Untitled Document

RECENT, CURRENT & UPCOMING



2010 Katherine Nash Gallery University of Minnesota, Minneapolis Curated by Ryuta Nakajima

2009 A.D. 2012- time capsule project Tokyo As part of a collaborative project with a group of international artists in Japan Les Joynes will be fabricating material for 2012 - a day predicted on Mayan calendars for the apocalypse. He will be recreating materials inspired by Jomon-era Japanese Kofun excavation findings both revealing in their form and yet subsumed by their deterioration and fusing with external elements.

2008-2009 Bauhaus-Stiftung Dessau Germany Projects on deconstruction, entropy and the Post-funtional in structure and urban environments as part of the Bauhaus-Kolleg program on urbanism "EU-CIAM Urbanism/ The Cities of Tomorrow"

July 4 - August 28, 2008 Valhalla and Parallel Universes Nordic Artist Centre, Norway Aamotgaard, Bygstad, Norway In 2008 Les Joynes is an Nordisk Kunstnarsenter Fellow and invited guest artist from the USA and has created work inspired by Nordic mythology, sorcery and ancient magic, Valhalla and Scandinavian middle worlds. image: (left: Shapeshifter, 2008, mdf, mixed media, latex paint, 82 x 54 in; tight: Dreamer, 2008, cut red Norwegian barnwood, 88 x 60 in.) Exhibited at "Les Joynes: Parallel Universes" Aamotgaard, Bygstad, Norway

February-March 2008 Les Joynes \| Middleworlds Michael Steinberg Fine Art New York Ten new paintings including Golden State, 2008 (detail, right) image: detail of Golden State, 2008, oil on canvas, 72 x 110 in (diptych)

October 2007 Spaceships-Japan Examination of appendages in the greater Tokyo skyline in a series of thirty black and white Lambda prints.

August-Sept 2007 Monuments for a skyline Pictura, Dordrecht Netherlands Examining the Amsterdam skyline through the Stadlijke Museum dining room. A series of copper plate etchings made at Pictura, Dordrecht and Toosneger Stifting, Netherlands.

2006

Debris-Fields-Night-Vision
Elizabeth Foundation, New York

This series of ten paintings made in 2006 examine objects that occupy the same space but in multiple slices of time. Debris-Fields are middens or concentrations of relics of human activity often in places of human ritual. Objects here appear in the same way that images are captured in the same place in multiple exposure photography.

image: Debris-Fields-Night-Vision, 2006, oil on canvas, 72 x 110 in. (diptych); right: I will take your dreams with me, 2006, oil on linen 36 x 36 in. (private collection Japan)

March 2007

Locations of Elsewhere
Peer/ Michael Mazzeo Gallery , New York

curated by Leah Oates

Inspired by the concept of gravitational time dilation (Gott, Time Travel in Einstein's Universe, 2002) and to observe objects while be removed from time. Here the work is imagined while residing inside a spherical shell with a diameter of 5 meters and the mass of Jupiter while simultaneously observing time dilation in Toronto and Seattle.

(image: Malice & Paranoia, 2005, oil on canvas 54 x 72 in)

Sept-Oct 2006

The Shaman (Japan)
Nagasawa Art Park, Awajishima, Japan

(image: Shaman trailer park, 2006, Japanese woodblock print on washi, 24 x 20 in.)

August-Sept 2006

The Shaman and the Shape-shifter
Project for the periphery of halucination and the exploration of imaginary places.
Berlin

(image: Dreamer of my dreams, 2006, oil on linen, 36 x 36 in. private collection, New York)

Aug-Sept 2005

Strange Birds and Other Curious Manifestations
Space, London

Executed at Britannia Works on Fish Island in East London these paintings are inspired by multiple objects in situ in a streaming time continuum.

Strange Birds & Other Curious Manifestations explores the sense of overlayered space where many objects can occupty the same space if viewed over time. It also examines a sense of time shift - where the moment is changing from one state to another much in the way a film frame captures sequences that bridge two moments that define a narrative action so as to create a simulacrum of real movement. They are neither gaps in language but are necessary structures that build a fluidity and sense of movement.

(image: Neither/Both (Reality as it is), 2005, oil on vinyl, 96 x 72 in)

May 2005

My Private California: Image as Artifice

Image: Sea and Bird, 2008, chromogenic prints on diasec 16 x 32 in.

October 2005

Underground cities: Interior as metaphor for exterior (and vice versa)
Akiyoshidai Plateau, Japan

This series was made underground in Akiyoshidai cave, Japan's Southernmost tip on Honshu island in Yamaguchi Prefecture the largest karst plateau in Japan. IT explores an off-world-like permanent night which resemble undersea exploration and lunar excavation sites.

Image: Landing lights (left) and detail of Nebula (right) , 2005, chromogenic print, diasec. 20x30 in.

August-September 2004

Proto-human and the modern cave dwelling
Space/Triangle studio, London

A series of hanging stalactites, ritual objects from an imaginary archeological excavation and visions of lost cities, igloo structures that resemble geodesic domes, flying castles and pink desert tube-dwellings.

Image: installation view at Space/ Triangle, London

October 2004

Bang Bang Berlin
Bergstübl-Mitte, Berlin

curated by Cornelia Brintzinger

The idea of viewing a nighttime terrain from a helicopter, Anomaly 2004 explores formlessness grey landscape with carbon black lakes.

Image: Anomaly, 2004, (detail) plastic foam on canvas, 72 x 54 in.

August-September 2005

The Hidden Panopticon
Berlin

Exploring the topography of abandoned spaces - to right an abandoned bunker near a Soviet radar installation.“The fortress had important psychological value, for it tended to unite the occupier and the occupied in the fear of being swept away; the fortress provided unity and identity where there was none.” (R.G Nobecourt as quoted in Virilio, Paul, Bunker Archeology, 1994.)

The structures of the Russian radar station, and nearby bunkers constitute a symbol of unity through radio and military communication (a type of supply line) between Moscow and the military outposts in Sachsen-Anhalt and Brandenburg through a Foucaultian panopticon that serves both as listening post and shelter deep, and now forgotten in the forest.

Image: Untitled (bunker), chromogenic print, 5 x 7 in.

January 2001

Table Manners
Mizuma Gallery, Tokyo

curated by Roger McDonald, Tactical Museum

Image: Nebraska, 2001, plastic foam/ mixed media, motor (Photo: Metropolis, Tokyo) and Dave, 2001, plastic foam, motor and cable 36 x 22 in.

June 2000

Strange Flowers
Yong-Du Art Festival, Pusan, Korea

Exploration of an imaginary proto-human paradise. Bewww.artlateral.comutiful/ grotesque giant flowers 4-5 feet tall paured in plastic foam.

Image: Untitled (bunch of flowers), 2000, pigmented plastic foam, ht 40 in.

January-February 2000

The Raft
Nylon Gallery, London

curated by Klega/ Saligia

Image: Tony, 2000, plastic foam 60 x 40 in.

(photo: Art Monthly, UK)

2000

Hollow mountains
Tokyo

Exploration of the the interior-ness of geological structures - the idea that they are hollow and full of inhabitable space. These works ultimately led me to explore caves as a type of "inverted mountain".

Image: Untitled (inverted mountain), 2000. plastic foam, electric light, 36 x 84 in.

Image: My mountain, 2000. pigmented plastic foam
36 x 96 in. at Asahi Competition, Tokyo