CMYK NYC is the culmination of an energy that was building inside of me for a few weeks. When I started this painting I was incredibly inspired to paint at this scale and ready to bridge together several ideas i’ve been working on.
CMYK NYC is in my painting exhibition at RL Fine Arts that is open until November 12th, 2011, in New York City.
For the process video I was lucky enough to work with multi-faceted grammy award winning artist Tony Black of Tony Black Productions & Orange Key. He wrote, performed, and produced “if i told you” – (The Ari Mix), while referencing the process video for inspiration. I feel this song intensifies the richness of the viewing experience by literally expressing a musical quality of the abstract painting. Because he did such an amazing job I am going to let the music and the video do most of the talking.
Lets take a look…
It starts with a white acrylic ground on cotton
I was working a lot with pink and black leading up to this painting, so I started with them.
Turning the organic more geometric.
Back to organic, perhaps utilitarian.
The entire space has been commented on and all of the colors are now present, CMYK.
Opening the space on the left, and closing it on the right.
It’s getting lighter in color and atmosphere.
Archetecture changes the way we live by altering our spatial awareness.
I was considering this state the final piece. It has the feeling of NYC, but it was too literal.
By altering landscape references, I change the feeling of gravity. The relationship of one form to another becomes more informative.
CMYK NYC | 48 x 60 inches | acrylic on canvas | 2011.
Click image for larger version.
You can see this painting right now at RL Fine Arts in Chelsea, see below for directions and images of the other works in the show.
Click here to preview the other paintings from my solo exhibition, “Windows of Self,” at RL Fine Arts Gallery until November 12th
Located in the heart of Flatiron/Chelsea:
RL Fine Arts
39 West 19 Street, Suite 612 (between 5 and 6 avenues)
New York NY 10011
tel: 212 645 6401
email:info@rlfinearts.com
gallery hours:
Tuesday to Saturday 11.00 to 6.30pm, Sunday 12.00 to 4.00pm
As most of you know by now I love the outdoors, and I love painting. This summer I was introduced to the amazing natural landscape of Montauk, the best beaches I’ve ever been to in New York. I didn’t get a chance to paint there during the summer, so I made sure to capture some early fall light on a beautiful warm sunny day in late October. I chose this composition because I liked the way the empty chair was lit just inside this entry way to a garden. The dominant tree in the landscape stands tall like a figure and peers over the fence at the chair. A narrative beckons.
Let me take you through the process…
Starting out with cyan, magenta, and yellow. This was inspired by my last major studio work called CMYK NYC, that is featured at my solo exhibition that is open in NYC at RL Fine Arts until November 12th.
Keeping the brush strokes very loose feeling out the composition and space.
Yellow and green give form to the ground as the blue fills the sky with volume.
The tree actually bends over the fence and stretches over the garden. I like to think it is peering into the garden.
Now I can really feel the depth in the foreground. In the open doorway a chair begins to appear. The two birdhouses on the fence posts are carved in negative space.
After adding the potted plants I have all of the elements in the landscape represented.
Now im adding dark colors to turn up the contrast in the painting. The air was crisp and the sun was warm.
The moss on the tree is an electric green. As the painting develops so does the growth of the tree.
Enjoying the man made elements playing off of the plant life. The juxtaposition of geometric forms to organic permutations.
I decided it was necessary to eliminate some trees in the background.
The Illuminated Chair, Montauk, NY | acrylic on canvas | 24 x 18 inches | 2011
Click the image for larger version.
The lit up chair is inviting the viewer to a wonderful place, the rest of the landscape frames the moment. Nature, man, and mystery.
See more landscape paintings here. If you would like to commission a location painting contact me info@arilankin.com.
RL Fine Arts: Contemporary Art Project
Roarrr | acrylic and oil on canvas | 30 x 40 inches | 2011
Ari Lankin
Windows of Self
Exhibition:
October 12 to November 12, 2011
Opening reception:
Wednesday October 12 6:00 to 8:30pm
Watch the video in high definition.
Everything On The Inside, Out | oil on canvas | 18 x 24 inches | 2011 | Ari Lankin
A major body of my work begins without any preconceived image. They start with the action of painting.
I hesitate to put abstract pieces into words because they are activated by what the viewer brings to the experience of viewing.
With that said I am willing to discuss some of my feelings and thoughts while making this painting.
Non-objective-hallucinatory-relative-flow……. let’s go….
The first image was taken after two sessions with the painting. I liked the way it looked and almost considered it finished for awhile.
I took another look at the painting and laughed at myself for feeling content with it’s current state and decided to explore further. First thing was to get rid of the red because it contrasted the central form too abruptly.
The red is gone and now its time to expand the central form. Line, mass, point and color are the main ingredients. Personal mark making and colors rule supreme.
The forms felt congested so I excavated some unnecessary verbiage. Now its airy.
Back to the red, this time a little lighter. I’m letting the exterior permeate the interior. These two things are essentially the same thing to me.
Now that I’m feeling the inner structure it’s time to let it breath within the frame of the canvas, thank you orange/peach color.
I love my pinks and blues. Boy meets girl, girl meets boy, we meet world. Dance into the fire.
At this point i’m starting to construct elements that relate to one another in more simpler terms. Total cohesion.
Cobalt blue creates new temptations all over the canvas.
What kind of space is this?
Mind, body, eye, palette, flight
Creation in motion by destruction. Invisible mirror.
Potentially kinetic-kinetically potential.
Everything On The Inside, Out | oil on canvas | 18 x 24 inches | 2011 | Ari Lankin
A lot of my work is about growth and exploration. The nature of painting.
Paintings that allow us to live in the space.
I was born and raised in the same town where my parents still live. I have a strong feeling of a home base, and at the same time have a lust for exploring the new.
Viewing this work allows me to break through to realms of fresh thought and at the same time keeps an air of familiarity. Experience and memory.
Release, flow, decay, structure, grow, color, life force….
FOR IMMEDIATE RELEASE
New York, NY - June 23, 2011 – The group exhibition: CLIPPED — “Appropriated Material From The Streets of New York,” will take place during July at Le Salon d’ Art Gallery. Running the entire month of July, this group exhibition will showcase six New York artists, including: Andrew Matsumoto, Michael Serafino, Jeremy Penn, Flip Skip, Ari Lankin and Borbay.
“CLIPPED” refers to the link these artists share using printed paper as their most common found material. These works embody and perpetuate our fractured reality by literally fracturing it even further. Materials, words, and images are clipped from their original context and reborn in new situations. The end result enables the viewer to slip into an infinite realm of the past, the present, and the future.
Artist Reception: July 14th, 2011, 7 – 10 PM
Show Duration: July 1 – July 31, 2011
Location: Le Salon d’ Art | 90 Stanton Street | Manhattan
More About the Show and Preview Images:
JEREMY PENN
New York, NY – June 16th, 2011 — BROADWAY BARES XXI: MASTERPIECE will be held on Sunday, June 19th with two performances only – at 9:30 pm & Midnight – at Roseland Ballroom, 239 West 52nd Street in New York. A benefit for Broadway Cares/Equity Fights AIDS, BROADWAY BARES XXI: MASTERPIECE will offer up a modern-day burlesque show packed with Broadway stars baring their delicious human canvas. The show is directed by Josh Rhodes, and the executive producer is the legendary Jerry Mitchell.
The 21st annual Broadway Bares benefit features more than 200 dancers and actors on their night off from Broadway shows. Artist’s Ari Lankin and Borbay will paint impromptu works of art inspired by the show. While watching the performance for the first time, they will paint for the duration of the show, stopping when the final curtain drops. The resulting canvas’ will be auctioned off with all proceeds benefitting the foundation. Check back after the show for the finished painting and where you can bid.
Photo by Andrew Eccles.
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The locals said it was beautiful, but warned us not to go a block past the uncovered part because it gets kind of sketchy. After walking up and down the street three times we decided on a view focused on the legendary El Cortez Hotel & Casino. It is precariously located two blocks passed the covered portion right on the edge of town. A peaceful Saturday morning on the streets, but this tranquility did not last for long.
We set up our easels across the street from the El Cortez. The security crew came out to ask us the normal questions. Their presence was appreciated on this one. We quickly saw why locals warned us. After eleven o’clock the characters began to emerge from the shadows. Unpredictability hung in the air. While I painted I had several impromptu Las Vegas history lessons involving The El Cortez. While i’m sure they weren’t as thorough and accurate as wikipedia, they were a lot more entertaining and peppered with personal accounts.
To set the scene on day 1: It was hot and dry. We had a cooler of ice. A street festival was starting a block away featuring a concert with the Kottonmouth Kings and Everlast. The line to get into the stage area took place behind us for about 45 minutes during the middle of the day. We watched many malt liquor drinks infused with caffeine get consumed. A general festive energy was in the air. The passersby were some of the most colorful people I have ever met. From our position the music was three hours of noise.
This is the birth of the El Cortez Hotel, 600 Fremont Street painting…
While checking my phone in the morning before leaving for Fremont I came across this photo of Prince from his concert the night before in Los Angeles. It reminded me of my studio in NYC where I have the Purple Rain record hanging on the wall.
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After 58 years the Las Vegas icon took its final bets today.
Two weeks ago we decided to paint The Sahara before it shut down.
Let’s celebrate with a recap…
Another dry sunny day in the desert. Great weather for never having to urinate while painting on location. It was particularly hot this morning. We set up on the edge of the property with a fence to our back supplying some welcomed shade.
I sit down for a moment to put on my leg protection.
We set up far away from casino operations. A security guard came out to see what we were doing and went on his way.
I decide on a bold composition that includes The Stratosphere. I block in the main forms with yellow. The proportions are off so I add some dark lines to fix the yellow.
Focusing on The Stratosphere, giving it volume. I add some green to the sky to shake things up. Perhaps inspired by the sounds of the rattling roller coaster and screaming riders.
Time to add the letters. The font is pretty cool. I like how they use the “S” as handles for the doors.
A few hours in to our new painting, the security guards changed shifts. The new crew forced us to leave the property. This is a parting shot of the first vantage point.
A cool view from inside the canopy as we went inside to try to talk to someone that could help us stay in the original location. Of course the referred person was no where to be found. Time to give up on the first location.
Once home to TV legend Dean Martin, now their claim to fame is a 6lb burrito.”It’s child size, literally.” In 2009 the burrito had 275 wins and 4 losses. I decided not to give it a shot.
Getting going in the new location across the street. The wind starts to pick up. At times I find myself holding the canvas securely while I paint. For a few minutes I walk behind me to see what Borbay is doing. As we are looking at his canvas I jokingly say “The wind is going to blow our easels over any second.” Less than a minute later a big gust comes and knocks both our easels over. Our other painting partner Jerry Shawback ends up with a painting covered in sand.
I have a breakthrough moment in the painting and decide to include aspects of both vantage points.
A few touches of detail in the highlights and shadows to wrap it up. That’s Jerry on the left.
End Of An Era, The Sahara | 20 x 20 inches | acrylic on canvas | 2011.
The imagery conjures up memories of driving down the strip looking up at the casinos. The bold colors and improvised juxtaposition give the painting a dream like quality. The Sahara may not stand much longer, but it will remain a pillar of Las Vegas history.
This is truly the end of an era. The Sahara is gone, but not forgotten.
Borbay’s Sahara painting and recap:
See You, Sahara, Las Vegas | 20″X20″ | 2011 | Available | Acrylic and Collage on Canvas
View other paintings from the Las Vegas trip:
Welcome to Las Vegas, 24 x 24 inches, acrylic on canvas, 2011.
El Cortez Hotel & Casino
El Cortez Hotel, 600 Fremont St, 24 x 24 inches, acrylic on canvas, 2011.
Broadway Bares: 2 Hot, Las Vegas Live Painting
Bares Cares, acrylic and ribbon on canvas, 20 x 20 inches, 2011.
Check out this great time lapse video of Las Vegas that includes us painting, by Allan Gange.
As most of you know I just wrapped up a nine night painting trip to Las Vegas with Borbay. Contrary to popular belief we not only managed to survive, but we painted hard. Flying to a destination to paint raises the stakes. Time is limited, the conditions are unknown, and the unexpected will occur.
We started our mission to paint Vegas with one definite painting, the Welcome to Las Vegas Sign. We encountered menacing painting conditions and a circus of visitors. Let me take you there…
The dry heat, blazing sun, and multidirectional dust filled wind was fierce, so I started with a quick compositional sketch.
Time to dive in with the paint. These were the quickest drying paint conditions I’ve ever experienced. Sometimes the paint would dry on the brush before I could put it on the canvas.
First major compositional decision to move the sign higher.
Our first Elvis visit. Borbay’s canvas is on the right.
Starting to really get rolling with most of the canvas touched.
This woman came to the sign to take a picture with her baby bump. I took a quick break to show my support.
Now that the composition is mapped out its time to start adding the details.
Time to add some palm trees, which always reminds me of this painting. At this point I’m starting to feel the painting really come alive.
Action shot of a happy Borbay showing off his dirty fingers. Stay tuned for his finished painting.
I loved the purple mountains in the background so I decided to feature them on the right side of the composition instead of a bunch of mismatched buildings. It was at this point that I realized this painting would incorporate my interest in the relationship of man, nature and technology. I’ll explain more at the end.
I started to add shadows in the last image, but painted over them when I decided to not capture the scene at that time of the day. And thats a wrap for our first day painting in the desert.
Before going to sleep I realized I lost paint that fell out of my easel on the walk home to the hotel. I knew I lost at least four tubes of paint. I decided it was worth a solo walk to look for the paint. Here are two night shots I took of the sign. On my night mission I found one tube. The next morning on our way to the sign Borbay found another tube. 2 of 4 tubes recovered, Hooker’s Green and Violet.
The beginning of day two started with the text in the sign and deciding to get rid of Mandalay Bay in the middle of the background.
Taking a moment to step back and look at my painting from a distance. I also wanted show you guys another Elvis.
Working on the grass, the path, and the road. I selected a composition that invites the viewer into the landscape. I talk more about this at the end.
Time to lock in the time of the day and add shadows again.
A picture of Borbay taking a quick break on the astroturf. See my hat to his left? I had just gotten up from laying down myself. It felt so good. See the canvas in the lower right hand side? That is of our local painter friend Jerry Shawback. We met Jerry on our first day when he came by to see what was going on and ask if he could join us. We met up with him early morning on day two. He turned out to be a great guy and painted with us for the rest of our trip.
It took little time for us to enmesh ourselves with the tourists and local people that frequent this must-see destination. Colorful 4/20 weddings, a preggers chick with “Vegas Baby” painted to match the sign on her belly, a consortium of Elvis’ and conversations with a dope photographer by the name of Gilbert fueled us as we painted. Gilbert showed up towards the end of our second day of painting. He came by to tell me he found paint we left yesterday and stashed it by the bus stop. Ten minutes later he returned with my other two missing tubes. 4 of 4 recovered. Thanks G-man!
I met Sheila and Veronica when Sheila asked me to paint her a tattoo. I was in the zone, but at least she didn’t ask me if I would do a caricature. It turns out Sheila and Veronica are very cool. They will rejoin us later in the week in a much sexier setting, stay tuned for the Broadway Bares painting update.
Sheila and Veronica posing under the sign after the tattoo.
Welcome to Las Vegas, 24 x 24 inches, acrylic on canvas, 2011.
And here is the finished painting.
The iconic sign from 1959 signifies you are entering this man made oasis in the middle of the desert. An oasis that continues to grow with each resort trumping the next. As I painted the sign I realized how beautiful the natural surroundings were. I decided to eliminate all of the resorts in the composition. A vintage throwback image of Vegas. There are three ways of entering the image. The grass on the left is a soft resting spot, the dirt in the middle weaves back and forth, and the hard cement on the right zips right into the background. We may be getting “there” faster, but what are we missing along the way? Which path are you on? Which path is American society on?
Painting on location is a beautiful experience. It’s a race against time as the light is continually changing. Being anchored in one spot all day, often days, allows you to learn things about a foreign location that you don’t even know about the street you live on. The location becomes a living entity. One thing for sure is this location was alive in full Vegas glory.
Here is Borbay’s finished painting. Learn more about his painting and his process by visiting his blog.
View my other Las Vegas paintings:
End Of An Era, The Sahara | 20 x 20 inches | acrylic on canvas | 2011.
El Cortez Hotel & Casino
El Cortez Hotel, 600 Fremont St, 24 x 24 inches, acrylic on canvas, 2011.
Broadway Bares: 2 Hot, Las Vegas Live Painting
Bares Cares, acrylic and ribbon on canvas, 20 x 20 inches, 2011.
Check out this great time lapse video of Las Vegas that includes us painting, by Allan Gange.
FOR IMMEDIATE RELEASE
Planet Hollywood — Las Vegas, NV – April 23, 2011 — Time Out New York’s Most Creative New Yorker, Location Artist Borbay, and Artist Ari Lankin, will be painting live, at Planet Hollywood, Las Vegas for ‘Broadway Bares‘. Sharing the stage with Vegas’ biggest stars, including co-hosts Holly Madison and Josh Stricklan — their resulting 75-minute paintings will be auctioned off to benefit Broadway Cares/Equity Fights AIDS.
About Borbay
Upper East Side artist Borbay has painted edgy portraits and famed locations around the world, including The Guggenheim, TriBeCa Grand, Woolworth Building, Elaine’s, Chrysler Building, Hancock Tower (Chicago), Runaway Bay (Jamaica) and San Marco Cathedral (Milan). His architectural impressionist collage paintings have been featured in Time Out New York , Wall Street Journal Japan, New York Post, Whitewall, The Huffington Post, The Source and more.
About Ari Lankin
Lankin creates bodies of work in different visual styles ranging from conceptually based abstraction to photorealism. There is nothing he can’t paint. Lankin worked at The Guggenheim, produced a shoe with Adidas, and has collaborated in a wide variety of projects. “Life is my muse. We make things with tools and ideas. The show travels with us wherever we go.” Ari lives and works in Manhattan.
Ongoing Vegas Action
Lankin and Borbay have painted the Welcome to Las Vegas Sign, and will be painting on Fremont Street tomorrow, prior to the charity event. Follow them live on the Twitter hashtag #VegasLive
