March 29th- May 18th. ADRIEN/KAVACHNINA 104, rue du Faubourg Saint Honoré, 75008 - Paris - France
Keith Haring's Studio (New York, 1989)
mixed media on canvas, 51 x 61 inches (130 x 155 cm)
Basquiat's Studio (Crosby Street/New York, 1983)
acrylic on paper, 18 x 24 inches (46 x 61 cm)
Cy Twombly's Studio (Gaeta/Italy, 2008) SOLD
gouache on board, 18.5 x 18.5 inches (47 x 47 cm)
"Jeff Koons' Studio (New York, 1994)"
mixed media on canvas, 66" x 66" (168 x 168 cm)
“Miró’s Studio, (Mallorca/Spain, 1977)”
gouache on board 19 x 19 inches (49 x 49 cm)
“Alexander Calder’s Studio (Saché/France, 1967)”
gouache on board, 19.8” x 19.25” (50 x 49 cm)
"Calder’s Home (Saché, France, 1963)"
mixed media on canvas, 68” x 68” (173 x 173cm) ￼￼
"Giacometti’s Studio (Paris, 1960)”
gouache on board, 19.5” x 19.5” (50 x 50 cm)
Picasso's Studio (Cannes, 1955)
watercolour + pierre noir on paper, 11 x 14 inches (28 x 36 cm)
"Matisse's Studio (Vence, 1948)"
mixed media on canvas, 60” x 60” (152 x 152 cm)
“Matisse’s Studio (Collioure, 1905)"
mixed media on canvas, 66” x 66” (168 x 168 cm)
Gauguin's Studio (Marquesas, 1903)
mixed media on canvas, 62 x 72 inches (158 x 183 cm)
2017 Goddess Show London
Current Group show "Songs to the Goddess" at Serena Morton, London. contact firstname.lastname@example.org
343 Ladbroke Grove, London W10
In the mythology of some Amazonian tribes the souce of the river is a woman and all life comes from her.
"Tranquility," Limited Edition Silk Screen print on paper
printed by Coriander Press, London.
This can be ordered from email@example.com
or purchased here on the PRINT page of this website.
"Woman," 2016 acrylic on canvas, 44” x 54” (112 x137 cm)
“Flow,” 2010 acrylic on paper, 42 x 52 in (107 x 132 cm) SOLD
"Soulmate," 2015 acrylic on canvas, 55 x 66 in (140 x 168 cm)
In 2010 when I exhibited the Amazon painting on the floor I surrounded it with large paintings of that "first woman" asleep in nature.
in my studio painting "Spirit" and "Origin"
2018 Museum Show Paris
From February-December 2018 there is an exhibition of Damian's work at the Musée en Herbe in Paris. Below is a small sample of the artworks on view. Visitors will experience 30 different artist studios from the 19th Century to the present day as well as paintings and sculptures made by those artists. The exhibition will feature a vast installation which recreates the ground floor rooms of Picasso's Villa La Californie in Cannes. Visitors can walk from room to room to see the hundreds of artworks that Picasso was creating in April, 1956.
"Yayoi Kusama’s Studio (Tokyo, 2012)”
gouache on board, 15 x 22.5 in
“Ai Wei Wei’s Studio (Beijing, 2006)"
2015, gouache on board, 19” x 26” (49 x 66 cm)
"Hockney's Studio While Painting Paper Pools"
2016, acrylic on canvas, 66" x 66" (168 x 168 cm) ￼
"Basquiat’s Studio, (Crosby Street/New York, 1983),”
gouache on board, 16 x 22.5 in (41 x 57 cm)
“Anish Kapoor’s Studio (London, 1979)”
2015, gouache on board, 17” x 22.5” (43 x 55 cm)
Warhol's Studio (New York, 1964)
acrylic on canvas, 62 x72 inches (158 x 183 cm)
“Cy Twombly’s Studio (Gaeta/Italy, 2007)”
2016 gouache on board, 19.5” x 26.75” (49 x 67.8 cm)
“Lucian Freud's Studio (London, 2002)"
2015, gouache on board, 19.25" x 24" (49 x 61 cm)
“Willem De Kooning’s Studio (New York, 1952)”
2016 gouache on board, 19” x 28” (48 x 71 cm)
“Picasso’s Villa La Californie (Cannes, 1956)”
2008, mixed media on linen, 66” x 132” (168 x 236 cm)
This is a detail from the centerpiece of the show. 8 paintings join together to describe the ground floor rooms which Picasso was using as art studios. Visitors will be able to walk from room to room to view the hundreds of artworks that he was creating in April, 1956. The entire painting is a still life in which Picasso has placed or created every element.
"Diebenkorn's Studio (Ocean Park/Santa Monica"
2016, watercolor and gouache, 13.5" x 12"
“Georgia O’Keeffe’s Studio, New Mexico,”
2016, gouache on board, 18” x 27” (46 x 69 cm)
Dali's Studio (Cadaques, 1973)
gouache on board, 19 x 23 inches
Frida Kahlo's Studio (Coyoacan/Mexico, 1944)
acrylic on canvas, 66 x 72 inches (168 x 183 cm)
Matisse's Studio (Nice, 1941)
mixed media on canvas, 62 x 62 in (153 x 153 cm)
Picasso's Studio (Blvd Clichy/Paris, 1910)
gouache on board, 18 x 23 inches
Monet's Studio (Giverny, 1903)
acrylic on canvas, 62 x 72 inches (153 x 179 cm)
Gauguin's Studio (Marquesas Islands, 1903)
acrylic on canvas, 46 x 54 inches (117 x137 cm)
Cezanne's Studio (Aix en Provence, 1904)
gouache on board, 19 x 23 inches
This painting describes a source of the Amazon River that exists at the top of an active volcano in southern Colombia.
(This is one of the nature installations that is being proposed for an Art Park on the Los Angeles River. Those installations trace the cycle of water from river source, to cloud forest, to rain forest, to coral reef.
"Source of the Amazon," 280 x 300 inches (711.2 x 762 cm)
Here is one of the four panels on the wall of my studio. (70 x 300 inches)
( It can also be exhibited as a giant floor painting where visitors find themselves walking over hundreds of exotic, flowering plants while searching for the source of the river.)
In Colombia, we would wake each day at 5am and have coffee on our balcony, gazing at the rainforest which extended into the distance.
One January, my friend and I drove a jeep as far as we could up the volcano. We put on plastic suits and rubber boots and climbed the rest of the way through a cloud forest. It was like nothing else I had ever experienced on earth. There was no ground. We crawled through tunnels in the foliage. Sometimes we were deep down and saw strange grubs and caterpillars living there.
This colorful, rain-drenched ecosystem seemed like it could exist at the bottom of the sea. This was summer, and all the plants were flowering. Every few years, the volcano explodes and molten lava kills all life on this plateau. But the rain is constant, the river continues to come up from the ground, and life begins again. It is the kind of ecosystem that existed millions of years before humanity and one that should exist millions of years from now.
"Source of the Amazon," 280 x 300 inches (711.2 x 762 cm)
Here is another of the four panels on the wall of my studio. (70 x 300 inches)
Cloud Forest 1, 50 x 50 in
GRAFFITI NYC + LONDON
From 1983-84, I painted graffiti in an abandoned building in New York City. Soon my abstract paintings were hanging beside the works of Basquiat and Haring in an exhibition called "Paris/New York" by the Robert Fraser Gallery.
"New York Rooftops I," spray paint, 8 x 14 ft, 1984, Damian Elwes
After college, I worked on a film in New York. It was the early 80s, and there was graffiti everywhere. You'd see a new Basquiat poem on a wall one day, and within week later other artists had added to it. Until then I had thought of painting as being rather static and dead, but this kind of painting was alive and metamorphosing every day.
"Abstract Graffiti," spray paint, 1984
I knew about a building on West 56th Street and 7th Avenue that was empty and condemned to be torn down. My boss had just moved out but I still had the keys. One weekend I bought spray paint and covered some walls in abstract graffiti. I passed out. Upon awakening, I blew my nose and colors came out. I looked around and saw that the room was filled with my imagination and I was hooked.
"Fish," spray paint, Earls Court Road, London 1985 Damian Elwes
Robert Fraser wanted me to stay in London and do a solo show on Cork Street. He said, "You know that you are the only English graffiti artist at this time?" He took me to meet Basquiat. We had a great connection, but I wanted to go to Paris and learn how to paint with a brush. Robert was still interested in a show and asked to see my Paris paintings in six months. Sadly he became very ill and succumbed to Aids. He was one of the great art dealers, and I was amazed and grateful that he showed such belief in me. Mick Jagger was a great friend of his and I have always wondered whether it was just coincidence that he bought a Paris painting and began to collect my work.
"Camden Town," spray paint, 1985, Damian Elwes
I also liked temporary walls that already had beautiful colors going on.
"New York Rooftops II," 8 x 16 ft, 1984, Damian Elwes
Over the next year I filled all the rooms with paintings and even painted the roof, but the city kept putting large locks on the door and signs saying, 'KEEP OUT GRAFFITI ARTIST.' Behind my empty building, the fire escape was only a couple of feet from the fire escape of the Hotel Wellington. I spied a dark room that was full of rolled carpets and furniture. I climbed up and found the window open. The bathroom had running water. That 7th floor room became the entrance to my studio.
"Boys," spray paint, 5 x 7 ft, Damian Elwes
One day on the film set, I had to keep a crowd at bay inside the entrance of the 34th Street subway station. Keith Haring appeared and started drawing on a poster and we struck up a conversation. I told him that his job looked a lot more fun than mine. He invited me to have a go, but I said that I didn't think I could paint over his work. Later, we went to a party together, and he encouraged me to buy some spray paint and find myself an empty wall.
"Derelict house near the Post Office Tower in London," spray paint, 1985, Damian Elwes
Back in London I started painting graffiti in the streets. I searched for interesting walls that could frame and be a part of potential paintings. My brothers and I had grown up in London in the sixties, and bomb sites left over from the war had been our playgrounds.
English art dealer Robert Fraser came to New York looking for graffiti artists for an exhibition called "Paris/New York." I took his assistant to the Hotel Wellington on 7th Avenue. By then, the hotel staff thought that I lived there. I bought a newspaper, as I did every day, and the bellboy said, "Good morning Mr. Elwes." We took an elevator to the 7th floor. I opened the door to the room with a credit card and we stepped out of the window and climbed across to the fire escape of "my" building. He and Fraser liked my paintings and invited me to be a part of the exhibition with Basquiat and Haring.
"Explosion," spray paint, 1985, Damian Elwes
This was an empty building on the corner of the Kings Road opposite Safeway. None of my friends knew that I was painting graffiti. It seemed safer to keep quiet about it.