Joseph Cohen

Looking at a flower Part 2

The diversity of thought and the diversity of experience are central in my current body of work. For over two years, my work with new materials in the labs of world-renowned research institutions has expanded my material investigation in ways never before achieved. These alliances have formed a greater understanding of the nanomaterials that I use and allow me to create works that illustrate the unique characteristics of the material. This aspect enables me to more fully address human perception, specifically how we create and understand our surroundings. This full integration of artist and researcher and scientist isn’t merely superficial. Over time, our ability to learn from one another, expand boundaries of thought, and share our diverse set of experiences hope to not only push the boundaries of art, but also add a level of creativity to cancer labs for which true discovery can incubate. 

Photo Gallery >>

Morgan Sorne


This body of work by SORNE serves as a continuation in the exploration of relationships between time, written language and melody. Spiritus is the latin word for spirit or breath and as such, the works represent SORNE's deeper investigations of personal symbolism and the etymologies of these symbolisms as they pertain to the larger population. The other-worldly vocal compositions by SORNE are a direct reflection of this introspective examination, pulling from past, present and future tenses of human existence thus raising questions about time and space through the melodic and visual harmonizations.

Photo Gallery >>

Film of Opening Night >>

Bryan and Liz Kuntz


The destruction and chaos in our weather and government should serve as an important reminder of what is really important to us as humans. That we are a family. Our “Attachments” show comes from the concept that we become attached to many different things and ideas, and that we should expand our view just a bit to see our similarities and not our differences. This is what we have seen over the past month in Houston as the destruction of a massive hurricane demolished so much of the Texas coastline and brought people together to help and serve one another no matter what.

Our work is an investigation of the people we are and the ideas and things we become attached to and of the possibilities of becoming who we want to be.

Ángel Lartigue

La ciencia avanza pero yo no (Science Advances But I Do Not), is an on-going collection of various works involving performance, photographic documents and sculpture. Angel Lartigue is a native Houston artist investigating the relationship between the consumption of Science, communication and distribution of its methodologies through in which the ways they constrict and oppose the human body.

Concerned with rapid advancements of modern scientific technologies, Lartigue creates interactive installations that transform the space into religious-like environments of ritualism often taking visual references from the history of popular Science, Art and Religion.

The exhibition includes the Sub Scientist Booth, where participants are able to extract and swap raw DNA substances with each other via saliva cells through a 5-minute process using only household materials like salt and water.

Lartigue is currently an artist-in-residence at Box13 Artspace.

Media Interest >>

M. Kelly Olsen

Thirty years living and working in more than a dozen foreign countries, has provided ample opportunity to experience and appreciate Art.

My compositions convey - The Infinite Expanse of Time and Distance; they are meant to evoke smiles from the presentation, or playful title. Time and Distance - Not, Time and Space. Everyone has preconceived notions of Space, so preference is given to the more slippery, and elusive – Distance.

I utilize primarily two compositions: First, the audience is taken inside a boundary, wherein Infinity is eluded to with a never-ending ribbon, or continual visual path. Second, the image leaves the boundary while exposing only the beginning of the story - illustrating only a nanosecond, or microscopic section of The Infinite. For all works, no computers are used. I am not anti-technology; I simply don't enjoy using most technology as part of the creative process. All paintings arrive directly from my mind, using old-school hand tools put to archival paper. Every painting utilizes colored ink alone, or colored ink and colored pencil. It's my sincerest wish to provide the viewer with a pleasant distraction, and better still - a reason to smile.

Vladimir Alexander

Born in Houston, Texas, to a Costa Rican father and a Mexican mother. Throughout his teenage years he studied and practiced amateur boxing. In 2014, he graduated from the University of Houston and earned a BFA in painting.

Inspired by the artworks of: Claude Monet, Anders Zorn and Philip de Laszlo; Vladimir had pucked up on their use of color and movements of their applied brushstrokes.

Vladimir describes his fascination with painting as “a mosaic of brushstrokes.” Vladimir's work will draw you into the subtle texture of each brushstroke. Closely examining the details of his paintings one may notice a full range of brushstrokes or a simplified gesture.

Vladimir created a bullfighting series inspired by his fathers’ history as a former bullfighter and his recollection of watching a live bullfighting scene during a portion of his life spent in Mexico. The artist focused his attention on the bulls, capturing their movement and strength within the ring. His portrait series is “the eyes are the windows to the soul.”
Born in Tyler Texas, Tod Bailey began to paint while studying Journalism at the Commerce campus of Texas A & M. After completing the university, he lived and exhibited in Dallas, relocated to Sarasota, Florida and exhibited there for three years. After which, Tod came to Houston where he has been establishing himself and gaining collectors since 2008. Baileys 2016 solo exhibition at the Ted Casablanca Gallery in Palm Springs led to another in 2017 with Monarch Gallery in Galveston. Tod also exhibits at the Menil Collection bookstore.

Tod said he was uncomfortable to write about his art. He said that he realizes viewers naturally want to hear an artist explain, for instance, if his work is abstraction, or instead intensely expressionistic figuration.
"Viewers want to know if the painted forms have meaning, does this form represent sunshine hitting architecture, for example, or is that one a disembodied penis? All of that."

In his words, " It can't be avoided that references and associations rise from the subconscious, this is human, but expect the forms to appear highly stylized." It is preferable to him, that the viewer pay close attention to the canvases. "Notice coloring, some subtle, others vibrant and sumptuous, and visually take in the paint handling, brushstrokes will range from bold and energetic to purposely applied."

The most important thing to know about each composition, is the artist's passion for manipulating paint.
Artist Reception June 3 Photo Gallery >>
Tod Bailey Catalog >>
Alan Disparte


Alan Disparte is a multi-disciplinary artist based in Austin, Texas. Through a filter of gestural and psychedelic abstraction, Disparte's practice offers a hyperbolic mix of references to memory, technology, body aesthetics, nature, culture, gender, and time distortion.

Disparte received his MFA in Painting and Video from San Francisco Art Institute in 2007. He has a BFA in Applied Arts from California Polytechnic University. Disparte has exhibited in Austin, Portland, San Francisco, La Jolla, Los Angeles, Sacramento, Phoenix and London.
Alan Disparte Paintings Catalog >>
Alan Disparte Encaustics Catalog >>

Casey Arguelles Gregory


All of the works in this show attempt to reconcile my own experiences as an artist with my experiences as an average, thirty-something mother with a part-time job. Issues as diverse as feminism, gentrification, middle-class materialism and the sometimes contradictory physical landscape of suburbia are on offer here. The exhibition unites sculpture and painting in a variety of modes, all of which are firmly rooted in my process-based practice. 

I hope to present a broad, humane, and sometimes humorous investigation of what it means to be a young (ish), emerging (ish), female artist in this specific time and place. These works, individually but especially collectively, represent a radical descent from the thirty-thousand foot academic perspective that I have traditionally taken. They are of, and about, my own life- an autobiographical offering in which I hope you the viewer will find some glimpses of the familiar.

Bill Hailey

"A poet is someone who stands outside in the rain hoping to be struck by lightning." - Blackbeard Abandoned at birth, Bill Hailey was raised in Asia by missionaries. After dropping out of Baylor University to pursue a burgeoning career in Japanese sushi porn that was tragically cut short in a freak on-set accident, he joined the Royal Army of the Dutch Indies as a mercenary and was stationed in Sumatra. There he promptly deserted and vanished into the jungle. He resurfaced after nine months in Texas, where he authored the award-winning series of children's books The Firecracker Eaters.

After dabbling in anarchism and door-to-door Bible sales he subsequently reinvented himself as an artist, and is currently at work on a series of overripe tropical fantasies, The Sumatran Paintings, as well as a series of Anti-Fascist Fleurs du Mal (Flowers of Evil) still lifes, and post-election Clusterfux. Moving ever closer to realizing his dream of starting a pagan love cult in the jungles of South America, his sensibility can be succinctly summed up in the song of the incorrigible prankster Nero during the Great Fire of Rome  in 64 AD: "What shall I love if not the enigma? Between living and dreaming there is a third thing. At a certain point attitude is all we have left and  if you can read this it may already too late."
Valyntina Grenier

I make joyful 2D and installation art to counter cruelty in the world by creating lighthearted environments in which to contemplate politically charged imagery. I have learned to embrace accidents as moments of innovation and progress.

I wouldn’t paint the way I do if I hadn’t studied poetry. I earned a BA in English at The University of California, Berkeley, and an MFA in poetry at St. Mary’s College, California. My undergraduate studies introduced me to art as an agent of social change, but poetry really taught me to think (allegorically, symbolically, metaphorically). My art is on the side of life that insists, “Don’t Shoot.”

At the same time, I am compelled to fulfill art’s potential to serve as a form of protest. BOTH AND, a series of trans images, is at an intersection of feminism, reproductive health, and lgbtq equality. My initial drawings for the series, a subconscious response to my formerly repressed homosexuality, were made during recovery from a surgery to diagnose endometriosis (I have since had a radical hysterectomy).

As a woman and a lesbian, in a culture that presupposes procreation, I feel that my purpose is to make art that inspires tenderness, compassion, and empathy.

Jeff Wheeler

I think whatever you have, you can do wonders with it, if you accept it  One should not worry so much about innovations if it is possible to deal so directly with experience. The objects are used to make art, just like paint is used to make art.  

The relationships may be the subject matter, the relationships of the fragments I do.  The content will be something more, gained from the relationships. I am for art that embroils itself with everyday crap and still comes out on top.  I am from the West Texas landscape and it is my stage.  It’s a way for me to make a painting that I hope is beautiful, and something that I am familiar with so I can concentrate on the painting itself. My Art springs from my desire to have things in the world which would otherwise never be there. Sometimes I see it and then paint it…other times I paint it and then see it.

When we are giving up, today, the illusion of space in a picture, that doesn’t suit me.  I don’t know what else there is.  It’s really something if you can get a visual sensation that is pleasurable, or worth looking at, or enjoyable, if you can just make something worth looking at.  What the artist says it is, you can see by his work.  I would like to leave it just like that.

About G Spot Gallery
Call 832-310-5563
310 East 9th Street, Houston, TX 77007
In The Houston Heights
Images and ideas are not for commercial use. Art, music writing and all content subject to U.S. Copyright laws.
TM + © 2000-2020 G Spot Gallery. All rights reserved.