Craven by Fauxreel

Of the 18 people who’s photograph that I took, I think spending time with Ron Craven was the most illuminating. Ron is a former successful real estate agent who became a hard drug user in the early 80’s, lost it all and ended up on the street. The interesting thing about talking to Ron is that he’s lived all of these different lives and he understands the value of money and property in ways that most people don’t, whether they are homeless or not. Although many people liken real estate agents to the devil, it’s people like Ron who get to see the joy that people feel when they purchase a home. So to hear Ron talk about life on the streets is a definite eye opener.



Integrating the exposed and weathered brick wall as an element of the face in the city, Fauxreel loosens the grip for a ghostly effect. The new works “explore the idea that beauty truly lies in the scars, wrinkles and blemishes of places we live and people we meet”

Brooklyn Street Art: Today you are working on some pieces that are bit more abstract…almost like the head of an invisible man…

Fauxreel:The Unaddressed” project took a lot out of me and I really didn’t want to create work outdoors for a while. The reaction to the work in Toronto was not very favorable. A lot of the pieces got ripped down and/or defaced with rude comments directed at the subjects. Although looking back, it shows that the work resonated enough with the public that they reacted to it.

Brooklyn-Street-Art-Fauxreel_with these-quote

With this new body of work (“Face of the City”) I’m trying to take on some ideas that I’ve come to develop through spending time with Specter. As you may know, he and I worked on “A City Renewal Project” last year and we are really great friends.


Fauxreel's original photo of the model for his new series

Fauxreel’s original photo of the model for his new series, “Face in the City”

Whenever we talk about new work the discussion always comes back to the work being site-specific. With these new pieces I want to take the attributes of the distressed walls and let them become part of the expressions in the faces of the subjects. It makes the work somewhat three-dimensional in a way and is allowing me to loosen my style and approach up a bit.

The resulting street art image by Fauxreel.

The resulting street art image by Fauxreel.

The work is in it’s infant stages at the moment, but I think that the ideas behind the work have a universal appeal, will allow me to experiment with a bunch of different techniques and approaches, and it’s a body of work that I think I could continue to work on here and there for years to come.

Brooklyn Street Art: How do you try to create work that can speak to viewers?

Fauxreel: To speak to viewers I think you need to be sensitive to them and their interests. If you’re working outdoors, then you need to look at issues of public space, look at how people communicate with one another, realize how the work can help people to understand others and themselves and always be keen to pay attention to where the work is going to reside. Other than that I would only say that you should try and be original and create work that has some substance. Without substance there is no purpose or longevity.

Joe in Black and White by Fauxreel

Joe in Black and White by Fauxreel.

Brooklyn Street Art: You’ve talked in the past of a communal living room. Is that how you see the environment of the street?

Fauxreel: Definitely. The outdoors is a communal space and as an artist working outdoors I should try and make work that provokes the viewer to think or heighten the viewer’s experience of the outdoors when they come into contact with my work.


Joe in the spray and the spatter of the

The final product, suddenly complex, alive. Fauxreel.

Brooklyn Street Art: How does your work affect you?

Fauxreel: Finding this venue to express myself has been the most rewarding experience in my life thus far. It makes me feel like I’m contributing to a larger conversation and has given me a vocation in which I can express my ideas.

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Fauxreel’s site HERE

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Week in Images 09.06.09

Our Weekly Interview With the Street

Fat Kat in Brooklyn QRST

Fat Kat in Brooklyn (QRST) (photo CJ)

Michael (Bast) (photo Jaime Rojo)

Bangel is feeling ignored and is heart broken. Bishop 203
How come every time we start to talk about something important she has to take a call? (Bishop 203) (photo Jaime Rojo)

WK Interact
The guy in this WK Interact motion picture also seems put off by this obsession with digital devices (photo Jaime Rojo)

Fat bottomed girl David Choe
Fat bottomed girl (David Choe) (photo Jaime Rojo)

Happy Birthday Freddie Mercury September 5th!

Duce Seven Other
Look who was in town and at Secret Project Robot! (Deuce Seven & Other) (photo Jaime Rojo)

Duce Seven Detail
Deuce Seven Detail (photo Jaime Rojo)

The Kent Avenue Facade of Secret Project Robot
The Kent Avenue Facade of Secret Project Robot (photo Jaime Rojo)

Love Love Love to Imminent Disaster
Love Love Love to Imminent Disaster (photo Jaime Rojo)

Keely (photo Jaime Rojo)

Mr Graceful
Mr Graceful (photo Jaime Rojo)

NohJ Coley

Jonathan See Lim (The 2nd from the series Sprayed N Stone) (NohJ Coley) (photo Jaime Rojo)

NohJ Coley Detail

Jonathan See Lim (Detail) (NohJColey) (photo Jaime Rojo)

NohJ Coley Detail

Jonathan See Lim (Detail) (NohJColey) (photo Jaime Rojo)

The invisible man (Other) (photo Jaime Rojo)
Yes, there are a lot of these around town (image

Other Detail
Other (Detail) (photo Jaime Rojo)

Royce Bannon
Royce Bannon monsters at the Woodward Gallery’s outside exhibition space. (photo Jaime Rojo)

Space Invader is on the spot light
Space Invader in the spotlight (photo Jaime Rojo)

Your invasion is being recorded Space Invader
I’m Looking at You (Space Invader) (photo Jaime Rojo)

Heavenly Invasion Space Invider
Heavenly Invasion (Space Invader) (photo Jaime Rojo)

Veng RWK
A porthole into another world (Veng RWK) (photo Jaime Rojo)

Vlok  (Pig on the foreground)
VLOK Crew truck (photo Jaime Rojo)

Vlok truck in progress
VLOK truck in progress (photo Jaime Rojo)

Vlok Truck in progress
VLOK truck in progress (photo Jaime Rojo)

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