Due to sizing, this RUN does not come with a framing option.
Curators Lori Zimmer and Natalie Kates are pleased to present “Calm Before the Storm,” a two-person show by Logan Hicks and Beau Stanton, which opens October 17th from 6-9pm at the Highline Loft. Taking inspiration from nautical superstition, flood myths, classical paintings, life changing events and the modern issue of rising seas, the artists have created new paintings, multiples, and a site-specific installation of a reconstructed ship and captain’s study. A special print release party with 1xRun will take over the space on October 22nd. In honor of Halloween, the show will conclude with a costume party, “Sailors, Sirens and Sea Monsters”, in honor of maritime folklore on October 28th. The exhibition and installation will be set to an original score by Luv Jonez.
Logan Hicks’ interpretation of “Calm Before the Storm” will fuse the photorealistic stencil artist’s interest in nautical traditions with the implications surrounding the serenity felt before major life changing events. With a foot planted in acceptance of fate, Hicks’ new works will reflect both traditional imagery, such as his reinterpretation of The Execution of Lady Jane Grey, and modernity, such as the role of and reliance upon technology as our means of communication- which has created an impersonal barrier when receiving news both good and bad. For Hicks, the works in the exhibition will examine the driving force of fate, and the inability to alter momentum with paintings, aerosol on canvas, aerosol on panel and editions of aerosol on paper.
This RUN comes signed, numbered and with a Certificate of Authenticity from Beau Stanton and 1xRUN.
Logan Hicks is a New York-based stencil artist whose work explores the dynamics of the urban environment. Originally a screenprinter, Logan’s work has gained notoriety due to his ability to capture the sometimes mundane cycle of city life in a haunting, yet refined way with his hand-sprayed stencils.
Stenciling started as a substitution for screenprinting, but quickly morphed into Logan’s medium of choice. A perfect union was formed through stencils: the dirty and gritty nature of the spraypaint showcasing the decay of the city while the muted shine of metallic paint mirrored the faint glimmer of hope and life within it. It is this symbiotic relationship with the city that fuels his work.
With his photorealistic style, Logan draws a parallel between the cold, harsh city and a warm, vibrant organism. It is alive; a breathing creature where the ebb and flow of people washing over its sidewalks act as cells circulating through its veins. Buildings block passageways, walls block views, doors hide openings. The outside world is effectively shut out while the city creates its own reality. Confined spaces on subways, honeycomb living structures; it is a labyrinth of working systems limited only by its border, its ‘skin’.
Logan uses his art to explore the microcosm in which he is a cell, just part of a whole. The nuances of city life that epitomize the urban existence are what he dwells upon.