Carl Smith

Spectral World - Original Miixed Media Painting

2018

Carl Smith is an American artist who has been living in Berlin, Germany, since 2001. He works with a combination of silkscreen printing, collage, and resin to create his urban inspired artworks. In his art Smith explores the area between Pop Art and Surrealism. Each carefully constructed artwork is a unique compilation of images and text brought together to create an interesting juxtaposition that excites the viewer. The surface of this 16 inch square artwork is covered with a smooth layer of clear, glass-like resin, which enhances the colors and adds depth to the imagery. The sides are finished natural wood, and it does not require framing. It is signed by the artist on the back. A certificate of authenticity issued by the gallery is included. Convenient local Los Angeles area delivery. Affordable Continental US and international shipping is available. Smith combines his own photographic material with drawings and other fragments of narrative imagery. He works with several layout combinations before creating a finished composition. Through his use of strong visual cues, he tells slightly absurd and humorous visual anecdotes. The process of making these narrative works is what Smith refers to as, 'Drawing with Pictures'. Carl Smith is originally from Santa Fe, New Mexico, and studied art at Cooper Union in New York. He has exhibited his work in France, Germany, Norway, Holland, USA and England in numerous solo shows or as a member of a four man team called TABI. His works have been represented by Kunstwarenhaus Zurich since 2000 and Artspace Warehouse Los Angeles since 2010. He was chosen as one of five artists who exhibited at the Berliner Liste, invited to exhibit in the 2012 Paris Mac art fair as a featured guest of the organizers. REPRESENTATION Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2022 Slow Graphics, Museum Sremski, Srem Poland 2021 “Like a Song”, solo exhibition at Kunstraum B, Kiel Germany 2020 Miedzynrodowy Festiwal Grafiki, Muzeum Sremskie, Poland “Urban Prelude”, Berlin, Germany 2019 “Slow Graphic Days”, Myszkowshi Galeria, Poznan, Poland “Suspended Moments” Knack43, Berlin, Germany Affordable Art Fair New York “Berlin Express”, Galleri Schaeffers Gate 5...

Carl Smith is an American artist who has been living in Berlin, Germany, since 2001. He works with a combination of silkscreen printing, collage, and resin to create his urban inspir...

Robert Lebsack creates artworks using mixed media with ink, acrylic and charcoal on archival copies of newspaper, textbooks, or sheet music. His street art tends to focus on social a...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Leveraging photos of Marilyn Monroe and Pablo Picasso, the piece integrates a large number of hand made stencils creating a background of chaos and imagination running wild. Acrylic...

Leveraging photos of Marilyn Monroe and Pablo Picasso, the piece integrates a large number of hand made stencils creating a background of chaos and imagination running wild. Acrylic...

"Beyond Words" 36" x 48" Original Mixed Media Painting 1 1/2 Deep "GALLERY WRAP" stretched canvas 2018 :: Mixed Media :: Pop-Art :: This piece com...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...