How about an update about a painting?

I typically work on a few paintings at once, but currently I have a little downtime. The last few years have been busy, so after the show at Tugboat, I wanted to take a few months off where there wasn't anything immediately coming up and I would have the time to work out some new ideas. This painting is what's coming out of all that.

The plan is to have this finished by the end of September and use this piece as a jumping of point for a new body of work. These will be dreamscapes that develop from things I'm reading, experiences I've had, television I watch and other things culled from popular culture.

On another note, my work will be featured in the next Pacific Coast New American Paintings, no. 97. Due out this fall.

Deals for all

Ok, I went through the two boxes that I shipped back from Omaha and looked over what I have left from the Fragments series. I've rethought all of this, pricing, and all of that. I want to get rid of these, and I want to make deals. A lot of people want to collect art these days, and I'd like to help out with that.

These were made for a specific show, and I never plan to show them again (unless the right opportunity comes along, and even then, I wouldn't show them in the same way). At this point, they're just taking up space in my studio, and my studio is in San Francisco. Space is a premium.

Here is the link to the paintings I'm talking about:

Iceberg "Fragment" paintings

Any marked "private collection" underneath is already gone.

Just to clarify on this work, I had a show back in May that was at the Bemis Underground, which is the downstairs gallery at the Bemis Center for Contemporary arts. In that show, I made 10 medium to large paintings on canvas, and 165 small 9"x9" paintings of Icebergs on wood panels. Each one is unique and is a combination of paint on panel, painted Icebergs on Mylar, and silkscreen on film.

We sold some of these, some went off to other spaces and some went to auctions. But like I said, space is a premium where I am, so I'd like to move these. We sold these at $140 at the show, and I had a pricing structure last week that, after rethinking it, I want to sell these a little lower and incentivize them, so here:

1 - $80
2-3 -$75
4 -$70
5 -$65

If anybody is interested in this, get at me.

Feel free to share this with anybody else that may be interested.

E-mail me at nicholasbohac@gmail.com if you're interested.

Web 3.0

I haven't updated this blog in forever. It feels like there are just so many options in how to get ideas out there and promote new things. Sometimes I forget about this blog. My last major update was while I was living in Vermont.

So here goes: I have no upcoming shows. I finished graduate school in May of 2008, and have had work on show almost constantly since then. It's been great, the work has evolved a lot in that time, but it's also been hard to push things in new directions when I have a show lined up months or a year in advance, and the gallery or curator expects a specific thing to show up in their space. That's not always the case, but even when it's not the case, it can feel like that's the case.

I spent around six months working on my show "Nothing & Everything at Once" at the Bemis Underground, which was up the month of May. It was a fantastic show. Joel Damon is easily one of the best and most easygoing curators I've ever worked with. Mike Roche, the other artist, is a rad dude and amazing sculptor. Everybody at the Bemis is ridiculously easygoing and incredibly professional, and I feel lucky to have had that show. I flew back from Omaha in mid May and had another show lined up, that my great friend Matt Carlson had set up at Tugboat Gallery in Lincoln. I started four new paintings and that show was also great. The work pushed in a newerish direction and started to feel a little more fresh.

So here's where I'm at now. Able to sit back and think a little bit without having to commit so much to something. Getting to try new things. I worked on cradled wood panels for about three years, tried canvas for around a year, and now I'm working more and more on PVC panels. There's something that feels a little more poetic about the materiality of painting plastic acrylics onto a plastic substrate. The painting you see above is 48"x96" on PVC, and it's going to be a further departure in the work. Everything is still landscape based, but figures and action are coming back into the work. Things are getting a little more surreal and dreamlike. I'm looking at how documentary science film television (think National Geographic or those ridiculous History Channel series) use graphics to illustrate ideas and incorporating some of that way of thinking into my work.

I still have prints available through Gawker Artists.

I will have some work featured through Big Screen Plaza in NY, via Gawker.

Twitter is a great way to connect with me and share my day to day, from Art, to what I'm thinking, to sports, to crappy television.

Google + is new, it's fantastic, and it affords a better way to meet new people and see new work.

Facebook needs no introduction.

Contagion is a new movie from Steven Soderbergh, and some of my paintings were rented to be used in the movie. Whether they made the final cut, I have no clue.

That is all for now. Hope all is well.

Two prints now available

Gawker Artists, part of the Gawker Media Group, have released two of my paintings as prints.  These are inkjet prints on a heavy stock paper, limited to 100 and they come with a signed certificate of authenticity.   Links to the prints are below:

http://shopartists.gawker.com/product/87249/prints?cl=27

http://shopartists.gawker.com/product/87252/prints?cl=27