Ben Quinn: Night Paintings | Jonathan DeDecker

944 Chung King Road, Los Angeles, CA 90012
Apr 28, 6 PM - 9 PM — ends May 28, 2022
Sebastian Gladstone is excited to announce “Night Paintings”, a solo exhibition of new paintings by the Los Angeles-based artist Ben Quinn. The exhibition will open on Thursday April 28th with an opening reception from 6-9PM and run through May 28th, 2022. Quinn’s thoughtful practice combines photography, printmaking, and painting to create alchemic and compelling images of his everyday life through the lens of fantasy, interior monologue, and psychedelia.


The effect produced by viewing Quinn’s paintings is disorienting and beautiful all at once. Through a process of thin watercolor paintings layered on top of ink-transferred photographs, a three dimensional image comes through that is elusive, textured, and pleasing to the eye. For the exhibition Night Paintings, Quinn focused on several dark works on canvas that at points resemble minimalist color-field works, yet in fact are fully representational. In Inside a Skull (Dark Abstract) Quinn takes an almost pitch black photograph of the interior of a human skull as a jumping-off point for a highly nuanced interpretation of a dark void, filled with small specks of color, textured marks, and muted swashes of color. Through this work the idea of darkness expands into something reinterpreted and expanded upon, and is reminiscent of closing one's eyes and pressing your palms into the covered corneas. The painting offers the perspective that even in darkness, there is color.


In Deep Hollow, this concept of light within darkness is continued, but shifted with the flash photograph of a forest at night. The composition is extremely asymmetrical, to a point of uncomfortability, and as the eye moves across the dark plane, forms emerge made up of only marks in black and deep blue. A forest peers back through the blackness out of view. The painting is a direct link to the artist’s personal interests in the unknown, and the feeling of existing in between worlds. His technique of using light within darkness creates a psychedelic trick of the mind, making one question what lies beyond our capacity to see.


Night Paintings highlights the constant relationship between light, darkness, and color. The artist believes in using every color of the rainbow, as it relates to the totality of the visual spectrum of the human experience. Quinn’s work submerges one into the possibility of color, and convinces the naked eye to see beyond the object itself.


Quinn enjoys the idea of impermanence and discovering the communication between the supernatural and his practice. With his star paintings, there is a dance that transpires between his brush and the fluidity of the star itself. The piece pulsates, and the artist relies on his relationship to other worldly possibilities to translate its message to the canvas. Overall, he hopes to constantly create a sense of possibility that our human experience has much to offer us, if we are open to experiencing our lives like a psychedelic dream.

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Sebastian Gladstone is pleased to announce Jonathan DeDecker’s first solo exhibition with the gallery, featuring a suite of six new abstract paintings and five paintings on paper. The exhibition will open on Thursday, April 28th, with an opening reception from 6-9PM, and run through May 28th, 2022. DeDecker’s paintings are wholly focused on the materials, a generalized concept of the abstract, and a process of painting where intense time- and pressure-based processes push the flat, painted surface into something relief-like and sculptural.

DeDecker’s painting employs a method in which stacks of flat muslin canvases are compressed, trampled, opened up, painted on, and repeated until the desired surface is achieved. Gestural marks are created through the scumbling, scratching, and mashing of repetitive layers of paint. DeDecker views abstraction as an attitude related to perception in mapping out a range of imagery. The works range from highly spontaneous marks, such as splashes and stains, to quiet, thoughtful layers brought together with varying intensity. The intention here is to move painting towards a sublime process for creating, acting, and viewing. Within the exhibition, small moments, if not the gestures at-large, hint towards a sentimentality of the sublime and the ethereal.