The Galery Klughaus invited Gorey and the parisian crew PAL for a huge exhibition. Horfe, Cony,Gorey, Tomek, Saeyo, Mosa, Esso & Skub show some canvas and drawing for the occasion. If you missed the opening, come by the closing reception Sunday May 19 from 2-6pm.
154 Stanton St.
New York, NY 10002
Photo by Cyprien Mesley
The catalogue of the exhibition is here
Here is a short presentation of what it was possible to see there:
Gorey hails from a background in industrial design with a diploma from the renowned Ensci Les Ateliers (Paris Design Institute). His work portrays the ingenuity and versatility of human-made recycling and strives to encompass the end of industrial production and the revenge of nature. His production is largely inspired by the concept of stacking and colliding disparate elements as a means for creating a new and unified whole. In addition to his individual artistic pursuits, Gorey works as a fashion designer for the menswear brand Woolf New York.
Horfé began to take an interest in the fine art world during his recent experience in art school, where he began incorporating the illustrative elements of his graffiti onto paper and canvases. Historically motivated by the challenge of creating works in the street under a variety of constraints including lack of money, time and permission, Horfé’s current challenge in the fine art world is producing works within the confined space of a studio. His creativity is fed by the natural energy of Paris, where he utilizes every available space with confidence and perseverance. His work is inspired by vintage cartoons from the 1930s, and explores the boundaries of precise illustration and total abstraction.
Cony’s art evokes the style of vintage Walt Disney, a mix of pop and esoteric references that creates a rich and mysterious world in which to lose oneself. Cony has shown in Paris at the Palais de Tokyo and his work was awarded the prestigious Le Salon de Montrouge in 2011. In addition to his success in the fine art world, Cony’s work can be found throughout the streets of Paris, most often high in the sky on the city’s rooftops.
Tomek comes from the Paris graffiti and street art scene with a focus on typography and gestural painting. His style explores an orbiting of energetic materials and calligraphy. His innovative techniques and the speed of his stroke invite us to both question certain aesthetic limits and consider alternative artistic approaches. One of the many appeals of Tomek’s work is the opportunity it provides to follow the evolution of an artist clearly aware of his constantly-changing era.
Saeyo graduated from L’ecole De Boulle in 2011, where he majored in “Furniture and Decorations.” His predecessors have taught him to understand the spirit of untamed Nature. Parallel to this exploration of Nature has been Saeyo’s experience growing up in a city surrounded by fleeting pleasures. Paris has been a place that allows Saeyo to fuse theatrical performance and painting, and transform the concept of graffiti as an illegal act into an intriguing and dynamic event. The extreme opposition of these two universes reflected in Saeyo’s work is beautifully paradoxical, and an essential source of his artistic approach. To him, tagging is a form of renaissance, a parietal urban doodle that cares for neither law nor order. It casts aside all conventions and makes space for only the spontaneity of a line, guided by adrenaline to the recognition of a name.
Mosa’s work is an exploration of science fiction and fantasy. He believes in a world where fantasy imagery, visions, and the expectations involved in their processions can reinvent worlds. To this end, Mosa weaves words into new stories that come to life in his paintings. He creates works that blend the past, present and future, and amalgamate distances in a way that allows the viewer to construct an ideal fantastical world. His narrative structure is reminiscent of comics and the cinema: successive or overlapping figures that propel a plot to fruition. The questions that nourish Mosa’s paintings are rooted in the anguish of our time, fear of the future, and the paradoxes of the era in which we live: fear of nuclear Apocalypse, social decadence, and the advent of virtual worlds. He attempts to open the border between the probable and the improbable, a contradiction that interests him because it reveals the strangeness of emerging forms and intriguing objects endowed with a visual power.
Esso has always been fascinated by capturing the presence of the people around him. As a child, he dreamed of becoming a war reporter, and first saw graffiti as a war on society, law, and order, before discovering that he was also interested in the war that each individual fights with him or herself. This includes the bond each writer develops between his personal history and his artwork. Graffiti opened the door to other art forms, including photography. “Photography then led me to painting,” he explains. “I met more serious, formal and academic artists at my art school, the Beaux-Arts in Paris, which fueled my desire to build links between these two practices.” Esso’s images are meant to depict nostalgic relationships between the humanity of his subjects as they are confronted with the fragility of their actions.
Skub was born in Germany in the furious 1980s. One of his earliest memories was the fall of the Berlin Wall and the opening to a new world. Now living in Paris, Skub is obsessed with the cultural differences between his French and German worlds. His appetite for art led him to the study of the occult and the esoteric. Through graffiti, PAL invited Skub to share a part of his world on the walls of Paris. The rest of Skub’s activities remain unknown, and it is only in secret shows that he can exhibit his magic thoughts to the public.
All pictures and content take from the Klughaus gallery blog