Group Exhibition: Brick to Canvas @ Tinney Contemporary, Nashville Tennessee

April 20th, 2016




Detail ofOvercast air’

24 x 60 x 1 3/4 inches, 2016  

Found paper, ball point pen, acrylic, screen print and spray paint on cradled birch panel.

Coated in archival matte varnish. Finished in satin gel medium. 

Framed by artist in mahogany stained pine and found yardsticks.

Detail of ‘Overcast Air’  HERE




Tinney Gallery presents: BRICK TO CANVAS: A survey of international street art


Herakut  -  Rone  -  Niels “Shoe” Meulman  -  Adele Renault  -  Augustine Kofie


Part I:

May 7th - May 28th, 2016



Tinney Contemporary

237 5th Avenue North

Nashville, TN 37219



  Tinney Contemporary is pleased to present a two-part exhibition curated by the founders of the Nashville Walls Project, Tova Lobatz and Brian Greif. Brick to Canvas - A Survey of International Street Art is a multidimensional look into the world of contemporary street art, urban contemporary or new contemporary. All the artists represented have extensive experience painting murals and have been exhibiting in galleries and museums around the world. Brick to Canvas - A Survey of International Street Art is on view until July 25th, 2016 at Tinney Contemporary and is free and open to the public.



Part I: May 7th - May 28th:  Nashville Walls Project Exhibition:  In conjunction with the “Nashville Walls Project” inaugural mural project in Nashville, Tinney will show works by international street artists - Herakut - Germany, Rone - Australia,  Niels “Shoe” Meulman - Amsterdam, Adele Renault - Amsterdam,  Augustine Kofie- United States, and Dal East- South Africa. Inside the gallery Herakut will be producing an experiential installation along with hanging 2D works. Herakut, Rone, Meulman and Renault will be in Nashville to paint public murals and will be present for the opening reception.



In addition, Tinney will also be exhibiting Banky’s “Haight Street Rat”.   The 7-foot tall beret wearing Rat is one of Banky’s most famous street paintings.  The public will be able to see the Rat for free during the course of the exhibit.



The Nashville Walls Project aims to bring internationally known street artists to Nashville. The founders, Brian Greif and Tova Lobatz, are art advisers and curators who met in San Francisco. Greif, based in Nashville, has spent a majority of his career in media, produced a number of movies (including “Saving Banksy”, a documentary about the infamous piece that will be hanging in Tinney Contemporary in May), and has been involved in the arts for decades. Lobatz, based in San Francisco, was the director of the leading urban contemporary gallery in the United States. She has founded her own public arts organization in San Francisco, and continues to advise private collections, corporations and curates independently.





Group Exhibition: EXCEPTIONAL @ Scream Gallery, London

April 14th, 2016



Full and detail of ‘Assembly Instructions’, 2016

91 x 91 x 4 cm   /  36 x 36 x 1 3/4 inches

Found paper, ball point pen, acrylic and water-based spray paint on cradled birch panel.

Sealed in archival matte varnish. Finished in satin gel medium. Framed by artist in mahogany stained pine and found yardsticks. 




 Animation of 6 Found Clipboard paintings for the exhibition

12.5 x 9 inches  [22 x 32 cm ]

Acrylic on found clipboard (pressed hardboard masonite wood). 

Finished in satin gel medium.







Curated by REMI ROUGH & Ruth Wilkinson




A group exhibition featuring:

Jerry Inscoe (USA)  -  Augustine Kofie (USA)  -  Zanny Mellor (UK)  -  Martina Merlini (ITALY)  -  Steve More (UK)  -  Charley Peters (UK)  -  Livvy Turner (UK)



Scream London present ‘Exceptional’, a group exhibition that connects seven artists with disparate working practices who share a minimalist sensibility. Employing a range of different methods, each artist has developed a unique way of working with processes such as erasure, visual systems or spatial investigation. Their practices are often labour intensive, contrary to the reductive nature of the final work.


The work presented in ‘Exceptional’ offers a contemporary vision of the traditions of abstraction. Some of the artists draw inspiration from the lines of urban architecture, some from surface and texture, and others from vintage system grids. Their work, however, avoids a nostalgic view of modernism and sits confidently within a post-digital landscape. The distinctive journeys that each of the artists go on in their daily routines in the studio are what brings them together in this exhibition.


‘Exceptional’ because nobody else makes work in the same way that these seven artists do. ‘Exceptional’ because the work is unique, not printed or manufactured but considered, built, erased, layered, constructed and painted by their own hands, using their own inimitable processes with incomparable results.



Scream LondonEastcastle House, 27-28 Eastcastle St, Fitzrovia, London W1W 8DH


Contact RUTH@SCREAMEDITIONS.COM for Sales PDF and all inquiries






Illustration and handstyle for SACH Essential LP released by HIT+RUN

February 17th, 2016


[Longtime collaborators HIT+RUN asked me to contribute to this great ‘Best of’ collection of music by Sach Illpages, a true LA connoisseur, Dj, beat-smith, painter and MC in it’s purest form. Photography by Eric Coleman of MOCHILLA, Liner Notes by Carlos Nino and design direction by Brandy Flower. The LP and cassettes are available via their Bandcamp and select stores.]




While G-funk dominated hip-hop airwaves through the 1990s, the pulse of underground rap was maintained at the Good Life Café, an open-mic workshop at the corner of Crenshaw & Exposition in Los Angeles. After Freestyle Fellowship became the first Good Life group to invade the national consciousness in 1991, a young duo called THE NONCE were their heirs apparent, seemingly primed for a breakthrough. Composed of Leimert Park natives Lance ‘Nouka Basetype / Sach’ Caldwell and Yusef ‘Afloat’Muhammad, The Nonce had already been rapping and recording together for years prior to arriving at Good Life. The Nonce signed to Wild West Records / American and completed a record called ‘World Ultimate’ in 1995.


An early single called “Mix Tapes” emerged from the ‘World Ultimate’ sessions. With its dense percussion, rolling bass, spare horn samples and deft turntable scratches, it’s emblematic of the sound that would pervade the classic album. The song charts Sach and Yusef’s growth from mixtape peddlers to artists. It also became The Nonce’s stepping stone to a major label contract and a bonafide west coast classic. While often likened to A Tribe Called Quest’s concurrent records, ‘World Ultimate’ moves at a lower frequency than any Tribe album, achieving the considered smoothness of the best mid-‘90s California rap.


After ‘World Ultimate’, Sach and Yusef intended to push their musical boundaries even further. In 1998, Sach formulated an ambitious project called ‘Seven Days to Engineer,’ in which he’d conceive, produce and record an entire album in a week. The song, “Look At Me Mean,” has a murky, uneasy vibe miles removed from ‘World Ultimate’s happy-go-lucky sound. For Yusef Afloat, the journey ended at age 28. In 2000 his body was found beside the 110-Freeway. Whatever the cause of death, “It was devastating to me, and it affected me in a lot of different ways,” Sach says. “It made me disavow the industry. I still wanted to make music, but I didn’t know how to proceed.”


Sach disappeared for a while but emerged in 2002 with ‘Suckas Hate Me,’ and in 2004 recorded his third solo album ‘Sach 5th Ave’ with producer Omid. In the years since Sach has maintained a prolific solo career, self-releasing nearly a dozen projects ranging from LPs to collaborations and instrumental tapes. As Sach Ill Pages and with Name Science (with Ino Oner), he’s pursued a more abstract lyricism and leans more heavily on jazz instrumentals than he did with The Nonce, but he’s the same rapper.


Fast forward to 2016 and the forthcoming release of ‘ESSENTIAL [HNR57] a remastered twelve-track “Best of” SACH compilation album, serving as a re-introduction of Sach to a new generation of hip-hop lovers, producers, beat makers & emcees. This extraordinary musical document comes complete with cover artwork courtesy of Augustine Kofie, the legendary photography of Eric Coleman, plus illustrative and informative liner notes by luminary Carlos Nino, and is available on limited-edition 12″ tangerine colored vinyl, (only 300qty pressed in collaboration with Fat Beats), plus Cassette tape (includes two non-LP bonus tracks “Heavenly Spit” & “Robot on Ya”).

Publication: KEEP DRAFTING Monograph with ZERO+ Publishing

February 16th, 2016


ZERO+ Publishing 



Published by Zero+ Publishing

Introduction by Rafael Schacter

160 pages, 11 1/4″ X 11 1/4″

120 Illustrations, English

100 color plates, 200 gsm SPCO matte art paper

Hardcover - Cloth with paper dust jacket

Release date: June 2015

Edition of 1,000

Designed by Pedersen Projects, Claremont, California

ISBN: 9781937222390


Keep Drafting traces the fascinating trajectory of Augustine Kofie’s work, from his early figurative pieces to his more recent forays into geometric forms and abstraction using collage and found images. Sketches, initial drawings and a grouping of paintings on clipboards give a strong sense of not only the working process of this incredible artist, but help document how he achieves such enduring finished paintings. KOFIE’s background growing up as a graffiti writer in Los Angeles in the 1990s has further informed his amazing outdoor murals, including a featured signature piece from Mexico City. Augustine has exhibited his work in Milan, Los Angeles, San Francisco, Paris, Tokyo, Cape Town, Miami, Glasgow, London, Vancouver, Berlin, Basel, Melbourne and beyond.    -GINKO PRESS


Available at:







Custom Box Set for KEEPDRAFTING Book with Zero Publishing

February 1st, 2016





Technical specifications:

  • Edition: 10
  • Custom constructed stained box with a unique acrylic / screen printed lid—12.5 x 12.5 x 3.75 inches (31.75 x 31.75 x 9.525 cm)


  • Original acrylic, paper and screen print on wood panel framed with vintage yardsticks—10 x 10 x 1 inches (25.4 x 25.4 x 2.54 cm)
  • Signed/numbered book


$1500.00 Write to for availability

Group Exhibition: Cosmic Flush: Celebrating the life and work of the legendary Rammellzee, London

December 10th, 2015






They knew I had wounds from platoons of the stars

39.5 x 39.5, 2015

Acrylic polymer & spray paint on primed duck canvas.

Finished in satin gel medium.




GammaProforma Presents: Cosmic Flush Exhibition, celebrating the life and work of the legendary Rammellzee.

Magda Danysz Gallery, 61 Charlotte St, London. December 10th, 2015



[ Very honored to have contributed my artwork to this project. MY SCHOOLBAG is available HERE to order] 




Rammellzee passed away in 2010, but before he left us he recorded his magnum opus, Cosmic Flush with producer Jonah Mociun. Unreleased, eight years have passed. The collection of breakcore and speed metal-influenced rap tracks stand as a futuristic relic which is just now about to see the light of day.


Cosmic Flush fully realises Rammellzee’s complex philosophy and unique vision of futuristic hip hop, apocalyptic science fiction, and extreme sonic exploration.


To celebrate the life of one of our culture’s great minds we are releasing Cosmic Flush as a commemorative series of records and prints. There are 7 core tracks, each will be reinterpreted and remixed by a visual and audio artist.


Illustrating the groundbreaking influence and genius of the artist, The Rammellzee. Works from Futura, Doze Green, Ian Kuali’i. Delta, sheOne, Augustine Kofie, Poesia, Toxic, Dr Zulu, Will Barras, Divine Styler, Mr Len, Edan, Beans and more TBA.


View all of the paintings from the Cosmic Flush project and hear the album and remixes at Magda Danysz Gallery, London on Thursday 10th December, 2015.

We’re producing a commemorative catalogue for the show which includes all of the artwork. A limited number of these are available to order here.




Facebook event page







Solo Show: I N V E N T O R Y @ Jonathan LeVine Gallery, NYC

November 6th, 2015







I N V E N T O R Y :  New works by Augustine Kofie

Jonathan LeVine Gallery, NYC


November 21 - December 19, 2015.





Jonathan LeVine Gallery is pleased to present INVENTORY, new works by Los Angeles-based artist Augustine Kofie, in his first solo exhibition at the gallery. In the exhibition, Kofie explores the role of inventory in his work.


The word inventory, “a complete list of items such as property, goods in stock, or contents of a building,” comes into English from the Late Latin inventarium, a “list of what is found,” from the Latin invenire, “to devise, discover, find.” Invention and inventory are thus linked: the making of something new comes from the discovery of something existent, its subsequent cataloguing, storing, and use as stock.


The inventory in question consists of found, reclaimed press- or chip-board, a heavier paper stock used in packaging and office supplies from the 1950s to the 1980s: steno notepads, file folders, envelopes, index cards, or industrial packaging designed, printed and manufactured in the USA. These are old technologies, now rendered obsolete, used for organizing in a predigital, bygone era. Kofie finds and collects these at estate sales in the greater Los Angeles area in a highly specific form of “controlled hoarding,” in the artist’s own words. He gleans this refuse of the past—forgotten, unwanted, unseen—from the homes, workshops, and garages of the elderly, who saved everything, back when things were made well, made to last.


Kofie explains his attraction to office supplies through his obsessiveness with organization, not order so much as cataloging. A self-defined “compartamentalizer,” he breaks his work process into phases, especially for a cohesive, coherent collection such as the one in this exhibition. He begins by drawing small case studies on notepaper or note pads—loose leafed, easily discardable. These become reference for collage work, in which the discovery and collection of forsaken materials is the first step. Next, the materials enter his studio, where they are meticulously inventoried—archived by color palette, thickness, and category in vintage industrial file cabinets, “sometimes for years, sometimes for that day,” until they make their way into an assemblage. Finally, layers of pencil, ballpoint pen, silkscreen, and acrylic ink cover the assemblage, making it cohere.


Kofie describes his process, both in collage and in painting, as one of building, like an architect making a model in two dimensions for a structure that will never be built. The found materials are the first building blocks of this process, essential to it. The painting and drawing that follows brings them into new purpose, new life. “I’m not building brand new systems, I’m building systems that have existed and have been forgotten.”


This method of citing systems that have existed in the past—the process of discovering, isolating, and repurposing in something existent a component of new creative possibility—defines sampling. A parallel version of the process forms the basis of Kofie’s soundtracks for his exhibitions (under the moniker 4X4Tracktor), many of which sample records found at the same estate sales as well as marginal cinema from the same era. But whereas sampling poaches bits of work made by other artists, amassing and repurposing an inventory of predigital office supplies does not infringe on anyone’s creative copyright. Flipping the materials becomes an act of elevation, of salvage from oblivion. INVENTORY focuses on reappropriation as the very beginning of Kofie’s work.

-Ruti Talmor




MasterMix Soundtrack for INVENTORY @ Jonathan LeVine Gallery, NYC / 39 min by 4×4tracktor on Mixcloud





Preview Augustine Kofie “Inventory” at Jonathan Levine Gallery NYC via GRAFFUTURISM



Geometric Collages Created From Layers of Vintage File Folders and Index Cards via COLOSSAL






Geometric Collages Made From Ephemera by Augustine Kofie by Galerie Project


Geometrische Collagen aus Büroutensilien via Feinripp Magazine


Publication: Apocrifa’s Geometria Issue 26 / Featured artist

November 5th, 2015


Featured artist in Apocrifa’s  Geometría Issue #26



En el origen, la humanidad asimiló las formas que se encuentran en la naturaleza, moldeando un lenguaje visual de imitación, la representación temprana fue abstracta, esquemática, fue geométrica.


La geometría tiene por objeto el espacio, su medida y sus relaciones, ha sido en todas las épocas, regla inherente al Arte.



Visita aquí todas las ediciones de Apócrifa Art Magazine.


Group Exhibition: GO! [GRAND OPENING!] @ OpenSpace Paris

October 22nd, 2015


Adjustment Amethyst

48 x 48  inches / 122 x 122 cm, 2015

Acrylic polymer and spray paint on primed duck canvas. 

Finished in matte gel medium.  


I will have 2 recent works on canvas available for this group exhibition View large HERE and HERE.]










Exposition collective avec des œuvres inédites de 12 artistes de la galerie :




Quatre ans après le lancement de Graffiti Art Magazine en 2008, Nicolas Chenus & Samantha Longhi ont souhaité donner un prolongement tangible à cette première aventure éditoriale en ouvrant leur propre galerie d’art. Pour soutenir et promouvoir les artistes émergents comme confirmés et dont le travail n’a jamais été présenté en France, en s’adressant aux collectionneurs avertis comme aux amateurs néophytes.

La Galerie Openspace a ainsi vu le jour en septembre 2012 sous le parrainage du pionnier de l’art urbain Ernest Pignon-Ernest. Quel honneur !

Trois ans plus tard, après plus d’une trentaine d’expositions et évènements, la Galerie Openspace représente une douzaine d’artistes internationaux parmi les plus talentueux de la scène contemporaine. L’exposition du Grand Opening montre l’étendue de leur talent à travers des œuvres inédites. 

En octobre 2015, Nicolas et Samantha ont décidé de voir plus grand et de déménager. La Galerie Openspace est désormais installée dans le quartier du Bas-Oberkampf, boulevard Richard Lenoir, proche de la Place de la République, dans un espace unique d’une surface de 240 m2 sur trois niveaux.

Bref, nous brûlons d’envie de partager avec vous l’expérience de ce nouveau lieu, à la hauteur de nos rêves artistiques. Nous montrerons ainsi dans notre programmation 2015-2016 des expositions à la fois spectaculaires et didactiques, mettant l’accent sur une vision historique du mouvement de l’art urbain et sur la notion de découverte. Nous vous attendons avec impatience ! 




Exposition du 24 octobre au 28 novembre 2015 

116, bd Richard Lenoir, Paris 11e 

M° Oberkampf (L9, L5) 

ouvert tous les jours de 11h à 19h

note : la galerie sera exceptionnellement ouverte le dimanche 25 de 11h à 19h 



Tél. : 09-80-66-63-94

Email :




Pour toute demande d’infos, de visuels en vue d’un article ou d’une interview, vous pouvez contacter Samantha Longhi par mail sur ou par téléphone au 09 80 66 63 94

Group Show: SENSITIVE EYE @ David Bloch Gallery, Marrakech

September 11th, 2015




Following the success “Sensitive Eye” in February 2014, the David Bloch Gallery is pleased to announce its new exhibition entirely dedicated to Optical, Kinetic and Architectural Art.


The Op art, or optical art, is a term used to describe some artistic researches that have started in the 1960s, with the view of challenging the eye’s reliability through illusions or optical games.


Mostly abstract, the Op art works give the impression of movement, shine of light, vibration.They provide the viewer with a feeling of vertigo, between

pleasure and unstability.


These visuals stresses are at the core of some of the resident artists’ body of works, such as Sebastien Preschoux or Lx One. They also characterize the

creations of new talents to the gallery : Arthur Dorval and Swiz.

This Group Show will consist in artworks on canvas, on papers but also in installations made on an individual or multi-handed basis