Witness the Collision of Past and Present as George Oswalt's Collection, 'Toys, Decoys & Aggregated Myths,' merges Old School Charm with Cutting-Edge Essence of a Futuristic Realm.
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Kooness: Tell me about the Collection
George Oswalt: I have worked on the collection “Toys, Decoys and Aggregated Myths” during the last couple of years, during the shredding of our society, i.e the COVID times. Around that time period, I was spending a lot of time in my Studio in the Art District Downtown. Soon after, I experienced a heart attack which brought me to the creation of the third artwork of the collection. From that moment, my imagination was invigorating and my paintings started to speak for me. This exhibition is dedicated to the way I look at both my life and society, and would describe this as vibrant, bright with a touch of chic humor. I would refer to the selection as a representation of the reality of our modern times.
K: You refer to your paintings as “asking questions”, what do you mean by that?
GO: What I mean is that I expect and want watchers to look at my artworks and think “what the heck is going on?”. My aim is to raise awareness and open eyes, give a vision for what I comprehend and see. I use my paintings as a psychological technique that mirrors society, asking those questions of why we are doing certain things as a whole, or as individuals. Today, we live in a surreal world, filled with AI and different planes of existence, affecting lives daily. My first screen was television during college, and I remember questioning technology already back then. My paintings and I are in the midst of the technological revolution as, on the other hand, I still own a flip book and love it.
K: Does this collection relate to any historical or political event?
GO: Yes, it definitely does. I would say COVID was part of the recipe, yet it was during the 2016 elections that brought me and my musician friends together in my studio to mitigate what was coming. I engage with the world’s happenings and events, observe them and then react on canvas using my lens. It is important for me to point out that my aim is not to send a political message, just to make people more aware of what is going on.
K: How did your work as a filmmaker influence your art?
GO: How can it not? It did in so many ways….starting from working on Broadway. I am so into the creative process of art, and have been in the arts my whole life spanning from visual, music, to filmmaking. Sounds and music stimulate my creativity in different forms. I have had the chance to travel a lot, especially in the Eastern and Western Coast of the country, and feel like I reached my very unique style that incorporates some traits of both provenances. My style is extravagant, very realistic and abstract at the same time. I feel like an outlier in the art industry, in a good way!
K: Which technique do you use?
GO: I use a range of techniques and sources. From the computer, to painting, photography and objects in the studio are all sources who bring me to my technique. I don’t copy images off the internet like a lot of people do, nor edit them or manipulate them on the computer. A lot of my collages are on paper, and the composition takes place on canvas. I use pastel to easily erase the first steps of the artwork, and concentrate on layering. I follow my instincts and make sure there is always the organicness as well as the adventure of creating - I get excited and feel like I’m on a dancefloor! The color palette is predominantly red, blue, violet and yellow. The key words are the juxtaposition of details, simplicity, and boldness.
K: Do you have a particular story that stands out from your career as an artist?
GO: There’s been so many! Overall, I would say that I have been very lucky and fortunate along the way. I appreciate the community immensely and became really good friends with many established artists like myself.
Cover image: George Oswalt. Dagwood & Blondie, 2022. Courtesy of 1515 Lincoln Gallery
Written by Sveva Berto
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