Phantom Hand Pulp Love Show

Phantom Hand’s latest show, curated by Jeffro Kilpatrick and Eamon Dougherty. A pulp art show with a touch more fantasy and a little less doom. WIth an after party at Tattooed Mom next door until getting kicked out at closing time. Check out the show and pick up a piece wednesday through friday.

The show was a success despite terrible weather, and Phantom Hand artist and shot caller Sam Heimer said more is on the way. And with the support of the group of artists that work it, there is not going to be a lack of

I had a sweet interview with John Moriarty about Philly art that was almost completely cast into the void by faulty technology and notable user error. Hope to bring more from him as his fantasy art as it brings me to lands I wish I could go to with more regularity. He does book cover art, logos, and card game art. Most of which is from deep within a colorful fantasy realm. Check his fantasy gallery out. I did save one piece.

Non traditional art galleries are big. How has this one helped you?

Well, I don’t feel confortable at most galleries. They can be intimidating and they are hard to get your stuff into. This one. . . its good to get out and mingle.

Ghost Foot. . . from behind the curtain

COMING SOON: Alex Eckman Lawn and his dirty city-scapes and twisted illustrations.


Artist Profile: Jeff Daniels, Cheeseburger Connoisseur, Emphatic Visuals Enthusiast

Jeff Daniels is a local artist currently living in Fishtown. He studied digital illustration at the University of the Arts. He is showing some of his art at Phantom Hand and you can Jeff find his projects here; art and music at Blackest Lava, or the Blackest facebook, or his band Burden. He loves goofy movies a bit of horror and of course cheeseburgers. That we know, now to learn a little more. I tried going a little farther into Jeff’s head, so we had a little cheeseburger party and played hot potato with his brain.

Q and A

Have you always had a fixation with dark movies or scary figures.

Jeff: Honestly, without getting too dark, I’ve always liked horror movies and things like that. Even ones that were super creepy, like when i was a kid I saw Steven King’s IT and thought it was the coolest thing ever. And then I never really cared about horror or that type of thing until I got older. I guess I’m such an extremist, that when it comes to everything its like. . . serious contrast. I either tend to be super happy bright individual or I can’t find a an in between point. I feel like I use a good amount of energy trying to be polite and friendly all day long and then the rest of it gets turned into frustration or anger, so I try to funnel it into something positive instead of hatefulness or bullshit.

Do you ever just start without an idea of what you are painting. What is your process like?

Jeff: All the time, it usually starts with when im gessoing the canvas. I don’t always have gesso, I usually use white acrylic or black, if I don’t I could give a fuck what color it’d be. And then I go all out with swirlies and twirls. Half the time it’s just a fun part of the process to just start gessoing, and then halfway through you can get an idea of whats going to Imagehappen. It’s not like I always know where it’s going to go.

Did you take any field trips to museums or had a favorite artist when you were little, or even older.

Jeff: I can’t think of any field trips or certain artists. I didn’t even understand what art was, I don’t even know what art is now. But I liked motorcycles and going to the circus to see the guys in the globe of death, that was my favorite obsession as a kid. And aquariums and whales. Well, like. . . visually impressive things that made you gasp. Just as a kid the thing I always grew up with was like I could give a fuck about what that guy splattered on a canvas, that guy just drove a motorcycle in a goddamn circle and didn’t kill his brothers, and italian cousins. The Floritini Brothers, the motorcycle dare devils. And then to go along with it the posters that those guys would be on was mind-numbingly awesome. It just shut me down with, “I can’t think of anything better than that”. Evil Knievel meets the Ninja Turtles meets Spiderman. I was always floating around with little boy ideas of what was cool.

On subject matter

Jeff: This shit that im not trying to make good, it’s like I’m busy in my mind appreciating something, I happen to have these things in my hand, and now all of a sudden I‘m making something that everyone else is telling me is better than my other things. And I don’t really see why, it’s all the same to me. But it’s always when I’m appreciating something. When I’m like aw man Star Wars is the best ever, and I’m sitting doodling thinking how good it is and then I end up with an awesome Chewbacca face. It just happened because the lines were there because my mind was there already. Without forcing it. I guess I never really start doing something like “I’m going to do this”. It all just happens and before I realize what I’m making its made. . . And then I wake up naked and there’s a bloody deer next to me.

On art for an audience

Jeff: I’m always trying to think of what satisfies me, that’s the reason I make anything. But I always try to err on the side of what would be popular, I think. Then there’s always this punk rock attitude that  jumps in and goes nah fuck that, and then rip it up and poop on it and then frame that and tell people that this is what I really meant to make. There’s levels of bullshit, there’s levels of just, not being alright with a lot of this shit. You know, just painting stuff because I know that it will make money  and sell. I don’t want to work down to anyone so I can make a couple bucks. But satisfying myself always is like, kind’ve selfish. So I’m trying to meet in the middle sometimes. Some days I go all the way the other way, some days I could give a fuck. And I think it shows when you look at my art. Some of it satisfies the masses, and the rest of it they wouldn’t even come close to looking at that, it’s too creepy.

What does using digital illustration work do for you as a medium?

Jeff: It’s like collaging stuff with the ability to do transparencies and a lot of it is the ability to draw lines that are straighter and sharper than I could ever draw. You can make duplicates of things. I feel like I can do whatever I want in one form or another in Photoshop, you know, we could time travel if we wanted in Photoshop, put some dinosaurs behind us. Anything is doable there, it’s a cool format to always have on your side,even if you are cutting things out to collage you always have control of the image that way. And I guess that’s what I get out of that. I just have total control. I like to do things with smaller images that have lots of expression and Photoshop allows me to zoom in on those, blow them up , crop them out, and narrow down what you want a painting to be like. Like for Rodney Dangerfield (after the jump) that was a shot from one of his movies, I just screen grabbed it, zoomed in like crazy , and now I have good reference material to get a good face.

Why the obsession with Cheese Burgers? ( He is showing  some burger art at Phantom Hand, and is just a plain burgerhead )

Jeff: They’re the best thing ever. . . I’ll go on for hours about burgers. If someone was going to ask me the most important part to making a great burger. It would have to be the proportion of everything to everything else. These people they do these quadruple damn burgers and these half pound burgers, these pound burgers. Get out of here… I want to eat a layer of meat, a layer of cheese, a layer of veggies, a layer of sauce, and a layer of bread , Come on.

Also… Jeff’s computer broke in the middle of the interview and everything may be completely different from now on in his life. Especially with having to spend all his remaining breath finding the dick at the tech support center that tried to rip his soul out through the phone.


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Arts on South Project Gives Philly Artists Space to Grow

         The Arts on South project is a program that loans unrented stores to local artists to help show their artwork. They have a myriad of projects , including a writers workshop, a few galleries and a skill share cycling space called The Bikery, with community service projects, bike art and sometimes music. “ Ideally , Arts on South is not about helping a certain type of art, but wanting to help disenfranchised artists. The gallery scene can be hard to get into,” said Amanda Cameron, Arts on South coordinator. The program is a project of Philadelphia’s Magic Gardens, started by award winning mural artist Isaiah Zagar.

          Art in Philadelphia is exploding on walls and clothes and arms and legs all over the city. Most every place has a group of people who dedicate much of their waking existence to creating works of color and shape. But the difference is if these artists have a place where they go beyond their circles and reach an audience that clamors for it. Like many cities, Philadelphia has a young vibrant collection of artists with full portfolios and time to kill. Depending on their ability to show their work, they will either create in seclusion or be apart of a community that could almost exist alone through sheer will. With Arts on South they don’t have to start from scratch.

           The Arts on South program provides spaces for the best bid on how to use the space. The winning bid gets to put their plan in motion, usually culminating in a new space for local artists to not just show, but sell their art.  Phantom Hand, a gallery on South Street, shows the art, and  because the art there are prints or illustrations, they can be sold at a small price. Not only getting artists exposure, but putting it in people homes. “ The prints are great because they are affordable”, says Phantom Hand artist and gallery hand Anthony Pedro. “Someone can come in and actually leave with something, its surprising who is into it”.

           The program caters to a common sense idea: empty space should be filled with art. “ Non-traditional art spaces are important.” Said Cameron. With many schools cutting art budgets and putting more attention in the classroom elsewhere. Arts on South helps provide opportunities for young students. A non-profit organization staffed by volunteers, educators, writers and film makers, called the Mighty Writers. They help kids in workshops, lessons and writing programs, including one-on-one time with instructors.

        As much as it is difficult time for some, educators and artists are finding time and support for some of their more important projects. “Philly has a very supportive art scene that I didn’t see in Boston or LA,” said Cameron. “Its a young, working class art scene. Cost of living has a lot to do with it. Here people really get to push their art.” Sadly in many major cities there are empty spaces, and there is no lack of people willing to fill it with their ideas of powerful or informative art. Hopefully in the future people can utilize unrented spaces like Arts on South has and will. Because wherever there are people and paint, wall space is always coveted.

Q and A with Jeffro Kilpatrick: Philly Cartoonist Extraordinaire

While at Phantom Hand I got a chance to rub elbows with a few great artists. Some are so damn nice that further looks into their art are not only on the way but going to be really fun. One of these artists is Fishtown Cartoonist Jeffro Kilpatrick, whose blog is simply a must. I got to interview Jeffro but seeing as I was not incredibly knowledgeable on his art its a little stale. I would not even been close to having the opportunity if it wasn’t for a tip from one of his blog followers, a friend of mine in New Zealand, who so conveniently was at the tip of my fingers. Jeffro is the co-founder of the Philadelphia Cartoonist Society and Author of Dirtballs in Love and a few volumes of Sketches of  Fishtown, explained in a video here. Thoughtful comics highlighting the brighter sides of Fishtown.

Interview and pictures after the jump…

Check out Jeffro’s page here..

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Phantom Hand Opening: Artificial Dissemination 2

Last Friday I had the pleasure of going to the Phantom Hand: Artificial Dissemination 2 Opening; Propaganda to Popaganda. And I can truly say that it was a pleasure. Phantom Hand is a Gallery at 604 South Street, Philadelphia, a space provided by the Arts on South program, something I hope to bring you more on in the future. The walls were lined with all different kinds of prints, skateboards, paintings and shirts. A certain type of no-holds-barred art. Artists with a certain type of toe on the precipice flair. A new kind of art made by new kind of people, people that don’t travel to the edge of their art as much as live there. The kind of stuff you don’t find in a museum, but that will be there as we grow old. It not so much predicated on the past as it is a product of the here and now. The frustrations of today, the technologies, the tastes of failure as much as the taste of success. So is the plight of the artist. But one must mark the differences between these artists and the ones 20 years before. The images that flash before these artists eyes are more varied than any before them. Such is the times.


Here’s some art from the over-stimulated minds at Phantom Hand, or Ghost Foot as it’s affectionately called by some of it’s inhabitants.

More after the jump… Pictures courtesy of <—–Click for more


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