Warholian and Modern Eden Gallery have come together in to present “Tarot: Art of Fortune” a
modern day reinterpretation of the classic intuitive “fortune telling” card deck. The show
features some of the best emerging names in the gallery scene today as curated by Warholian’s
founder Michael Cuffe.
Although it’s roots may seem occult, Tarot was originally developed as a pack of playing cards in
15th century Europe to play French Tarot or Italian Tarocchini. Over time, individuals in the
intuitive and early psychic communities began to adopt the cards as use as a tool to “read” an
individual and offer spiritual guidance. Today Tarot has become more widely accepted as a way
for individuals to ﬁnd direction in the bustle of a modern world. With the availability of decks
ranging from artistic to commercial, tarot has become a personalized standard of home libraries
For “Tarot: Art of Fortune” we’ve asked some of the top contemporary artists to reimagine their
favorite card from a standard deck, into a work of art based on the imagery and symbolism
present. “Tarot: Art of Fortune” features an amazing array of established artists that have been
individually selected as important ﬁgures in emerging art movements at this time.
I have been published by FLJ Magazine in Tokyo, Museums Press in the UK, IdN Magazine in Hong Kong, and Beautiful/
Decay in the US. I have participated in solo exhibitions in San Francisco and Seattle + group exhibitions in the United Stat
es as well as the Philippines, Japan, Hong Kong, Germany, Canada, and the United Kingdom. I think a lot about loss, hop
e, isolation, freedom from oppression, the destruction of natural resources, myth, magic, the pursuit of happiness.
"The work of Ryan De La Hoz exists in a very particular world, a world comprised of hauntingly nostalgic paper cut
outs and drawings that look like a spooky cartoon reduced to the absolute minimum of expression. Delicate flowers,
leaves and skeleton gloves contrast with gaping holes filled with dizzying Op-Art to create a landscape that seems
like Tim Burton got together with Henri Matisse to make their own paradise. The works are so simplified they leave
it up to the viewers to project their own narrative on the scene. We each have our own idea of where each ladder
leads, and what is hiding behind those geodes and mountains of slime. The compositions are mysteriously devoid
of humans, yet laced with the shadows of human characters. The gloves of skeleton costumes pepper many of
his works, as if to signify not only death, but a human representation of death. Another common symbol used by
De La Hoz is the ladder, one loaded with symbolism. Ladders leaning into a spiraling abyss, or simply leading to
no where, bring to mind the question of where are we going and where have we been. While De La Hoz does have
the tendency to appear Halloween-ish, with his frequent use of pointed witches' hats, cob webs, skeletons and
blobby mounds with gaping mouths, the work transcends the threat of kitsch in its minimalism and precision.
We are drawn to wonder about the age old truths, about death and what is left behind, and about what is hidden
and what is revealed." - Amir H. Fallah (Founder & Editor, Beautiful/Decay)
"De La Hoz loosely explores the concept of what can stay behind after a person or society has vacated or perished.
He has this coined the term "Residual Energy" when referring to these vestigial elements of thought, that teeter on
the precipices of anachronism" - White White Brown Twig (UK)
This piece will be on exhibit through April 6, 2013 and will be shipped within a week of the exhibition closing date. Shipping costs will be invoiced separately at the time of shipment for this piece. For a detailed shipping price quote, please contact the gallery . If you would like to arrange a gallery pickup, just add a note when checking out and we will contact you to schedule a time.
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