Scott Treleaven - Blog Posts

‘New Pagan Paintings’ - opens April 1  at Cooper Cole [West Gallery] 

Little Gods Again (2023) oil on canvas, 9 x 6”

Very grateful to the extraordinary Derek McCormack for the exhibition text below:  “Deathly - this is how flower paintings struck Treleaven for the longest time - the flowers under duress, their viewers under duress to value them. He was interested in dispersing this duress, so he started painting flowers himself, and this show features the nasturtiums, sunflowers, geraniums and morning glories that captured him. "I turned to flowers," he says, "to find out what made me resist painting them." There are nine paintings in 'New Pagan Paintings,' all finished in the last few years. The blooms are what you'll notice first, then the light: light's shining on them and light seems to be shining from them. They're alive - it’s animism, though that's not the point of the paintings; it's the starting point. If he grants that flowers have spirits, then what spirit will they grant him? If they have spirit, then surely part of their spirit is perverse. These paintings are pagan in that they're full of a particular spirit: petalled and petulant, hermaphroditic and horny - to me, they suggest what we might get if Joe Brainard paintings buggered Charles Burchfield paintings - paradise! These are cultured flowers with the souls of wildflowers or weeds. When he started painting them a few years ago, he realized that they'd been lurking for a long time. Even in his previous body of work - in his Jewel/Galaxy paintings, he'd drawn flowers on his canvases then painted over them, as if paint were soil, and as if every part of a flower were a seed. In 'New Pagan Paintings,' in these stellar paintings, flowers star: they swarm over the surface; indeed, they are the surface. I might also mention that there's also a painting of a berry, which shouldn't surprise any of Treleaven's admirers: everything in his work's fruity as fuck.” - Derek McCormack's most recent books are Castle Faggot (Semiotext(e)), a novel, and Judy Blame's Obituary (Pilot Press) a collection of essays on fashion and death. 

Scott Treleaven, Untitled (coreopses), 2022

Acrylic, gouache, water soluble pastel

13 3/4 x 9 1/2"

Scott Treleaven, Untitled (Venetian foyer / Roman rooftop) 2017

Torn prints from 35mm analog negatives, 6 x 4”, unique

Scott Treleaven, To Dispel the Misery of the World (2020) acrylic, gouache and permanent crayon on canvas, 38 X 36"

Scott Treleaven, Untitled (studio paint rag / F. in Milan apartment) 2022 Torn prints from 35mm analog negatives, 6 x 4”, unique

Scott Treleaven, Solstice Maze, 2019 Acrylic, gouache, wax pastel on raw canvas, 21.25 x 25.5 in

Scott Treleaven, Remote Viewing of Dungeness (Two Attempts) 2014 Pastel, crayon, pencil, house paint, gouache and collage on paper diptych, 48.62 x 37 inches each

Scott Treleaven, Untitled (Mercury in profile), 2017 analog 35mm in-camera double exposure C-print, 34 x 25 in

Scott Treleaven, Settling Suns, 2017 Gouache, acrylic and collage on paper 10 panels each panel 20.5 x 17.75"

[at The Suburban, Milwaukee]

Scott Treleaven, Jackson Heights Cinema Syncretism (2019)

Acrylic, gouache and permanent crayon on canvas, 65 x 54cm

Last Seven Words (2009), Scott Treleaven's super8 "astral screen-test" of Genesis Breyer P-Orridge, is included in the exhibition We Are but One: Breyer P-Orridge at Pioneer Works - April 15 - July 10, 2022

[music by Locrian – promotional clip courtesy Pioneer Works]

Scott Treleaven, The Roaring Stream, 2020 acrylic, gouache and permanent crayon on canvas

48 x 36 in (121.9 x 91.4 cm)

Scott Treleaven, installation view - One Bird, Two Stones – Unit 17, Vancouver

on view until May 1, 2022

Untitled (ceramic bowl/Parc Monceau) (2020
) photographic prints from analog 35mm negatives, archival tape – unique, in artist's frame

Untitled (yellow purple sunlight/books) (2017) photographic prints from analog 35mm negatives, archival tape – unique, in artist's frame

Untitled (confetti in Venice Biennale gutter/oak leaves) (2017) photographic prints from analog 35mm negatives, archival tape – unique, in artist's frame

Scott Treleaven Untitled (porcelain bowl / xerox of mummified baboon, studio wall) 2021

torn prints from analog 35mm negatives, 7 x 4”, unique

[In artist’s frame 12 x 10”]

Scott Treleaven, Untitled (A. in Paris studio/window, Parkdale), 2021

Torn prints from 35mm analog negatives, 4 x 6”, unique

Scott Treleaven, photocollage, 2017 Torn prints from 35mm analog negatives, 5 ½ x 4”, unique

Scott Treleaven, photocollage, 2021 Torn 35mm negative prints, 5 ½ x 4”, unique (goat in Marie Antoinette's garden, reflected in antique scrying mirror, Versailles / Thee Majesty w Gen P-Orridge, Lee's Palace, Toronto)

Scott Treleaven – untitled (reflection in antique scrying mirror / marble figure behind glass, Cimitero Monumentale, Milan), 2019 unique photo collage from 35mm negative prints, 14.75 x 10 cm

"Expressionist gestures being as dead a motif as the interred bodies...are their own luxurious reward. Treleaven's drawings offer a High Romantic rumination. Mortality and memory are essential engines for the meaningful satisfactions of sensual play." -- Christopher Knight, LA Times (July 9, 2010)

Scott Treleaven Cimitero Drawing 9 (2010) Wax pastel, flashe and collage on paper 29 X 21.3"

Scott Treleaven, untitled photocollage, 2017 from 35mm negative prints 5 x 4” unique

Scott Treleaven - MOCA Tucson, 2018

Animal Chapel, 2015 Triptych: pastel, gouache, gesso, house paint and collage on paper three panels; each panel 75 x 50.5″

curated by Ginger Shulick Porcella

Scott Treleaven, Nights and Days (2021) gouache, flashe, collage on paper diptych, 41.5 x 41" ea.

Scott Treleaven, Deer Park, 2019, Gouache, flashe and permanent crayon on canvas 45.7 x 35 in (116 x 89 cm)

Scott Treleaven The Key of Joy, 2017 Gouache, acrylic and panel collage on paper Diptych, 105.5 x 105.5 cm ea. panel

Scott Treleaven, ‘So Ha’ (2019), acrylic, gouache and permanent crayon on canvas

Scott Treleaven Untitled (confetti in Venice Biennale gutter/oak leaves), 2017 Unique chromogenic photo collage, 35mm negative prints, archival tape, artist frame

Scott Treleaven ‘Fogo I’ (2016) cardboard, foamcore, paper, gouache, PVA adhesive

Scott Treleaven, ‘Castalia’ (2011), oil on linen paper, 9.5 x 6.25"

Scott Treleaven Last Chance to See, 2017 Gouache, acrylic and panel collage on paper Diptych, 105.5 x 105.5 cm ea. panel

* Japanese subtitled version of The Salivation Army (2002): 

https://vimeo.com/291268171

Opening 2018.09.23  14:00-18:00 Closed Windows, curated by American Boyfriend, at XYZ COLLECTIVE, Tokyo [this show will feature a special Japanese reprint of the original 8 ‘This is the Salivation Army’ zines, a photo reissue, and a Japanese subtitled version of 'The Salivation Army’ video – link coming soon] Artists: Yoko Asakai 朝海陽子 Jinhee Kim キム・ジンヒ Scott Treleaven スコット・トレリーヴェン Emily Wardill エミリー・ワーディル Short Story by Yusuke Norishiro 乗代雄介 XYZ collective 2-13-4-B02 Sugamo, Toshima-ku, Tokyo 170-0002 http://xyzcollective.org September 23rd (Sun/National Holiday) - October 21st (Sun) Opening Reception: September 23rd, 14:00-18:00 Gallery Hours: Thursday - Saturday 1pm - 7pm / Sunday 1pm - 6pm Cooperation: ARTISTS’ GUILD / Bergen Kunsthall, Museo Calouste Gulbenkian, Lisbon with funds from Arts Council Norway / 無人島プロダクション / The Reference http://xyzcollective.org/closed-windows-curated-by-american-boyfriend.html