Dallas Art Fair - Sam Friedman and Josh Sperling
April 13 - April 15, 2018
The artists have been lifelong friends and their practices have been highly influenced by eachother. For the first time ever Friedman and Sperling have created collaborative pieces that explore color and shape demonstrating how their signature styles easily compliment the other in this new approach to their creative process.
For further information or for a catalog of available works, please email firstname.lastname@example.org
Sam Friedman (b. 1984, Oneonta, New York) moves between representational and abstract depictions with seeming ease and spontaneity. A pivotal moment in the artist’s work stems from his experience of walking towards the sunset during an oncoming storm. This personal encounter of induced visual clarity prompted the artist to create his ‘beach paintings’, which have become a hallmark of his work. Friedman is interested in an exploration that breaks down and rebuilds natural landscapes, which he achieves through his use of line, pattern, texture, and bright color. After graduating from commercial art studies at The Pratt Institute, Friedman worked with clients such as Nike and The New York Times and spent his free time painting. He eventually moved on to work for other artists, and spent four years as an assistant to KAWS; this hunger to learn from the best has given him many tools, techniques and materials that he has kept with him as he has made a name for himself. Friedman’s works vary in size - from giant to 12x12 in. - with the smaller often working together to create a larger composition. He is an artist who paints intuitively and is known to work in black and white during difficult times, though vivid colors are most often his mood and palette of choice.
Josh Sperling (b. in 1984, Oneonta, New York) works in the grey area between painting and sculpture, and skillfully manipulates color, canvas, light and shadow to create bold post-painterly pieces. Sperling's work remains profoundly contemporary, but is often inspired by historic references. From 1960's geometric abstraction to Keith Haring's use of line in the 1980s, Sperling continuously studies form and color to create new and surprising compositions. By using a layered plywood technique Sperling is able to play with light and shadow to produce an illusion of depth with a single shade.
Sara Nickleson | Library Street Collective | email@example.com
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