Justin Giarla, 941Geary, White Walls, and The Shooting Gallery are pleased to present The Belle of the Brawl, a solo exhibition of new work from Oakland-based artist, Jesse Hazelip. In The Belle of the Brawl, the artist continues his ongoing examination of the sociopolitical patterns of repetitive historical mistakes. As the dust settles from the war in Iraq, the anxiety of crisis looms large over Afghanistan. The artist seeks to address the pending inevitability of violence and destruction through a visual examination which will include iconographic imagery from the artist’s earlier work: herons, buffalo and WWII weaponry, while introducing a new assembly of symbols and motifs. The exhibition will feature over 20 mixed media works on found wood as well as a transformational approach to 941Geary’s 3,000 square foot space with a 16’ x 46’ ft installation piece and a second clandestine installation to be unveiled at the opening reception. The opening reception The Belle of the Brawl, will be held at 941Geary on
Saturday, January 15, 2011 from 7-11 PM. The exhibit will be on display through February 26, 2011 and is free and open to the public.
Jesse Hazelip was born and raised in the mountain desert town of Cortez, CO amidst Navajo and Ute Nation territory. At the age of 14 he relocated to Santa Barbara, CA and into an environment so vastly different from that of his childhood. It was there that Hazelip took root in the world of graffiti. With his involvement in this underground sub-culture, Hazelip gained an aesthetic and technique that is woven into his artwork alongside the imagery and history of his childhood. Through the techniques of painting and printmaking, Hazelip’s creative practice calls attention to the consequences of human destruction and society’s failure to reflect on the historical lessons of catastrophically devastating events. A large aspect of the artist’s working method centers around the development of a visual language that addresses politically controversial subject matter by using iconic imagery to spark conscious and subconscious recognition within the viewer.
America’s foreign policy under the pressure of wartime is called into question with the expansion of Hazelip’s growing visual lexicon. In The Belle of the Brawl, Hazelip will be introducing new visual elements such as scientifically rendered atomic and molecular structures, traditional Islamic geometric patterning and Arabian typographical design in order to extend his discussion of historical strife to our immediate armed conflict: Afghanistan. The Middle East has supplied The West with energy resources for years. With the latest discovery of Lithium mineral deposits reportedly worth trillions, the question arises “will the US ever leave Afghanistan?” Hazelip renders the atomic structure of Lithium in his new body of work to bring attention to the possibilities the resource might play in our continued occupation of this country.
Geometric and textual design are cornerstones of Islamic art. Hazelip introduces both of these aesthetic components to his new body of work in an effort to confront the military industrial complex and the role it now plays in the political, social and religious structure of the Middle East. For instance, in the background of two works the phrase “Blackwater Massacre” repeats itself in Arabic. This textual protest openly critiques the privately contracted American security firm as a symbol of our country’s private interest and profit during wartime. While the mantra makes reference to human nature’s capacity for repeating our destructive mistakes, Islamic geometric motifs appear in the background of other pieces as well, their mathematical structure allowing for a visual continuum that references human nature’s capacity for destructive repetition while also highlighting an alternative to the devastation: the human capability for beauty, ingenuity, and innovation. JESSE HAZELIP received his BFA from Art Center College of Design and currently works and resides in Oakland, CA. Hazelip has shown nationally with White Walls, 941Geary, MendenhallGallery, SFMOMA Artists Gallery and Space 07 and internationally with YvesLaroche. The artists has been featured in 7x7, Juxtapoz, Hi-Fructose, Beautiful Decay and Art Nouveau.
America’s foreign policy under the pressure of wartime is called into question with the expansion of Hazelip’s growing visual lexicon. In The Belle of the Brawl, Hazelip will be introducing new visual elements such as scientifically rendered atomic and molecular structures, traditional Islamic geometric patterning and Arabian typographical design in order to extend his discussion of historical strife to our immediate armed conflict: Afghanistan. The Middle East has supplied The West with energy resources for years. With the latest discovery of Lithium mineral deposits reportedly worth trillions, the question arises “will the US ever leave Afghanistan?” Hazelip renders the atomic structure of Lithium in his new body of work to bring attention to the possibilities the resource might play in our continued occupation of this country.
Geometric and textual design are cornerstones of Islamic art. Hazelip introduces both of these aesthetic components to his new body of work in an effort to confront the military industrial complex and the role it now plays in the political, social and religious structure of the Middle East. For instance, in the background of two works the phrase “Blackwater Massacre” repeats itself in Arabic. This textual protest openly critiques the privately contracted American security firm as a symbol of our country’s private interest and profit during wartime. While the mantra makes reference to human nature’s capacity for repeating our destructive mistakes, Islamic geometric motifs appear in the background of other pieces as well, their mathematical structure allowing for a visual continuum that references human nature’s capacity for destructive repetition while also highlighting an alternative to the devastation: the human capability for beauty, ingenuity, and innovation. JESSE HAZELIP received his BFA from Art Center College of Design and currently works and resides in Oakland, CA. Hazelip has shown nationally with White Walls, 941Geary, MendenhallGallery, SFMOMA Artists Gallery and Space 07 and internationally with YvesLaroche. The artists has been featured in 7x7, Juxtapoz, Hi-Fructose, Beautiful Decay and Art Nouveau.
OPENING RECEPTION | Saturday, January 15th, 2011 from 6-9 PM
Show Runs Through February 26th, 2011
941Geary is a pioneer exhibition space dedicated to artists and projects of cultural distinction currently contributing to the landscape of contemporary art. The 3,000 square foot converted warehouse aims to provide artists with a platform for transforming their vision; offering viewers a heightened experience of their work.
Founded by Justin Giarla in 2010, 941Geary continues the intentions shared with its sister galleries; White Walls, The Shooting Gallery and Gallery Three. Under Giarla's curatorial direction the spaces foster the recognition of emerging artists, further exposure of established artists, build a community of enthusiasts and accentuate San Francisco as one of the most important cities in which to fine the highly collected genres of Pop Surrealism, Lowbrow, and Urban Contemporary Art.
*941GEARY is located at 941 Geary Street in San Francisco, California with an alternative entrance at 60 Myrtle Alley.
Make sure to check out our most recent shows! Glen E. Friedman's "Fuck You All", Morgan Slade's new body of work "Company of Killers", and Dan Witz's "What The %$#@?"
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