There are artist that I admire for how close I feel to their work in terms of how it aligns to my own process and aesthetic. Conversely there are artists I admire despite feeling completely distant from how they think and operate. Kyle Thompson falls into the latter category. Perhaps it’s because his work and his practice is so utterly foreign to me that I find myself fascinated by it. No matter the reason why, I think Kyle has a unique perspective and approach to making art and I’m excited to be working with him.
In his words:
I’m trying to decide whether this reaction is proceeding along an E2 or an SN2 pathway. There is plenty of “exchange”, and also plenty of “substitution” — there is a liferaft here because there is now a floating rock out there — but some of the things I really have to consider are: is there a strong nucleophile involved? Does the rock have a primary moiety? Does the liferaft have a tertiary, allylic, or benzylic structure? Is either one sterically hindered? Are the transition states of these buoyant objects relatively stable? Is the solvent (seawater) or the inverse solvent (spacetime) highly protic?
Once I figure these things out, I can move on to stereochemistry, kinetics, and NIHIL.
Please join us Saturday, November 12th, 6-8pm
Sadly it’s time to say goodbye to this 1/4 scale R17 subway car
It really is impressive to see this thing in person. You can come pay your respects and say hello to Super Kool Sake himself this Saturday:
1 – 4pm
We hope you can make it.
In the 1970’s and 80’s, with the New York City subways as the primary “canvas”, graffiti was forged into one of the last great art movements of the 20th century. Nowadays graffiti is everywhere except the iconic subway cars that propelled it from NYC to the entire world. That is the underlying premise of the new installation titled “Rust Magic” by San Diego graffiti veteran Sake. In addition to the interior of Ice being bombed with graffiti from top to bottom the exhibition also includes a display of vintage spray cans, an outdoor mural, and a 1/4 scale replica of an R17 subway car.
I hope you’ll come and take a look.
Saturday, September 10th, 2- 6pm.
As always, if you can’t make the opening you can always schedule an appointment for a time that’s more convenient.
One of the things that makes running ICE Gallery fun is offering a space to an artist and telling them they can do anything they want with it. The only restrictions being the confines of the space and their own budget. The result, if you’ve chosen your artists wisely, is that you get such a diverse array of exhibitions. A line up that doesn’t remotely fit into any sort of tangible uniform aesthetic. The contrast between this show, the previous one, and the next one is so stark that in a normal gallery situation it would seem that the curators interests are all over the map. Well, good. I love that. Click HERE for more photos from Nathan Gulick’s exhibition “Finest City”.
Please join us on Saturday, February 20th from 4-6pm for the closing reception of Nathan Gulick’s solo exhibition, “Finest City”.
“Finest City” presents a series of arrangements (possibly a sculpture garden, or ruin field) of readymade architectural decorations in amplified colors, set amongst a faux grass lawn (a necessity in a time of catastrophic drought) and a sheer wall of tan stucco.
Reveling in a distinctly artificial American style, still rooted somewhere in old Europe, the work seeks to highlight the temporary and temporally unsure aesthetic landscape of a region still contending with a legacy of mass migration and suburban sprawl.
“Finest City” presents a series of arrangements (possibly a sculpture garden, or ruin field) of readymade architectural decorations in amplified colors, set amongst a faux grass lawn (a necessity in a time of catastrophic drought) and a sheer wall of tan stucco. Reveling in a distinctly artificial American style, still rooted somewhere in old Europe, the work seeks to highlight the temporary and temporally unsure aesthetic landscape of a region still contending with a legacy of mass migration and suburban sprawl.
Artist Reception: Saturday, January 30, 4-6pm
Closing Reception: Saturday, Feburary 20, 4-6pm
Or by appointment
The last day to see “Three Thousand Four Hundred Fifty Threads” will be Sunday, November 22nd. If you wish to make an appointment, click on the Contact button above and send me a message. I’m available to show it any day between 10:30 – 4:00. Again, ICE Gallery does not have operating hours. If you’d like to see this piece you’ll have to make an appointment.
The above photos are by Philipp Scholz Rittermann. I’ll post the whole set once the show closes. It is the case with most art, but especially with this piece, that a photo is a very poor substitute for seeing it in person. So don’t settle for regret. Come see this thing! I hope to hear from you soon.
Ok, we’re ready to roll! This installation took about 4 times longer to complete than I thought it would but it’s finally finished.
For multiple reasons, there will be no opening reception. Perhaps there will be a closing, I haven’t decided. Instead I’d like to invite you to contact me through this website (or any other way you’re connected to me) to set up an appointment. The piece will be lit at night and viewable through the windows. However, I’ll only be showing it from the inside during daylight hours as this is when it looks it’s best. If you’d like to come and see it I’m available to show it almost any day. Just give me 24 hours notice and we can set up a convenient time for you
Thank you to all of those that helped me complete this piece. It would’ve taken me weeks to do it on my own.
Thanks to Mark, Storm, Kyle, Philipp, Trista, Terry, Jason and the Toms.
Extra special thank you to these two guys:
Andrew and Sol, you guys worked your butts off. Thank you so much!
It’s not often that San Diego artists get written about for publications or blogs that reach outside of the county. Other than CityBeat, who seems to be the most consistent, local coverage for art in San Diego is rather pitiful. That’s why I was pleased that Robert Pincus decided to make Tom Driscoll the subject of his maiden piece for Artbound. It’s fantastic that Artbound/KCET is making an effort to cover all of southern California, not just LA. We’re small, but there are some interesting things happening down here in SD.
Speaking of interesting art…
Closing reception is this Saturday, May 2nd, from 6-9pm. See you there.