I’ve always had a strong interest in mathematics. Early in my career I made paintings that were derived from mathematical equations and were framed within the grid. Most notably Deja Vu I, and Deja Vu II.
When I started this painting I had those paintings in mind, but there was no mathematical theory behind the layout. This time I decided to go on gut intuition. I had no idea where this would lead me.
This is how it went….
I laid down a grid of five inch squares. I added the colors one at a time at first.
As the painting progressed I added more than one color at a time. This is how the painting looked after finishing filling the squares with color. Keeping it loose, it’s ok to paint outside the lines.
I wasn’t feeling how the colors were interacting so I decided to cover some of the squares with white. The layers of white are intentionally translucent so the color shows through.
Something was missing… black.
Back to my roots of black and white. At the same time notice how the colors radiate under the white squares. Look again, the pattern is not symmetrical.
Now that the color is muted, nine circles activate the linear grid.
Exploring the new spaces created by the circle outlines.
Now the circles are completely integrated with the grid. At this point I’m starting to read the painting as a meditative symbol.
Time to add color, it stirs the soul in ways black and white can not.
The importance of the integrity of the grid fades as I explore the meditative feeling.
At this point I’m literally painting myself into a state of unconsciousness.
Almost all recognition of the outer circles are gone.
The image felt like it was missing something. I started to get stuck in parts, so I brought back the circles.
The structure was complete. I felt there was a deep unity and at the same time paths of expansion. To finish the painting I refined the circles, clarified the points that kiss the edges, and further developed the lines.
Mandala | acrylic and oil on canvas | 30 x 30 inches | 2011
Click image for larger size.
The final image will hopefully enable the viewer a visual path to a meditative experience.
This is the second painting I did after the biblical flu that had me sidelined with a fever for 9 days. Between tripping out on a fever, lucid fever induced dreams, over twenty movies including the whole Twin Peaks series, and not being able to paint I was so ready for this painting to pour out of me.
As usual with my abstract work, I dive in without any preconceived image…
A big yellow amorphous shape, why not?
I kept it very loose and tried to surprise myself. Some strong lines to counteract the organic yellow shape.
New colors and shapes seem to have individualized spirits.
Two strips along the top and the bottom, allude to analog film. This was influenced by watching so many movies and my experience with photography/film. Aesthetically it holds the diverse forms from spilling out of the top and bottom of the canvas.
A canvas is a window to another world. Add light and the image dances. The individual forms start to gather together and a large central form develops.
At this point I’m exploring the organic forms and fleshy feeling. This is balanced by the architectural feeling of the crisp horizontal strips on the top and bottom of the canvas. The self, the brain, and our instantaneous digital connection to the rest of the world….oops, I was just thinking out loud.
There was a lot of destroying and rebuilding while making this painting. I had to take things away to see if they were needed. When I rebuilt them I already had a knowledge of the purpose they served. Also what was was missing in their absence. 
The lower forms are now shining through the strip on the bottom of the canvas. Some people wish their life is a movie. If you ask me, everyone’s life is a movie. Some people turn their projector light up brighter than others.
View With A Room | oil on canvas | 30 x 40 inches | 2011
This is the first painting I made after taking a few consecutive days off from painting. I decided to put hardcore painting on ice for a few days while I was busy working on some other projects.
Immediately after getting home from the Clipped reception after party I started painting. It felt so good to be back at it.
This painting is full of raw energy and excitement, some would even call it joy.
I call it Roarrr.
Let’s take a look at some of the stages and you can decide for yourself…
Diving in with pink, oh how I love pink. It’s almost like a guilty pleasure. Here I’m painting with brushes and fingers.
Introducing some primary colors with a strong linear quality. When I look at a line I experience a sensation of movement from one point to another. The type of line suggests the type of movement. I think it’s safe to say these lines are capricious in nature.
Utilizing the edge of the canvas I flatten the imagery with the picture plane.
New colors and new mark making breathe different life into the painting.
Around this time I’m starting to understand the life of this particular painting.
It’s crucial to harness this life power but not misuse it. That remind’s me of this anonymous quote: “Some say it takes two people to do a painting, one to do the painting and the other to tell you when to stop.”
Roarrr | acrylic and oil on canvas | 30 x 40 inches | 2011
Anything is possible with teamwork. One person made this painting, and the same person knew exactly when to stop. This painting is alive.
Click the painting for a larger image and watch the process video in HD.
While going through images over the weekend I realized I haven’t posted this painting from late Winter.
I started this on one of those winter days when it finally starts to warm up.
So with the sun out, and the windows open, I ripped into this 4′ x 5′ canvas.
Warm weather, and a big canvas is a great combination after a long winter.
Just looked at the time stamp on the photo and I started it February 14th at 2:36PM…oh, that special day
let me take you back….
Starting out with a slick thin black line. Felt great with all the freedom of a large canvas. Keep the paint flowing.
After bringing in some color I introduce 12″ x 12″ blocks.
Playing with the structure and using the blocks to literally build the composition. A big playful signature in the middle. Brush strokes are a type of signature.
Time to push the picture plane back with some white. The “X” in the middle pushes the other imagery back.
Break the grid by exploring each square, and merging them together.
A general cohesion is forming, but not for long…
Simplify and dissolve the geometry. The form becomes more organic.
Increasing surface area with folds.
Changing opacity to alter the depth.
Whats the difference between drawing and painting? Save that debate for another time. It doesn’t matter with strong mark making. More of that.
Getting rid of some of the black that held the painting together since the early stages.
Pink On The Brain | acrylic on canvas | 48 x 60 inches | 2011.
I hesitate to explain the imagery in my abstract paintings. It’s abstract for a reason, actually thousands of reasons.
Sometimes I feel a title can lead the viewer too much. Don’t let it.
Check out the video in HD, and click the finished painting for a larger image.
On July 14th the reception for Clipped, a group show featuring the work of Andrew Matsumoto, Michael Serafino, Jeremy Penn, Flip Skip, Ari Lankin and Borbay was held at Le Salon d’ Art. Orignally scheduled from 7-10pm this party didn’t end until about 1am. This is what happens when you get a great group of people together and a very large quantity of refreshments that kept being replenished by the many happy guests. We would like to thank all of our loyal fans and the many new ones that came out for great art, conversation, and NYC style revelry. We’ll see if the streak continues and anyone gets married from meeting each other at this show. Sparks were flying, art was consumed, and drinks were flowing.
All of the photos (except the first two and the last) are by the very talented Tessa Beligue Photography. When you are finished with these take a minute to check out more of Tessa’s photos. I particularly like her portraits, night shots, unique perspectives, and intense use of color.
Relive the glory, or experience if for the first time…
Ari Lankin, Jason Borbay, and Jeremy Penn pose for a picture a few minutes before the show starts with the always early art/entertainment guru G (in green). Photo courtesy of according2G.com, check out the link for his really cool blog. He is everywhere and sees everything.
Penn and Borbay lounging in the plush salon chairs before the doors open. Photo courtesy of according2G.com
Michael Serafino hanging out by Borbay’s home base.
Matsumoto, Victoria, Lankin, and Serafino pause for a moment. A camera in a photo, so real, surreal.
The ever alert Serafino, nothing gets by him. The lovely Ms. Wells and Penn chat it up in the background.
Sanpaku eyes gaze through the crowd as the party starts to pop. People getting locked and loaded.
Now thats how you carry a cell phone.
Matsumoto!
Lankin and Shiva Krishna in the middle of a formal discussion.
The vibe.
The view from behind the bar. Borbay’s Marilyn holding strong. Read more about his painting here.
Reflections, people reflecting, don’t blink, or rather blink twice and move along.
The Deception of William Murphy by Jeremy Penn.
Paparazzi started to get out of hand. Two photographer’s passing in the night.
Borbay’s work including his newly finished Old Bay painting hang above the mirrors.
James Serafino, a handsome fella, a good bartender, but a much better illustrator.
Full house.
Who could resist that smile? RED
Where’s Courtney?
More vibin’
Lankin and the always interesting Ms. Dubash discuss the art of staying young at heart forever.
Penn, Lankin, and Serafino. One for the ages.
Ed. Nuff said.
Just having fun.
A Penn, Victoria, Lankin sandwich. Hold the cheese.
Gallery/Salon owner Hans Kerremans and his spectacular wife Grace.
V is for Vogue.
Borbay, Jon-O, Ms. Grignon, and Lankin take a moment even Mr. Kodak would be proud of.
Shiva supports Borbay as he gives a rousing impromptu speech to the masses. Artist Paul Zepeda in the background.
How many speeches end with people high fiving?
Newly hitched husband and wife. Congratulations!
Chessa and Matsumoto. She is clearly overwhelmed, but rises to the challenge, with how to pose alongside the artist.
Stunning portrait of Christina. I love Tessa’s portraits. That’s why we hired her to cover our show.
Fedora, Shades, and Sanpaku.
Vibin’ continued….
A couple of rad fashionistas, Christina and Nigella.
Has anyone seen Edvard Munch? I demand answers! L, Z, and C hold a tribunal in the background.
Closing down the shop almost 3 hours after scheduled ending time. You know how we roll.
The End.
Thank you to everyone for coming out.
Immortal Captain | oil on canvas | 30 x 30 inches | 2011 | Ari Lankin
As many of you know I have nurtured my love of art for a long time, but I have been nurturing my passion for Flyers hockey since the day I was born. My parents have blessed our family with season tickets since 1973, well before I was born.
Today the supposed keystone of the Philadelphia Flyers team was traded. Captain Mike Richards was dealt to the Los Angeles Kings 30 minutes after fellow Flyers star and good friend Jeff Carter was traded to the Columbus Blue Jackets. The first deal was no real shocker. The team had salary cap pressure while trying to sign a new goalie, which apparently they did after the Richards trade.
The Richards trade was a little more to stomach.
Will next year be the year the Flyers recoup the Stanley Cup?
During the last week of the regular season I started a Mike Richards painting. Richards was The Flyers Captain and stud player who was destined to be the next great figure in Philadelphia sports. That was until the 2011 hockey season happened. Destiny waits for no man.
On June 23, 2011, The Flyers made big changes in the organization, and I made a big change in my Richards painting.
Here it is..
A spacious grid to give a framework to the structure of the painting. Screaming orange to set the mood for this painting.
Most of the body has solidified. And I start adding orange marks in the background.
Looks like this guy is Flyered Up. Here comes color number three. I love laying a dark color into a very light painting. The sensation is tangible.
Building the form up with different shades of orange and white. Some Flyers symbols start popping up in the flames.
There was too much separation with the black background so I decided to lighten it with some dry brush marks. I was inspired by the look of ice.
More specifically the ice at a hockey rink. Art related hockey fact: White pigment is added to the water that is frozen to make the rink.
Starting to really catch that Mike Richards fierceness. He can really be a beast on the ice when he is on top of his game.
Immortal Captain | oil on canvas | 30 x 30 inches | 2011 | Ari Lankin
The painting now stands as tribute to all Flyers Captains. Especially the greatest Captain, the immortal number 16, Bobby Clarke.
I have faith in 2012 for this organization. I must admit this is an exciting move by Paul Holmgren. We welcome new Flyers Brayden Schenn, Wayne Simmonds, Jakub Voracek, and Ilya Bryzgalov.
I would also like to give a big thank you to Richie and Carts for taking this team to high levels. You will always be a great part of Flyers history. I wish you both the very best in your careers. It’s unfortunate we won’t get to walk together forever.
You know what they say in hockey, its not the name on the back, its the crest on the front.
Let’s Go Flyers!
Jaromir Jagr | acrylic, oil, pen, collage, and cloth on canvas | 11 x 14 inches | 2011 | Ari Lankin
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
A steel and glass pyramid stands tall in Nevada. A beam of light shoots out from its apex. For our last painting we decided on the most recognizable hotel on the strip. Our home base for 9 nights, the Luxor Hotel and Casino. Old is new, and new is old, the space time continuum quivers.
Per my modus operandi, I zoned out listening to the same album on repeat. I listened to Mac Miller’s K.I.D.S. on repeat for the first 7 hours of this painting. You can download K.I.D.S. here for free. Mac Miller is a very talented 19-year-old rapper from Pittsburgh.
Let me take you through the development…
After deciding on a head-on composition I dove in with yellow.
Feeling out where to place the pyramid… a little more up and to the left, a little more, perfect. Framing the main subject with the obelisk on the right edge of the canvas. Now there are essentially two edges on the right side.
I decided to lay down gold for the sky and silver for the pyramid. Here comes magenta to create some depth in the image.
More color and more depth. It’s time to add the details now that the general composition is solidified. I put down a dark color for the pyramid, but decided to revert back to the silver.
An action shot with my subject in the background. Headphone in the right ear.
Starting to carve out the form of the sphinx by adding shadows and blue on the headdress.
Jerry Shawback painting hard in the trenches of a vacant hotel lot across the street from the Luxor.
Another action shot now turned directly towards The Luxor.
It was hot out there and apparently my pockets got a little steamy. I decided to put in the trees and was instantly happy with this executive decision. Time to darken the pyramid for real this time.
A quick visit to the other end of the block to say what’s up to Borbay. Check out his Luxor painting.
Dramatic silhoutte photo opportunity on the way back to my easel.
Is that beam of light from the top of the pyramid visible from space? Apparently. Let me note for the record, even with this scientific miracle we had no wi-fi access in our room.
Everything is solidifying quite nicely. A big jump at this time with: highlights and shadows on the trees, reflections on the pyramid, the monorail track, and details on the sphinx.
The blue sky brings out the sphinx’s eyes, and here comes the monorail in the lower left.
Old Is New and New Is Old, The Luxor | 20 x 20 inches | acrylic on canvas | 2011
Fin.
View my other Las Vegas paintings:
Welcome To Las Vegas Sign
Welcome to Las Vegas | 24 x 24 inches | acrylic on canvas | 2011.
The Sahara Hotel & Casino
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 Bare: 2 Hot, 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.
I love helping a worthwhile cause and I love painting in front of an audience. On the night of the highly anticipated Broadway Bares: Las Vegas 2 Hot performance at Planet Hollywood, Borbay and I painted live in front of 1,000 people.
Here’s how we got involved…
I met Sheila at the sign back on day one. She and her friend Veronica came over to see what I was working on and then requested a painted tattoo. She was friendly so I gladly offered my skills. While I was finishing her “I <3 NV” tattoo Sheila invited us to Broadway Bares. A one night all-star charity event she was choreographing and performing in. Very cool. Even better, I offered our painting services. The next day we received a call from organizer and performer Paula Caselton. She saw our work online and wanted us to join the show.
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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