shane guffogg: at the still point of the turning world - strangers of time

A solo exhibition featuring small to large-scale oil paintings

by the internationally acclaimed artist, Shane Guffogg

Presented by Patrick Carpentier

in collaboration with, Museum of Art & History, Lancaster

co-curated by Pier Paolo Scelsi, and Andi Campognone.

Exhibition dates: April 17 - November 24, 2024

Opening Artist Reception: April 17TH from 6 PM to 9 pm

6 pm “The Sounds of Color” an immersion of art, music and AI

Scala Contarini del Bovolo museum, S. Marco 4303, 30124 Venezia, Italy

Shane Guffogg (photo credit Sonia Huckabay)

PRESS RELEASE

Celebrated American artist Shane Guffogg lands in Venice this April

New exhibition opening during the Venice Biennale to showcase ongoing dialogue between the abstract artist and poet T.S. Eliot

This April, at the historic Scala Contarini del Bovolo, Venice, American Artist Shane Guffogg will present a new series of 21 paintings titled At the Still Point of the Turning World – Strangers of Time, opening during the 60th International Art Exhibition – La Biennale di Venezia 2024.

Guffogg’s latest major exhibition promises to add a splash of joy and a touch of magic to Venice’s energetic art scene this April. This unprecedented collection of work in fact represents the ongoing dialogue between the abstract artist and poet T.S. Eliot’s renowned set of poems, Four Quartets, which has inspired Guffogg to create works that explore the intersection of time, space, consciousness and transcendence.

The series of large-scale paintings explores concepts of movement, escape and migration, placing human nature as innately transitory throughout history. These themes are particularly autobiographical, as Guffogg's father immigrated to the United States in 1957 from Northern England, driven by the pursuit of the "American dream". Subsequently, Guffogg moved from the central valley of California to Los Angeles in the late 1980s, in the pursuit of artistic and cultural acceptance.

The exhibition will be split in two rooms, each inspired by a different passage from T.S. Eliot’s writing and will feature selected works that can be enhanced through augmented reality (AR). Utilizing AR and artificial intelligence, Guffogg expands the possibilities of what art can be, inviting viewers to see and think beyond the 24/7 age of information, in a meaningful and immersive way.

 At the end of the first room, for example, will be the large canvas Only Through Time is Time Conquered (7 x 9 feet; 213.6 x 274.3 cm), which draws on the colours of the rich history of Venice and a painting by Tintoretto permanently exhibited in the rooms of Palazzo Contarini. The canvas will be AR-enabled, to allow viewers to experience the movement of the artist's hand in creating the work. The viewer will have a QR code to scan and then, once pointed at the painting, the AR will be activated showing the inversion of the application of colours and lines, until the painting is in its initial phase, which will then dissolve visually revealing the work by Tintoretto underneath.

Enamoured with Europe’s Old Masters and inspired by their techniques, Guffogg has developed his own unique style incorporating a fascination of magic, iconography and quantum physics, which perfectly matches the uniqueness of the exhibition’s setting. The iconic Scala Contarini del Bovolo, a Venetian palazzo featuring a spiralling 15th Century staircase, 28 meters high, intertwines and dialogues with the artworks seamlessly. - Midas

Written by Victoria Chapman (Studio Director, Guffogg Studio)

"In Four Quartets, T.S. Eliot explores themes of the present moment, the cosmic order, and coexistence, a sentiment shared by artist Shane Guffogg. Commencing in April 2023, Guffogg embarked on a creative journey, producing twenty-one paintings inspired by three stanzas from Burnt Norton, the first chapter of Eliot's work. These artworks, employing lines and colors, provide a visual examination of the exchange of thoughts across time.

Guffogg's engagement with Four Quartets commenced over three decades ago and endures, as he contemplates Eliot's exploration of the abstract interplay between life experiences and the formation of memories. Eliot's poem, written in England between 1936 and 1942, is divided into four sections, each relating to one of the classical elements: air, earth, water, and fire.

Eliot's verse, 'Be remembered; involved with past and future. Only through time is time conquered.' from Burnt Norton Section II, highlights the central theme of time's influence on human existence. Influenced by both Eastern and Western literature, including the Bhagavad Gita, Confessions of Saint Augustine, and The Divine Comedy, Eliot also drew inspiration from Beethoven's quartet, which may have influenced the poem's title and musical underpinnings. Guffogg, with his sound-to-color synesthesia, instinctively recognized this musicality, evident in his paintings. The works convey an inherent 'sound score' through their visual rhythm, offering an intuitive perception that guides the composition through the choice of lines and colors.

The exhibition's largest piece, 'Only Through Time is Time Conquered,' exudes a dynamic quality, with blue lines at its core that pulse and summon supporting red and yellow lines, infusing contrasting tones with an oceanic sense of movement. Guffogg shared his creative process, revealing a connection between sound and color: 'As I was working on the seven by nine-foot canvas, and listening to abstract-classical-orchestrated music, I noticed the presence of dissonant chords. This parallel with my paintings, especially 'Only Through Time, Time is Conquered,' where complementary colors push against each other, creates a tension akin to the unsettling notes in the music. This experience immerses me in the present moment during the painting process, disconnecting from extraneous thoughts.”

The interplay between light and dark, represented by transparent veils of light and complementary colors, produces a dynamic tension within the paintings, leading the viewer into an infinite shadow of darkness while drawing them towards the light. Guffogg's work encapsulates a timeless quality, capturing the eternal moment, which resonates with Eliot's themes. It invites the viewer to engage consciously and subconsciously, seamlessly merging these aspects and revealing the essence felt rather than merely perceived.

Guffogg's "At the Still Point of the Turning World" series, originating from a subconscious sketch in 2009, explores his quest for inner balance and serves as an autobiographical narrative. These paintings are not self-portraits in the conventional sense but expressions of his existence, a journey through the human condition, and his relationship with time. His artistic process involves a silent, solitary exploration of his work, where thoughts become visual language. Music plays a pivotal role in his creative process, acting as a conduit to connect with the universal essence. This process, which Guffogg describes as dipping his toes into the pond of the universe on a good day, is a ritual he continues to uphold.

Guffogg's art, much like T.S. Eliot's poetry, encapsulates a profound yearning, inviting observers to experience the

authentic, providing a space to encounter time and the present. These works serve as a testament to Guffogg's need to share evidence of what it means to be alive, encompassing thoughts, emotions, love, suffering, and healing. His art, particularly in the "Neither Flesh nor Fleshless" series, is deeply autobiographical, portraying moments of existence.

The "Neither Flesh nor Fleshless" series invokes an enigmatic quality, exploring the interplay of flesh and the absence of it. Guffogg's approach involves allowing his hands to move across the canvas, making the brushes an extension of his physicality. Thin veils reminiscent of Renaissance art, particularly the translucent black veil seen in the Mona Lisa, represent the delicacy and fragility of life and the moment of transition. These paintings aim to present an unsolvable question, provoking contemplation.

Emotional and primarily red in color, with various shades of dark, earthy-red, charcoal, and smoky hues, the series delves into the convergence of spiritual and physical worlds. These works provoke contemplation of time and composition, offering a reflection on the past, present, and even the future. They express a belief system rooted in human existence, sharing intimate thoughts, sensations, and a blend of the mental and spiritual. They evoke words like "annunciation," "rapture," and "communion," prompting self-awareness and introspection.

Collectively, the series emanates an ethereal quality, while individually, each painting conveys a unique message. Gestural marks transform into ribbons or veils of light, revealing saturation and fluidity, evoking celestial elements. The series prompts a sense of longing and contemplation, exploring the boundary between order and chaos. Guffogg's work serves as a testament to truth, representing both a historical narrative and a visual and emotional experience.

In contrast to Monet's works at Giverny, Guffogg doesn't depict his garden but paints abstract moments informed by the landscape. His connection to the land and his understanding of light enables him to create a sense of depth and movement, similar to Monet's approach. Guffogg's keen perception of the environment, weather patterns, and his intimate connection with his chosen workspace contribute to the unique quality of his artwork.

This narrative delves into the intricate and profound dimensions of Guffogg's artistic process, inviting viewers to explore the intricate layers of his work and its connection to the world around him.

His artworks are not only visual expressions but also personal narratives, sharing his own story while reflecting on the profound themes found in T.S. Eliot's text. In each brushstroke, viewers can explore the interplay of line, color, and elements of space, delving into the essence of his experiences and the emotions woven into his work.

Since Guffogg’s first encounter with the Four Quartets, his fascination has not wavered. If anything, it has grown deeper, which is evident in the developing complexities of his paintings and can also be seen in how he lives life, taking each moment in each day as something that is fleeting but permanent. Guffogg uses glazes to paint the illusion of various light sources within the composition. He has also written and published numerous articles analyzing paintings of the old masters and reads books on artists’ materials from the past. The results are figurative subjects painted as abstract forms. There is a balanced struggle between the light and dark, yin and yang, represented through painted transparent veils of light and complementary colors, that push the illusionary picture plane further back into an infinite shadow of darkness as light pushes toward the viewer. The paintings embody a certain timelessness; capturing the eternal moment, which is the key and link to Eliot. The viewer is an integral part of the work because these paintings require an exploration that engages the conscious and subconscious, which the artist seamlessly fuses together, bridging the essence of what is felt rather than merely perceived. 

 In 2009, while listening to a public speaker and without thinking, Guffogg felt a need to sketch his subconscious. This was the beginning of the At the Still Point of the Turning World series – lines that would loop out toward the edge and back around to the center of the page as if there was a hidden gravitational force controlling his hand. It was the artist’s way of finding his own still point and inner balance. These paintings are autobiographical. They aren’t mirror images of what he looks like; eyes, face, hair, etc. Rather, they are the evidence of his existence, the exploration of the human condition, and his relationship to time. Not only are they paintings, they are a confirmation of truth. When Guffogg enters his studio, it is a silent act. The artist walks around, looking to see what his paintings are telling him. He works alone, there are no assistants. Watching him lay down the first traces of lines is quite mystical. He has said that thoughts become words, but what do our thoughts look like before they become language?  Then the music is turned on and he becomes a conduit.  As Guffogg likes to say, when he is having a good day in the studio, he gets to dip his toes into the pond of the universe.

Like Eliot’s poetry, Guffogg has instilled a certain yearning into these works. These paintings also bring a moment for the observer to experience a place to witness time and the present. I think this may be Guffogg’s need to share evidence of what it means to be alive; think, feel, love, suffer, heal. I am returning to the fact that it is autobiographical. Guffogg has said he paints moments of existence. 

official exhibition catalog:

shane guffogg: at the still point of the turning world - strangers of time at scala contarini del bovolo museum, venice, italy

features: english and italian language, FULL-COLOR IMAGES, SUPPORTING ESSAYS, AND INSIDER NOTES BY GUFFOGG, printed in italy

INSIDER NOTES AND PERSONAL QUOTES BY SHANE GUFFOGG,

INTERVIEW WITH SHANE BY CO-CURATOR PIER PAOLO SCELSI, ESSAYS BY VICTORIA CHAPMAN, AND CYNTHIA PENNA

to purchase | shIPPING WORLDWIDE | inquire below

BIOGRAPHIES

Shane Guffogg was born in Los Angeles, California and raised on an exotic bird farm in the San Joaquin Valley. His interest in painting began at an early age and by his late teens, he travelled to Europe to see the works of the Old Masters in person. Guffogg has worked as a Studio Assistant to American Pop Artist Ed Ruscha, immersed in the visual and verbal history of the LA Cool School.

Guffogg is a multi-media disciplinarian, working in oil, watercolour, gouache, pastel on paper, sculpture in marble and glass. His interest in the world of science has also led him to work in the fields of sound, Augmented Reality and AI.

Artworks by Shane Guffogg are housed in the permanent collections of prestigious museums, including Los Angeles County Museum of Art, Los Angeles; Nasher Museum of Art at Duke University, Durham; Fundación/Colección Jumex, Mexico City; The Imperial Museum of Fine Arts, St. Petersburg; St. Patrick’s Cathedral, New York, and other public collections.

One of Guffogg’s artworks has recently been donated to the permanent collection of Ca' Pesaro, the City Museum of Venice, which is also home to pieces by Chagall, Picasso, Klimt.

Patrick Carpentier, presenter

A renowned expert in modern and contemporary painting, Patrick Carpentier has devoted his career to the in-depth study and active promotion of major artistic figures of this era. As a dedicated organizer of significant exhibitions since the 1980s, he has had the honor and privilege of collaborating with renowned museums around the world. His work has shone a light on emblematic artists and their most notable works, thereby enriching the field of art. His unwavering passion for modern and contemporary art has driven him to encourage the discovery of new talents, demonstrating his steadfast commitment to the promotion of art and the valorization of creativity. Even after 45 years in the field, this commitment continues to animate his professional practice, fueling his deep love for this fascinating universe.

Pier Paolo Scelsi, CO-CURATOR

International Art Curator and Founder and Director of CREA Cantieri del Contemporaneo in Venice. After studying Conservation of Cultural Heritage atthe University of Ca ’Foscari and the master in virtual restoration of bibliographic assets, in 2012 he was the creator and conductor of the television broadcastFrame, ut pictura poesis, for "3 Channel Veneto" on the world art. He collaborates regularly with the cultural web-magazine Dietrolequinteonline.it, with the magazines "Kaleidos", "Finnegans, cultural itineraries". Former Director of the art section of "Collectible Dry magazine" and of "The Collector Magazine". Founder and Director together with Elmar Zorn and Thomas Lynsmeier of the project “Fundamenta Venice Munchen”. Creator of theatrical subject "Quella volta...Peggy Guggenheim" official event of the Carnival of Venice | 2013 produced by the Peggy Guggenheim Collection and by Venice Marketing ed Events. Since 2014 he has been a founding partner, president and artistic director of One Contemporary Art Cultural Association. His research is focused on the fields of Human Identity, environment, eco sustainability and cultural policies, Disability Arts. Member of the curatorial collective “Balcony” a global network of independent curators. Since 2015 he curated more than 80 different exhibitions, publications and projects working with partners such as: Gallery Rosenfeld London, Engel Gallery Tel Aviv – Jerusalem, Art 3035 Gallery Amsterdam, White Noise Gallery Roma, Israeli Embassy in Rome, Veneto Region, City of Venice, German Consulate in Milan Pasinger Fabrik Munich, Museo Nazionale delle Bonifiche - Rovigo Italy, Museo Ebraico di Venezia COOP Alleanza 3.0, Accademia di Belle Arti di Venezia, Ca Foscari University Venice, IUAV University Venice CNR ISMAR Italy, Laboratori di Fisica Nucleare Gran Sasso Italy, Sculpture Line Prague - Czech Republic Flamish Cultural Ministery, KAD Kalsa Art District Palermo, IRE Gioielli Nascosti di Venezia, Starak Foundation – Poland, Peggy Guggenheim Collection, Argentinian Embassy in Italy Art college of Jinan university, Guangzhou, China , Mediation Biennale Poland, Kunsthalle Faust Hannover MoCDA Museum of Contemporary Digital Art London, TRA Treviso Ricerca Arte, Shape Arts London.

Andi Campognone, CO-CURATOR

Andi Campognone has over 30 years of arts experience in the southern California region. She is the Executive Director of AC Projects, a non-profit consulting organization focused on promoting arts and culture. Projects include developing museum exhibitions, public engagement, mentoring programs and book and film publications of historically relevant southern California artists. Campognone is also the Arts Manager/Senior Curator for the City of Lancaster's museums. She is responsible for the development and maintenance of partnerships and community engagement initiatives with artists, businesses, stakeholders, Los Angeles County Arts Commission, Los Angeles County Supervisors office, California Arts Council and higher level institutions. She develops curatorial direction for exhibition, educational and engagement programming and additionally leads the public art initiatives for the City of Lancaster. She has previously served the City of Pomona as Cultural Arts Commissioner where she co-wrote and implemented the City's Master Cultural Arts Plan and the adopted Arts in Public Places Policy. She is the cofounder of Kipaipai, a professional development workshop for artists in Hawaii, California and New York. Ms.Campognone is on the Board of the Lancaster Museum and Public Art Foundation and on the Board of the Holualoa Foundation for Arts and Culture. She volunteers as a regular speaker and mentor to art students at both the undergraduate and graduate level and is on the advisory board of the Los Angeles Arts Association. She is a member of ArTTable.

ALVISE SCHIAVON - VeniCe eVents anD glass works proDuCtion CoorDinator

Born in 1966 in England and nurtured amidst the enchanting landscapes of Central Italy, I found my calling amidst the time-honored creation of Murano glassmaking. In 1994, drawn by ancestral ties, I embarked on a journey to Venice, the birthplace of my father’s lineage. It was here, amidst the timeless allure of Venetian artistry, that I discovered my passion for the ancient craft of Murano glass. Immersing my- self in a tradition steeped in over a millennium of history, I delved deep into the intricate tech- niques and rich heritage of glassmaking. With each molten masterpiece, I was captivated by the dance of light and color, each piece a testa- ment to centuries of artisanal brilliance.

In 2001, fate led me to an extraordinary encoun- ter with Shane Guffogg, a visionary artist whose boundless creativity transcends mediums. Inspired by the challenge of merging our wor- lds, we embarked on a collaboration to blend the ethereal beauty of glass with the evocative power of Shane’s canvas.

Our alliance blossomed into a fusion of artistry and innovation, yielding a collection of glass sculptures that breathe life into Guffogg’s vi- sion. As our creations prepare to grace the halls of Palazzo Contarini del Bovolo, I am filled with anticipation and excited to witness the conver- gence of past and present, tradition and inno- vation. With each stroke of the glassmaker’s tool, I am reminded of the enduring legacy of Murano’s artisans and the boundless potential of artistic collaboration. As we unveil our crea- tions to the world, I am eager to embrace en- dless possibilities and embark on new adven- tures in the realm of glass and canvas.

VICTORIA CHAPMAN - GUFFOGG STUDIO DIRECTOR

Victoria Chapman is a seasoned independent curator based in Los Angeles, with over 25 years of experience in museums, galleries, and art institutions across the US and Europe. In 2014, she founded VC Projects, a platform dedicated to aiding artists in documenting and promoting their work (www.vcprojects.art). 

Chapman's collaboration with artist Shane Guffogg, which began in 2015, initially involved tasks such as managing newsletters and administrative duties. Over time, her role evolved to encompass exhibition planning and the day-to-day operations of Guffogg's Los Angeles studio. This extensive partnership led to insightful dialogues about Guffogg's work and its relationship with art history, resulting in published works like "Thoughts and Conversations with Shane Guffogg – Thirteen Essays" and "Seven Conversations on Color." Chapman also conducts written interviews, including "Shane Guffogg: Self-Portraits" and "The Life of the Artist and the Creative Process," along with hosting audio discussions through the VC Projects Podcast, titled "Conversations About Art." 

In 2021, Chapman established El NIDO by VC Projects in Los Angeles, an art space and private refuge for artists showcasing exhibitions, film screenings, performance art, and contemporary classical and avant-garde music programs.

AR & AI + more

Shane Guffogg collaborates with Jonah Lynch (AI), and Anthony Cardella, composer, pianist AND Brayden Bugazzi (AR)

The painting titled "Only Through Time Time is Conquered" encapsulates an idea within an idea, challenging our conventional understanding of time as a linear progression. From a quantum physics perspective, time and space are not separate entities; rather, they are intricately intertwined. The notion that time is the inverse of what we commonly perceive opens a gateway to a profound exploration of the interconnectedness between time, space, and our experiences.

The vibrant colors of the painting draw inspiration from Tintoretto's "Paradiso," a masterpiece displayed at the Bovolo Museum. "Paradiso" itself is an almost abstract composition, characterized by rhythmic patterns of light and color. This work represents the pinnacle of Tintoretto's mastery in contrasting light and dark elements within intricately rendered figures.

As an artist, I find myself in a perpetual contemplation of time and space, informed by extensive readings on quantum physics, string theory, and the perspectives of ancient Mayan and Egyptian cultures on time. Coupled with my own life experiences, this exploration has led me to ponder whether our actions not only shape the future but also ripple backward in time, influencing the past.

Motivated by these reflections on time, I sought to visualize the intersection of different temporal moments. Drawing inspiration from the Italian masters who have profoundly influenced my artistic journey, I continue to be inspired by their vision and techniques. To manifest this vision, I collaborated with AR artist Brayden Bugazzi to explore augmented reality (AR) technology.

Through this collaboration, I can transcend the constraints of time and space. The painting orchestrates a dynamic convergence of two distinct moments—1588 and 2023—bringing the past into the present and vice versa. The lines of colors within my artwork seamlessly merge back into Tintoretto's masterpiece, and the colors and figures of "Paradiso" materialize within the pictorial plane of "Only Through Time Time is Conquered." This fusion of past and present creates a new and captivating moment of art, where the boundaries between eras dissolve, and a harmonious dialogue between centuries unfolds. In this intersection, the artwork becomes a portal through which the past and present coalesce, offering viewers a unique and immersive experience that transcends the conventional constraints of time.

 AI and what might Guffogg’s paintings sound like?

In addition to the AR component, an integral part of the exhibition will be Sounds of Color, a visual symphony born from the collaboration between Guffogg, pianist Anthony Cardella, and AI software programmer Jonah Lynch. Implementing Guffogg’s experience of synaesthesia – a blending of the senses, whereby he can experience sounds through colors – Guffogg and Cardella mapped out chords inspired by the colors used in Guffogg’s paintings, which were then fed into Lynch’s AI program, inspired by the painter’s brushstrokes and movements. The result is musical compositions which, in essence, are being composed by Guffogg’s paintings.

The public premiere of this music collaboration and performance will take place on April 17th, 2024 at the exhibition’s press launch event with a live performance by Anthony Cardella. 

BIOGRAPHIES

Shane Guffogg was born in Los Angeles, California and raised on an exotic bird farm in the San Joaquin Valley. His interest in painting began at an early age and by his late teens, he travelled to Europe to see the works of the Old Masters in person. Guffogg has worked as a Studio Assistant to American Pop Artist Ed Ruscha, immersed in the visual and verbal history of the LA Cool School.

Guffogg is a multi-media disciplinarian, working in oil, watercolour, gouache, pastel on paper, sculpture in marble and glass. His interest in the world of science has also led him to work in the fields of sound, Augmented Reality and AI.

Artworks by Shane Guffogg are housed in the permanent collections of prestigious museums, including Los Angeles County Museum of Art, Los Angeles; Nasher Museum of Art at Duke University, Durham; Fundación/Colección Jumex, Mexico City; The Imperial Museum of Fine Arts, St. Petersburg; St. Patrick’s Cathedral, New York, and other public collections.

One of Guffogg’s artworks has recently been donated to the permanent collection of Ca' Pesaro, the City Museum of Venice, which is also home to pieces by Chagall, Picasso, Klimt.

Anthony Cardella - Music Composer, and Pianist - Collaborator

Anthony Cardella is a dynamic and compelling, active performer who has performed in esteemed concert halls across the United States and Europe and has won regional and national performance competitions in the United States. A Wisconsin native, Anthony moved to Los Angeles in 2019 after completing his undergraduate studies at the Lawrence Conservatory of Music. Since then, he has been performing, teaching, and collaborating in the Los Angeles area while pursuing further studies at the Thornton School of Music. 

 Anthony is an award-winning performer who has been praised for his virtuosity, exceptionally delicate touch, and colorful playing that connects with his audiences on an emotional level. Anthony is known for assembling programs that showcase the full extent of his technical abilities and vulnerability at the piano in tandem, while actively seeking out music written by living composers to program and showcase in addition to standard Classical repertoire. Anthony’s performing career has recently centered around a combination of abstract art and Classical/Contemporary music, creating interdisciplinary experiences for audiences. 

Anthony holds a Bachelor of Music with honors in Piano Performance and Pedagogy from Lawrence University and Conservatory of Music, a Master of Music in Piano Performance from the University of Southern California Thornton School of Music, and is a Doctoral candidate at USC, teaching at the collegiate level while also doing research in musicology and pedagogy.

Anthony’s passions in pedagogy include modernized teaching approaches that value many genres of music to adequately prepare students for multifaceted careers and opportunities ahead of them, as well as injury prevention at the piano with specialized work and research done in Taubman Technique and ergonomic piano playing.

Jonah Lynch - AI Collaborator

Since childhood, Jonah pursued the ideal of the renaissance: competence in many fields, endless curiosity. He began his search for knowledge about origins and destinies as a Physics student at McGill university, and later broadened into humanistic interests, including studies in philosophy and theology and service as a priest for 15 years. Today he resides in Italy and divides his time between scientific research, consulting, and teaching.

Since age seven he has been a computer programmer, and wrote a best-selling book about technology and human relationships, The Scent of Lemons. His data science highlights include creating an algorithm to predict hospital emergency room overflow 24 hours in advance, developing visualization software for complex knowledge graphs, and using Natural Language Processing to map the gods of Ancient Mesopotamia. 

Jonah has a longstanding interest in art, and has collaborated with musicians, mosaic artists and painters, and has directed several documentary films and museum exhibits. Currently, he is working on two AI-based art projects, including the land-art Compos[t]ing project with Ingrid Ogenstedt and Ingrid Mayerhofer-Hufnagl, and the translation of a selection of Shane Guffogg’s paintings into music.

Brayden Bugazzi- AR Collaborator

Brayden Bugazzi is a Boulder, Colorado native, graduated from Arizona State University's Herberger School of Fine Arts before relocating to Los Angeles in 2005. Initially a photographer, Bugazzi has evolved his art to incorporate innovative technologies like AR and AI. His work has graced museums, art fairs, and the collections of A-list celebrities worldwide.

PODCAST - Listen on Spotify

VC Projects Podcast: “Conversations About Art”

In this episode, artist Shane Guffogg discusses his recent solo exhibition at the Bovolo Museum in Venice, Italy, inspired by T.S. Eliot's "Four Quartets." The exhibition, featuring twenty-one paintings spread across two rooms, explores themes of reaching into silence, conquering time, and the coexistence of flesh and fleshless. Guffogg highlights the significance of the largest work and its connection to Tintoretto's "Paradiso," which is also displayed in the museum.

In the first room, titled "Reach in the Silence," Guffogg aims to immerse the viewer in a spiritual experience, emphasizing his relationship with time and space. He describes his work as an imprint, a layered evidence of his existence.

The second room, showcasing "Neither Flesh nor Fleshless" paintings, delves into Eliot's exploration of dual ideas, a theme Guffogg believes embodies the essence of art. He contrasts art as an idea against its typical role as an illustration of ideas.

Guffogg's paintings are noted for their musical quality, evoking Gregorian Chant and prompting discussion of the artwork's spiritual and religious dimensions. The conversation delves into Guffogg's intuitive and layered creative process, revealing mysteries within his art.

Overall, the episode explores the profound connections between Guffogg's art, Eliot's poetry, and the rich tapestry of spirituality, inviting listeners to contemplate the intricate layers of meaning embedded in the artist's work.

“My work looks through the lens of humanity at civilizations, both past and present, and views time as threads that connect all people. My visual language is informed by the spiritualism of abstraction and the realism of the old masters. These two ideas are usually seen as separate but for me, they fuse to transcend, creating moments that become testaments to thoughts that inform us of who we are in the 21st century.”  - Shane Guffogg