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September 4, 2021 - No Comments!

UPSAHL – Unapologetically Candid

It should be no surprise that throughout her performance her confident verve pulses unabated and is undeniably contagious.

It’s 8:42pm — I run, not walk, out of the Fonda Theater around to a back alley 3 minutes before she is due on stage; Taylor Upsahl appears out of the darkness with the grin of someone who has performed in front of their biggest audience 3 nights in a row. Even though I am meeting her for the first time to snap some photos, and (I cannot stress this enough) she is performing in 3 minutes, she greets me like an old friend before going into a ritualistic dance of poses; if she’s nervous it certainly doesn’t show.

It should be no surprise that throughout her performance her confident verve pulses unabated and is undeniably contagious. Her vocals, which are somehow angelic and aggressive all at once, flow sinuously through the massive drum kicks and dance-y production. With every song she flexes her undeniable gift for storytelling through emotionally charged and brutally honest lyricism; everyone in the crowd was transported back to their bedroom dancing away angsty self-doubt, a broken heart, or seething hatred for an ex.

UPSAHL is so unapologetically candid that you can't help but see parts of yourself reflected in her music, whether you want to admit it or not. Look no further than her new single "Lunatic". With lyrics like "I'mma light up all your shit / Blow a kiss like / Push you in the, tiny dick" layered on top of a punchy syncopated beat, she builds you up and gives you room to explode. As a multi-instrumentalist, gifted songwriter (with writing credits on hits like Dua Lipa’s “Good on Bed”), she is an indie-pop-rock force to be reckoned with and no doubt on her way to being a household name.

Story and photos by Haley Killam

Listen to UPSAHL here

November 15, 2020 - No Comments!

360° Studio Visit with Sol Summers

Hailing from Portland and now based in Los Angeles, Sol Summers continues developing a hauntingly vibrant subject matter with scale to boot.

Summers attended the Rhode Island School of Design for one year before leaving to fully devote himself to painting. He has been working in LA since 2017.

After getting a bit of background on each other, we talked about Summers' upcoming book project, noting that he favors Coptic binding for its lay-flat nature.

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Keep an eye on this young talent.

solsummers.com

@solsummers

October 1, 2020 - No Comments!

Kareem-Anthony Ferreira: First Foundation presented by Nino Mier Gallery, Los Angeles

A masterful use of collage so nice, you have to look twice.

KAREEM-ANTHONY FERREIRA
First Foundation
at Nino Mier Gallery September 12–October 3, 2020

Nino Mier Gallery is pleased to announce its first solo exhibition with Canadian artist Kareem-Anthony Ferreira, opening September 12th, 2020.

Kareem-Anthony Ferreira, a first-generation Canadian, completed his BFA at McMaster University in Hamilton, Ontario in 2012 and his MFA at the University of Arizona in 2020. Using a combination of painting and collage, Ferreira builds richly textured surfaces upon large-scale unstretched canvases, depicting intimate scenes that negotiate his Canadian and Trinidadian heritage.

psychological transport to the Caribbean, an unspecified fictional location whose primary purpose is to serve its visitors as a space of escape and entertainment.

“In my work, I am tracing patterns of personal, familial, and social identity within the genre of black portraiture. In an effort to shift the overly simplified perceptions that my two disparate familial communities hold toward the other, I offer visual re-creations of both identities, personal family traits, and events. The experiences and narratives that manifest in each work is the result of combining several vernacular photographs into a compositional arrangement. The paintings display an accumulation and assemblage of disassociated objects motivated by my family’s compulsive repurposing of ordinary materials. I similarly repurpose these materials by incorporating them onto the surface of my paintings. Patterns are taken from commercial representations of the Caribbean and are meant to be easily identifiable, cliché, and at times, sarcastic.

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The social imaginaries placed on these non-indigenous patterns and textiles satisfy North American desires for a mental state of ‘island life’ characterized by ‘island dress.’ The commercialized and mass-produced patterns serve as a mechanism for psychological transport to the Caribbean, an unspecified fictional location whose primary purpose is to serve its visitors as a space of escape and entertainment. The Caribbean and specifically Trinidadian identities are flattened and stripped of their historically transcultural and transnational complexities. In my paintings, I explore the island imaginaries through a personification of repetitive flora and fauna patterning, which sits in contrast to the emotional sincerity I convey through the human figures and expressions. My reverence for my hybridized community is conveyed through my portraits of the black body as individuals or groupings, the family unit, or community gathering to participate in the everyday lived experiences.”

- Kareem-Anthony Ferreira, 2020

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Kareem-Anthony Ferreira (b. 1989, Hamilton, Ontario; lives and works in Hamilton, Ontario) has exhibited works at Johannes Vogt Gallery, New York; Alice Yard Gallery, Trinidad and Tobago; the Tucson Museum of Art, Arizona; DeFacto Gallery, Ontario; and the Workers Art & Heritage Museum, Ontario.

Photos courtesy of Nino Mier Gallery