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

December 7th, 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 honord 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

Publication: KEEP DRAFTING Monograph with ZERO+ Publishing

August 19th, 2015


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:







Group Exhibition: CUATRO IGUAL A UNO @ Celaya Bros. Gallery, Mexico D.F.

June 23rd, 2015



Augustine Kofie, Circulación Templo

165 x 170 cm / 64.9 x 66.9 in, 2014

Acrylic polymer and spray paint on heavy canvas.

Finished in semi gloss gel medium






I will have a number of works from my ‘YESTERDAYS ADVANCE‘ collection on dislay at the one year anniversary exhibition for Celaya Brothers gallery in Mexico CityAlso on display will be works by Christiaan Conradie, 3ttman, Franco Fasoli Jaz and more recently Sten Lex, in addition to promoting talented Mexican artists as Smithe, L3Sup3rD3mon, Sanez, Tellaeche and Fusca.


Celaya Brothers Gallery

Zacatecas 194, Roma Norte,

Mexico City D.F.

(between Tonalá and Monterrey).



La Neif breaks dwon the exhibition

Celaya Brothers Gallery FBOOK










Group Exhibition: L.A. MURALISTS: Artists In Their Studios ll @ Couturier Gallery

June 2nd, 2015



Incised Series No. 35, 2014

19 1/2 x 19 1/2  x  1 1/8 inches 

Acrylic, screen print, spray paint and incising on masonite panel.

Finished in matte satin varnish.

Framed in found yardstick & mahogany lattice.



Couturier Gallery presents- L.A. Muralists: In Their Studios II


June 6 – July 18, 2015






Artists’ Opening Reception, Saturday, June 6, 6–8pm

10% of all proceeds will go to benefit the Mural Conservancy of Los Angeles





Murals are a familiar part of the Los Angeles landscape, however, the public may be less familiar with the more intimate studio work of these highly visible artists.  Such pieces, although prized by institutions and private collectors, often go unseen by the general public.  In 1990, Couturier Gallery examined the studio work of five pioneering mural artists. Now, 25 years later, the gallery revisits those artists alongside a new generation of painters with L.A. Muralist: In Their Studios II.  They include: Christina Angelina, David Botello, Pablo Cristi, Wayne Healy, Judithe Hernández, Alex “Defer” Kizu, Augustine Kofie, Lydiaemily, Kent Twitchell, John Valadez and Richard Wyatt.  L.A. Muralists: In Their Studios II will run from June 6 – July 18, 2015.  The artists’ opening reception will be held, Saturday, June 6, 6-8pm.  Note that 10% of all proceeds will go to benefit the Mural Conservancy of Los Angeles (MCLA).


The importance of murals in society is not only for their artistic beauty, but also the sociopolitical commentary they provide.  Diego Rivera and others spearheaded the Mexican mural movement of the 1930s, the political and aesthetic impact of which can still be appreciated today.  In the latter part of the 20th century, Los Angeles saw a renaissance in mural projects with commissions along roadways, in public lobbies and large-scale brand advertising on the exterior of commercial and residential spaces.  Such public murals, both old and new, act as a visual marker for neighborhoods by reflecting its inhabitants and providing a sense of community and identity through the shared ownership of these iconic works.


The difference between these public works for which these artists are known, and the work done in their studios, is the more personal viewpoint in the latter.  By their very nature public murals, more often than not, include a consensus of thought beyond the control of the artist.  By venturing into their studios we get a private glimpse behind the facade of these public artists and see the personal imagery and subject matter that resonates within and helps define them as the fine artists they are.





Press Release

Gallery hours: Tuesday - Saturday, 11am - 5pm

For further information or images please contact




May 30th, 2015



Details of:

Ambiguous reform No. 02 

48h x 48w  inches [ 122 x 122 x 4 cm ]

Acrylic polymer & spray paint on primed duck canvas.

Finished in satin gel medium.


Found Clipboard- Letter Size- Diamond/ reform

12.5 x 9 inches  [22 x 32 cm ]

Acrylic, spray paint and incising on pressed hardboard/ masonite. 

 Finished in satin gel medium.




[ I will have 4 works on display at this 4 man show in Saarbrücken, Germany. Ambiguous reform No. 01 as well as Ambiguous reform  No. 02 can be seen in full size at]




May 24, 2015


Galerie Zimmerling & JungfleischSaarbrücken, Germany 


Galerie ZIMMERLING & JUNGFLEISCH is pleased to present  AMBIGUITY, an impressive group exhibition that brings together four international urban contemporary artists who work within the scope of Abstract Art.

ZIMMERLING & JUNGFLEISCH has curated a lineup of leading graffiti artists, who are all members of the global arts collective Agents of Change (AOC) or part of the popular Graffuturism Movement. The gallery artists that will be featured in the show – Remi Rough, Augustine Kofie, LX.One, and Poesia – not only share their graffiti background but also their fascination for Abstraction.

The title AMBIGUITY was chosen by the artists themselves and appears as a perfect show title when it comes to describing all of their works collectively. Each artist‘s work is similar in a way that it references something familiar to get something innovative and new. The ambitious nature of the works are a different and unique artistic approach. Although, the four exhibiting artists concentrate on Abstract Art, they refer to distinct art forms such as Futurism, Suprematism, and Op-Art.

AMBIGUITY represents an alluding to something without saying it directly and without defining it exactly. It induces the viewer to think about of all those various forms of art.



Exhibition View



Group Exhibition: A Study Of Camouflage @ Backwoods Gallery, Melbourne

May 20th, 2015



Detail of:

Woodland Infrastructure, 2015

23 x 15 inches [35.5×56cm

Acrylic on 100% cotton, 300gms Arches paper.

Finished in archival satin varnish.


Arctic Infrastructure, 2015

23 x 30 inches [56×71cm] 

Acrylic on 100% cotton, 300gms Arches paper.

Finished in satin varnish. 



[It’s a pleasure to be invited to share works for shows with a solid theme and lineup. I will have 2 recent works on paper for this one. LARGE view of  Arctic Infrastructure & Woodland Infrastructure at]


Backwoods Gallery proudly presents A Study Of Camouflage - a new show within the A Study of… exhibition series. 


This is the fourth exhibition in row in the long-term project consisting of annual shows that focus on different study subjects. After more than successful exhibitions A Study of Hands, A Study of Eyes and A Study of Hair, the new show is focusing on a completely different subject – camouflage.


The exhibition will open on Friday, May 29th, and will be on view until Sunday, June 7th. It will take place at a warehouse space, just next door to Backwoods Gallery, at 5 Easey Street, Collingwood.




With this series of exhibitions, we are creating a vivid archive of works by renowned artists from around the world whose works intersect on the same subject-matter. No matter the artistic style or technique used, a magnificent plurality of different approaches and representations of a single subject contextualises it, and places it in a dominant understanding of both the artists’ and audience’s views. Logically, this library becomes a diverse overview of different representations of a single subject, as seen and created by leading contemporary artists.


A Study of Camouflage brings together some of the leading contemporary artists whose art, in some way, touches the subject of camouflage. In collaboration with DPM-Studio (Disruptive Pattern Material), our concept seeks to deconstruct the dominant perception of camouflage from its military driven narrative, and to bring back the camouflage patterns to its natural roots. Camouflage is usually linked with military uniforms and inherently with violence and rigorousness. However, camouflage patterns are much more than a simple military feature. Its different forms can be observed and understood as an artistic product, both in terms of aesthetics and conceptuality. Aesthetically, camouflage can assume different shapes and forms, creating beautiful design and art products, while conceptually, it may be detached from its military connotation, and transformed to different purposes depending on the given context. Always depending on artistic approach towards it, camouflage has enormous potentials for being a perfect medium for countless interpretations of contemporary society. The use of camouflage in art may lead to more abstract forms, while on the other hand it can serve as the perfect material for figurative and conceptual approaches as well.


Each artist participating at A Study of Camouflage uses the concept of camouflage in different ways. The artists featured in the show are: Aaron de la Cruz, Acorn, Alexander Mitchell, Ashley Wood, Augustine Kofie, Beastman, Clemens Behr, Hardy Blechman, James Greenaway, Jaybo Monk, Jon Fox, Jun Inoue, Kano Hollamby, K-narf, Madsaki, Mark Bode, Mark Drew, Masaho Anotani, MoneyLess, Nelio, O-Two, Petro, Raphael Sliks, Remi Rough, ROA, Senekt, SheOne, Shida, Shohei Takasaki, Shun Kawakami, Slicer, Stabs, Stephen Ives, TwoOne and Yusk Imai. 




Email for the exhibition catalogue.

FBook Event page 

Early teaser on instagram