Egoisme presents Art n’Street
In collaboration with Damiax Thor of Damiax Art
Egoisme is pleased to present
“Art ‘n’ Street,”
September 12 to October 23
a collision of the audacious and the beautiful,
a synergy of the visual and textural,
a collaboration of artists and designers,
where art and fashion hit the pavement together
Damiax Art brings the best of SL art to the Egoisme sim for a gallery event like nothing you have experienced before. Weekly exhibits will introduce the finest artists in SL while you shop the seven amazing brands under the Egoisme label.
Stroll the custom-designed gallery, enjoy the beauty SL offers in the visual arts and fashion, immerse yourself in the adventure of exploration.
Want to learn more? Join our group at secondlife:///app/group/aef4bba2-e959-c9d2-e243-50ecddb083c3/about
take a trip to Egoisme
First Artist: Michael FROST:
CUT UPS from artist and filmmaker Michael Frost.
SL representative: Isotope Hax.
This series of works was first exhibited in the Los Angeles based Edgar Varela Fine Arts gallery.
Artist Link: http://www.frostisdead.com
Artist and filmmaker Michael Frost was born in Spain in 1971 and raised in Upstate New York. He took his BA in Cinema and Art History from Binghamton University and is the recipient of the 1997 Eastman Kodak Award for Film. He currently maintains a working studio in Los Angeles where he has resided since 1998.
“These pieces evoke a time in my childhood when I lived in post-Franco Spain. In my hometown of Sevilla, the ancient walls would be covered with sheets of torn film posters. Rugged lead actors and glamorous women in suggestive poses peeked out from underneath years of layered announcements for neighborhood theaters like el cine Becquer, where I spent hours in the dark entranced by the same images displayed outside.
“Here, using salvaged, vintage Italian movie posters of the 1960s and 70s, digital imagery, paints and inks, I’ve re-imagined that past and recast the characters in a violently brilliant narrative where the primal forces of femininity and masculinity clash and reassemble. The colors and textures of these pieces repeat the rich dynamic in kaleidoscopic illumination and tactile robustness.
“The video work transforms that aesthetic into a more conventional, yet just as fractured narrative. Resurrecting familiar faces from the film and television screens of the 1960s and 70s, these cut-ups, much like the fine art pieces, are digitally manipulated and presented in a new context, where heroines become demons, men become anonymous, and children become scapegoats.
“I hope to give the viewer the feeling that I get from creating these pieces, vibrant and exciting melodramas that played out as street art and in the movie palaces of my youth, yet imagined from the perspective of experience. For me, it is a total encounter of sight, sound, and memory.”