Tag Archives: NYC

Nick Thomm’s “Tropic Glows” Opens Nov 6

New York based, Australian artist, Nick Thomm delivers his first New York solo exhibition, “Tropic Glows,” on November 6.


Taking over a two story space in the Lower East Side, the artist – lauded for his signature new media style – will present a new collection of large scale, mixed media works on transparent Perspex, kaleidoscopic neon silk flags, holographic skate decks and a series of new 3D video works. Technically exquisite in their execution, Thomm’s artworks take their visual cues from popular culture, challenging traditional notions of collage by deconstructing, manipulating and reassembling imagery for the Internet age. His work is both a comment on, and reflection of a generation that has lived their entire lives hyper-connected and online.

Housed at 98 Orchard St, in the heart of the Lower East Side, level one will function as a traditional gallery space, while downstairs will be transformed into a fully immersive art experience, where Thomm’s otherworldly video work will come to life via specifically designed 3D projections and a piercing soundscape.

To celebrate the launch of Tropic Glows, Thomm has released a hallucinatory inspired 3D video teaser, which can be viewed below.

Thursday November 6th @ 7PM
98 Orchard St, Lower East Side, NYC

Exhibition runs until November 18th
(Open 7 Days, 12PM-7PM)

New York City: Romanticism vs. Reality

when you think of New York City, you imagine the “stereotypical” view of it. The endless sky-scraper draped avenues, the gritty underworld of the subway, the glamour of the all the designer’s fashion houses and the bright lights of Broadway. These are all aspects of the city that are heightened in film & art alike to give the Big Apple it’s romanticized view. Now, when you’re thrust into the hustle and flow of the streets, you can taste a sharp tongue of reality with each step you take, but can this hit of “reality” merge into the likes of the romantic vision of New York? And as Oscar Wilde has famously quoted, can life really imitate art?

I’ve been living in New York City for two months, moving here for school in early August. Like many other young people who make the move to the city, it was a dream of mine since childhood; I was just itching to get a feel for city life, with the romanticized picture of NYC painted through my mind’s eye. Upon arriving, I was shell-shocked of the initial immersive quality of the city. Walking about and discovering my surrounds was a revitalizing experience for me, and taught me a lot of my capabilities as an artist. Yet, there was a sense of loss & of unfulfillment of my expectations of what New York is so regularly portrayed as.


Would I make it? Am I cut out for this? Am I even a New Yorker?”

Being in school and also being confronted with many people who were hustling in the same realm as me made me feel like I hit a point of “reality”. Like: “Alright, THIS is what New York REALLY is! A gritty, tough, cut-throat town that can chew you up and spit you out if it wanted to!!” I felt overwhelmed of my surroundings and within two weeks was worrying frantically about assignments, making deadlines, expenses and overall fear of not “making the cut”. Yet, I never lost my sense of wonderment and romanticism of what New York is about. I rejected what the city was trying to make me out to be.

And it came to a point where I realized, the “reality” of a situation and it’s romanticized viewpoint can merge as one if you allow it to.

It may seem difficult, but you’re more than capable of living out your fantasies. It may been labeled as way to expensive to even consider, or out of reach for what you want out of life, but you can make it happen if you want it. New York has that quality to me. I am able to coexist in my fantasy of what New York is and with the challenges it’s actuality gives me.  Even with all of NYC’s history, the moment you walk down those crackled sidewalks the city is your blank canvas, and you choose the colors and the brushes and the tones and the shading you want to create that portrait you need to be yourself in a place that can be very polarizing. You just have to be able to blend the lines of who you are and what everything else is too. The city isn’t what molds me, I make myself into all I am, and that is something seen through the artist and the canvas.

And so it seems, life can imitate art, in the sense that you can thrive in your fantasies if you remain true to your souls desires.


A Trip Through Sajjad Musa’s Brave New World

Mixed Media artist Sajjad Musa is currently focusing efforts on collage art. His process involves working with black vintage ads (some of which are derogatory) and juxtaposing them with other elements to change the original context to more surrealistic themes. Sajjad Musa is a NYC based artist. Using a variety of techniques and mediums such as stencil, collage, painting, photography and audio production, he seeks to create art illustrating inner city cultural motifs with an ethereal inventive aesthetic. In the future he plans to release his art of other mediums such as photography, organic textures and audio production.

Take a closer look at some of Sajjad’s work below.




GREATeclectic Explores Gay Dating Highs and Lows in New Series “Some Boys Don’t Know How To Love”

Fresh off his recent collaboration with The Gap, New York based artist GREATeclectic has created a series of work entitled “Some Boys Don’t Know How To Love” that melds homo-eroticism and his signature kaleidoscopic aesthetic. In honor of LGBT Pride Month, GREATeclectic explores all aspects of gay love. From drawn self-portraits with the artist passionately kissing himself to chopped and screwed portraits of muscular muses juxtaposed with modern icons of gay dating apps like Jackd and Grindr, the collection puts the male-on-male gaze at the forefront of the series and prompts viewers to dive into the complexities of our community’s sexual desire.

“The series started out with me exploring past failed romantic relationships,” GREATeclectic explains. “I found myself examining dating in the modern world and i thought it was something not only other gay men could relate to, but people in general could relate to.”



The collection includes 11 original collages on paper and artworks created specifically to be posted as street art all over New York. GREATeclectic has made a point to post these handmade stickers across New York City in an extensive street art campaign.






View the entire series at www.GREATeclectic.com.

ABOUT GREATeclectic: As an anydenizen: Kendrick is a Southern boy, a neer-do-well, a halogenic hipster setting up art-camp in Harlem. As an artist: GreatEclectic blends the most abstractly familiar elements of life – love, envy, wealth, wrath, perception, desire, greed, necessity, lust, identity, indulgence, ideals, ego, morals, said bankruptcy, and fears – with the rawest veneer of famous faces. His pieces are pastiches – whole in-and-of themselves but even more so in context of one another. Pop & Politics are alive and well-contented bedfellows in this world. The personal space stands as the pre-eminent public place of judgment. Shadows dance in rigid rhythmic formation with neon strobes. The entire world coalesces into a kaleidoscopic cultural landscape… where we are presented with our own selves from before the mass-mediated mirror of Pop life.

Sexism Sells

“Because for every big story of blatant sexism that I tell, there are dozens of far more subtle ones that I could be relating.” #overheard




“Beyond these are even more subtle and complicated aspects, such as the perpetual feeling of being trapped into having to choose between either conforming to the stereotype of being a woman, or conforming to the stereotype of being a woman who doesn’t want to conform to the stereotype of being a woman.” – Julia (barefootscientist)


A Visual Artist Disguised As Andre Woolery

As an artist, Andre Woolery is interested in creating time capsules that can tell stories of what is current and contemporary. The specific lens is based on things that have heavily influenced the artist thus influencing what he create: the digital convergence in our world and black culture. Both of these areas have molded me Andre into what you see, so his creations are a direct manifestation of that influence. He aims to capture the truths that can become anthropology for both of these areas and hopefully reveal something about this current matrix we call society.

Stylistically, experimentation on a blank canvas drives Andre. He aims to test, try and reformat everything because the world is filled with possibilities and his role as an artist is to discover them. He wants each new collection or phase of his work to be part of a collective journey in pursuit of new territory or a new lens.

The end goal is to have each set of eyes that view his work to gain a brief or long lasting moment of awaking some form of consciousness. Whether it is consciousness in the form of inspiration to look at the world with a new set of possibilities, or understand the world with more clarity, or even take a step closer to a topic that is foreign to your existence. It is ultimately an exercise in his own responsible influence. We caught up with Andre before he left for his foreign exchange artist program in Jamaica.

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Art Nouveau: How has the Harlem art scene inspired your work?

Andre Woolery: Harlem is truly where I got my exposure. Exposure to exhibit my work within the community, connect with collectors, and be alongside cool artists that live above Central Park.  When I started painting I was alone with my thoughts of creating. Then I started meeting all these artists that were creating work out of vinyl, bronze, buttons, duck tape, cut up canvas, and it opened my mind further to all the possibilities of artistic expression. Beyond the diversity of mediums, the caliber of talent and charismatic personalities really pushed me to elevate my game to keep up with the momentum.  I wouldn’t be where I am now if it wasn’t for all the doors Harlem opened for me; literally, figuratively and mentally.Harlem has a rich heritage as a cultural center for black creatives and that still remains true. We are in the midst of an emerging Renaissance so I encourage anyone interested in the arts to head uptown to see what Art in Flux, Souleo, Harlem Arts Alliance and other organizations/galleries are developing. I want and hope for art enthusiasts to really support the artists here through collecting, attending and advocating so it can flourish to its full potential. Its only the beginning…I also want to point out the square footage available in Harlem is empowering. The size of my apt enabled me to create massive pieces like “It’s All About the Benjamins” which is 9 ft x 4 ft. With the space, it was like, why the hell wouldn’t I try to make something big like I see in the museum? Every artist needs a bigger fishbowl.

AN: What do you think the youth in your area is being robbed of most? Was this the same situation you encountered as an adolescent?

AW: Productive ways to spend their time that exhibits their power. My mother always told me “the devil finds work for idle hands” and thankfully when I was younger I was always busy doing artful things to keep me from doing stupid things.  The youth needs alternatives to see their power expressed and they are being robbed of those outlets.  I see less after-school programs, art programming, community role models and all the things that help youth establish ways to express themselves, find out who they are, and recognize their power in being unique. They are vessels of unfulfilled potential waiting to be realized and sometimes it just takes a new experience to discover it.

AN: What inspired you to start your technique of creating works with push pins?AW: I get bored easily.  I am constantly looking for something new.  I think you have to “innovate or die” so my mind is always pushing to find new ways of thinking, expressing, and remixing.  Working with pushpins was the result of a bored Saturday looking to do something other than oil paint.  It ended up being the personal challenge that really propelled me to pursue art seriously.    Now I love the creative challenge of using a limited color palette (11 colors of pushpins), the necessary math involved, and the handcrafted nature of it so I am constantly trying to push the medium. For example my first piece Jay-Z – The Tackover used colors of pushpins to dictate light.  Now in the Grace Jones – Natural Glow piece, I used a single color but leveraged patterns of spacing to illustrate light. I got a lot of tricks up my sleeve that I’ll be dropping this year.

AN: Your work is very large-scale and your process is intense, How long does it  take to finish a piece?

AW: Honestly it gets faster every time I create a piece. Depending on the size and detail required it can take 3-5 weeks to complete a piece . Usually I spend time mapping everything out in my head and then start tacking row by row until its complete.  It has taught me so much about patience, faith, and persistence.  Patience to take your time with every single placement of a pin, faith that the composition of the pushpins actually resembles the end goal, and persistence to keep going despite having a callous and bruised thumb.

Obama Images.001AN: Who or what inspires you?

AW: Everything that crosses my path. My eyes are open and with a great visual memory, I’m like a sponge soaking it all up for future reference. I believe every potential creation already exists you just have to uncover it. We as artists have to continue to unveil what isn’t easily seen, excavate what isn’t easily accessible, show value in the overlooked and chart new territory.  If art can create illusion, you have to see magic in everything so you can use it to create your own magic. There isn’t one inspiration, the world is all I need.

AN: If you were a cartoon character who would you be?
AW: (Laughs) Love this question. Afro Samurai.  I love hip hop. I love samurais. I love Japanese culture. I love RZA. I love Samuel L Jackson. Put me in the middle of all that while seeking revenge with supreme confidence?…its almost too perfect.

AN: What’s your favorite quote from a song?
AW: That’s a tough one. There are so many and it all depends on the last song I heard or what state of mind I am in. For right now, I’ve had Major Lazer – Get Free on heavy rotation for the passed few months.  It was like an anthem for me as I was approaching my departure from New York. It is simple and straight forward but it spoke to me:Look at me
I just can’t believe
What they’ve done to me
We could never get free
I just wanna be
I just wanna dream

I had a job outside of art and while I enjoyed what I was doing, art was like a the ray of light beaming into that small cell of corporate life.  It was freedom and opportunity to dream my most vivid dreams. I  just couldn’t wait to break free to be myself.  Everyday not being able to due that felt like locking up my creative soul. I listened to this song and it fueled my urge to get free.

AN: Tell me about your invisible hieroglyphics series?
AW: That project was a collaboration between my good friend, Victor Abijaoudi, and myself.   We noticed that the world was becoming increasingly digital, and the world of communication was losing its physicality. The one remaining human component of the digital experience is touch. Our hands have become the communication conduit through devices with a series of taps, swipes, and pushes. We extracted the finger smudges on my iPad after using specific apps and transformed them into vibrant, acrylic prints.It’s about communication and art of the digital age.  Nothing was arbitrary or accidental.  We took one of the most revolutionary companies, Apple,  and used their revolutionary device as the canvas. Apple’s iPhone and iPad has transformed society’s interaction with devices but truly the art we uncovered was entrenched in user experience design.Each of the designers of the selected apps, created the blueprint for how your fingers would trace within the lines they created.  As visual artists, we took the invisible and made it so you could see the art of the software and hardware working together.  We wanted the art to encapsulate this moment in history.  We pushed a contemporary reflection back to a world rapidly shifting from analog to digital. The only remaining traces were our fingerprints.It was everything I wanted out of a collaboration and a good bridge for me that is so entrenched in a digital world but also spending my time making things with my hands.

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What’s the proudest moment of your career to date?
AN: My first show, Bruised Thumbs. I was fortunate enough to have solo art show entitled Bruised Thumbs. It didn’t feel like a show in the traditional sense (but maybe all first shows feel that way). I was proud because it fulfilled many of my hopes into one night. Through art I found the ability to develop a vision and bring it to life. The show was not about making sales but rather putting my work on a public stage. Up until that point no one had seen my work outside of the walls of my home so it was a major moment. It was the first opportunity my pieces had to be placed on a well lit, white wall where their true splendor could shine. It was a moment for the pieces themselves and the culmination of putting my visions on display. Things that hadn’t existed before had now occupied a space, a moment in time, and interest from viewers.I also got a resounding level of support from my network of friends and family. They contributed in countless ways; from film production, to cocktail recipes, to spreading the word, and so on. The opening night was a clear picture of what it looks like when people spread love to those striving to achieve. This type of support should be extended to all those doing creative things, if so, the world would be amazing.But, most importantly when I go to art events, there is typically a only a handful of non-white faces, if any at all. My show was the opposite. It was a sea of color where black was the majority among a sea of highly diverse, varying faces. So many people came up to me during, after, and in emails to tell me this was their first art show and they want to attend more. This was important for me because I know what art has done for me, and I want to extend that to the people in my life and the communities I belong to.There were also so many young teens that randomly showed up during the week just to check it out. I had really open sincere conversations with them and it felt great because I was able to lure in the audience I set out to reach. I believe they were able to see themselves in me and recognize more possibilities.  I met one guy that had given up on being an aspiring actor in the theater but my art show made him want to get back into it. Months later I ran into him in Columbus Circle (I have good visual memory so I didn’t forget his face) and he told me he was in the middle of auditions and things were going well. We shook hands, wished each other good luck, and that was it. That small moment lasting a total of 2 minutes was one of the best moments that reminded me that I’m doing the right thing. That is ultimately what art means to me: an opportunity to give people another reason to take a bold step or new thought pattern.

AN: Where do you see yourself five years from now?
AW: A global artist creating work that impacts people.  These upcoming years will be a litmus test for me to see what works and what doesn’t.  I will then use all that experience and insight to push hard at the things that will drive real impact with youth and community. This upcoming year will be focused on using my art and creative talent to impact my community in Jamaica.  It will drive civic pride, youth empowerment, grow family bounds, and potentially become a cultural destination.
But you can never really plan the future so I guess we’ll have to wait and see.

AN: You’ve mastered bridging the gap between art and commerce. What advice would you give to young artists that want to make a business out of their art?

AW: Invest time in learning about technology, business, build your network, and create a vision. There are several directions you can go as an artist and the closer you are to acquiring the knowledge the closer you are to being independent.  If you aren’t fluent in technology, you will not be able to utilize all the tools that available to our digitally empowered generation.  If you ignore the business side of things, then someone else will be in charge of making your decisions and most likely to their benefit.  You have to make connections to others that have skills you don’t because you run into mutually beneficial situations.  Last and most important is to have a vision for your art to be your livelihood.  Once you have that you will easily connect the dots of your skills, technology, business, and the network of people to help you achieve.  Making a business out of your art can mean whatever you want, don’t think there is only one business model.

AN: What’s next for you?

AW: I’m in Jamaica right now so I’ll be doing several new projects.  Some new work with the medium of pushpins, community based projects, new mediums related to being on this island, street art, oil painting…essentially I am going to be trying it all.  I came for freedom so I will be completely open with the types of things I experiment with.  The best way is to follow the journey is through Instagram or Facebook.

AN: Is there anything else you’d like to mention?
AW: I am going to doing a foreign exchange of talent while in Jamaica, so if you have creative skills that you want to share with my community and can afford a flight to JA, come through.  Let’s show the world how powerful artists can be when they put their skills together. Hit me up with any thoughts and we can work out a way for Jamaica to be a creative haven for artists.

Click here for everything Andre Woolery.

The Path to Englightenment According to Yu-Chun “Pony” Ma

It’s not sunny in Sunnyside, NY, But Yu-Chun “Pony” Ma makes up for it with his neon bright work. Pony is a Pop Surrealist artist born in Taipei city, Taiwan, but based currently in New York City. Pony began drawing at an early age after being heavily inspired by Japanese manga. However at the age of 15, his art stopped progressing when he began studying Electronic Engineering in high school. Since then, he hadn’t had a chance to pursue his art career. In 2005, Pony receive his Bachelor’s Degree in Electronic Engineering.

In 2007, Pony moved to New York and two years later, he has decided to pick up his pencils and keep pursuing his childhood dream of being an artist. Therefore, he went to study Illustration at Fashion Institute of Technology. At the school, he learned of perspective and color theory, and eventually developed his skills with acrylics. It was at FIT where Pony became heavily influenced by many contemporary Pop Surrealism artists such as Robert Williams,Todd Schorr, Greg Simkins, Scott Musgrove, Nathan Ota, Mark Ryden etc. Pony’s work recalls all of his inspirations and become visuals of our ghoulish childhood nightmares. Chilling and inviting at the same time. It’s no wonder Ron English is a big fan of Pony! Check out some of our favorite works from the artist below.

upcoming silence


ass bunny


Sin Sinus


mickey dog





Deviant Lines in an Array of Colors: Explore the Work of Vernon O’Meally

Vernon O’Meally is young abstract expressionist and street artist from Atlanta. Now based in New York City, Vernon’s approach to art is heavily informed by a singular fixation, a fixation on the fundamentalism of lines in all senses. Lines are the building block of all visual communication. It is unavoidable. His style harbors deviant lines, contorting them until they render forms seen from a dream. Lines bend in on themselves in an array of colors, into the sort of indistinct forms known to pervade the unconscious. Take a closer look at some of our favorite works by Vernon.

Marge x Out of Line



Pink Skull(Printer)

Pink Skullrip

Iconic Parodies



90s Slick Mick

Mick Magic

Why Paige Powell? Why? #QuestionsThatNeedAnswers

Last Friday evening as I toiled away on the computer curating content for Art Nouveau I was snapped out of my mundane existence by an image from Paige Powell’s latest exhibition Jean-Michel Basquiat Reclining Nude. I felt many emotions, but perplexity was the main one. I was intrigued, but not in the way I normally am when I see a great work of art, intrigued in the same way you can’t look a way from a horrible car wreck. Intrigued in the way I need to comprehend what would posses someone to release these images at anytime, let alone decades later. I was so intrigued I was the first one in the Suzanne Geiss Company’s space on Saturday at noon to see the show for myself.

I’m not one to argue the merits of art, what it is and what it isn’t, but this isn’t Art. This is exploitation at it’s finest and there is a stark difference between exploitation and art. More importantly, this is exploitation of Basquiat’s comfort around Powell. The two dated for two years. How would you feel if an ex showed your goods to the world decades later? The main room featured four of the 35mm nude portraits blown up to massive proportions. The Black and White images against the white wall immediately recalled images of slaves on the auction block.

If these had been images of any other artists, I don’t think I would have been so appalled. But noting Basquiat’s treatment by the art world as the other this came across as disrespectful at worse and tasteless at the least. I left the gallery with more questions than answers. The only positive take away though was that two decades after his death after being name dropped by Jay-Z in his latest album Magna Carta…Holy Grail, a  recent star-studded Gagosian exclusive exhibition, a host of imitators (Swiss Beatz, Ron Bass, KingPop) and now this, Basquiat is still as relevant than he ever was. Even more so for a generation that is just discovering this brilliant artist’s work.

If you’re interested Powell’s nude photography exhibition runs though February 22 at Suzanne Geiss Company, 76 Grand Street. And if you just came here to see Jean-Michel’s manhood take a breeze through the images below.











Creative couple Davide Luciano and Claudia Ficca are at it again

Creative couple Davide Luciano and Claudia Ficca are at it again, this time with a new project titled: Gourmet Mouse Traps. As the name suggests, this photography series showcases mouse traps baited with a cheesy dish fit for the pickiest mouse. The inspiration for Gourmet Mouse Traps came to Davide after a week-long cheese advertising shoot in NYC. “I was in a cheesy state of mind that week” says Davide. The idea came to him while he was riding the train after a long day on set. “When I told Claudia her eyes light up, she pulled out a pen and paper and instantly created the menu.”

Food stylist Claudia Ficca embraced the challenge of making miniature dishes. “Making mini versions of these foods required preciseness and concentration, I definitely made use of my fine tip tweezers for this job. From conception to creation this project was so much fun” says Claudia.


Photographer Davide Luciano changed his light set up for each scene, while prop stylist Maeve Sheridan redecorated the set. “It was important for me to create a specific mood for each shot” says Davide, “I wanted to give the impression that the traps were set in different homes at different times of the day.”

Gourmet Mouse Trap is a series of ten photographs: Strawberry Cheesecake , Cheese Board, Grilled Cheese, Lasagna, Bagel & Lox Nachos, Onion Soup, Mac & Cheese, Pizza, and Poutine. Take a closer look at the work below.

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KAWS Is Not Simply Painting Pop References, He Is Forcing The Art World To Accept Them

Strolling along Madison Avenue I stumbled upon the famed Galerie Perrotin. To my surprise their current show was a solo exhibition entitled by one of my personal artistic heroes, Brooklyn based artist KAWS.

“Pass The Blame” features a series of work that offer a fresh take on his playful pop culture inspired work. His earlier work drew inspiration from Pop gods like Andy Warhol and Roy Litchtenstein, but the newer works seem to be inspired by Frank Stella and Ellsworth. These inspirations find him combining Pop and abstraction and composition that extended the entire canvas borders. Talk about #DEPTH!



This whimsical approach to his abstracted cartoon silhouettes not starkly rendered, but still represented are a masterful experience. Walking through the exhibition the viewer can not help but be immersed in KAWS’ interactive atmosphere. KAWS is not simply introducing popular references, he is forcing the art world to accept these as part of what for many is the real world they experienced growing up. As he taps into the popular psyche, he brings to life the very points of fascination, endearing memories, tender associations and identifications with the world of cartoons that for many were profound experiences and just as meaningful as those in the real world.

“Pass The Blame” runs through December 21, 2013. Take a closer look at some images from the show below.