YESNIK is known as a multifaceted visual artist, whose artistic oeuvre encompasses painting, sculpture, works on paper and outdoor murals. Collectively, these works come to define his aesthetic. Working within a range of mediums using deliberate ardent detail with flat color-laden shapes that seem to carry the composition, YESNIK has carved out a series of a remarkably diverse works, which firmly come to define his complex yet coherent artistic style.
Utilizing an array of vibrant deep hues to set the tone, the viewer becomes engulfed within a harmonic kaleidoscope of shapes and imagery. Thru this, we begin to notice figures situated within sweeping landscapes of petrified wood or stone that come to resemble fossilized traces of a past existence. These abstruse objects, situated within arid landscapes come to life in his paintings and become metaphors for a society that YESNIK believes has entered into an evolutionary pitfall. Akin to artist’s like Max Ernst or Paul Nash, whose works give you a sense of a society in a perpetual fragmentation, YESNIK expounds upon a similar idea by use of abstraction which creates the illusion of a distorted reality. This type of suggestion—within a brazen juxtaposition of visual beauty—might imply that we are living in the most convenient denial.
Previously known for firmly making his mark in Los Angeles and abroad with BLK/MRKT—his design studio and gallery—YESNIK (formally known as Dave Kinsey) decided in 2010 it was time for a change. After a fifteen plus year run, he closed the business and retreated to a small town adjacent to the Sequoia National Park in Central CA to paint full-time. Over the next five years he would embark on an autodidactic journey that would come to define the next chapter of his personal work under the pseudonym YESNIK. As the artist states “As far back as I can remember, art has always been a place of self expression, refuge and understanding of the world around me. I’ve always known that at some point I would go back to that place. When I found this small isolated town, that could provide me a renewed platform to create without all the distractions of my previous ventures, I jumped right in”. YESNIK’s next move, found him relocating back to San Diego where he now works and lives.
(b. 1971, Pittsburgh PA), YESNIK’s paintings have been shown nationally and internationally in galleries such as: Library Street Collective in Detroit; Jules Maeght Gallery in San Francisco; Die Kunstagentin in Cologne, Germany. His works are also in the collections of Takashi Murakami, The Penny and Russell Fortune Collection in Indianapolis Indiana, Victoria and Albert Museum in London and The Dean Collection in New York.
For more informations please visit YESNIK’s website: http://www.yesnikevad.com
For more informations please visit YESNIK’S website: http://www.yesnikevad.com
« Je n’étais pas artiste, je le suis devenu », Jordane Saget a commencé par noircir les pages de carnets avec ses lignes avant de sortir dans les rues de Paris pour recouvrir les murs de ses arabesques. L’utilisation de la craie s’est imposée d’elle même, pour rassurer les gens, pour son côté éphémère et sa texture. Le métro a été une étape importante dans le parcours de l’artiste, les surfaces vierges laissées pendant la rénovation de stations ont offert une variété de supports et ont ainsi donné vie à des œuvres originales et uniques. Ses fresques interpellent, elles deviennent ornementales. Aucun tracée n’est jamais prédéfini, chaque fresque possède des courbes uniques et s’adapte à son espace, elle vie et évolue à travers le temps et l’interaction des gens. ” .
Jordane est un artiste contemporain, la rue est certes un lieu qu’il affectionne toutefois son travail s’exprime aussi sur des toiles, des objets, dans des lieux privés et pour certaines maisons et institutions. A ce jour, Jordane a collaboré avec L’Hotel Drouot, la Mairie du 1er arrondissement, l’hotel Renaissance République à la demande de Didier Gomez, l’Opéra Bastille, l’Orchestre de Paris / le Festival d’Automne, le Théâtre National de Chaillot, le CNRS, la ville de Neuilly-sur-Seine et le Théâtre des Sablons, Bercy Village, la RATP et Christie’s ainsi qu’avec d’autres maisons et institutions qui pour des raisons de confidentialité désirent rester anonymes.
“I was not an artist, I became one. Jordane Saget began with black notebooks before going out in the streets of Paris to cover the walls of his arabesques. The use of chalk has imposed itself, to reassure people, for its ephemeral quality and texture. The metro was a milestone in the career of the artist, pristine areas left for the renovation of stations offered a variety of media and thus gave life to original and unique works. Frescoes challenge, they become ornamental. No drawing is never predetermined, each fresco has unique curves and adapts to its space. His work is lively because it evolves through time and the interaction of people. ”
Jordane is a contemporary artist, the city is certainly a place where he loves expressing himself and the chalk his brush however he does express himself in many different ways as well. He customises objects, does murals in private places, draws, paint on paper and on canvas too…. He has few limits, he needs to create.
His most recent commissioned work involved a commissioned piece for the Hotel Drouot, the famous parisian auction house, The City Hall of the first district in Paris, some art work for the Hotel Renaissance Republique commissioned by Didier Gomez, a performance for the Opéra Bastille, some commissioned art work for l’Orchestre de Paris / le Festival d’Automne, the National Theatre de Chaillot, a performance for the CNRS, The city of Neuilly, Bercy Village, the RATP and Christie’s.
Collaboration with Jean-Charles de Castelbajac