“Pay heed to the tales of old wives. It may well be that they alone keep in memory what it was once needful for the wise to know.” – J.R.R. Tolkien
My biological father, a religious fanatic, claimed to know the truth. A woman’s value could be precisely calculated according to metrics of surface: dress, speech, piety, observance. My mother, a free spirited German, claimed her own truth. Beyond surface, there were things that dictated an individual’s fate: signs, symbols, curses, miracles. Being raised in a bookstore, I was imbued with many truths from the local UFO hunters, the psychics, the paranoid philosophers, the zealots, the hippies, all fervently declaring the objective truth to be found in their recommended codexes. These books were the saving graces of my childhood. With no other children around, I befriended the books and they became a catalyst to how I related to everything and everyone. They became my myriad of axioms.
Folklore is the human attempt to pass on these truths. Henry Glassie said it best, “it stresses the interdependence of the personal, the social; the aesthetic, the ethical, the cosmological; the beautiful, the good, the true. Practically, folklore is the study of human creativity in its own context”
My art can be summed up as confessions of paper, a way to visually communicate truths, accessing the space occupied by folklore. Paper conceals and communicates meaning, and can be destroyed and overlaid in various modes. I begin a piece by abstractly representing an image in paint, which I then cover with paper: scraps found, created from pulp, or hand illustrated. I then peel away the paper, leaving a construction bearing a nonlinear but viscerally personal connection to its origin. The accumulated papers mimic the debris that sticks to memories; it mirrors waking life’s uncanny transfiguration in our dreams. Where realism trusts only what can be tested and seen, folklore presents a world vibrating with meaning, a morally charged and heavily fated universe that rejects logic in favor of the non-linear.
mixed media, oil, collage on panel 66" H x 44" W $3,500
The End is Nigh
mixed media, oil, collage on panel 66" x 44" $3,500
mixed media, oil, collage on panel 44" H x 66" W $3,500
Tōshee’s mixed media work features carving and layering techniques inspired by traditional Japanese woodblock printing, sumi-e, cel animation and the constantly evolving art of the North American streetscape.
A native of New York City and first generation American born to Latin American parents, Tōshee studied design at Harvard under the late, great Toshihiro Katayama, internationally acclaimed graphic designer, sculptor and painter. His artist name is in fact an homage to his teacher, who passed away in January 2013.
In his life outside of art, Tōshee has worked as a university teaching fellow, video game producer, multimedia consultant, primetime network sitcom writer and Internet music company manager.
Tōshee has been active in the Los Angeles and Miami contemporary art world since 2013. He had a solo show at Gabba Gallery in March 2016. His work has been shown in group exhibitions at Gabba Gallery, Stone Malone Gallery, Prohibition Gallery, The Hive and with long-standing LA pop-up show Cannibal Flower.
Three Kyoto Girls
acrylic, ink, cotton rag mat, newspaper, resin on panel 24" H x 24" W $1,245
acrylic, ink, cotton rag mat, newspaper, resin on panel 30" H x 30" W $1,795
acrylic, ink, cotton rag mat, gold leaf, newspaper, resin on panel 24" H x 24" W $1,245
mixed media with resin on panel 12" H x 12" W $600
Giant Unicorn Exploding Rainbows Over Glendale
mixed media, collage, and spray paint on panel 84" H x 60" W $5,500
84" H x 60" W Available
Strike Eagle Red
48" H x 96" W Available
Orange Warehouse District
mixed media, spray paint, collage on panel 48" H x 82" W $3,000
84" H x 60" W Available
84" H x 60" W Available
7th Street Sparrow
mixed media, collage, and spray paint on panel 72" H x 76" W $3,000
Santa Fe Overpass
acrylic, spray paint, collage on canvas 16" H x 11" W $500
Mixed-media artist Joey Feldman works in Los Angeles, California. Feldman’s works are figurative with a frenetic, cartoonish style at their core. With line art applied to its fullest extent, Feldman’s initial, fast-sketched lines play a role in the final piece. Then, with paint and ink splatters, Feldman finishes each with a visceral urgency that captivates upon first glance. An only child who kept mostly to himself, Feldman first fell in love with art and illustrations through comic books and with Marvel pages he first taught himself to draw by tracing panels. Known for his constant sketching in grade school, Feldman would receive a special award at his grade school graduation entitled “Classroom Cartoonist,” which was created specifically to commend his budding talents as an artist.
Feldman’s first professional assignment came in 1994 when commissioned to draw a portrait of O.J. Simpson upon the verdict of O.J.’s infamous trial. Since then Feldman has provided artwork for advertising agencies, design firms, motion pictures, beverage companies, record labels and magazines. Including a not so flattering illustration of noted rapper Eminem for XXL Magazine which sparked the biggest feud in XXL history. The illustration itself earned a shout out from the artist himself on the Marshall Mathers LP.
Private collectors such as Josh Brolin (No Country For Old Men), Jere Burns (Justified, Bates Motel), Kaley Cuoco (Big Bang Theory), Steve Jones (Sex Pistols), Joe Manganiello (Magic Mike, True Blood), among many others, feature Feldman’s singular work in their collections.