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Continuing their ongoing rich program, which rotates weekly, featuring solo-presentations at their project space (
Tennis Elbow)
, The Journal Gallery in NYC is currently showing work by
Michael Kagan (
featured). Coinciding with International Surfing Day, which is held annually on the third Saturday of June, the gallery has his all-new series of works titled
Mavericks on display through today.
We had a chance to chat with the artist about this all-new series of work, and find out a bit about his connection with surfing, the inspiration behind this series and the technical aspect of these intense and texture-rich paintings.
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Sasha Bogojev (SB): Was this body of work made especially for this exhibition or was this just the right moment and place to present it?
Michael Kagan (MK): I made these 12 paintings specifically for The Journal Gallery and The Tennis Elbow weekly solo shows that they do. I have never shown my new surf paintings before and I thought making them for this space was the perfect fit. It's been one of my favourite galleries for a while, with great space, great vibes, and one knockout show after another.
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SB: How did you come up with the idea to make such focused series?
MK: I have been playing around with paint on top of a photo for probably five years now. It has been kind of a side project that has been slowly and quietly evolving in my studio alongside my other painting style that I am known for. The photo idea has now turned into silk screening and some other new printing techniques that I am still fine tuning, but I'm excited about where it's headed for me. I first did rockets, then mountains, and now it is clicking super nicely with the big wave surfers.
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SB: Looks like they're all based on one photo. Who is the surfer on it and when is that photo from?
MK: The photo is of Mavericks in Northern California. I had this big wave surfing book from when I was in high school. When I moved out of my parents' house over two decades ago, I had a box of books I took. Through numerous moves, roommates, girlfriends, etc, this book somehow stayed with me and ended up in my studio. I cut out the pages and started painting on different pages here and there. Then I found 10 more copies online and ordered them to have as well.
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SB: Whats the process looking like on these works?
MK: The technique is a series of different oil techniques - silk screening, printing with oil, and then just straight up painting. But everything is just oil on linen. I am almost breaking down the image as I build it up. My favourite artists and paintings to look at are ones where I can't completely figure out how it was made.
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SB: What is your personal connection with surfing?
MK: I grew up in Virginia Beach and my parents live on the beach. Surfing was something I did growing up year-around. We would strap our boards to our cars and head to school, but instead of playing a sport after classes we would all head to the beach and surf together. I never was taught, it was just something I learned from doing and eventually got quite good at. It was always small waves in Virginia, but I like the idea of these massive Maverick waves. It feeds nicely into the ideas behind my other works about "man pushing the limit."
Discuss Michael Kagen
here.
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Sasha Bogojev (SB): Was this body of work made especially for this exhibition or was this just the right moment and place to present it?
Michael Kagan (MK): I made these 12 paintings specifically for The Journal Gallery and The Tennis Elbow weekly solo shows that they do. I have never shown my new surf paintings before and I thought making them for this space was the perfect fit. It's been one of my favourite galleries for a while, with great space, great vibes, and one knockout show after another.
SB: How did you come up with the idea to make such focused series?
MK: I have been playing around with paint on top of a photo for probably five years now. It has been kind of a side project that has been slowly and quietly evolving in my studio alongside my other painting style that I am known for. The photo idea has now turned into silk screening and some other new printing techniques that I am still fine tuning, but I'm excited about where it's headed for me. I first did rockets, then mountains, and now it is clicking super nicely with the big wave surfers.
SB: Looks like they're all based on one photo. Who is the surfer on it and when is that photo from?
MK: The photo is of Mavericks in Northern California. I had this big wave surfing book from when I was in high school. When I moved out of my parents' house over two decades ago, I had a box of books I took. Through numerous moves, roommates, girlfriends, etc, this book somehow stayed with me and ended up in my studio. I cut out the pages and started painting on different pages here and there. Then I found 10 more copies online and ordered them to have as well.
SB: Whats the process looking like on these works?
MK: The technique is a series of different oil techniques - silk screening, printing with oil, and then just straight up painting. But everything is just oil on linen. I am almost breaking down the image as I build it up. My favourite artists and paintings to look at are ones where I can't completely figure out how it was made.
SB: What is your personal connection with surfing?
MK: I grew up in Virginia Beach and my parents live on the beach. Surfing was something I did growing up year-around. We would strap our boards to our cars and head to school, but instead of playing a sport after classes we would all head to the beach and surf together. I never was taught, it was just something I learned from doing and eventually got quite good at. It was always small waves in Virginia, but I like the idea of these massive Maverick waves. It feeds nicely into the ideas behind my other works about "man pushing the limit."
Discuss Michael Kagen here.
