So Youn Lee Visually Balances The Past And Present With Harmony

1xRUN Thru Interview
Harmony by So Youn Lee

1xRun: Tell us a little bit about this piece, was it created solely for this release or was there an original piece created?
So Youn Lee: This piece is named ‘Harmony’ and is 24 x 36 inches. It was created for a show last year, and many have asked me about making prints available. So I expect that this collaboration with 1xRUN would be a great opportunity for those who wanted to purchase a print.


1xRun: Was this piece part of a recent theme, series or show that you had?
So Youn Lee: The overall theme of my art work is ‘Wonderment of life.’ I love to be surprised or amazed in positive ways in my daily life. This piece is about the moment of re-encountering the part of ourselves that “we haven’t been forgotten,” such as childhood memories. I was surprised about myself that l live on a very linear timeline but can still connect with my childhood beyond the linear timeline. I can even feel the emotions of certain moments as if I’m in the moment again. But I still know that it’s my past. The perception of past and present balancing each other out so well, that’s why I call the painting ‘Harmony.’


1xRUN: What materials did you use to create this piece?
So Youn Lee: It’s oil on canvas.

1xRun: When was the piece created?
So Youn Lee: August 2014.


1xRun: Tell us a bit about your process and how the execution came about for this piece?
So Youn Lee: I have different approaches for painting and drawing. For painting, I start from a feeling or mixture of emotions of/about something, and create a composition after that. I feel like the image is already exists on the paper, so I let a mark on the paper lead the mark after. When the initial sketch is ready, I transfer the image to the painting surface. Though I have a sketch of my painting, I try to keep it as simple as I can so that I could work more intuitively. Sometimes I start to paint without drawing. It gives me more of a chance to reveal something unexpected.


1xRun: How long did this piece take to complete?
So Youn Lee: I would say about a month.

1xRun: What do you feel is unique about this piece?
So Youn Lee: I chose many quiet colors compared to my other pieces since this piece is represents more of a gentle feeling. The colors are very beautifully the way it came out. I’m very happy with it.


1xRun: Why should people buy this print?
So Youn Lee: It’s a tough feeling sometimes knowing when the original piece is the only one that exists. It would serve only one collector, after its sold. But prints allow more people to enjoy it, and also have a piece of it. I’m very happy with this piece, and hope more people enjoy it’s beauty together in their own surroundings and environments.

1xRun: Describe the piece in one gut reaction word.
So Youn Lee: Whoa.


1xRun: Where else can people find you?
So Youn Lee: WebsiteFacebookInstagram @soyounlee – Tumblr


Zeb Love Soul Searches To Create New Age

1xRUN Thru Interview
New Age by Zeb Love

1xRun: Tell us a little bit about this piece, is the original still for sale?
Zeb Love: The original idea I had on paper was just a small thumbnail scratching. After I scanned it in and started working with it, the idea evolved and transformed into something completely new.  There is only an original thumbnail that shares just a few elements of the final print.


1xRun: Was this piece part of a recent theme that you had?
Zeb Love: I’ve lightly touched on outer space in a few prints in 2013. I really enjoy the subject matter and ideas that surround space. This was a continuation of that.


1xRUN: What materials did you use to create this piece?
Zeb Love: Various Speedball inks, including metallic gold. They were printed on French Paper, and Chromolux Cover paper.

1xRun: When was the piece created?
Zeb Love: I started thinking and drawing thumbnails on February 8th, 2015, but I didn’t settle on an idea until March 15th 2015.


1xRun: Anything immediate you would like us to highlight?
Zeb Love: The Mission of Art by Alex Grey.


1xRun: Tell us how the idea and execution came about?
Zeb Love: The first few months of 2015 have been trying. This print represents a lot of soul searching and trying to find a calm within. After alot of failed starts , I finally decided on a loose thumbnail idea. Once I started refining individual elements., the idea evolved into something completely new. I read somewhere that ideas are like fragments, bits and pieces that need to be assembled to create a cohesive whole. The longer I waited for that one big idea to run with, the less creative and productive I became. This print came together in a very organic way, and I’m excited to share it. The regular edition of this print is a 4 color silkscreen with metallic gold ink. I printed the gold and red editions on a new paper I’ve never tried before which yielding some really interesting results. The red has an almost vinyl look and feel to it, and the metallic gold changes with each angle you look at it in person.


1xRun: How long did the piece take?
Zeb Love: A little longer than a month of back and forth work on it.


1xRun: What is unique about this piece?
Zeb Love: Each is hand printed by myself, and embossed with a custom seal.


1xRun: Describe the print in one gut reaction word.
Zeb Love: Universal.


1xRun: Where can we find you?
Zeb Love: Instagram @zeb_love – WebsiteTwitter


Kingbrown Vol. 10


The new Kingbrown magazine is simply fucking awesome! The cover and contents are amazing before you even open the magazine. A sticker, a patch, a poster along with a hand sewn paper bag and a embossed cover by Brendan Monroe. The photos and contents are classic Kingbrown.  Filled to the brim with great studio shots and work from the finest contemporaries in the game today.  Clean and to the point interviews that inform the reader instead of boring the shit out of them.

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I’ve had the pleasure of meeting most of the artists inside his issue and spent many hours with most of them. But the issue left me with a perspective and humorous side of each artist i didn’t know.  The magazine is light but packed with heavy content that you’ll be stoked to read and hopefully share.


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Photos & Text by Mike Popso

Scoop one up here


Artist Jamian Juliani Villani at MOCAD


Brooklyn artist Jamian Juliani Villani is anything but subtle.  When I first walked into the quiet corner space at MOCAD I was confused and not sure if I was looking at a group show or not. Everything on the walls was in disarray.  From the artists subjects to the placement on the wall physically. Mass chaos at first hurt my brain but then after slowly pacing in the room alone I had a chance to sit with the art. In my opinion the show is one of the freshest breathes of air in art that I’ve personally viewed in some time.  Villani took some pop art and dashed the pieces with cartoons and surrealism.  A witches brew filled to the brim with acid flash backs and Michael Jackson studded gloves.  I left the room and needed a minute to process the work and I decided that this artist has a bright future for many reasons.

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One of those reasons is that she has balls.  Taking chances isn’t easy in the art world.  Most people rarely stray away from the heard and stick to their guns.  But Jamian’s art had me double taking almost every piece as I walked away from them.

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The other reason the artist has a bright future is because there’s a comedian inside the artist.  And most people in the world like to smile and laugh.  Art isn’t always supposed to be the most serious medium in the world.  The work presented here will leave anyone who viewed it talking about it for weeks. Very impressed.

Words and photos by Mike Popso


Aaron Nagel On His New Direction & Juxtapoz 20th Anniversary Painting

1xRUN Thru Interview
Sinew by Aaron Nagel

1xRun: Tell us a little bit about this piece, is it still for sale?
Aaron Nagel: This piece was created for the “20 Years Under the Influence of Juxtapoz” show curated by Thinkspace and Copro that opened in Los Angeles last month. It’s still up actually, at the LA Municipal Art Gallery at Barnsdale Park. To my knowledge, it’s still available.


1xRun: Was this piece part of a recent theme you had? If so how did it fit into that given grouping?
Aaron Nagel: This was the first larger piece in a while that wasn’t created as part of a larger body of work actually. I’m in-between shows at the moment, so right now I’m trying some new things, playing with new ideas that may or may not carry over into a larger body of work. This piece has since led me into some much weirder territory — that will hopefully see the light of day.


1xRun: What materials were used to create this piece with?
Aaron Nagel: The original was done with oil on panel.

1xRun: When was the piece created and how long did it take to complete?
Aaron Nagel: I did this piece in December of 2014 thru January of 2015. Most of it went pretty fast, although once I got the figure and background down, the positive and negative shapes in the entire composition created were bothering me. I pay a lot of attention to the weight of a piece; how all the elements are laid out, almost as if it were graphic design. So the composition was driving me nuts (which is how things go usually). I ended up adding some texture and more or less merging the figure and the background towards the bottom of the piece, so that it didn’t sit on top of the background, as much a emerge from it.

1xRun: Tell us how the idea and execution came about?
Aaron Nagel: The model for this piece was my good friend Brooke, who is also from the Bay Area. I painted her a lot a few years ago, when I was still living in Oakland. I was in town for Thanksgiving and managed to get in a shoot with her. She’s an amazing model — one of those rare people that can just turn their face on and every shot looks great. And she’s got amazing lips. I didn’t have any plans for the shoot, so we just played it by ear. I got the idea for the black and gold hands a few weeks later, so we hadn’t done any of that when we took the pictures. I painted my girlfriends hands with black and gold acrylic and had her model in a similar position to the shot of Brooke I liked the most. She’s got great hands. Then I photoshopped them together. Magic!


1xRun: What do you feel is unique about this piece?
Aaron Nagel: The panel is made from space plastic and I only painted one of them.


1xRun: Why should people buy this print?
Aaron Nagel: Because you have to buy it! And you like to support the arts and artists, and your house will look fresh-er.

1xRun: Describe the piece in one gut reaction word.
Aaron Nagel: Gold.


1xRun: Where else can people find you?
Aaron Nagel: WebsiteBlogTwitter + Instagram@aaronnagel


John Dunivant Explains The Illusionists’ Ball

1xRUN Thru Interview
The Illusionists’ Ball by John Dunivant

John Dunivant - Age 3

John Dunivant – Age 3

1xRun: Tell us a little bit about this piece, is the original still for sale?
John Dunivant:  It was created to set the tone for this past year’s Theatre Bizarre.  This then guides the direction of the year and becomes a catalyst for the performances and the stories being told.  I was inspired by a series of Victorian era post cards that would use an illusion to manifest a portrait of a skull.  This particular skull is a portrait of Zombo the Clown, a wanton god within the mythos of this construct.  There is no original, so to speak, the piece is comprised of several photos as well as digital painting.  This release will be printed on metal.


1xRun: Was this piece part of a recent theme, series or show that you had? If so how did it fit into that given grouping?
John Dunivant:  It is part of an ongoing story and, more specifically, it was used to establish the theme for Theatre Bizarre 2014 which became The Illusionists’ Ball.  Theatre Bizarre is a massive, interactive installation art piece that utilizes 8 floors of the world’s largest Masonic Temple, transforming the space into a universe unto itself.  This is one story within that world.


1xRUN: What materials were used to create this piece with?
John Dunivant: Photography and digital, printed on metal.

1xRun: When was the piece created and how long did it take to complete?
John Dunivant: I did this back in August of 2014. I can’t remember how long it took as that time of the year is always a blur, but not too long as I was up against crazy deadlines.


 1xRun: Tell us how the idea and execution came about?
John Dunivant: The Victorian post cards that I was inspired by seem to speak to duality and hidden dangers, I like that. I further wanted to bring in more sexual elements and tell a story that also encompasses what it’s like to go to Theatre Bizarre. This actually started as a reference point for a painting, but due to the time constraints of Theatre Bizarre and all of my other responsibilities to it, there was no way that I could finish it on time. So I embraced it and based it more literally on the photographic process and the tintypes of that time period. I think I ended up happier with it as a result.

1xRun: Anything immediate you would like us to highlight?
John Dunivant: One aspect of the image is meant to hint, literally behind the curtain, at the scale of Theatre Bizarre.  The area that makes up the stripes of Zombo’s hat is essentially our 4th floor mezzanine, which shows a portion of The Sinema signage.  The Sinema is a small theater room, showing film splinters and remnants of the building’s memories, made up mostly from film clips of horror, erotica, etc. from the dawn of cinema, all the while there are performances by the ushers and popcorn servers (serving free popcorn) as well as a full bar.  This is just a fragment of this immense space and the environments located within.


1xRun: What do you feel is unique about this piece?
John Dunivant: I’ve never really worked in this medium, at least like this, and it’s printed on metal. The metal was suggested by the printers at 1xRun as an interesting option and it reminded me of the daguerreotypes I was initially inspired by. It seemed the perfect fit.


1xRun: Why should people buy this print?
John Dunivant: Hail Zombo.

1xRun: Describe this piece in one gut reaction word.
John Dunivant: Duplicitous.


1xRun: Where can we find you?
John Dunivant: WebsiteTheatre Bizzarre Website


Derek Hess Forced Perspective Trailer Out Now

Filmmaker Nick Cavalier has been putting together a documentary film about our good friend and 1xRUN/Inner State Gallery artist Derek Hess. The film “Forced Perspective” is anticipated to debut this year. Check out the trailer below and stay tuned for more information on “Forced Perspective” featuring Derek Hess.

“Forced Perspective” – The Story Of Artist Derek Hess | Trailer 2 from Nick Cavalier on Vimeo.


Glenn Barr Returns With Afro Boy

1xRUN Thru Interview
Afro Boy by Glenn Barr

1xRun: Tell us a little bit about this piece, is the original still for sale?
Glenn Barr: The piece was created for my mini solo show at Miami Basel 2014. Andrew Hosner of ThinkSpace Gallery had invited me to participate at their booth where he gave me a large wall to exhibit my work. This was at one of the large satellite venues in Miami called SCOPE. “Afro Boy” was the first piece to be sold at the opening.


1xRun: Was this piece part of a recent show or theme that you had?
Glenn Barr: Some of my other ThinkSpace pieces were in the vein of Anime and Kaiju ( giant monster ) and their respective actor(s). Television sci-fi was by and large the undercurrent theme. So in creating “Afro Boy” I went through my sketch book and found a loose study that gave the initial spark that lead to Astro Boy in league with a leather clad biker. A lot of my characters are based on people I’ve actually seen on the street or from some vague B grade film memory.


1xRUN: What materials did you use to create this piece?
Glenn Barr: The original was painted in acrylic on wood. I recall when I was rendering the piece that I painted the girls face, hair and torso many times to get it right but Astro came quite quickly. I only made a few passes on his figure and it was done. I didn’t want to over work him. I think that’s why the piece has a lot of life to it. It retained the energy of the sketch.


1xRun: When was the piece created?
Glenn Barr: November 2014.

1xRun: Anything immediate you would like us to highlight?
Glenn Barr: With this print we decided to approach it a bit differently. Along with it being a pigment print, we wanted to add another layer of depth, so we went to a screen printer to accentuate the floating orange orbs. I guess you could say it’s technically a 5th color. So, since the print was taken to a screen printer for this added treatment we were able to add fluorescents to the ink. This will really give the print an added dimension.


1xRun: Tell us how the idea and execution came about?
Glenn Barr: It was a bolt out of the blue. I looked at the image and thought “silk screen the orange dots”… just like that.

1xRun: Describe this print in one gut reaction word.
Glenn Barr: Robots & Leather.


1xRun: Where else can people find you?
Glenn Barr: WebsiteInstagram@glbarr – Facebook


Taylor White Talks About Her New Exploration Of Bodies In Motion

1xRUN Thru Interview
Offering by Taylor White

1xRun: Tell us a little bit about this piece.
Taylor White: The piece is called ‘Offering,’ and it’s one of a few springboard pieces into my visual exploration of bodies in motion. It evolved from the idea of the phenomenal impact of the human body in space, the dance of the soul and the flow of forms colliding. When using the body as a tool of explosive expression, one dares to take the journey into a territory which requires immense trust, the sacrifice of oneself on the alter of vulnerability. Dance, if done fully and authentically, renders the soul completely raw.


1xRun: Was this piece part of a recent series that you had?
Taylor White:  This is the first fully realized piece out of a series of studies I began doing late last year after exploring and testing the limits of my own body in space. I started studying a form of modern dance called Contact Improvisation, and that study has opened me up to a new set of curiosities which I’ve been able to explore both physically in space, and visually on the page. To “dance” on paper has been entirely mind-opening and I’ve tackled it with a renewed spirit.


1xRUN: What materials did you use to create this piece?
Taylor White: The piece was made using acrylic paint on 300gsm paper, with some spray paint for texture. I’ve been playing with the use of fluorescents to give more of a vibrant mood to the images. I had a lot of fun playing around with the blues and reds in this piece, the push and pull of light and shadow and using vibrance and color to direct focus around the planes of the piece.

1xRun: When was the piece created?
Taylor White: I started in December of 2014 as a study with very little regard for how it would turn out. Originally a simple monochromatic exploration, the piece slowly evolved into a visceral journey of opening and self-sacrifice. Three months later, the message became clear.


1xRun: Tell us how the idea and execution came about?
Taylor White: As previously mentioned I began studying movement arts and dance, and deeply resonated with the boundless potential of the human form, the communication between two moving bodies in physical contact and their combined relationship to the physical laws that govern their motion—gravity, momentum, inertia. The body, in order to open to these sensations, learns to release tension and forsake a certain quality of willfulness to experience the natural flow of movement. To do this requires a certain degree of abandonment, releasing the unwanted thoughts, fears and perceptions to inhabit the space that you occupy with fullness and presence. I initially painted this piece strictly as a movement study, but as things progressed the piece became a beacon image for the journeys and revelations that result from achieving that kind of spiritual freedom. It became about the point of surrender, of sacrifice of the ego and all its trappings. Offering oneself to the flow of nature.

1xRun: How long did the piece take? 
Taylor White: Including a brief hiatus while I wasn’t quite sure the direction I wanted to go, it took three months from start to finish.


1xRun: What is unique about this piece?
Taylor White: Other than the inherent uniqueness at having been created by my deft hand, I’d say this piece is one of the first appearances of a female form as the primary focal point in my catalog of work. A sign that my subject matter has evolved.

1xRun: Why should people buy this print?
Taylor White: Maybe you’ve related on a deep level to the thought process behind the piece; maybe you’re a dancer, an enthusiast, a spirit seeker, or maybe you just find the piece visually delicious. Either way, I think anyone who brings this piece into their life will be very happy with their decision.

1xRun: Describe the print in one gut reaction word.
Taylor White: Fresh.


1xRun: Where can we find you?
Taylor White: WebsiteInstagramTwitter


J.A.W. Cooper Returns With Rattle

1xRUN Thru Interview
Rattle by J.A.W. Cooper

1xRun: Tell us a little bit about this piece.
J.A.W. Cooper: Rattle was created in 2013 as one of a series of five paintings dealing with stages of processing loss and emotional pain. This painting represents both the vulnerability of being torn asunder and the slow process of rebuilding strength from within.


The monkey on the figure’s back is her torment but also her companion, just as venom can be it’s own antidote.


Gems and minerals have special significance to this piece as small changes to their chemistry and structure on a microscopic level can have stunning and dramatic effects on their physical structure and properties over time. When dealing with pain and loss we are confronted with facets of ourselves normally buried from view, and while this can be uncomfortable it allows us access to make the changes in our life and environment necessary to rebuild from within with purpose.


1xRun: Was this piece part of a recent theme, series or show that you had?
J.A.W. Cooper: This piece was part of a 5-painting series within a larger solo show “Laid Bare” I had at La Luz De Jesus gallery in 2013.


1xRUN: What materials were used to create this piece with?
J.A.W. Cooper: This piece was done back in 2013 using Ink and gouache on Stonehenge.


1xRun: Any recent travels you’d like to highlight?
J.A.W. Cooper: I have been invited to be an international guest artist at Chromacon New Zealand April 17-19 in Aukland, NZ, and then I have plans to go camping for 2-4 weeks in September to celebrate wrapping up my upcoming August 2015 solo show at La Luz De Jesus Gallery.


1xRun: Any big shows or events coming up that you’d like to share?
J.A.W. Cooper: I will have an upcoming solo show at La Luz De Jesus Gallery August 2015, and pieces are currently being sold and reserved as fast as I can make them so if you see a work in progress you like inquire with the gallery early!


1xRun: Where else can people find you?
J.A.W. Cooper: Instagram@jawcooper