Since 2008 Ideal Glass has been using its street facade to host murals in the East Village. We have worked with both emerging and established artists ranging from ROA, Mr. Brainwash to Ayakamay and Chuck Webster. We believe it is important that NYC still has space for creative expression, and our wall serves as a place to counteract the bombardment of branding and advertisements. Our hopes are that the walls of our studio serves our community and builds a larger dialogue around creativity and art in public spaces.
To submit mural ideas, send sketch or portfolio to firstname.lastname@example.org
Ctrl+alt+reality, Hitchings' first mural, concerns the notions of escapism and suburban recreation in a playful yet drab manner – contrasting with the dense urban surroundings of the studio. Consisting of vibrant greens and pinks, it provides a whimsical sense of space and respite.
Hitchings' work investigates the significance of communication, camaraderie, perception, and memory, utilizing imagery of social interactions and celebrations such as birthday parties, camping scenes, picnics, family vacations, drug-induced raves, and art openings as source material. Her work seeks to study psychological states, the significance of group gatherings, and the human relationship with nature, within the context of suburban American culture.
Chuck Webster’s practice is a marriage of disparate traits: he paints whimsical forms that are the result of months of careful deliberation, and recreates recurring forms without loyalty to a single style. Webster says that he is drawn to “the just-off symmetry of things,” and this serves as a fitting description of his subjects. His works, which are often composed on panel or found paper, feature geometric and biomorphic forms, and have been described by critics as cartoon-like. Though abstract, Webster’s subjects often have real-world counterparts, like his childhood town or the act of whale watching. One critic described Webster’s images as “always realized without tape or rulers, giving his work personality, humor, and warmth.”
The New York based artist conceived the mural to address notions of intimacy, and more particularly the idea of scaling up works initially conceived as expressive yet confidential experiences. With this piece her intention is to shift towards a more composed, graphic, and physically immersive encounter for the viewer. “Rise and Grind” is both a private confrontation and a larger visceral exploration for passersby.
“It’s bacchanalian and violent and altogether human.”
Cofield’s work involves figures interacting – or pointedly not interacting – in other worldly landscapes. Bodies are sleeping or dead, facial expressions and gestures are enacted incongruously with violence and spectacle. Cofield explores the challenging language of allegory to see, experience and feel.
Over the past decade Carino has exhibited his artwork, installations and murals internationally and here, in the city. His ten-year run of murals at Mars Bar is part of the hyper-local history surrounding Ideal Glass’s block.
For this mural Carino painted a cast of characters meant to stand as spiritual protectors, as talismanic defenders of the LES. The artist intends to create these spiritual patrons to guard the neighborhoods’ culture: its people, art, history, social movements and music. One of these figures, the Japanese cartoon character Anpanman (whose head is made of bread) offers a piece of himself for the benefit of others by allowing hungry children to eat his head.
David Paul Kay
For Ideal Glass, David Paul Kay developed his first figurative mural, East Side Orgy, as a on New York City, its public intimacy and its invisible boundaries… His dancing figures reminiscent of Henry Matisse’s dancers.
James Rubio is a painter based out of Bushwick, Brooklyn. Rubio studied photography at The School of The Art Institute of Chicago, but fell in love with painting and street art later in New York City. In 2006, Rubio joined the Antagonist Art Movement and began regularly exhibiting paintings at Niagara Bar. He graduated to participating in international group shows and painting murals with fellow Antagonist Chris Yerington. Their murals can be found in New York, Austin, Texas, Chihuahua, Mexico, and Quito, Ecuador. Rubio is currently painting solo, exploring notions of love and mortality through his Black Flowers Series.
The mural depicts one of Ayakamay's performance characters: Mimikaki. As a New Age Geisha, she brings ancestral Japanese tradition to the streets by approaching strangers around the world and offering to heal them by cleaning their ears.
Ideal Glass presents Sophia Dawson’s Every Mother’s Son, featuring portraits of mothers who have lost their children to police brutality.
“My art is a tool to bring people from different ethnicities, social statuses, beliefs and backgrounds together, to educate them and to develop a dialogue between them and the characters I depict. I want to highlight the significance of these figures and the relevance of their struggle today. They have been intentionally excluded from mainstream American History and their stories must not be forgotten… I always start working from black, as a conscious artistic exercise but also as a statement: it represents my opposition to the art education I received in institutions where I was taught that art had to begin on a ‘pure and white’ surface.”
Shianti Bratcher, Rashawn Love, Micaela Anava, Sarah Fowler, Javier Gaston, Camilo Greenberg, Michele McPaun, Sepa Heimuli
Choco Moo is from the city of Kyoto. The story of her nom de plume involves Spike Lee, a chocolate drink, and a trip to New York. A rarity in the Japanese entertainment industry, the young artist remained committed to her underground roots; influenced by punk culture as well as the traditional art of calligraphy.
Indrek Paul Kostabi
“A Murder of Crows”
The street artist Paul Kostabi was not born in the Village or even New York but he has spent the last 30 years here, becoming another face on the pavement and, in turn, an observer of the ebb and flow of its human characters.
This mural, sporting the ironic caption “Newer York”, is his homage to the gritty yet colorful life of the east Village, one that is fast disappearing.
Others may see darkness for grittiness; Kostabi sees a dark cloud of crows waiting to feast on the intangible feeling of community, leaving only inert property speculation in its wake.
Presented by Fourth Arts Block, in partnership with Ideal Glass. This project is part of FABLES, a series of public works exploring Lower East Side History Levan Mindiashvili investigates gentrification and its effects on architecture and sense of place. With the mural ‘Ghost’ I want to contribute to a raising awareness in the importance of historical heritage and outline the overwhelming expansion of gentrification and generalization in the contemporary world.
The work is based on an original photograph, 1936 East Houston Street – N.E. Corner – Second Avenue by Percy Loomis Sperr © Milstein Division, The New York Public Library. Mindiashvili wants to express special thanks to Patricio Gonzalez Vivo for his contribution with technical support. FABLES is supported in part by an award from the National Endowment for the Arts / Art Works. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs, in participation with The City Council
& THE YOK
Garden of Earthly Delights