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Home FEATURES Josh Peters Interview

Josh Peters Interview
Written by Ryan Christian   
Thursday, 08 December 2011 09:54

Josh Peters is a La based painter/ curator/ cool guy/ I chatted with him recently about his work, here it is. -Ryan Travis Christian

So Josh, tell me a little bit about yourself.....

I'm from Massachusetts.. moved to NYC after grad school at Rutgers, spent 10 years there.... about half of which was spent art-making and half playing in a band. It got to the point in NYC where I was spending too much time working to support myself and not enough painting...so I moved up to Northampton, MA where I was able to afford to take a couple of years just getting back into it. In 2007 I taught painting for a semester at an art college in Oslo, Norway and then did a 3-month residency in Los Angeles, wanting to be back amongst a larger group of artists and a more active gallery scene. The residency was sort of to test the water in LA, and I loved it so ended up moving out here.. where I've lived for two years now... teaching and making my work.

So let's get down to business. Tell me a bit about the characters and places in your pieces, they seem utopic, but with a underlying darkness. It also feels like the work is just out of reach from narrative...

The source material for the paintings are film stills... usually older ones where the sunspots and grain reference a previous era. In the newest work, the proportions of the canvas actually mirrors that of a widescreen cinema format. I choose the frames that strike an emotional chord with me, hoping that they will also resonate with viewers. So it's really done intuitively, without much thought to 'theme' but there are obviously common threads... groups of people isolated in nature and an ambiguity in terms of their identity and what exactly is taking place, as you pointed out in your question. So I would agree with that and say that it's intentional, as it hopefully creates a kind of compelling mystery and draws viewers in.

I should also say that the pieces that I'm working on now might well be the last that come out of this process; the process of finding a single, pre-existing image and translating it into paint.

I view these paintings as a kind of pop art because of this; they are pre-existing images in the culture, though of course not as recognizable as product packaging or celebrities.

The original image is also going through more of a transformation because the use of the materials is painterly and not deadpan, as in pop art, but just the same, I feel that with these paintings, once the frame has been selected, the die is cast and the work is half done... I'm hoping to start working more interpretively, more from the imagination, with chance and chaos coming into it more. I want to push beyond the nostalgia of these paintings.

So, these earlier works kind of fall in under "image searchism" to a degree? DO you see a film and get attracted to a specific image or are you just kind of googling away at it? Once you find said image, do you play with it much?sketch? or do you just slap it down and go right at it? Could you talk a bit about your studio process?

I've never heard that term before but yes, as I said, I feel that once the frame has been selected, that the piece is to a large degree, determined.. there's still the question of scale and a lot happens intuitively during the painting process that is unplanned, but the basic composition and elements are in place. Sometimes the images are cropped, combined, or otherwise manipulated in photoshop but once the image is chosen (which sometimes happens only after months of deliberation), it gets printed out and brought into the studio where it is used as reference for the painting.

You say you want to work more from the imagination, as in memory, or just sheer intuition? Do you think that will abstract your images considerably or do you think that the images will stay similar just with more material/color variations?

Both.. memory and sheer intuition.. and accident (which already happens a lot; accidents are allowed for and considered along the road to the finished painting). I think that they may become transmuted but I think that it will also be a matter of combining them in unexpected ways and with disorienting shifts in scale and the creation of more undetermined spaces that they exist within.

I notice your work is either really large or really small, do you have a preference in scale? Whats different about the process of making them large or small respectively? Would you consider the smaller ones studies or equally substantial pieces?

Until last year, I was only comfortable working larger but I found that working very small (under 20 inches or so) almost replicated the sense of expanse of a large canvas because you have to get so close to it, that through the intimacy that's created, it can have a similar impact. I completely see them as equally substantial pieces.. in fact, I think they've allowed me to expand the vocabulary of my brushwork.

How do you approach color in your work? The color always seems skewed or off or slightly surreal, do you invest much time in color study or do you just sort of lay it down and respond?

I just lay it down and respond. The color is purely instinctual and relates (or responds, as you said) to the surrounding colors in a way that pleases me. I honestly don't think of it as skewed or surreal but actually in perfect harmony! It makes me think of something that Paul Westerberg (Front man for 80s punk band The Replacements) once said when a critic complimented his band on their sloppy, always-on-the-verge-of-chaos style. He replied, 'We were actually trying to sound like the Rolling Stones!'. Well, I'm just trying to do color like Matisse. I guess even if I'm always falling short, if you shoot for such a lofty ideal, at least wherever you end up will hopefully be somewhere interesting.

What kinds of things are inspiring your practice right now?

I think that whatever I'm currently reading (usually fiction but sometimes biographies) is usually the biggest influence, actually. One always is forced to visualize when one reads and I find that this makes for great inspiration. Even in the past when I was working from film stills, sometimes the original impetus to seek out a particular film had come from reading a book (Lord of the Flies, for example). I was seeking an existing form to filter my own impressions through but from now on, as I have said before, I will be skipping the step of the pre-existing image and just going at it from my imagination.

Mentionable future projects?

There's a show that I'm going to be a part of next year here in Los Angeles at the Eagle Rock Center for the Arts. It's called Chasm of the Supernova and is being curated by Adam Miller. Some of my favorite painters are going to be in it; Annie Lapin and Peter Saul among others. Very excited to be in that company and plan on making some new work for it.

Invent something right now, what is it?

It's hardly an original answer but I can't think of any invention that I"d rather make a reality than a time machine. I gre up in a small town in Massachusetts and would love to go back and see it during colonial times, and even earlier when it was still Native American land. Ancient Egypt, Feudal Japan, Roman Empire.. almost anything in the past would be fascinating. No interest in going into the future, though. So that's it.. .the good ol' time machine. That or velcro socks.

http://www.josh-peters.com/

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contact FF

"Arrangement" by Michelle Fleck
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This morning we take a closer look at this beautiful painting by San Francisco based Michelle Fleck now showing at FFDG.

Arrangement measures 24"x30", acrylic and aerosol on panel - inquires: info(at)ffdg.net

Michelle Fleck is a painter living in San Francisco. Her work focuses on the relationship between man and the landscape, and the marks we leave on it. Influenced by everyday life in the city, her paintings serve as snapshots of an ongoing intersection of the natural and man-made world. She strives to make work that has a sense of relevancy in a culture driven by a need for change and newness.

 

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Wednesday, 16 June 2010 16:39


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GET THE SHOW DETAILS --- a bunch of NYCHOS

 

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Wednesday, 25 April 2012 10:56

 

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I love you, dear.... Huh? Wut?

 

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Some galleries have been forced to close due to 300% rent hikes. Many artists have fled to Oakland, LA and NYC in search of affordable housing and a more vibrant art scene... But we wanna know what you think of how it's going here in San Francisco. How are you making it work? What's your take on the art scene or lack there of? Do you think things are on the up and up or down and out here in San Francisco? Are artists a bunch of complainers and every thing looks great or is it curtains for San Francisco's artistic community? Thoughts

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Wednesday, 25 August 2010 11:50


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Ferris Plock - Online Show, April 25th

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GOLD BLOOD, MAGIC WEIRDOS

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Mario Wagner @Hashimoto

Mario Wagner (Berkeley) opened his new solo show A Glow that Transfers Creativity last Saturday night at Hashimoto Contemporary in San Francisco.


Serge Gay Jr. @Spoke Art

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NYCHOS Mural on Ashbury and Haight

NYCHOS completed this great new mural on the corner of Haight and Ashbury in San Francisco on Tuesday. Looks Amazing.


Sun Milk in Vienna

With rising rent in SF and knowing mostly other young artists without capitol, I desired a way to live rent free, have a space to do my craft, and get to see more of the world. Inspired by the many historical artists who have longed similar longings I discovered the beauty of artist residencies. Lilo runs Adhoc Collective in Vienna which not only has a fully equipped artists creative studio, but an indoor halfpipe, and private artist quarters. It was like a modern day castle or skate cathedral. It exists in almost a utopic state, totally free to those that apply and come with a real passion for both art and skateboarding


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I just wanted to share with you a piece I recently finished which took me 4 years to complete. Titled "How To Lose Yourself Completely (The September Issue)", it consists of a copy of the September 2007 issue of Vogue magazine (the issue they made the documentary about) with all faces masked with a sharpie, and everything else entirely whited out. 840 pages of fun. -Bryan Schnelle


Tyler Bewley ~ Recent Works

Some great work from San Francisco based Tyler Bewley.


Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery

While walking our way across San Francisco on Saturday we swung through the opening receptions for Kirk Maxson and Alexis Mackenzie at Eleanor Harwood Gallery in the Mission.


Jeremy Fish Solo Show in Los Angeles

Jeremy Fish opens Hunting Trophies tonight, Saturday April 5th, at the Los Angeles based Mark Moore Gallery. The show features new work from Fish inside the "hunting lodge" where viewers climb inside the head of the hunter and explore the history of all the animals he's killed.


The Albatross and the Shipping Container

Beautiful piece entitled "The Albatross and the Shipping Container", Ink on Paper, Mounted to Panel, 47" Diameter, by San Francisco based Martin Machado now on display at FFDG. Stop in Saturday (1-6pm) to view the group show "Salt the Skies" now running through April 19th. 2277 Mission St. at 19th.


The Marsh Barge - Traveling the Mississippi River from Minnesota to the Gulf of Mexico

For some reason I thought it would be a good idea to quit my job, move out of my house, leave everything and travel again. So on August 21, 2013 I pushed a canoe packed full of gear into the headwaters of the Mississippi River in Lake Itasca, Minnesota, along with four of my best friends. Exactly 100 days later, I arrived at a marina near the Gulf of Mexico in a sailboat.


Flavio Samelo's Downtown Sao Paulo Murals

Our buddy Flavio Samelo down there in Brazil does all kinds of great work including this recent mural project in downtown Sao Paulo in front of one of the most important modern buildings of Oscar Niemeyer from the 60's, THE COPAN.


John Trippe, FFDG and Fecalface.com Founder, Stepping Down From Daily Operations

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High 5s - Get Your Feet Wet

I purchased one of the first digital cameras when Fecal Face went online in 2000. It was a massive Kodak with 2 mega pixels


"Touching Base" by Schuyler Beecroft

San Francisco based Schuyler Beecroft emailed over the great new series of paintings he's completed entitled "Touching Base", 16x20in on mounted wood panel. Like them.


Flume - Space Cadet (ft. Ghostface Killah & Autre Ne Veut)

Buddies Jay Howell & Jim Dirschberger did this great video produced by Forest City Rockers.


Fire Shelter for Papay Gyro Nights 2014

Last year we posted photos from another one of Simon Hjermind Jensen's Fire Shelters he's made in Copenhagen. This time around the Copenhagen based artist/ designer created one for the Papay Gyro Nights 2014 way up in on the Orkney Islands in Northern Scotland.


"Portrait of a Slugger 19" by Hiro Kurata

Beautiful painting by NYC based Hiro Kurata now on display at SF's FFDG through April 19th as part of the group show "Salt the Skies".


"Veins of Octulen" by Curiot at FFDG

"Salt the Skies" opened on the 21st at FFDG and features this great piece by Mexico City based Curiot (Favio Martinez) whose sold out 2013 show Age of Omuktlans ran at FFDG. His forthcoming solo show is slated for March 2015.


Rome's Alice Pasquini ~Mural+

Rome based multimedia artist Alice Pasquini emailed over a recent mural completed in the historic working class neighborhood of Rome called Tufello.


Project M/3 in Berlin curated by NUART

BERLIN --- Project M is a temporary art project with the objective to improve the neighborhood, to push creativity and to connect people. At regular intervals Urban Nation with director Yasha Young invites a group of internationally reclaimed contemporary urban artists to re-design the facade and shop windows of a prominent residential building in Berlin, while it is being reconstructed.


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