Ales Bask Hostomsky Returns To Detroit With Location Location Location Over 200 Pieces Of New Artwork From The Czech-Born Artist

Czech-Born Vandal Bask Returns To Detroit For Solo Exhibition At Inner State Gallery
“Location, Location, Location” Features An Entirely New Body Of Work & Massive Installation


Opening Friday August 22nd at 7pm, Inner State Gallery welcomes Czech-born artist Ales “Bask” Hostomsky as he returns to Detroit for his first solo exhibition in over 2 years. An entirely new body of work “Location, Location, Location” showcases Bask’s blend of graffiti, punk and DIY styles into his latest exploration of Detroit’s unique textures and vast urban landscape. Known for his massive murals across the globe, over the top gallery installations and tireless work ethic, Bask’s latest solo exhibition is his most ambitious to date. Created over countless late nights and early mornings over the summer Bask has assembled nearly 300 pieces of original artwork for Location, Location, Location. Read on for more as we caught up with Bask as he put the final touches on “Location, Location, Location” to talk about the show and what else Bask has been up to this year…Read on for more with Bask…


 1xRun: Tell us a bit about this latest body of work? Is there a theme throughout?
Bask: The inspiration behind the work I made for this show was Detroit’s strengths, struggles, and landscape. I took the opportunity to move to Detroit fourteen years ago, but for a number a reasons beyond my control, my stay lasted only 4 years. However that was long enough for the city to have a profound impact on my work as well as my consciousness towards social and political issues. And even though I haven’t called Detroit home in 9 years, the impression it stamped on me is something I hope I never lose. And it was this appreciation for the influence that DETROIT has had on me, that inspired the work I made for the show.

bask-313-1xrun-6401xRun: You’ve got 10 different hand-painted multiples, tell us a bit about those pieces…
Bask: I wanted to do something special for the run that was going to coincide with the show. So the idea came to mind to not just offer a hand embellished print, but to actually make a series of pieces in sets that were all hand painted. No stencils or silkscreens, I wanted to offer actually painted pieces that are affordable to anyone who wants one. But as excited as I was about this idea, I then had to figure out how to make this happen within a reasonable time frame. Not to mention, coming up with 10 images that I would be able to duplicate almost identically 20 times over. Then the idea of bring back some of the faces that have appeared in past works. Characters that Detroit inspired me to create. So the end result is I made 200, 12″x 12″ paintings. Each painted on a custom panel off set panel that when hung, makes the piece appear to be floating. There are 10 different designs and 20 versions of each one. And though each image within its set is the same, each one is ultimately slightly different from the next. I have to add that this has been one of the most labor intensive projects I’ve taken on. There are over 500 hours in these between myself and my assistant. Each panel was painstaking worked over. Even though each piece was just one of two hundred, it was my focus to make sure that it looked as though it was the only one.


1xRun: What would you say sets this current body of work from your past works?
Bask: My style is always in motion and I am constantly experimenting in the studio. What sets these works apart from the last show I did in Detroit is that there is a meticulous complexity in how the layers of images within each piece fit together.


1xRun: What would you say ties these works to your past works?
Bask: The link between every series of new work from all the ones that preceded it is the medium, which is always on panels and most that are discarded debris, and the social political observation that is always at the core of almost every piece I make.


1xRun: You lived in Detroit previously, can you tell us a bit about what your time here was like ?
Bask: Yes, I lived in Detroit from 2000 till 2004. This was a profound experience in my life. Aside from my early years living in the Czech Rep, the only place I’ve lived was Florida. I mean, I traveled around the world and throughout the states but never really knew what it was like living someplace as an adult besides Florida. This was also the time I was starting to approach galleries and start to approach me making art as a career. Galleries in Detroit, Cleveland, Chicago and even Toronto were particularly receptive as was the general public. At the time I was also in a long distance relationship with a girl that was living in Detroit so all the signs were there to move and soak up all that Detroit wants to give me. The relationship with the girl didn’t last but my connection with the city did.


1xRun: Aside from living here, what were some of the reasons you wanted to do this show specifically in Detroit?
Bask: The esthetic of my work is similar to the Detroit landscape. The re-purposed nature of my art plays off of panels, wood, signs, that once were proudly displayed. But over the years they stopped serving their intended purpose and thrown out. That is until I come across it, drag it back to my studio, where hopefully I’ll be able breath a second life into the object. This is how I see Detroit and all the people that are fighting tooth and nail to pull the city back to the greatness it once represented.


1xRun: You’re constantly traveling and staying busy what have you been up to this summer?
Bask: This summer has been a nonstop marathon of incredible projects. I did a show in Denver at Blackbook Gallery and I had the opportunity to do a number of large and creatively gratifying private commissions. Most notably the work I did and continue to do for, #3 of theTampa Bay Rays, Evan Longoria. Red Bull had initially brought us together for a mural project in Tampa but that turned out to be just the beginning. I followed up by making a ten and a half long piece for his home and began working on another piece that is still in the works. I was very impressed with Evan’s genuine interest and appreciation for, not just my art, but the art-world. He’s a young guy, a star MLB player and most people wouldn’t expect the arts to be as much of a passion and priority as they are to him.


1xRun: Anything else about the show that you want to touch on that we didn’t address?
Bask: I just want to take a moment to express my appreciation and respect for what 1xRUN has done for artists and collectors alike. We’ve been working together for a few years and I love the diversity of projects and releases we’ve done together. And I can’t thank enough to the friends, fans, and collectors for making it possible for us to keep this going.


With that said, as a small token of my appreciation, I want to let everyone know that on August 22nd, the day of the 1xRUN release and the opening of my show at Inner State Gallery, I will included a hand embellished, signed/numbered exhibit catalog with every order made that day. The catalog measures 6″x 9″ and opens up to a 12″x 18″ poster.


So, thank you, 1xRUN and thank you, to all the amazing people out there for supporting our creative adventures.


1xRun: Where else can people find you?
Bask: WebsiteFacebook + Twitter + Tumblr + Flickr + Intagram @knownasbask


Chris Saunders Returns With White Owlage

1xRun Thru Interview
White Owlage by Chris Saunders

1xRun: Tell us a little bit about this piece, is the original still for sale?
Chris Saunders: I am excited to be offering this through 1xRun because it symbolizes so much change and evolution in my life. Rarely do I feel content when I walk away from a piece of art I create, this one to me feels balanced and represents where I am in my life with my artwork. I have this design done as a laser etching as well.


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?
Chris Saunders: This piece is part of a series of animals I have been working on for a while now. It was originally part of a larger totem piece with a Bengal tiger, but after creating the piece I realized the animals were powerful enough to live in their own space so I broke the piece up into the individual animals.


1xRun: When was the piece created and with what materials?
Chris Saunders: It was created in May of 2012. This edition is screen printed on black matte paper and printed with gold/silver metallic and spot varnished with glossy black. The original was a drawing that I did in my sketchbook., from there I used that as a reference to create a vector illustration.


1xRun: Tell us how the idea and execution came about?
Chris Saunders: A lot my artwork is loaded with symbolism and sacred geometry. I was getting lots of visions about owls and symbols of wisdom. One night I set out for a hike up in the mountains and at the trail head saw the silhouette of a very large owl. It looked like a statue as the moonlight highlighted it’s massive body. When I got closer to it, it stretched out it’s long wings and I stood there frozen taking in the moment of seeing this powerful bird rise above me. I couldn’t make out a lot of the detail but could feel it’s strong presence. I felt very inspired to recreate that moment.


1xRun: How long did the piece take?
Chris Saunders: The piece took about one month to create.


1xRun: What is unique about this piece?
Chris Saunders: The piece is a one of kind screen print that captures the original piece of art beautifully.


1xRun: Why should people buy this print?
Chris Saunders: The delicate fine detail is captured beautifully with the printing process and really came out quite beautiful.

1xRun: Describe this piece in one gut reaction word.
Chris Saunders: Powerful.


1xRun: When did you first start making art? What was your first piece?
Chris Saunders: I first started making art when I was 2 years old. My first piece was for a contest in my hometown to draw a picture of Fiskes General Store. Fiskes General Store was a store in my town that had all sorts of cool toys, art supplies and lots of candy. I worked for weeks on the drawing and made it so perfect. The night before the contest my little brother took the drawing and drew a bunch of ghosts and weird animals in the front windows. I was so mad I almost killed him. My mom worked for hours to erase all the ghosts etc and she turned it in on time and I ended up winning the contest.


1xRun: What artists inspired you early on? What artists inspire you now?
Chris Saunders: Early on Wayne White, Shel Silverstein, Dr Suess, Roald Dahl and Vernon Courtland Johnson. As for now, Salvador Dali, James Jean, Warhol, Cryptik, Retna, Aya Kato, Aaron Horkey, Hans Haveron, John Park and James Turrell are all continually inspiring for me.

1xRun: Do you listen to music while you work? If so what?
Chris Saunders: I do listen to music. Lots of classic rock like Hendrix, Zeppelin and Floyd. Love the Chili Peppers, The Talking Heads, Radiohead, and The Clash. Also really into Major Lazer at the moment as well.

1xRun: If you could collaborate with any living artist who would it be and why? Any deceased artists?
Chris Saunders: I would love to collab with Bjork because she is always doing insanely creative things. For the latter, I’d love to collab with Dali for his use of symbolism and because he seemed like a fun dude to hang out with.

1xRun: What was the first piece of art that you bought? Do you still have it? The last?
Chris Saunders: First piece of art I bought was by Hans Haveron. The last was a piece from John Park.

1xRun: Where else can people find you?
Chris Saunders: FacebookInstagram @chrissaundersart


Ricky Powell Makes His 1x Debut

1xRun Thru Interview
Basquait & Warhol by Ricky Powell

1xRun: For the original photograph what camera did you use? Do you still have that camera?
Ricky Powell: It was just an old Minolta auto focus high matic AF2. Model numbers never meant anything to me but that’s it. I work with whatever I have. I still have that camera, I’ve been using it for people’s look books recently. I’ve also actually been using it for my Leave The Gun, Take The Cannoli column. Check it out, there’s over 60 installments, I was using different cameras for the first 20, but recently I brought it off this little automatic jammy off the shelf. People love how it looks.

1xRun: When and where was this photo taken?
Ricky Powell: The photo was shot in fall of 1985 around 6pm.  It was shot on Mercer between Houston and Prince at the opening for Jean-Michel Basquait and Andy Warhol’s show at Tony Shafrazi Gallery.


1xRun: Tell us a little bit about this photo, anything immediate you want us to highlight?
Ricky Powell:  This photo is relevant for sure in certain ways, because after this photo I made the proclamation that I was going to take pictures until the day I die. I figure that all I have to do is step out my door and the images are infinite. The possibilities are infinite, it can never run out. With music I think that all the beats are used up. I think all the rhythms are dried up. They probably aren’t. But to me pictures and images will always be infinite.

But, this photo was taken at a time when I was going through a rough time emotionally.  I was going out with this chick from around 1983-85, but she ditched me for a dude with tye-dyed yoga pants. I was going through a broken heart. I found a bag of her shit at my place with all kinds of junk in it, and there was a little auto focus camera in it. I was just a little playground rat, I didn’t have any artistic background. But I took the camera and I said I’m going to make this bitch sorry she played me like a wet soggy cannoli with this tool sandwich. So I just started started taking the camera around with me, I always had it strapped on my shoulder. I remember the first day I took the camera out I went to Central Park to photograph some geese. Anyways, few weeks later I went down to the Basquait and Warhol show on Mercer street at Tony Shafrazi Gallery.


I was across the street taking some photos of Zephyr and Revolt, the dynamic duo that had just done the “Wild Style” logo, which was pretty sharp. So I was taking pictures of them as they were hanging out watching the crowd outside the gallery. So I was waiting for these two dynamic duos to come up. Taking photos of Zephyr and Revolt was a huge thrill for me, because they were like Butch Cassidy and the Sundance Kid. They were really cool together. They were just a couple of uptown kids. So I’m taking pictures of them and I see Basquait and Warhol coming diagonally across the street on Houston street towards the gallery. So I skedaddled across the street, a slow jog across the street and I shrugged my shoulders and said “You guys mind if i get a flick? please?” Then Basquait looked at Warhol and said “Yea he’s cool.” So they stopped and posed for me. I said thanks and they went back into this big crowd that was waiting for them. So this was the jump off for me. After this I decided that I was going to take pictures on the regular tip. I went back to Zephyr and Revolt and I said “Shit! That’s going to be a good one boy.” In essence, I think it was meant to be, for me to do what I did, and to continue to do what I do. I shot two dynamic duos in a minute there. I just had a natural knack for it. It’s something I love to do and doors opened up for me from there. This picture has turned out to be a very classic and iconic image to say the least.

1xRun: What is unique about this piece compared with some of your other work?
Ricky Powell:  It’s that one quick moment. It’s me. The bummin’ sophisticate. The lazy hustler. I got that image. I captured that. I picked it. I went for it at the beginning of my photo taking career. It’s uncanny. I hit a grand slam right off the bat. This picture is special. Not to brown nose you, but I mean this, I can’t fake the funk. I’m a bad actor.ricky-powell-aluminum-14x10-1xrun-6401xRun: You mentioned that this was one of the first images you took, how did things progress from there?
Ricky Powell:  I didn’t plan anything, but I just got a kick out of going out. When I went out to clubs or openings to shoot I loved having the camera. It felt good when you pressed the button. Especially with the flash. You’d take a shot and it just felt like a silver platinum splash. So I shot where I liked and opportunities came my way. Paper Magazine (which had just started in 1984) approached me to be their club and nighttime scene photography, and they made me The Rickster. I shot a lot of shit that way. That summer Futura2000 asked me to be his softball team. The East Village Escadrilles. He spray painted names on the tee shirts and gave everyone one. I think that helped give me an identity sort of. I wasn’t just another ridiculously handsome dude. I’m just kidding. Not about the last part. But you get it, I didn’t want to be a pretty boy. I wanted to be constructive. But I’m borrowing this thing I heard from Diane von Fürstenberg on an old talk show. They said in a nutshell “When did you decide to be a clothing designer?” and she said “I never really started out, I just did things that I loved and the doors opened up and I chose them.” It’s same kind of thing with me. That’s it. When opportunities come, it depends on your lifestyle. I can’t do the 9-5 schtick. You’re an animal in the jungle. Youv’e got to figure out how you can do it. I did it the regular way and I did the…how should I put it, fistbumps under the table way, making ends meet. What’s the question again? I sidetracked myself…


1xRun: You were talking about how this was the moment when you really decided that it was what you wanted to do for a living…
Ricky Powell: Ahhh, yea. Go. When I did a club shot, I think it might have been Keith Haring hanging in the lounge, but luckily I found I had a knack. Not only would I see people that I wanted to take pictures of, but they felt me. They were down to pose for me. They liked the interaction with me and vice versa. Taking pictures of anybody is like collecting baseball cards. I want him. I want him. I want her. I want them in my collection. So, when I saw my photo credit next to a little photo with Rickster, yo that right there, I said “yep, this feels right. This is it.”  Then in early 1986 I was in this club called The World and these cute girls came up to me and saw me with my camera behind my back, and they asked me if I had ever shot for an agency.  So then I went up to 36th street and I met a chick, she’s a very well-known celebrity rock photographer. They were shooting rock shows and movie premieres on the daily. So she took me under her wing and brought me into the art of the hustle for the photography world. She would send me out on shoots. She connected me with the Beastie Boys. She’d always call me “The Riiiiiiiiiiiickster!” I was like her little pet almost, but she was a tough cookie. It was a major part in my photo career. Then in 1991 or 1992 I started writing for the Beastie’s magazine Grand Royale, and I found that I had a natural knock for writing on the humorous tip. Then I got into video with I bought a video camera and started my own public access show. Photography has really parlayed into many different things for me. People that take pictures get famous from taking pictures of famous people. It’s weird. Anyways, so the Beastie’s took me on tour, and I became their tour photographer. Doors opened for me in that genre, I guess I have a good personality and I had all the right tools to make it work.  I did it my way. Always. I love capturing dope moments with dope people. That’s what it’s about. That’s it. That’s what gives me that feeling of euphoria…among other things I can’t mention in public.


1xRun: So do you still shoot a lot of film or are you doing a mix with digital ?
Ricky Powell: Right now I’ve been shooting a lot with my tablet. Sprint gave me one for their “loyalty” to them. I lost my computer a few years ago.  But yea, I can take a picture of something and throw it right on Instagram, and throw my little whimsities on it and I am thriving creatively on that. It’s my new art. It’s come to that as a motivation. I love seeing the feedback on what I put out there. Between you me and the lamp post, I think people dig that I shoot great shit and that I have this lineage. All my shit in the 80s, RUN DMC, Warhol celebrity type shots, I’m not just into that, I’m into the street life, regular folk, even dogs. I like being Joe Schmuck from the neighborhood that makes dope shit matter of factly. That’s it.


1xRun: Where can we find you?
Ricky Powell: WebsiteLeave The Gun, Take The Cannoli Instagram @thelazyhustler


Sam Spratt Returns With Daenerys

1xRUN Thru Interview
Daenerys by Sam Spratt

1xRUN: What materials were used to create this piece with?
Sam Spratt: Digitally painted with a Wacom Cintiq Tablet from sketch to finish.


1xRun: When was the piece created and how long did it take to complete?
Sam Spratt:  I did this back in March over probably 40+ hours. Just how many + I do not know, I don’t count.


1xRun: Anything immediate you would like us to highlight about this piece?
Sam Spratt: You may notice the hair being fairly wooshy. I’m very proud of this wooshiness.


1xRun: Tell us how the idea and execution came about?
Sam Spratt: It all began when I sto-borrowed someone’s HBO GO password.


1xRun: Why do you feel people should buy this print?
Sam Spratt: Dragons and wooshy hair.

1xRun: Describe the piece in one gut reaction word.
Sam Spratt: Wooshy.


1xRun: Have you read both the books and seen the show for Game of Thrones?
Sam Spratt: I’ve seen the show in full. If I’d read the books I would know that her eyes should be purple and her hair should be silver-er.

1xRun: Any reasons in particular that you chose Daenerys?
Sam Spratt: She seemed like the least likely to die and thus the art would live on forever, but I haven’t read the books so I could be totally wrong.

1xRun: What are some of your favorite aspects about the show/books?
Sam Spratt: I like how unlikeable everyone is. Very relatable.

1xRun: It’s been a little bit since our last release and you have definitely been staying busy. What are some of your favorite projects that you’ve worked on since our last release?
Sam Spratt: A poster for Crystal Dynamics of Tomb Raider, A Game Informer magazine cover, Janelle Monae’s Album covers, Childish Gambino’s Because The Internet poster, and a few things I’ll be sharing pretty soon.


1xRun: Any other big plans the next 2-3 months here as summer winds down?
Sam Spratt: Have my hands full with a few projects for Def Jam, Mozilla, and Gabourey Sidibe, and hopefully enough free time to take a vacation to Japan.

1xRun: Where else can people find you?
Sam Spratt: WebsiteInstagram@samspratt – FacebookTwitterTumblr


Pangea Seed & 1xRUN Team Up For Sea Walls Mexico 2014 feat. Tati Suarez, Tristan Eaton, Shark Toof, Meggs, NoseGo, Curiot + MORE!

100% of the proceeds from these releases will go towards the Pangea Seed/1xRUN Sea Walls Project in Isla Mujares Mexico 2014.

PangeaSeed in collaboration with 1xRUN, Residencia Gorila, World Art Destinations and Juxtapoz Latin America are pleased to present Sea Walls: Murals for Oceans – Mexico Expedition. The week-long event will take place July 20-28 on the island of Isla Mujeres, Mexico.


The mission of Sea Walls: Murals for Oceans – Mexico Expedition is simple: our goal is to raise awareness for the conservation of the ocean and greatly needed protection for the whale sharks and manta rays off the Yucatan peninsula, by means of art and creativity.


For this pioneering project, we are collaborating with a select group of internationally acclaimed contemporary artists: Curiot, Saner, Nosego, Shark Toof, Tristan Eaton, Celeste Byers, Meggs, Cinzah Merkens, Tatiana Suárez, Hannah Stouffer, Smithe, Aaron Glasson, Yoh Nagao, Vexta and Pelucas.


“We will offer these artists the opportunity to swim with and study whale sharks and oceanic manta rays and experience these majestic giants in their natural environment. Both of these iconic ocean animals are listed as species threatened with extinction on the IUCN Red List of Endangered Species. Despite the protection efforts of several countries, these animals are considered highly lucrative for the Asian shark fin trade and the growing mega aquarium trade both adding pressures on their already vulnerable populations.


In turn, inspired by their personal animal encounters, the artists will create a series of 15 large-scale ocean-themed murals on Isla Mujeres to help educate and raise greatly needed awareness within the local and tourist communities for the plight of these animals and oceans.


The murals will also highlight the benefits of ecotourism and the long-term sustainability of natural resources. Furthermore, educational workshops will engage local youth to learn more about whale sharks and what they can do to help save our seas.


As a new approach to ocean conservation, marrying art and activism, we believe that the expedition has the potential to make a large impact and gain global media attention.” – Tre Packard of Pangea Seed