The ScandiLA project is the first step in connecting the artistic communities of Los Angeles and the Swedish cities of Stockholm and Malmo in an ongoing process to inter-connect artist-run spaces globally. All three cities have a thriving arts community and it is our mission to create a forum to promote repricicosity amongst the participating spaces. This sharing of concepts and culture will create a unique dialog and create long lasting relationships between our participating spaces with the goal of creating a larger international platform in which these exchanges can flourish into the future.
Joey Holdren divides his photographic practice between New York and Oslo. Once upon a time, we would have called Joey Holdren a kind of street photographer, in the tradition of photographers as disparate as Joel Meyerowitz or Garry Winogrand, or even Vivian Maier; or more contemporaneously, photographers like Jeff Mermelstein or (more short-lived) Thomas Leuthard. In Holdren’s work the divide between photographed ‘reality’ and ‘fictional’ construction is blurred. A fragmented, isolated or contextually displaced figure, limb, object, or extension interrogates and enters into a dialogue with its surround—creating a kind of still ballet of light and shadow. Holdren will refer to “the dance that’s taking place.” He attended SUNY, Buffalo. He also worked with some great photographers in New York. He was mentored by Tom Sandberg and Doug Metzler among others. He was also mentored by and worked extensively with poet laureate, John Ashbery. Holdren is himself a poet.nA book of his collected poetry,The Bottle Kickers, will be released in 2023. He is a founding member of 515.
Robert Kingston’s work has always arisen from an earnest search for resolution in a range of gestures, movements and erasures. The appearance and meaning of the resolution has developed over years in the meandering progression of the creative process. Kingston's current chapter of work continues his investigation into the possibilities of paint. The labors are personal, but also come from a place of acutely studied history of art, design and music. Notions of Cy Twombly and Paul Klee, among others, slightly register, but while Kingston embraces this history, his paintings remain clearly contemporary, considered and decidedly personal. Similar to a musical composition, Kingston slowly creates his paintings by building on and modifying motifs applied in previous layers. He embraces improvisational gestures and incidents of dripping and streaking paint. At times the paint is controlled and then allowed again to find gravity and is then contained again. Among this rich layering and smudging are fits and starts of lines, doodles and sketches. This action occurs in so many layers, that some images are barely perceivable, giving us insight into Kingston’s thought process and leaves you searching for more clues. On the thin top surface that floats over the deep, hazy spaces of the paintings are hard-lined, organic shapes of color and distinct line drawings that conjure a quirky aggregate of ancient / scientific / industrial hieroglyphs.
Kingston has a Master of Fine Art in Painting from Claremont Graduate University (1986-88). He is represented by Dolby Chadwick Gallery, San Francisco, CA. He has exhibited consistently, and his paintings are in numerous private and public collections.He is a founding member of 515.
HK Zamani (b. 1958, Tehran-Iran) studied Studio Arts and Design at California State University, Dominguez Hills and El Camino Community College. He received his Master’s of Fine Art in Painting from Claremont Graduate University. Selected regional exhibitions include Los Angeles County Museum of Art, Lancaster Museum of Art and History, A+D Museum, PRJCTLA, LA Louver, Municipal Gallery at Barnsdall. He has also exhibited nationally and internationally in New York, San Francisco, Chicago, London, Berlin, Prague, Seoul, Saigon, and Bangkok. He is a multidisciplinary artist, educator, and founder of PØST, an alternative exhibition space in Los Angeles (1995-2018), where more than five hundred exhibits were hosted. He has taught at University of California Los Angeles, University of California Santa Barbara, California State University at Long Beach, California State University at Dominguez Hills, Woodbury University, and been a Visiting Artist at numerous national and international institutions. He is a recipient of The City of Los Angeles Individual Master Artist Project (COLA-IMAP) and California Community Foundation grants, and his work is in the collections of Los Angeles County Museum of Art, Berkeley Museum of Art, and Lancaster Museum of Art and History.
In his Fashion Erasures series, Zamani challenges class consciousness, standardization, and expectation. The obscuring of found images cancels their conventional orthodoxies while embellishing and empowering them to suggest both their primal origins and a potential undiscovered future. His Inadvertent Protagonistsseries allow for an unpredictable shifting of possibilities and imaginings in a dialogue between painting and sculpture. Mirroring, through their various juxtapositions, the cultural duality and overlap he brings to his work.