The Deepest Depths of the Burrow: Nychos Documentary Coming to Castro Theatre in San Francisco

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RABBIT EYE MOVEMENT and world-renowned graffiti artist Nychos will bring the highly anticipated documentary “The Deepest Depths of the Burrow” to San Francisco’s Castro Theatre on July 1st, 2015. Following a successful world premiere in Vienna, Austria, Nychos and director Christian Fischer begin a tour of the United States. The film, presented by 1xRUN, will show in Atlanta, Los Angeles and San Francisco this summer.

“The Deepest Depths of the Burrow” gives the viewer a first-hand look inside the lifestyle of a contemporary street artist, following Nychos through the experiences that come with traveling the world painting walls, exhibiting in galleries and gaining international acclaim as an artist. Featuring interviews from Shepard Fairey, Smithe, Ron English and a host of other established and up-and-coming urban artists, the documentary is an authentic perspective on the street art phenomenon.

Check out information on the San Francisco premiere and see the trailer for “The Deepest Depths of the Burrow” below.

“The Deepest Depths of the Burrow”
Castro Theatre, San Francisco
July 1, 2015 8:00pm
Purchase Tickets: deepestdepthsoftheburrowsf.brownpapertickets.com
Facebook: facebook.com/events

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“Horsepower” New mural in Sao Paulo, Brazil by NYCHOS

Photographer Søren Solkær launches ‘SURFACE’ A Worldwide Exhibition and Portrait Anthology on Street Artists

Danish photographer, Søren Solkær, creates ‘SURFACE’, a portrait anthology focusing on some of the most significant street artists on the contemporary scene, as well as pioneering street artists. Solkær’s ‘SURFACE’ already has six exhibitions announced for 2015, and the internationally renowned photographer will release a 240-page hardcover book featuring portraits of 135 artists.

Solkær has spent the last three years portraying artists all over the world. “I felt that this was the perfect time to portray the people behind one of the most powerful and prevalent art movements of our time. This took me on an incredible journey to roof tops, back alleys, train stations, studios and walls across the world”, said Solkær.

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This expansive collection includes Shepard Fairey, Blek Le Rat, Seen, Ron English, Swoon, Faile, Space Invader and Vhils amongst many others It will be published by Gingko Press and distributed worldwide. The book launches in Australia: February 23, 2015, Europe: March 15, 2015, and USA: April 25, 2015.

FAILE in New York City

FAILE, New York, 2013

PIXOTE in Miami  PIXOTE, Miami, 2013

Niels Shoe Meulman in Norway NIELS SHOE MEULMAN, Stavanger, 2012

Six exhibitions announced for 2015:

February 23 – March 5: Art Equity, Sydney, Australia

March 10 – March 21: NKN Gallery, Melbourne, Australia

April 25 – May 23: Subliminal Projects, Los Angeles, USA

April 27 – May 12th (Opening party on May 2nd): Allouche Gallery, New York, USA

June 12 – end of July: Øksnehallen (in collaboration with V1 Gallery), Copenhagen, Denmark

August 2015: The Burrard Arts Foundation, Vancouver, Canada

To see more portraits, behind-the-scenes shots and photos from the world tour, follow SURFACE on Instagram @surfaceproject and Facebook.

New works and installations by Dan Witz & Olek, Alo, ONUR & WES21 and CANVAZ in Berlin

This is the final part of our comprehensive coverage of ‘Greetings from New York City: Jonathan Levine Gallery visits Berlin’.  The show organized by Urban Nation “Project M/6” and curated by Jonathan Levine Gallery included window installations by Jeff SotoDan WitzOlekNychos and Saner. And also new street works by  Dan Witz and OlekAloONUR x WES21 and CANVAZ.

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Some work in progress shots:

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Photos by contributing photographer, Henrik Haven.

 

Final Window Installations at Urban Nation Project M/6 curated by Jonathan Levine Gallery

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Our comprehensive coverage of ‘Greetings from New York City: Jonathan Levine Gallery visits Berlin’ continues.  The show organized by Urban Nation “Project M/6” and curated by Jonathan Levine Gallery continues with the completed window installations by Jeff SotoDan WitzOlekNychos and SanerPhotos by contributing photographer, Henrik Haven.

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Behind the scenes coverage of Urban Nation’s “PM/6” curated by Jonathan Levine Gallery‏‎ in Berlin

 Urban Nation’s “Project M/6” curated by Jonathan Levine Gallery took place in Berlin with continued support for international artists to participate in it’s window installations and external murals.
Jeff SotoDan WitzOlekNychos and Saner,  were creating their huge art works for the window installations and photographer Henrik Haven documented their work in progress.

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Our complete coverage of Urban Nation’s “PM/6” will continue with documentation of Dan Witz & OlekAloONUR & WES21 and CANVAZ coming soon.

New Black Widow by Nychos Haunts Hamburg

Upper Playground friend and Founder of the Rabbit Eye Movement, NYCHOS, who opened a solo show at Fifty24SF Gallery in San Francisco earlier this year, completes a spectacular new wall titled ‘Cross section of a Black Widow”.  The enormous spider hangs over a four story building in Hamburg, made possible with the support of Affenfaust Galerie and the Rabbit Eye Movement.

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Photo via @nychos IG.

“Horsepower” New mural in Sao Paulo, Brazil by NYCHOS

Upper Playground artist NYCHOS (currently exhibiting his solo show, ‘Street Anatomy’  at Fifty24SF Gallery, San Francisco), finished a new mural called “Horsepower”  in Sao Paulo, Brazil with the support of Instagrafite and Montana Cans:

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Artist: Nychos
Mural: Horsepower
June, 2014
Location: Pinheiros, Sao Paulo, Brazil
Photograph by: Instagrafite
Big thanks to: Montana Cans

For more info on this mural visit:
www.rabbiteyemovement.at
www.facebook.com/Deinonychos
www.instagram.com/nychos

Interested in checking out his show in San Francisco? Street Anatomy will be on going until June 15th, 2014.  The gallery is located at 218 Fillmore Street, San Francisco, CA 94117-3504.  Contact us at GALLERY@FIFTY24SF.COM for any questions or appointments for a visit. 

Upper Playground celebrates 15th year with a series of Creative Contests

This year marks Upper Playground‘s 15th year anniversary and we will continue our celebration by giving away signed ‘The Walrus’ Prints by NYCHOS to our most talented fans!

Starting in June, we will hold a contest each month to give away one 18x24inches signed, ‘The Walrus’ Giclée Print to the most creative and original Walrus interpretation shared with us via Instagram and Facebook.

To participate:

1. Follow us on Instagram and like us on Facebook!
2. Upload your original work of a UP walrus on your Instagram and tag #UPwalrus15 + @upperplayground. Or send us your UP walrus on our Facebook page and tag us Upper Playground + #UPwalrus15
3. Don’t forget to share with friends!

At the end of each month, we will choose a winner and send out our gift. Good luck to all participants!

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‘Street Anatomy’ by NYCHOS at Fifty24SF Gallery runs until June 15th

Last month, NYCHOS opened his first solo show on the west coast: STREET ANATOMY at Fifty24SF Gallery.  The San Francisco show garnered an enthusiastic crowd of supporters and fans who are amped by the Rabbit Eye Movement and the Lords Crew.  If you missed the opening, the show goes on until June 15th. Visit www.fifty24sf.com for more information and make an appointment to check out new works by the world renown master muralist.

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UP EXCLUSIVE: INTERVIEW with NYCHOS on “The Easter Rabbit” of Oakland

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World traveling, wall crunching, metal-head, graffiti painter and founder of the Rabbit Eye Movement, NYCHOS just finished an impossibly gigantic Rabbit mural in Oakland this Sunday.  Fresh off the cherry picker, the long and rough hours of heavy breathing through the painter’s mask didn’t seem to phase the artist one bit.  He offered UP an exclusive interview about the process:

J: I wanted to ask you about your process.  Which, to a lot of people, is pretty mysterious.

N: Yeah. Some people told me that people think I do it all on the computer first. (chuckle) It just makes me laugh when I hear sh*t like that.

J: Why do you think people think that?

N: I don’t know. I guess it’s because it looks too complex maybe. I don’t know.

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J: How do you prepare for a mural? Are there clear stages in your mind in terms of what happens when you’re thinking about doing a giant mural?

N: First of all, most of the time I have to see the spot. And then I know what I’m going to do.  I did not know what to do a week ago, because we didn’t really have a wall. I had loads of paint and I know roughly what I need for doing the anatomy stuff– just 3 colors for the bones and certain colors for the organs or whatever. We went there to that wall and first i was like maybe a horse skeleton or something.. but then the shape of the wall wasn’t very good to do a horse skeleton.

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J: And why wasn’t it good?

N: It didn’t fit there for me. I didn’t see it there anymore.

J: How did you know it could have been a horse in the first place?

N: Hmn I was thinking in my head… I haven’t done a proper horse skeleton in a while…and I’ve never dissected a horse… and the horse is a very complex… very hard… It’s hard to draw it already to make it nice and the body structure and bone structure is so crazy.  And I was thinking that when you paint something, it’s like painting graffiti at night time. You have to work out: Can you actually do this in this time?– This is also a point.  I don’t think I could have done a horse skeleton of this scale in that time. So even while painting the rabbit I was like: Can I do this? Do I actually have time?  I knew how far I wanted to go with it so I’m happy… but I could have added more stuff… more veins or veins outside the rabbit or an eyeball floating or something like that. But I didn’t do that cuz you’re also thinking, let’s just finish it. I was happy with the way it was so I didn’t do the eyeball and all that… Sometimes there’s those little things you add and it’s just not cool any more. And you might actually not like it and then you would have to get rid of it and it would have taken another hour.

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J: The way you tend to these murals, it looks like you’re sketching right onto the walls, whatever the scale, so a lot of the mystery is: How does he get the scale right? Do you just adjust and improvise as you’re going along?

N: No I think I’m sketching like a cartoonist.  I build up proportions in very 3-dimensional thinking way but it’s all really basic shapes. So sometimes my stuff really looks very planned out with the proportions because you can feel those shapes.  It’s not like this rabbit looks like a real rabbit but it’s this comic rabbit because it has those real 3D qualities to it.

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J: There’s definitely a sculptural quality to a lot of your murals even though it’s in a 2D space, in the way you construct things. There’s a flattening first, then you hollow things out and then you fill it in…

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N: Yeah so when i started to sketch I was like: okay this is the back, this is the belly out here…  I know the back leg muscle is really fat because he needs to run and this is a front and it’s bit smaller so a smaller shape and then the ear and head is pretty clear. So the first sketch is a basic cartoon drawing… those simple shapes of how you make a cartoon actually. So very geometric. And when I’m sketching those shapes I’m already thinking, you’ll see it more from down… in this case we see it more from down because it makes sense to me when you have this really small person…

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J: You mean you’re thinking about a vantage point, an ideal position to look at the mural.

N: Yeah actually this mural has two.  Because there’s two points where the mural really has to work.  So when you drive by, and you see the rabbit kind of jumping out? The shadow goes toward the front. Cuz I might have put the shadow the other way but the shadow needed to be on this side because when you drive past it this huge shadow just pops the rabbit off the wall.  So this is a very important spot for when you walk by or drive by and look inside the parking lot. And then of course the other one is straight-on. A straight view but because you cannot go that far away and you have to look up, I think it’s impressive when you look up from the rabbit’s belly perspective. So actually I kind of had to draw it flipping over and you don’t really see so much from the back in this case.  I had to draw it down the corpus ribs and then there’s this brown and made them really big and then I had the rest of the ribs going this way. So I measure it all out before I fill it up with stuff.

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J: And when you say sketch, do you always start it on paper first?

N: For this one I did a rough idea on paper.  I know that I don’t want to really plan it too well because it’s not going to be like that anyway. And when you’re too stuck to your sketch you lose… there’s you, your sketch and the wall… and sometimes when your sketch is too important for you, you get stuck to your sketch and you get really annoyed with what you’ve sketched out and so it’s like… ah F*ck the sketch, here’s the wall, this is the actual painting. You have to work it out on the wall.  The sketch is up there. I just draw it up there and work it out and extend things and shape it and reshape it with the roller paint after the real sketch.

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N: And then the thinking process about the colors just happens: How do I do the rabbit. So is it brownish? or greyish? I can have a beige color as base and darker beige as a shadow part? Is the shadow and fur part with ivory or almost white? At first you have a light brown rabbit but with the fur it happens to become a white rabbit.
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J: How important is movement in your paintings and murals?

N: I think about it from the start.  It’s important because much like a cartoon I try to keep it animated. And it starts from the beginning because I have to consider the position and composition of the animal from the start. I could just draw an animal as stationary but I prefer it in action.

J: How many times do you think you’ve painted or sketched a rabbit in your life time?

N: I have no idea. At least a 1000 times.

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J: How many times do you have to sketch or study something before you start to have a natural hand at it for a mural?

When I first started to think about doing graffiti and murals, there was like a 5 or 6 year period of my life where all I did was come home after school and just sketch for hours and hours.  I have tons of sketch books somewhere from that period and I plan to revisit it sometime. I know that sometimes I think that I have a new idea but then I remember that I’ve already worked it out before in one of those sketch books.

J: What other subjects besides animals are you interested in?

N: It’s funny because most people think I only draw animals and tell me that I remind them of ROA. But for me it’s not really about drawing animals, I am just interested in how things are constructed and how they work. I am not interested in painting just animals.
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J: What other subjects besides animals are you interested in painting then?

I think about R2D2.  I really want to do a Darth Vader one. And a helicopter would be nice. It will all depend on what kind of helicopter etc.  I thought about doing one of an ak-47 or a rifle which shouldn’t take me too long to figure out.

SONY DSCThe Easter Rabbit mural was made possible with the support of Lequivive Gallery, Montana Cans, Upper Playground for Fifty24SF Gallery.  Special thanks go out to Lauren YS.  All photographs herein are by Jy-Ah Min for Upper Playground.