adjective \ ˈthərd \
1a :being next after the second in place or time
1b :ranking next after the second of a grade or degree in authority or precedence
2a :being one of three equal parts into which something is divisible
2b :being the last in each group of three in a series
noun Fri·day \ ˈfrī-(ˌ)dā , -dē \
The day after Thursday and the day before Saturday. It is the fifth day of the week.
\ ˈthərd \ ˈfrī-(ˌ)dā , -dē \
An act of subversion.
For the most immersive experience we recommend using a PC for the duration of your Third Friday viewing.
Pictures will often be formatted in rows of three, click on the thumbnail to enlarge the image.
Thanks for visiting Rogue Gallery! Enjoy your stay!
Steven Lee Matz
Gus Romero IV
Cover Photography by Flavio Di Nardo
Visit His Website at www.flaviodinardo.com
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To move out of or away from something and come into view.
Welcome and thank you for joining us for Emerge, exclusively at Rogue Gallery. Presented for your enjoyment and edification is a list of a dozen emerging talents. This list suggests the breadth and scope of the New World Creative and introduces artists who are making their presence known in the movement. These twelve artists bring an array of inspiration, methodology, and technique to their work. A couple are already immediately recognizable, and all are on the path to becoming household names.
For the most immersive experience we recommend using a PC for the duration of your Emerge viewing.
Pictures will be formatted in rows of three, click on the thumbnail to enlarge the image.
Thanks for visiting Rogue Gallery! Enjoy your stay!
Born September 23rd, 1994, in Aji Igboeze North L.G.A. Enugu, Nigeria. Ayogu Kingsley holds a Masters NCE in Painting and Graphics, Certified by Enugu State College of Education. He is one of the leading figures of the Hyper-realist movement, an artistic style that can often be mistaken as photography at first glance. Kingsley treats his paintings as poetry which captivates the viewer and inundates you in emotion. His art appeals to the conscience of the people whom experience his work. His paintings allow you to find compassion within yourself; they act as a trigger to tap into human solidarity.
Kingsley achieves this intensity through the stunning, lens-like detail applied to his work. Every blemish, scar or intricate feature he adds to his paintings help express the truth in his work. The majority of his work depicts his subjects in uncomfortable situations; situations with a wide spectrum of displayed emotion through tears, despair and affinity. The viewer is compelled to feel connected to the paintings, searching for ways to console or free the subject from distress. His paintings endorse unity and human empathy, bridging a relationship between his work and his viewers.
When putting paint to canvas Kingsley examines nuances of the human figure. The facial structure is a key element he explores in his work. The movement of muscles, hair and even sweat are components of his art that make the pieces more dynamic. The way he paints shows that he understands the human figure at a superior level, possessing the ability to recreate a figure and manipulate it to convey a vivid message.
Tina Lynn Ellis
Tina Lynn Ellis is a multi-disciplined self taught artist. She is primarily an intuitive artist, her work is the result of a desire to have direct communication with the unconscious to further connection with the greater world around her. Tina uses many different tools to achieve this... painting, illustrating, photography, photo editing , and in 2008 she added Art Dolls/Sculpture to her repertoire and has developed a deep love of the art form. It is always her hope that something she creates will spark a flame of thought in the viewer that leads them to their own creative expression.
A punk musician by proclivity and an artist by inevitability, Burnie Booth began creating his primitivist collages as album covers for Folkicide, his performing moniker since 2007. Folkicide’s music, an acoustically violent folk driven exploration of extreme pessimism, despair and the nightmare of existence found a logical visual extension in the piecemeal medium of collage.
Tired of bothering his artist friends for album cover art, Booth assembled his first collage for the 2010 cover of the Folkicide release Let's Worship Degenerates. It juxtaposed Theravada Buddhist imagery found at a Bangkok street stall with ‘80s Warner horror comics, along with snippings from the Queen News of the World album cover. Surprised by the positive reaction to the odd aesthetic he had stumbled upon, Booth continued assembling collages now numbering in the hundreds.
Eschewing digital in favor of original source materials, Booth gets his imagery largely from estate sales in his native Kansas City (preferably on the final day when items are 75% off their original price), gifts from friends and other oddities he has acquired over the years. Favorite visual elements come from the aforementioned Warner horror comics, books on primitive man, Medieval art and Hare Krishna promotional material. Images are sliced and glued in a manner designed to invoke feelings of unease and existential dissonance but yet are often tinged with a deliberate element of humor: like H.P. Lovecraft whispering in the ear of a nitrous oxide intoxicated and X-Acto knife armed Hieronymus Bosch.
Over the years Booth’s collages have been displayed on the walls of various KC bars and music stores as well as a Saint Louis pop up art show. A Folkicide animated music video entitled Empire of the Ants utilizing Booth’s collage imagery was produced by local filmmaker Mikal Shapiro in 2013. His art is also to be featured on the cover of the upcoming Kool 100s record.
Cecelia Ivy Price
Cecelia 'Ivy' Price (°1986, Buffalo, New York) makes paintings, photos, drawings, tattoo designs and conceptual artworks. With a conceptual approach, Price tries to increase the dynamic between audience and author by expressing the human form and investigating the duality that develops through different interpretations. Her works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By choosing mainly formal solutions, she tries to approach a wide scale of subjects in a multi-layered way, and likes to involve the viewer in a way that is sometimes personal.
Her paintings are based on formal associations which open a unique dialog. Multilayered images arise in which the fragility and instability of our vanity is questioned. She tries to develop a pallet that does not follow diluted criteria, but are created to incite the viewer to make new personal associations.
Her paintings are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship.
By choosing mainly formal solutions, she finds that nudity reveals an inherent social awkwardness that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss. Her works create new sequences which reveal an inseparable relationship between motion in life and the stillness of death. Other subjects the artist has tackled include sexual abuse, personal loss, racism and body shaming.
The artist can easily imagine an interpretation without being hindered by the historical reality. She has completed a study abroad in Italy and has started working from photographs she took while away. Some artists who influence her include Roberto Ferri, Shawn Barber, & Brom. Cecelia 'Ivy' Price currently lives and works in Cleveland, Ohio.
Doug Waterfield is a Professor of Art at the University of Nebraska at Kearney. His work has been shown at the United Nations Headquarters in Vienna, the National Atomic Testing Museum in Las Vegas, the National Museum of Nuclear Science and History in Albuquerque, the Los Alamos Historical Society Museum and the American Museum of Science and Energy. Also, in various galleries,bars, souvenir shops, tattoo parlors and seedy dives across America.
He enjoys hob-nobbing with the rich and infamous, watching terrible movies, world travel and collecting autographs. He hates lima beans, but loves good bourbon. He lives in Kearney with his wife and three children. He is also hell-bent on world domination through the creation of his own personal army of robot super-men.
Miquael Res was born in 1968 In Germany, but now resides in the Netherlands. His love for horror and science fiction made him discover the artwork of artists like H.R.Giger and Zdzidslaw Beksinski which inspired him to start painting and develop his own morbid style. His work has already been included in the Dark Art Tarot project and will also be featured in a forthcoming documentary on Dutch national television.
I like to bring forth life and beauty from the deceased. I manipulate bones, skulls and pelts into wearable art. As a youngster while hiking in the deserts of Texas, California, New Mexico, Nevada and Utah I would run across dead animals. The animal bones and death grin always filled me with a certain dread. An event that was promised to all but left to the surmising of when and how.
Now, in my late forties, death itself still has an odd unsettling aspect for me. The animals lying by the roadside, lives tragically taken while in search for food or shelter. Humans whom are murdered or taken by predators. Others that are dying by their own misdoings; others that are tyrannically stomped out, evicted from their homelands by government agents. Yes, men and woman with guns and their own psychopathic agendas, willing to kill and murder for a paycheck, for a job or to advance their career.
I have a fascination with the dead. Their story, their life before it was taken from them. I wish all beings could depart at their leisure. In accordance to their own agendas. Without unnecessary stress. It is for those beings that I find and the ones that are purchased, that I bring a different life force to. An improbable creation of unparalleled colors and beauty. I work towards creating and bringing forth an appreciation for these beings that are no longer offered. A life force that was once its own can now be honored in a form of art; at times even wearable art. Moving towards making ones animal spirit for people to remember this life is not just about them, it’s about all of us. The young, the old, the diminutive and the gigantic.
Magick and wonders are around us every day. Magick and the supernatural are as natural as the rising and setting of our galaxies sun. We must stop, look and listen. Even more importantly, ask, will and work that magick that is inherent in us all.
Elvin Armando studied painting under Victor Roman and through self study. He spends most of his free time painting, creating contemporary narratives, while also developing a style unique to himself.
Elvin was born in Escondido, California, in 1997 and continues to live there.
Jon Reyes is an artist who lives and works in Denver, Colorado.
Jeremy Lampkin is a Chicago based artist whose work is focused on mental health awareness and spirituality. Having mental health issues as a youngster, he lost all faith in the field of psychology by the time he reached adulthood. He discovered alternative methods that got results where psychology failed. Exploring a variety of personal development systems, one test called for the creation of a tarot deck, which is what ultimately reawakened Lampkin's love of art. Religious and occult symbolism are ever present in Lampkin's art, often borrowing stories from mythology. Personal and humiliating experiences often overlay religious story lines, bridging the gap between personal and universal experience. Lampkin sees art as therapy: a constructive way to deal with issues, and a way to start conversations on subjects that can be too difficult to speak of.
Valentin Kanellopoulos began painting and drawing at school from 2010 till 2013. Since then, he has been working with dry pastel. In 2016 he started painting with acrylic on panels, and began exploring the medium of photography.
While you are enveloped in sleep, JoKa is toiling into the night stippling acrylic paint to blank facades, using images of styles and faces of yore. Having a penchant for meticulous and detailed work led JoKa to his method of hyperpointillism, wherein he uses only toothpicks to apply his tiny dots of color. Although his images may be skewed from direct interpretation, the meanings behind his work are usually dark in tone and leaning more towards a devious nature. Currently residing in Philadelphia, he has exhibited from coast to coast as well as lands afar.
Drawing his inspiration from a plethora of pop culture influences and his own unique sense of self, the work of this month’s artist is created using a stream of consciousness Freestyle technique. Meaning that they are executed with no preconceived ideas, rather they are birthed spontaneously, once he captures the germ of the piece it is refined and perfected.
This impetus to create was initially fueled by the confines of a sickly and often bed ridden childhood. When his mother brought him paper and pens home from her work he enlisted them in the service of his increasingly powerful imagination. An imagination which he fed with a steady diet of comic books, music, movies, and Mark Kistler’s PBS children’s art instruction series The Secret City.
A fiercely undiluted palette which blazes boldly across the canvas and burns the imagery into the viewers mind like mental pyrography, is one of the quintessential hallmarks of his work. His adept sense of color is complimented and accentuated by the fluidity of his draftsmanship, creating a style which is uniquely his own. We proudly present to you our June Spotlight artist: Cyrus Fire.
My work is very much based on improvisation and allowing myself to be free in the moment of creation. Anything that I can do to remain present in the moment and connected to how I feel seems to translate into the piece that I am working on at the time. I have found that it makes the piece more authentic, not just for myself but also the viewer. A part of my process begins with exploring the world around me and finding the things that make me feel genuine emotion. That could be music, movies, art, relationships, weather, food, almost anything basically. If I can actually find that thing then I want to create a piece that lets my viewer also experience it.
That leads into the color pallet and composition. Sometimes I instantly know what colors I would like to use in order to complete a piece and other times I have no idea what I am creating. In those moments there is just a need to make a piece in order to fill some empty space in my soul.
If that is the mode I am in, then I just focus on covering the canvas with paint from edge to edge. I may just make one piece, or I may work on several all at once. Weather it is just a flat color or something that looks tie-dyed, this part of the process is more about communicating the raw emotion of that instant than it is about creating any actual subject matter.
After I have covered a few pieces of canvas with paint I begin a competition of sorts to see which piece I enjoy the most. If I prefer one over the rest then that is the one I work on. Once that piece has been brought up to a certain level of completion I then look for the next piece that most catches my eye. I then judge them against each other and try to make the lesser piece better than the one that I previously favored. I repeat this process until at least 3 or more pieces seem equal to each other in terms of quality and the amount of effort put into them.
The next phase is deciding what type of figure/figures belong in the piece. Maybe it begins with just taking a solid color that works well with the background and making a stroke with the paint that takes up a dominant section of the canvas. Maybe it begins with taking black paint and carving out the shape of a head and only working in silhouette until I have what I want and move onto creating the body. The beginning stages are all very fluid and open to outside influence until I know what the piece is supposed to be.
Once I have a grasp on the direction that the piece needs to go in then everything is more about the details. What can I do to make everything that I am thinking or feeling more clear to the viewer? How can I make the piece more fun or eye catching? I have found that if I can add things that keep me engaged in creating the piece then the viewer can be equally engaged while observing it.
When I am in the final stages of a piece I have more than likely been thinking about the meaning of it for a while and also the emotions behind it. This leads me into choosing a title for the piece. This part of the process is definitely more cerebral and satisfies all my nerdy bits. I may choose a word from the dictionary that I enjoy but would not have a chance to use in everyday conversation. I may choose a foreign word or phrase that speaks about the piece but that I couldn't actually pronounce. I like this part of the process because hopefully it leads the viewer to do some type of research. I love enigmatic things! I have always enjoyed mysteries and detective stories. Watching the human mind digest information in order to come to a conclusion and solve a problem is wonderful and keeps us sharp. I want to create intrigue in a person and make them want to know why a thing is what it is. Hopefully if a person enjoys my work enough then they will not mind doing a bit of research to get the answers that they are looking for.
Visit Cyrus Fire's Official Website at:
A great specter is looming over the art world: the specter of Inter|Sekt. For far too long we have watched the artists of our generation turned into a disposable commodity, bought and sold by the galleries, stifled in their expression by the tastes of the art consultants who purchase pieces on behalf of financially minded clients who want a "solid investment".
They have been amalgamated into schools, said schools are a device of gallerists and art historians to divide and conquer the creatives and free thinkers.
For we live in a nation which thinks itself to be free yet is not, they expect the same of their artists.
Our culture has been raped and plundered by the upper echelon, picked apart and sold by the same greed mongers who claim to be it's patrons. The tool which has most effectively stunted the growth of modern American art in particular is the clever indoctrination of this idea of schools to not only the art student but anyone whom even reads a brief survey of the history of art sees that it is broken up into these categorized schools; the philosophies of these various sects creates conflict, division, and ultimately destruction of the morale and submission to the established order. Thus rendering the creative spirit confused and useless.
This helps curb the rebellious spirit of the average citizen outside of the art world in other spheres of society.
Art history is a lie and galleries are dens of thieves!
Inter|Sekt is not destroying the schools or the galleries, we are simply showing you they were never real, at least not in a world outside of that constructed by academics to sell text books to art students.
The reign of the gallerists and art consultants is over when you want it to be.
From the ashes of the indoctrinated schools of every form of art shall arise The New World Creative.
-Steven Lee Matz-
The inter|sekt manifesto
Gus Romero IV