“Dreams and Detours” is the first two person of new work by Curve and Esteme, who have been collaborating artistically for two decades. Curve contributed a series of handmade wooden trucks, 6 light box portraits of subway commuters, and several figurative paintings.
These scenes of daily life in urban environments range from the realistic to the spectacular. Curve creates a stage set, or a window to the physical world, seen through his own mental filter. The narratives play out like the gray area between memory and dream. The Sketchy, loose quality and the broad gestural brushwork enlist the skills that Curve has cultivated as a graffiti artist, working on a large scale, often under hasty conditions. His experience of creating dynamic letters informs the structures in the work, which are exploited for their shape and attractiveness. Curve finds graphic potential in everything from a subway rider to a boxtruck.
Surface assemblage that was part of the “All Big Letters” exhibit and catalog around theme of the tools, methods, and strategies of Graffiti and “Getting Up”.
All these materials were found in Philadelphia and Upstate NY.
This piece is about the variety of styles for various surfaces. Numerous tools which can dictate the styles, or visa versa. Or the same stamp on many surfaces, Writer’s choice.
Two series of character studies. 12 imaginary mugshots in 1980s NYC with watercolor and ink on paper. 16 Portraits of friends in acrylic on canvas
An exhibit of new paintings alongside artist Soviet, which varied from the surreal to the abstract in Downtown Pittsburgh.
Below is a brief description:
Curve grew up painting graffiti primarily in New Haven and Philadelphia, where he was raised. The hand painted signs, community murals and mysterious unsanctioned art, ever present in these cities, have always informed the direction of his work. His work on walls and on canvas convey the intersection of human interaction and the built and natural environment. Drawing from experiential awareness, the colors and humorous spirit of Curve’s work translate the eccentricities of the environments in which we live.
Curve’s urban landscapes combine images and abstractions from memories, dreams, and observations. Many of the works feature an imagined mural serving as backdrop to the lives of various people. The accompanying figures are sometimes walking, evoking a sense of loneliness. The color palette is nostalgic and the work indicates a fascination with primitive art and folk art traditions.
“The initial mark a person makes on a surface is the most honest and natural one. I’m very inspired by children’s artwork. I aim to recreate scenes where elements of ordinary life blend together to form an overall harmonious design.”
A pop-up show of pieces from members of the TGE crew; Curve, Jedi5, Mast, Esteme, Jurne, Eptic, Jake, Mags, and Ronin. Curve contributed a painting on found metal, a painting on wood, and a series of ink drawings on wet paper, conveying the risky and heuristic nature of graffiti.
A multi-generational group of Graffiti Artists from around the United States installed an exhibit at Pediatrics 2000, a pediatric center/art gallery in West Harlem. The space was the renovated interior of the historic Claremont Theatre. The roster of artists included: Curve, Mike, False, Navy8, Soviet, Rate, Skuf, Flint707, and Kaput. Curve contributed a series of figure cutouts, drawings, paintings, and two murals; one of which was on an HVAC duct, and the other on the gallery wall.
Exhibition of graffiti hand styles, along side artist Gorey, and curated by Christian Acker/Hand Selecta. Both artists created handwritten signatures and pictographs to display on the wall. The layering of ink on paper created an interesting shadow effect, highlighting the repetitive practice of style writing. The show was also accompanied by a sketchbook with several pages of original artwork, published by Gingko Press
With Steve “Espo” Powers and the ICY Signs team, Curve exhibited a series of 5 subway rider portraits.