KNEW CONSCIOUS PRESENTS ‘TRANSMISSIONS FROM THE SOURCE’

  Digital Illuminating Artwork by Kurt Redeker, in collaboration with Kris Davidson, Dan Bishop and Robbie Oberg.

Please join us for the exhibition opening reception at Knew Conscious Gallery on Saturday, April 13th, from 7-11pm. Video Mapping by Integrated Visions Productions. Music by Soulacybin and DJ Russo. Refreshments provided.

The collection will be on display throughout April and May during regular business hours (MON-FRI / 11am-4pm), as well as by appointment. A closing reception will be held on Friday, June 7th, from 8-11pm.

Knew Conscious Gallery
2700 Walnut Street
Denver, CO 80205

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Kurt Redeker is KNEW CONSCIOUS. His digital art is influenced by sacred geometry, the ancient study of the fundamental patterns of life, the oldest math known to man. Redeker is a student of geometric patternmaking, taking cues from Islamic, Mayan and Aztec art and imagery. By studying the nature of these forms and their relationship to each other, his art seeks to gain insight into the scientific, philosophical, psychological, aesthetic and mystical laws of the universe. By manipulating pattern and color to create movement within a static medium, Redeker endeavors to communicate a portal to life; he hopes that his art taps into the healing power of universal vibration and engages a visionary consciousness in the viewer.

www.knewconscious.com

.::KNEW CONSCIOUS PRESENTS UNTITLED WORKS BY BRIAN LEACH::.

Opening reception at Knew Conscious Gallery on Saturday, March 16th, from 7-11pm. Music by White Robot.
Closing reception on Friday, April 5th, from 8-11pm.

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Brian Leach was born in 1976 in Pontiac, Illinois. He is
currently residing in Steamboat Springs, Colorado.

A Carpenter for the last 16 years, an illustrator and artist for as long as he can remember, Brian’s current works combine the two creating a unique style all of his own. Although his work can sometimes come across as dark and chaotic, that is not always Brian’s intent. Rather he is focusing on evoking emotion, and even hope.

‘Death and pain may not be something to fear, It could be just as beautiful as it is dark, our lives happen in the blink of an eye, and may be just a minute of our existence. This life may just be the door to another beginning.’

His first solo Gallery show was a showcase of his illustrations with Schiesser Gallery in Steamboat Springs, which was followed shortly after with a show of his wood burnings and wood work.He has since then showed with Red Contemporary Gallery, Vertical arts, Urbane, Atmosphere Gallery, Love Gallery, and now Knew Conscious Gallery.

“Brian Leach’s art sings loudly to the viewer what he himself doesn’t always seem to seem able to communicate verbally, while at other times, such as with his political illustrations, he and the viewer have no doubt what is being communicated.In his moments of artistic brilliance, it seems to me that Brian Leach is powerfully tapping into the unconscious of our times just by following his instincts. The reaction to his artwork can be a powerful punch to the gut and the viewer’s reaction, and following interpretation, often seems like the answer to a question he wasn’t sure he was asking.”
-Micah Hutson Valley Voice artist profile Nov. 2012

On view February 9 through March 2nd 2013

If you are interested in any of the work shown in the gallery, please contact us for more information and availability.

Limited Edition print “Coffee and Cigarrettes” available exclusively through Knew Conscious Gallery.

Check out our store for more details here.

On the journey to a new form of expression, the so called “Quantum Realism”, young artist Dennis Konstantin Gerigk unifies the search for the inner structure of things with the phantasmagorias of the phantastic and the vivid color spectrum of today’s visionary art. Taking building blocks out of Cubism, Pointilism and Futurism, the artist is not interested in the mere copy of things, rather more he wants to show us the non-static nature of our reality. His work is dominated by the expression of change, the metamorphosis of 3-dimensional structures into their next state of existence.

The greatest inspiration for the artist comes from the latest insights of quantum mechanics and eastern philosophy which both realize the world as vibrating field of form. Dennis Konstantin transfers this knowledge into painting by trying to “weave” objects together by layering lines of color. Although he has a very scientific approach to painting it is also important for the artist to tell stories with this kind of expression. So the figures in his work are on a constant journey to personal freedom and a reality behind our well-worn thought structures.

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After experiencing several deeply disturbing, yet sublime transcendental states in his late teens and early twenties-including sleep paralysis, astral projection, and archetypal dreaming, among other things-Gregory Pettit turned to art as an exploratory tool to study and critique his newly emerging world view. By inducing himself into a trance state that fuses
interior hypnagogic imagery into his waking observations, Pettit gains the ability to see the static and isolated become fluid and open. The dynamic between object, environment
and viewer becomes scrambled.

Many influences weave their way into Pettit’s themes, including Gnosticism, Qabalah, Alchemy, dream psychology, astronomy, quantum physics, and science fiction. Each subject colors his growing understanding of the mechanics behind the veil of ordinary perception. Pettit’s paintings walk the line between the abstract and representational. His imagery stems from the ability to use concentration as a solvent that dismantles the outer significance of objects and re-imagines all the possibilities present in the rudiments of their design. The resulting images born from this process provide a mix of the recognizable merging with the ambiguous or inexplicable.

Pettit’s ultimate goal of this practice is to learn how to live life with one foot on land on the other in the stream. He believes the key to innovation lies in the ability to incorporate a dialogue between subconscious and self-conscious, with the imagination as a mediator.

Please join us for an opening reception with the artists during RiNo Art District’s ‘Second Saturday’ showings on November 10th from 7-11pm, with musical guest DJ Russo.

Meghan Hope LeClair interviews the artists who make up Chamber Made, Leon Loucheur of San Francisco and Michael Gallegos of Denver about their current show at Knew Conscious Gallery.  

Megan:  I’m aware that you met years ago here in Colorado. Can you tell me about that meeting, and how you developed your working relationship?

MG: I definitely stepped on Leon’s toes when we first met.

LL: Yeah. Ha! I knew of Mike from seeing his paintings around, but we had never met. I admired his work, but was a little sour about an event that had transpired: A friend of ours, Jim Stigall, and I painted a beautiful piece that we were really proud of. We spent all day working on it. Unbeknownst to Mike, he showed up ten minutes after we left and painted over it; so when we came back to get pictures, his painting was on top of ours. Then I pretty much hated his guts…until I actually met him. Once I was introduced to him, we became friends.

MG: That’s how all the good friendships start.

LL: Exactly. It was hate at first sight, but then I came around. He won me over.

MG: Our collaboration began when we planned to do just one piece together. Leon did a portrait of the two of us standing next to each other from a photograph we had taken partying together, and then he sent the painting to me. It all got started from there.

LL: It was just a picture where we were just goofing off, so we had absurd expressions on our faces. That image lent itself to Mike’s style, and it opened the window to how our different styles could fit together. Because we had been doing a lot of graffiti pieces together, among other productions, we were sort of familiar with each other. Neither of us is too egomaniacal, or cares if we step on the other’s toes. That openness with one another allows us to take a lot of liberties with each other while not worrying about hurt feelings, or anything like that. That’s the way it’s evolved, and now it’s like our comment on the world: a sarcastic joke about the way we feel about the world. We crack ourselves up a lot when we work together. The paintings are serious, but we paint with a lot of sarcastic humor.

How would you describe each other’s style?

MG: I honestly can’t really believe his style, the textures. Just watching the way he mixes paint alone, is tedious; then to see the beautiful part that comes out of it…that’s definitely what I like the most about Leon’s style.

LL: I think that we like what each other does, because we are such polar opposites. Because the process is so different for each of us, it’s really amazing to watch the other. I like when we get together. I love to watch Mike paint. It’s very exciting. Like he said, I spend hours mixing my colors to create the illusion of realism. But with Mike he just dives right in without a whole lot of premeditation, and it’s really fun to watch the way it evolves so spontaneously. I think he has an incredible instinct and intuition. That’s something that I have a hard time accessing in my own process…and that makes me appreciate it even more. I love watching him paint.

Your collaborative process is unique. Can you explain it for our readers?

MG: Basically one of us will start a painting and will give the other a vague idea of what we’re going for. Usually, Leon will paint something and send it to me, then I get it and ill feel apprehensive about touching it. Finally, I’ll get into my groove and paint over it, or paint with it…then nervously send it back to him, waiting for his reply. And then he does something over what I did, and it keeps going back and forth.

LL: Usually there are about three to four levels of exchange. Sometimes Mike does the first move, but usually I start them. I try to leave enough space for him to work with, and as time goes by I’m really understanding how to set him up better by the way I space my images. After Mike does something, I will riff off of what he’s done, and mimic his style a bit. Sometimes it’s hard for him to take liberties over what I’ve painted, and I understand that. I always tell him, “Just go over it man, don’t worry about it. Rough it up!” That’s part of the charm of it.

MG: I treat it with kid gloves.

LL: Ha ha, ya, I’ve gotta coax him into pushing further into my section sometimes. He’s very kind and respectful. However, I think that one of the great things about the collaboration is that we’re not afraid to push back and forth over each other, or edit each other.

I’m intrigued by the exhibition’s title, ‘After Apologies.’ What inspired the name?

M: Well, I kind of came up with the name. A lot of the solo pieces I have in the show deal with the idea that even after you apologize to somebody, there is still that layer of distrust that will be there forever…and you can’t ever really get rid of it.

Neither of you studied art in a formal setting; how do you believe that autodidactic process has shaped your work?

LL: I think that, personally speaking, I see a lot of people from art school who are rebelling against their experience. I never had that need to shun the use of traditional technique. I was always attracted to that. I taught myself, but that doesn’t mean I did so in a vacuum; I looked at what other painters did and tried to figure it out for myself. Then, through replicating what they did, my art started to get its own momentum, and its own life. Once I developed an understanding of the paint and how to manipulate it, how to layer it, then I detached from what they did, and pushed it in my own direction. I think that also made me a very hard worker. I was driven because I didn’t start brush painting until my late twenties, and then no one was there to teach me; it made me very hungry to pursue it as hard as I could. I think that was a real blessing, actually.

MG: There have been a lot of times when I thought that I should have gone to art school, or I feel like the people who did go to art school are doing just a little bit better than I am professionally. I don’t really know anybody that went solely for painting. As far as web design and stuff like that, they’re all doing well. I have always felt that I had an understanding for art, ever since I was thirteen years old, when I began creating my own work. As I progressed, I avoided art school; I didn’t want to be the guy that was known for the school he attended.

Finally, what words of inspiration do you have for other aspiring artists?

LL: I think that the most important thing is to be passionate about it, and paint as often as you can. If you have true love for it, then you will want to do it every single day. Ultimately talent gets you only a fraction of the way. Sitting down and bending yourself to the task—a task that you love—with great consistency, over a long period of time, will make you very good at what you do. So persistence, and consistency are the two key factors in my opinion.

MG: Try not to limit yourself. Do anything you can that you feel is artistic, and if you feel ashamed about it, find out why and just do it anyway.

LL: Bare yourself naked before the world.

MG: That’s what you gotta do, right? I think that a lot of people limit their art, and it holds them back, but if they are willing to take the next step, in a different direction, then it’s better.

LL: Dare to be different. That’s the ultimate accomplishment of any artist: to broaden the taste of their audience. To push them beyond their comfort zone and make them understand something new that they didn’t understand before, and find meaning in it.  That’s when art is at its best, when it teeters on the edge of cliff, does a few daredevil tricks, and still manages not to plummet into the abyss.

..:: ASTRAL FREESTYLE ::..

Martin Stensaas with Naomi Hinds

Opening Reception :: September 8th 8 – 11pm

Closing reception ::  First Friday of October 5th 7-10pm

4:00-4:45 DJ Russo

5:00-6:15 The Great Mundane

6:30-7:45 Akara

8:00-9:15 KiloWatts

9:45-11:00 Octopus Nebula

VIP After Party @ The Meadowlark

Patio Bar
 11-12:30am The Great Mundane
 12:30-2am Kilowatts

Basement Bar
 11-2:00am DJ Consciousness & DJ Russo

Group art show visual artist meet and greet in the gallery 6-7 PM.

Kurt Redeker

David Hale

Kris Davidson

CT Nelson

Martin Stensaas

Krystleyes

Reuben Rude

Amanda Sage

Jeff Wood

Jud Turner

Erin Asmussen

John Haley III

Grant Standard

Hilal Hibri

Kati Hibri

David Richardson

Tracy Tomko

Justin Totemical

Michael Gallegos

Jon Lamb

Michael Ortiz

Max Kauffman

Talia Sandoval

Here’s a few photos from the reception, you can find the entire album on our facebook page.

Reuben Rude’s “Almost Ready” will be showing through First Friday August 3rd.

Knew Conscious Gallery is honored to welcome San Francisco artist Reuben Rude back to Denver after over 5 years, with a new exhibition of work titled “Almost Ready”. Join us for an opening reception with the artist on Second Saturday July 14th at 8pm, with musical guest, Raw Russ!

Reuben Rude’s current work can be described as drawings in paint over re-created time- lapse collage. Clean, sculpted lines meet artificially haphazard texture. He works in all kinds of acrylic paint and mediums, found wood and ephemera, and generous dollops of elbow grease. When asked about the themes in his work, he prefers to remain cryptic. But looking at it, one might guess that he is interested in the ideas of isolation, connection, and the true meaning of “home”.

Reuben Rude was born in San Francisco in 1969, after the moon landing but before the Rolling Stones’ legendary concert at Altamont. Within a few years, his parents migrated north, to settle deep in the woods of Mendocino County. Living in a series of tents, campers and ramshackle huts, without indoor plumbing or a television, he spent the better part of his childhood outside. When it was raining or dark he would read and draw. Because of his lack of development in any other area of study, he chose to attend art school in the city of his birth. He lives in San Francisco to this day, and probably always will. He ekes out a living making paintings, posters, and all manner of commercial art. He never goes camping.

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