Above Breaks Down Remix Opening Nov. 21st

1xRUN Interview
Remix by Above

1xRun: How did the idea come about for Remix?
Above: The idea for this newest body of work of Remix has been something I’ve been developing during the past three years, and more specifically been refining during these past 12 months. I’ve always been attracted towards color swapping, symmetry, curved lines. These past 12 months my street works (and indoor brainstorming) has all been about dissecting my arrow icon and remixing it into new abstract shapes, mixing of colors, and usage of curves as much as possible into each piece. More specifically these past 6-months I have really dove into exploring all of these elements and this body of work is the outcome of those long days and longer nights doing research and trying out new techniques.


For additional information on Remix email gallery director Jesse Cory at jesse@innserstategallery.com

1xRun: You have been working virtually non-stop the past 3 months here in Detroit, what have you been listening to while you’re working?
Above: Yes, all the team here at 1xRUN/Inner State gallery knows very well that it’s been 14-18 hours a day in the studio. Music has been a very important element in my creative process and even more with Remix. It might sound cliché but I’ve been listening to a lot of hip hop and rap remixes. Quite a heavy dose of James Brown, Jay-Z, Bonobo, Nightmares On Wax and Boiler room dj sets. Yeah a lot of Boiler room DJ sets, those keep me going for sure!

1xRun: Each piece in this show was meticulously put together, then disassembled and finally reassembled or Remixed, give us an idea of how much time was spent on each piece and the process behind creating these works?
Above: Let me think…where can I even start really? I mean, the process is very lengthy to be honest. I start with designing on my computer the shapes I want to use. This can take 1-3 hours to really lock in the design I want to use.



The hardest part for me was selecting the colorways of each piece. Each piece has some 8-17 colors in it’s design. I needed to find a balance and harmony with all of these colors. How they can all work in unison together. This process was so fucking hard to accomplish. I would choose a nice teal green and then put it next to a summer orange, but then the summer orange would be next to a chocolate brown that would screw up the harmony. So I’d have to ditch either the brown or the orange…repeat ad nauseum.



Fast forward to the printing process. Each piece has 4-6 different layers printed on it. Spray painted stencils and backgrounds as well. It took me over a month to just get all the wooden panels ready to be cut up and remixed.








Remixing the boards took just as long as I have to individually go thru and pick out each piece and re-insert onto either the Arrow or the Target.





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Once the piece is remixed onto the arrow or target, I then nail it down and finally seal it with industrial resin. 15-19 hour days have been necessary to accomplish the goal and body of work I’ve set up for myself.




1xRun: This show deals with a few different icons, tell us a little bit about each design and how and/or why it was chosen?
Above: It’s very simple. I chose each of these designs as they were all curved. The arrow I’ve been painting for 15+ years is all about precise, straight lines and angles. Remix is about turning that on it’s ‘side’ and approaching it with new eyes and new style. Every single piece in this show has a cut pattern with an abundance of flowing curves. Symmetrical curves and concentric circles re-arrange in different patterns. I feel it’s a great balance and it looks pleasing to the eye at the same time.

1xRun: This is your first time working with laser cut wood, tell us a bit about some of the advantages to this process and how you’ve used it with these works?
Above: When I was conceptualizing Remix earlier this year, I wanted to have this show be about curves and circles, as I just mentioned. I’ve done wood works for over 5+ years and my cuts have always been straight cuts and angles. I did research on how to achieve the curved cuts I wanted and it was nearly impossible to achieve these cuts without using a laser cutter.

The advantages of using a laser cutter was that I could achieve the uniformed and consistent cuts I needed in order to make this body of work. If any cut was out of balance or uneven then it would be impossible to remix it into the other. This is my first time using a laser and I can tell you now, it’s not going to be my last. The cuts are simply mesmerizing with accuracy.







1xRun: Let’s talk about your color palette, how did you go about choosing the colors for these works?
Above: This was probably the most challenging aspect of this show. It sounds funny but it really is true. Like I mentioned earlier, I have about 8-17 different colors in each piece
This was extremely difficult to select a whole family of colors that worked well together. I would sit and play for hours on 1 piece, swapping 2-3 colors, then adding another and deleting another until I found a great harmony. Many long nights just staring at my computer and color swatches. Too many long nights. I wish sometimes I was color blind. It would of made things super easy.




1xRun: How does this work differ from your last body of work?
Above: Remix encompasses a similar concept, that being swapping out 1 layer, or color for another. My previous solo show ‘JetSet’ in Melbourne had a similar style but instead of using wood I ‘remixed’ paper.  For JetSet I would screen print the same image of say Marilyn Monroe in 6-8 different colors onto paper. I would tear each paper and then re-position them together to get 1 final image made up of 6-8 different colors. Remix is similar but more evolved. With the Remix show I did so much pre-design work on the computer I knew just exactly how each piece would turn out. I had married each wooden board with another then made sure the cuts were the same, and the colors all worked out. The design on the computer is exactly how it looks when it’s finished. I feel very accomplished with Remix and how I’ve made a plan of attack and carried it out to completion.

1xRun: What strides do you feel you’ve made with this work?
Above: I feel doing this show It’s allowed me to break out into being more abstract, and colorful. I’ve been gravitated towards moving into dissecting the arrow icon. Breaking it into pieces, and then smaller pieces and becoming more abstract. This process has allowed me to experiment and learn from ‘mistakes’ I’ve made. What works good, what works better. Essentially since doing this show I’ve got even more ideas for my upcoming solo shows.





1xRun: What is unique about this work compared to your previous works?
Above: In a sentence I’d say the curvaceousness of this show is unique. So many beautiful curves.

1xRun: This is your first solo show in 5 years, why did you choose Detroit?
Above: I first was in Detroit 10 years ago in 2004 hanging my wooden arrow mobiles. Last year in 2013 I spent 3 weeks here and was so attracted to the raw energy here.  I noticed that so much had changed in Detroit, for good and bad. It was Remixed and remixed again during the 9 years I was away. Inner State Gallery and 1xrun proposed me to do a residency here I really enjoy the idea and the fact I could spend more time in this great city. I feel making the debut of Remix in Detroit is a perfect fit as both the city and my works are both going thru dynamic changes and growth.




1xRun: Tell us about the first time that you visited Detroit, when was that and how long did you stay?
Above: I first came to Detroit in 2004. I was doing my USA tour of traveling around the United States hanging wooden Arrow mobiles from overhead powerlines. I remember vividly the first time hanging arrows in downtown Detroit at night. It was like Gotham city with virtually no street lights, boarded and abandoned buildings everywhere, and the worst road conditions I’ve ever seen. I really enjoyed this rawness. I stayed here in Detroit at that time for about 4 days hanging arrows during the night, then during the day documenting them and exploring the city.

1xRun: What was your impression the first time you visited the city? When was the next time you visited the city?
Above: Left behind. Last year in October 2013 I stayed here and in Canada for a project for 3-weeks.

1xRun: As you wrap up a 3 month residency here what is your impression of the city as you leave Detroit?
Above: I’ve been fortunate to travel the world extensively during my life. I would say that Detroit has this certain charm, underdog, rawness, left behind, but most of all optimistic
energy about the city. There is so much transformation going on right now. If I was living in the United States I would choose to live here in Detroit. No questions asked.




1xRun: How did the name Above come about?
Above: It stems from the mentality and challenge to ‘Rise Above’.

1xRun: Any other monikers you went through before landing on Above?
Above: Yeah, too many and nothing worth talking about, haha.



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1xRun: For the unfamiliar give us a bit of a background on your career, when did you first start creating art?
Above: I was born and raised in California. I started painting on freight trains with my skateboard friends when I was about 16. It got really serious when I was 18. I saved up money working as a dishwasher at a restaurant and I moved to Paris, France. I changed my focus from writing the letters A-B-O-V-E to what is now the Arrow Icon. This was in 2000 and at that time “Street Art” wasn’t even a term or style. It as just a handful of people doing illegal art in the street but with either an icon or a character. Since then I’ve been able to travel the world being invited to paint in over 60 countries around the world.  I’ve been fortunate to be living solely from my art since 2008, the same year the financial crisis hit. I’ve been lucky and fortunate to have such great support and wide fan base around the world.

1xRun: Tell us about the arrow as an icon for you, how did that come about?
Above: It all came about from an experience at the train yard. I had painted a train with my name ABOVE in traditional graffiti letters.
I finished the piece and went home. A few days later that same train happen to be going by as myself and other traffic waited. I noticed my piece from the colors I used but I couldn’t read anything on it.

I thought to myself. If me, the person who made this can’t even see, or understand the piece.


aboveset6 aboveset5 aboveset4a

1xRun: Who are some of your earliest influences?
Above: Growing up in San Francisco at the time I did was epic to say the least. in the Mid 90’s in San Francisco it was one of (if not the epicenter) of graffiti. The streets were so hot and alive.

So many talented writers that today have transitioned into much more. My major influence was and always has been Barry McGee. (TWIST) His can control, characters, letters, abstract works, and basically everything he creates was and has been a big inspiration for me. Frank Stella, Bridget Riley, and film maker Wes Anderson.





1xRun: You’re known to have a tireless work ethic, what have some of your personal favorite projects been in the last few years?
Above: I was in Cape Town, South Africa a few years ago and I visited an impoverished township. Faith47 and DalEast and I were painting in this run down town ship and the local children were in awe of us.

They just couldn’t believe a can of paint and person could do what we did. I was equally impressed by these children and their curiosity. I conceptualized a project called (UBUNTU) https://vimeo.com/63267661 that I could do with them being the main focus and creators. I noticed literally 100’s of car tires all around the area we were painting. The concept was to collect the tires, prime them white and then have each child color the tire in a solid color from the spectrum.

I’d say 97% of these children never held a paintbrush and for them to paint a tire a solid color was a big accomplishment. It gave them all a spark that they can create and make art. Then the concept was to stack up all the tires in a colour spectrum to symbolize the unity of each color. The harmony of how all the colors together can unite and make 1 bigger piece. Symbolic of South Africa’s apartheid, racial segregation, and now it’s unity. The time spent working with the children and seeing their faces light up when painting was priceless. I still remember many of their faces today when I think about the Ubuntu project.





1xRun: On that same note you seem to travel non-stop, what are some of your current favorite cities and why?
Above: This is a question I get frequently. Yes I travel very frequently and live my life to do this. I absolutely love traveling to new cities. I measure success in different ways than most. I’d rather have visited 10 counties instead of having 10 million dollars. The experiences I have during these experiences are what my life is about. Some cities I really enjoyed for various reasons would be in no particular order, Hong Kong, Buenos Aires, Rio De Janeiro, Mexico City, NYC, Paris, Reykjavik, Bucharest, Istanbul, and Detroit!




1xRun: As this show wraps up what are your plans for the rest of the year and early 2015?
Above: I should say that I’m going to chill out and sleep or something like that. However I’ve got a fire inside having done Remix. There have been so many radical breakthroughs in this process. I have so many new ideas and processes I want to test, explore and dive right into
I’m going to be returning home to London and jump into exploring more.

1xRun: Anything else that you want to touch on that we didn’t address?
Above: Just would like to thank Inner State Gallery, 1xrun, and my assistant Jonny Alexander for all of your support. Without any of your support this would not be possible. I’m most grateful! Cheers!




1xRun: Tell us a little about each given design, let’s start with Lock.
Above: I’ve always been attracted towards color swapping, symmetry, and curved lines. The Lock symbol as seen in this design is a nice unison between two lines that meet up, circle each other and shoot off again in opposite directions. It’s like an intersection where you meet up, hang out for a while, then shoot off to where you’re going. A transitory space if you will.

- 1xRUN

Above was interviewed by 1xRUN editor-in-chief Pietro C. Truba in Detroit during his 3 month residency at 1xRUN / Inner State Gallery.

For additional information on Remix email Inner State Gallery director Jesse Cory at jesse@innserstategallery.com.

Vans The Omega & Nicolas Corradi Team Up On Their Collaborative Debut Born The Everlasting

1xRUN Thru Interview
Born The Everlasting by Vans The Omega & Nicolas Corradi

1xRun: Tell us a little bit about this piece, is the original still for sale?
Vans The Omega: The original found a home on the opening night of “Into the Light” a solo show in Sydney, Australia where I merged portrait works with geometric styling. It was created using a Nicolas’ photo, wood stain, brush acrylic and spray paint all merged together on wooden panel to create the desired look and effect.
Nicolas Corradi:  This piece was created when I took photograph of my good friend Cassy, skinny dipping in a Hollywood Hills Pool and Vans painted over top of it.

1xRun: When was the piece drawn and created? How long did this piece take?
Nicolas Corradi: I shot it near the end of 2013 and Vans started painting it soon after that.
Vans The Omega: It was months of research and slow trials before the final piece came together.


1xRun: What is unique about this piece?
Vans The Omega:
Mainly the quality of seamless merger between the 3 people and idea this work communicates. It really fulfills and represents us all.
Nicolas Corradi: It’s something digital and something physical at the same time. the mediums are balanced.

1xRun: Why should people buy this print?
Vans The Omega:
Because this won’t be emulated or produced again in this way, which makes it very unique and rare.
Nicolas Corradi: Because Vans The Omega is the future & Cassy is insanely beautiful…plus it’ll look good on your wall.

1xRun: Describe this piece in one gut reaction word.
Vans The Omega:
Nicolas Corradi: Everlasting.


1xRun: You two have collaborated a few times correct?
Vans The Omega:
It feels that way but we had been talking about it and trying to get together for quite some time before it came together. It definitely won’t be the last thing we work.  A couple years back we got in contact with each other as admirers of art.
Nicolas Corradi: There will definitely be more collaborations between Vans and I.

Nicolas Corradi and Vans The Omega Born The Everlasting 2.0

1xRun: What was the first piece you both worked on and where?
Nicolas Corradi:
I think Vans did a huge wall with Cassy on it.


1xRun: What aspects of each others work are you drawn most to?
Vans The Omega:
There is always some truth is portrait photography that Nick managers to capture and finds the best in his subjects while adding just enough mystique, sexy of color tone to make it pop.
Nicolas Corradi: The colors and the lines.



1xRun: Any big shows or events coming up that you’d like to share?
Vans The Omega:
I will be hosting Wonderwalls Festival in Port Adelaide this coming January while working on a show with Beastman in WA in March. Tomorrow I fly out to Dubai for a crazy project that I am sure you will all find out about next week. So many great opportunities right now around the globe.
Nicolas Corradi: I’ll have an upcoming show in Los Angeles in 2015.



1xRun: Where else can people find you?
Vans The Omega: WebsiteFacebookInstagram @vanstheomega –
Nicolas Corradi: – WebsiteTumblrInstagram @nicolascorradi


Streets Revisited: Insa & Rone Painting Gif-iti In Melbourne

Rone and Insa paint gifiti wall in Melbourne, Australia

In 2013 I was fortunate enough to travel to Melbourne, Australia for a long vacation.  Upon my travels I got to kick it with local artist Rone and some guys from the Everfresh Studio in the Collingwood neighborhood.  He told me to meet him around noon in the graffiti crushed alley near the studio. He said he was teaming up with a guy in town for a moving Graphics Interchange Format (GIF) project he was working on. I was unaware of who Insa was at the time & I didn’t really grasp their concept until I photographed the wall for a few hours.  The result is the Gif-iti concept that Insa has since taken to new levels around the globe. Sometimes he will collaborate with another major muralist sometimes he rolls solo.  Insa chooses to remain anonymous but his work remains on top of the food chain among public art everywhere.

Rone and Insa paint gifiti wall in Melbourne, Australia

Rone and Insa paint gifiti wall in Melbourne, Australia

Rone and Insa paint gifiti wall in Melbourne, Australia

Rone and Insa paint gifiti wall in Melbourne, Australia

Rone and Insa paint gifiti wall in Melbourne, Australia

Rone and Insa paint gifiti wall in Melbourne, Australia

Rone and Insa paint gifiti wall in Melbourne, Australia

In the end you can see that these world class painters killed the wall four different times for the Gif-iti mural below:

Rone and Insa paint gifiti wall in Melbourne, Australia

Insa now has an app that allows you to see the GIF-ITI in action on your phone when you stand in front of the wall, you can download that now in the app store.

You can follow Insa and Rone on Instagram at @insa_gram and @r_o_n_e respectively.


Mear One Unveils Freedom for Humanity

1xRun Thru Interview
Freedom for Humanity by Mear One

1xRun: Tell us a little bit about this piece.
Mear One: This piece “Freedom For Humanity” is a symbol of the attitude we should be taking when it comes to our rights as human beings. It’s a play on George Orwell’s “Newspeak” from his novel 1984 where he combines and condenses words to create a new language.  The philosophy behind “Newspeak” is genius. Orwell is basically calling attention to the intentional power structure built into language by the ruling class to coerce, manipulate, and eventually limit any and all of society’s own powers of interpretation.

Language is so important for understanding what it means to truly be free, yet it is constantly being eroded, redefined, and replaced to suit the corporations and superficial consumer pop-culture trends for profit. People need to transition out of our current language based on greed towards a more meaningful and insightful existence, using language based on our humanity, sharing, and cooperation.


What I’m saying with this print is “Resist!” I want to inspire critical thought on the implementation of “Newspeak” in our current Orwellian, media-blitzed reality. Think about it, the barrage of words, of nightly mainstream news vernacular constantly bombarding us.  It’s the media’s war on consciousness that numbs our perception, eliciting an emotional reaction that in fact constitutes our own apathy, complacency, fear, paranoia, a general unwillingness to become vocal and physically involved in the political and social world we live in.

As a visual artist I’m interested in understanding what that process looks like and how we are affected by it, how our attention is kept from knowing the dirty truths that exist. There are grammatical errors in our visual language and this print, direct from the Department of Correctional Symbolism, offers positive reinforcement and artistic nutrition for the mind to grow and become aware.

1xRun: Tell us how the idea and execution came about?
Mear One: I first started playing around with this image while working on the “False Profits” print. That piece was almost too real that it needed some sense of redemption and resistance, so I created the Radical Man. He references a segment of the original mural I painted in London back in 2012, a supporting character who didn’t make it to the print. I see the last piece we dropped together as the first of a series that would unfold with each new print like an evolving visual narrative.



1xRun: Was this piece part of a recent theme, series or show that you had?
Mear One: This image became part of my latest street campaign influenced by the state of current affairs at home and globally. What I observe is that the global revolution is growing. There is a shift in many people’s minds in how we see the world and how life can be experienced. More people are awoken, more aware, and are demanding what they want. I’ve always been a rebel and art that symbolizes this resistance inspires me to be who I am. I don’t let the oppression get me down. Instead, I go mobbing, paint a canvas, or hit a wall.


Mear One Street Campaign


1xRun: What materials did you use to create this piece?
Mear One: I created the original with pencil, pen, and ink.



1xRun: How long did this piece take?
Mear One: I drew and inked it up in roughly 86,400 seconds.



1xRun: What is unique about this piece compared to your other work?
Mear One: I brought more of a graphic effect to this piece this time around. It’s been many years since I’ve taken this route, not since my early Conart designs back in 1989-1996. I actually came into this whole game as a graphic illustrator working with Conart in the hip-hop fashion/apparel scene. I was fresh out of high school and itching to get busy and Conart was a group of graffiti heads challenging each other to new limits. A lot of my early graffiti work had this graphic influence too that I gradually shed as I grew as a painter. Throughout the late 1990’s I lost touch with my graphic work and never thought I’d be rekindling this technique (my more recent print work has been done with a painterly technique) so it’s like thirst for a flavor missed for decades. Look out for the next print in this series…




1xRun: You have been staying very busy since your debut release with us earlier this year, bring us up to speed on what you’ve been up to?
Mear One: I’m in studio building my current body of work. Not been on too many murals lately as painting in the studio demands all of me, my mind, focus, and time.

1xRun: Describe this piece in one gut reaction word.
Mear One: Banging!


1xRun: Where can we find you?
Mear One: FacebookTwitter @MearOne Instagram @Mear_One


Studio Revisited – Everfresh, Melbourne

Inside the Everfresh Studio in Melbourne, Australia

The Collingwood neighborhood in Melbourne, Australia is home to many aspiring artists, musicians and performers. It reminds me of what San Francisco used to look like in the early 90’s.  The streets in Melbourne are lined with never ending graffiti, tons of great coffee (which they take beyond serious) and tons of young people that tend to gravitate to being career artists.  Various artists always tend to flock to certain neighborhoods based on rent, convenience and a few other key characteristics, and The Everfresh Studio is quietly tucked away in a building that resembles any other factory or storage warehouse in Collingwood. But inside there is an eclectic handful of young writers, street artists and creatives pooling their ideas and money together to shift the neighborhood further. Residents of the Everfresh Studio include Rone, Sync, Meggs, Reka, Wonderlust, Phibs, Prizm, Makatron & The Tooth.  Just the studio itself is a work of art with throwups and handstyles all over every wall along with countless art books and sculptures. The air is thick with creativity and up-and-coming talent and the streets show that effect daily.

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia

Inside the Everfresh Studio in Melbourne, Australia


1xRUN photographer and editor Mike Popso visited Melbourne, Australia in the summer of 2013.

Tyree Guyton Solo Exhibition “Spirit” at Inner State

We are extremely excited to welcome Detroit artist Tyree Guyton to 1xRUN. Guyton and his massive public art installation The Heidelberg Project have made an immeasurable impression on every employee here at 1xRUN and Inner State Gallery, as well millions around the world and the metro Detroit area. We are proud to announce Tyree’s solo exhibition “Spirit” will open Friday, October 17th at 7pm at Inner State Gallery.


- To join the Advanced collector preview email tyree@1xrun.com -
“Spirit”, is an exhibition showcasing Guyton’s Faces In The Hood collection from the iconic Faces of God series.  Each work in this collection was originally salvaged from the 1999 demolition, then stored in the War Room House which was set ablaze after the 5th arson attack on his public installation, the Heidelberg Project. From the disrupted canvas resulting from the fire, Guyton painstakingly reimagined, reworked and renewed each piece, infusing new life and new energy.  In addition to Faces In The Hood, Guyton will debut his latest collection of Faces of God, new original works on paper that were created during his year-long residency in Basel, Switzerland.



“As an artist, I felt my job was to take that which was meant to be an act of harm and destruction and create magic—new possibilities! A work that demonstrates that you CANNOT kill spirit,” Guyton said in his studio space in Midtown Detroit. “I have risen to another level of consciousness where I can see the mighty hands of Yahweh (God) in everything.”


The recent fires are not the first time that Guyton’s has dealt with adversity. Throughout the 90’s, the Detroit city government battled Guyton on his larger-than-life public art installation that spans two city blocks on Detroit’s east side. Despite two demolitions, and eleven separate arson attacks over the past year and a half, Guyton proves again and again that he will not be stopped.  Coined, “Detroit’s own Ghetto Guggenheim”, the Heidelberg Project draws over 275,000 people annually from over 140 countries and is recognized as a pioneer of Creative Placemaking.


“I believe that you must become the alchemist.  You come to see that all things can become new again because of the spirit in you. Spirit lives in all of us to animate, to move, think, do and be,” said Guyton. “This show is my way of creating, once again, something out of nothing, but nothing is something, too!  I hear it, and what I hear is what I want you, the viewer, to see in this show: Spirit!”


Though Guyton has been a leader in the Detroit art community for 30 plus years, his reach has stretched around the globe, as evidenced by the number of documentaries, books, museum exhibitions and speaking engagements regarding his work. When asked why he chose the crew at Inner State Gallery, Guyton replied, “Because they chose me, from the right place at the right time.”


“Long before ‘Street Art’ was a buzz word in the current parlance of our times, Tyree Guyton was Detroit’s true Street Artist, working primarily in the public domain,” explains Inner State Gallery co-founder, Jesse Cory. “There is an immeasurable amount of influence that Tyree’s work has cast on our community and today’s art world. As Detroiter’s, we could not be more excited to be participate in this journey with Tyree.”


This exhibition is free and open to the public. The welcoming artist reception will begin Friday October 17th at 7pm and will end at 10pm. The exhibition will be on view in its entirety from October 17th – November 15th 2014.


Read The Detroit News Article and Watch Their Mini Documentary Here


Read The Detroit Free Press Article by Mark Stryker


Read Lee DeVito’s Cover Story in this Weeks Metrotimes

For an advanced collector preview, interview opportunities, media inquiries and high resolution photos, contact gallery director Jesse Cory at jesse@innerstategallery.com

More information can be found at:



Theatre Bizarre Mastermind John Dunivant Returns With Professor Fenster – Theatre Bizarre Tickets On Sale NOW For The Illusionists’ Ball

We are excited to unveil the latest installation in a series of 20 Theatre Bizarre canvas banners from the annual Halloween party’s artistic mastermind, John Dunivant, as he returns with Professor Fenster. Read on for a few flicks from Theatre Bizarre and stay tuned through out the next 2 months as we continue to roll out new banners and even more new work from John Dunivant leading up to The Illusionists’ Ball on October 19th! Read on as John discusses his banners project in the 1xRUN Thru…


1xRUN: Tell us a bit about this series of banners from Theatre Bizarre, how many are there so far?
John Dunivant: I’ve been painting these over the course of the last eleven years and have 42 in total. For this series I’m picking a few of my favorites to release as prints. The banners mainly started out based on friends and then grew to include other characters that could be used as a device for telling stories from this developing world. The banners became one of my favorite things to create at Theatre Bizarre, partly because they are intentionally painted in a naive manner and the immediacy at this scale is so much fun. I’ve been wanting to have reproductions of these for a long time, but was never really happy with how they translated and how they were presented, but I love the way these turned out. They have a hand-made, two inch deep frame that the canvas is wrapped around and appear a bit like they are floating. No need for frames!


1xRUN: Tell us a little bit about the Professor Fenster, how did this banner come about?
John Dunivant:  Professor Fenster is an orator of ancient culture and ichthyology.  Hailing from a small, forgotten coastal village in Northern New England, he spent his youth traveling to ports and Maritime Provinces throughout the Atlantic and beyond.  Over the years he has gained vast knowledge of elixirs, tonics, and curious libations.

1xRUN: Where did/does Professor Fenster sit in the world of Theatre Bizarre?
John Dunivant: Because he’s a scholar in ancient cultures, he carries a vast amount of Pagan and Pre-Pagan knowledge on the rituals of, what is more recently known as All Hallows Eve and acts as a spiritual advisor.  He also sits on the Council of Templum Balatro and serves as a counselor in phonic pursuits.

1xRUN: Can you tell us about your recent exhibition at the Cranbrook Museum?
John Dunivant: I was asked to take part in Cranbrook’s first exhibition at their newly renovated art museum. The show was called “No Object is an Island” and each piece was meant to be in dialogue with something from the Cranbrook collection. My banners were placed in dialogue with a shrunken head from the collection of their science museum, I felt a strong kinship with that little fellow. During the process of the show I was able to explore the museums archives, which was an experience I’ll never forget, I got to wear white gloves and hold some unbelievable objects, including another shrunken head that was considered to be one of the most controversial items in Cranbrook’s collection and not to be shown on display, ever! The exhibition was incredible and it was such an honor to be apart of it, especially since my piece was flanked by a Robert Rauschenberg and an Andy Warhol. I still can’t believe I was in that show.


Derek Hess Returns With New Set of Original Art

1xRUN Thru Interview
Sketch Series by Derek Hess

1xRun: Tell us a little bit about this new series of sketches…
Derek Hess: Well, I love this stuff. Everything I do starts with loose drawings and it’s always nice to keep them loose, some looser than others, the gesture is the essence.

1xRUN: What materials were used to create these pieces with?
Derek Hess: Pen, ink and acrylic. Just up to three colors, that’s it. Black, white and red.


1xRun: When were these pieces drawn?
Derek Hess: All were done over the last three months between working on other projects.

1xRun: Anything immediate you would like us to highlight?
Derek Hess: My favorite of the bunch is Dearly Beloved.


1xRun: Why should people buy these pieces?
Derek Hess: I think if any psychiatrists are reading this, one would look great in their office. Could give some clients something they could relate to.

1xRun: Describe this series in one gut reaction word.
Derek Hess: Guttural.


1xRun: You recently were involved in a documentary about you. Tell us a bit about that.
Derek Hess: It’s called “Forced Perspective” and it was done by Nick Cavalier. He did a great job, it’s about me of course, and covers a lot of elements that has helped me be who I am, the good, bad and the bipolar…and it’s not as boring as it sounds.

1xRun: Any new artists that have been inspiring you as of late?
Derek Hess: No, but I tend to always be in awe of the work by Gil Kane. His best stuff from the late 60’s to mid 70’s blow me away.


1xRun: What are your plans for wrapping up 2014, anything special coming up?
Derek Hess: In the process of getting new stress gear for the holidays and gonna continue to work on the art, maybe some more 8 tracks and 2015 I’m doing more art shows and the release of forced perspective will be early in the year. Also, my next book will be released the first week of December. It’s called “Black, White and Red All Over.”

1xRun: Where else can people find you?
Derek Hess: WebsiteStoreFaceook


Esao Andrews ‘Epilogues’ at Jonathan Levine Gallery

Los Angeles based artist Esao Andrews returns to Jonathan Levine Gallery for a solo exhibition titled ‘Epilogues’ featuring all new paintings based on revisited narratives from the artist’s past most notable works. Finding a sense of closure that comes in the resolution of the works journey, while also offering hope for new beginnings.

Andrews describes every entity depicted in his works, both living and non-living, as “luminous objects that have a sentient vitality specific to their existence.” Merging surrealism with human emotion, each subject is thriving with a mortal energy, will and purpose. By breathing life into inanimate objects, the artist creates visual metaphors that convey wistful moments full of beauty and nostalgia.

New paintings from artist Esao Andrews on view now at Jonathan Levine Gallery in New York City.

New paintings from artist Esao Andrews on view now at Jonathan Levine Gallery in New York City.

New paintings from artist Esao Andrews on view now at Jonathan Levine Gallery in New York City.

New paintings from artist Esao Andrews on view now at Jonathan Levine Gallery in New York City.

New paintings from artist Esao Andrews on view now at Jonathan Levine Gallery in New York City.

The show closes November 8th. For availability email sales@jonathanlevinegallery.com and view additional works at Jonathan Levine Gallery’s website or see the show in person at  529 W 20th Street, New York, New York.