James Verbicky
Collection
James Verbicky

Born in Edmonton, Alberta, Canada from Polish descent, James Verbicky lived the majority of his early life between Victoria and Vancouver, British Columbia. As an adult, Verbicky moved to the U.S. and currently lives and works out of his studio in Southern California. After struggling with legitimacy for many years, Verbicky was awarded the rarely bestowed "Extraordinary Ability" green card from the U.S. government due to his extensive involvement with a myriad of museums, galleries, charity organizations, and publications across America.

In 2008, his work was selected for a 110 year-old juried exhibition at the Louvre, in Paris, France, with the Societie Nationale des Beaux-Arts. In 2010, Verbicky unveiled his extraordinary media paintings; mixed media works that stimulate the viewer with both content and texture. The three dimensional surfaces transcend traditional painting and venture into the realm of sculpture, and by utilizing vintage media, advertisements, and obsolete branding materials, Verbicky skillfully manipulates decades of attempts to persuade and coerce with subtle and suggestive imagery. His works are at once deeply conceptual and hauntingly beautiful, capturing both forgotten and persisting icons of media while reminding viewers that we are constantly being seduced by cleverly stylized marketing. Verbicky’s artwork is counted in thousands of private, public, celebrity and museum collections worldwide, and has recently sold at auction with Sothebys.

Links to Noteworthy Press:

Neiman Marcus: The Butterfly Project with James Verbicky Links

For Neiman Marcus' May 2014 issue of The Book, NM commissioned mixed-media artist James Verbicky to create his own unique version of the Neiman Marcus butterfly which was featured on the cover and in an accompanying interview

Boston Common Magazine, Holiday 2013 "In Pieces" by Judy Deyoung Links

At first glance, one of James Verbicky’s artworks could be construed as nothing more than a brightly colored piece of patchwork. But a closer look reveals a clever collage of vintage magazine cuttings, fragments of foreign advertisements, and recognizable brand names arranged in a neatly ordered grid. This is the work of a perfectionist, who puts bits of torn paper together in a manner that is highly stylized and altogether engaging.

From his early teens Verbicky, who grew up in a small town outside of Edmonton, in Canada, was drawn to the powerful print images and advertisements he saw in magazines. He began collecting old issues of Life magazine, and a visit to Paris in 2008 inspired him to make media paintings using vintage French posters, prints, and foreign publications, which he bought from vendors along the Seine.

Verbicky, now 40, moved to the Los Angeles area 10 years ago to escape the dreary Canadian climate. His studio is full of large tables covered with magazine spreads from his vast collection. When he creates a new piece, he begins by pulling out pages that catch his eye. “You have no idea what it takes to make these collages. It’s not something you crank out,” Verbicky explains. “When I’m getting ready for a show, I’ll look around the studio, and there are thousands and thousands of little scraps of paper.”

Once the work is assembled, Verbicky finishes it with resin, which makes the surface shiny. It also makes the paper transparent and causes the images on the backside to bleed through, creating more depth. “I’m careful to see what is behind each piece I pull- there may be coming through, which makes the collage more interesting and creates a certain mood,” he says. His work is also sculptural in nature. “The end result brings to mind the physical act of reading, as if to turn the next page,” says Lauren Nasella, the Boston-based chief operating officer of DTR Modern Galleries, where Verbicky’s work is on display.

Verbicky’s work was selected for a juried exhibition at the Louvre in Paris, and also has sold at Sotheby’s and Christie’s in New York City. His latest pieces are intended to remind us that we are continuously influenced by past and present iconic brands- and that we are constantly bombarded by too much information. Hence his busy ‘Blitz’ pieces, he says, “are kind of like anything goes… every single color, lots of text, lots of graphics… a mass explosion of things in your face.”


LUXE Magazine interview, Summer 2013 Links

Artist Press Site Links

James Verbicky's Blog Links

Colour Bloc Blog Links

Critical Review

JAMES VERBICKY:'brand new'
by Huffington Post Critic Peter Frank

James Verbicky’s “Media Paintings” look at first like flags. Or walls. Or newspapers. They look especially like newspapers, the verbal material embedded in them struggling to the fore. That struggle is protracted; the brand names and phrases, obscured at first to the point of abstraction, rise to the surface at different rates, causing a disruption in the flow of our perception. We are used to reading words in sentences, and the neat horizontal striations of these wall-hung objects – not simply scored on the surface but raised to form gutters that constrict the data physically – keep the disparate utterances aligned into the left-to-right march of European scripts. But these “sentences” stutter and fragment into their components; the segments, all proper nouns with their own typefaces, each demands attention to itself. It is a kind of brand-poetry, drawn from commercial magazines and impressed into a context at once more neutral and yet more provocative than these magazines provide. The brand names have been unmoored from their brands and now jostle with one another in neo-Pop cacophony.

In calling these recent works of his “Media Paintings,” Verbicky directs us to his knowing engagement of mass media, but deflects what he might be saying about such media, or even what is his response to the mass-mediation of our conscious lives. Indeed, what is our response to this mass-mediation? We can almost measure our response by how these Media Paintings affect us – how we understand them, how we feel them, how we like them. Verbicky’s new body of work poses itself as a test – not a Jeopardy quiz, but a kind of medical exam, a stimulus to which we react, at this point almost automatically.

These artworks derive from and exist in the social realm, but they burrow beneath the fast-flowing surface of that realm to excavate its lyricism, mourn its fast-fading tactility (one subtheme coursing through the Media Paintings rues the dying of print as the predominant communication medium), and insist on its history, its cultural memory. Will we be remembered for our artifacts, as other civilizations are? Verbicky proposes that we will be remembered even more for the way such artifacts reach those who desire them, and for how the producers of artifacts are able to induce such desire. Image, language, and the imaging of language figure crucially in this manipulation of perceived need, and Verbicky isolates imaged language – brand names and logos, headlines and titles – from its contexts in order to derail, or perhaps magnify, its potency. How many of these logos and titles do you recognize? How do you regard them here, cut loose from the ad pages and flyers, product placements and pop-ups? What do you possess?

Pop Art began its march across the landscape of civilization a half-century ago, but its sources and its predecessors emerged as much as a half-century earlier. That march continues apace, because the discourse that drives it, the discourse of consumption and its packaging, the branding of everything we desire (or even need) and the desire for every brand, also continues. James Verbicky, who has previously examined various aspects of the common image – the commercial image, the media image, the image of the modern quotidian with contents wrapped in label – now makes an image of the language used to make images of things. Verbicky finds and assembles such brand-happy language, and the rest – the recognition, the passion, the consumption – is up to you.


New Orleans-Los Angeles
December 2012

Critical Review

JAMES VERBICKY: 'MEDIA MARQUEE' Links
by Huffington Post Critic Bruce Helander

From a distance, James Verbicky’s new work conceivably could be misconstrued as a section of aluminum siding that has stood the test of time, depicting layers upon layers of advertising residue, perhaps halfheartedly scraped down to reveal fragmented bits and pieces of small but handsome communicative clues, like a modern day Rosetta stone, that still survive. As the viewer ventures closer, the origin of his materials becomes much clearer; the artist’s intentional iconology is swiped, borrowed and cut from the printed page. In some pieces, there is the visual ‘aroma’ of an unearthed quilted blanket or a nearly recognizable tattered post-war flag from a distant shore, a vintage venetian blind, or even a newsstand rack that once displayed publications with sell lines, headlines and cover girls. Observed from a theoretical distance in the sky, these engaging artworks can take on the appearance of other familiar scenes, such as rows of flowers in a large nursery, a four star general’s “fruit salad” of pinned ribbon awards, a translucent 35mm color slide rack, a racetrack blurred in action, or even the blitz of a CNN scrolling marquee at the bottom of a television screen, with the illustrated stock report flowing rightward until it disappears. In these “moving” pictures, Verbicky seems to become a de facto film director, fashioning a cinematic jump cut from assorted scenes and then sprinkling them onto his panel surfaces to form an uneven pattern that clings magnetically to the edge like the sidewalk remnants of a tickertape parade. He first sets up a horizontal grid of evenly spaced stripes, which has a comfort zone of familiarity because of pioneering contemporary artists like Kenneth Noland, Morris Louis and Piet Mondrian (or even a Jasper Johns flag), whose linear minimal works in the early sixties opened many doors for artists to come. Another young painter that comes to mind is William Finlayson, who creates works with parallel bands of alternating color. As we begin to connect the layered dots, which have been harvested from magazine headlines, advertisements, billboard scraps with colorful Ben-Day patterns, polka dot wrapping paper, vintage poster fragments, photographic images, typefaces of all varieties, foreign lettering, wallpaper, reproductions of other works (art about art), and a seemingly unending array of UFOs (unidentified fragmented overlays), we see what has made this artist’s work so engaging, recognizable and singularly unique.

Verbicky starts each piece with a perfectionist’s craftsmanship, utilizing high-end Baltic birch wood, which serves as a solid base for his built-up, aggressively textured surfaces that are neatly custom fitted into three dimensional gutters that eventually collect a menagerie of transparent paper material, as if they were precious patches of rainwater reflecting a rainbow from an unexpected downpour. Next, he begins the complicated formula that allows him a natural foundation for securing his overall collage-like patterns that are built, level by level, like a modern condo’s balconies where hints of human occupation are evident, such as a beach towel here, an umbrella there, and next to a lounge chair as an accent. Verbicky labels these as “Media Paintings,” as the materials utilized are nearly all cut out from magazines with a heavy dose of text and script and recognizable brand names. His work also is sculptural in nature, combining two-dimensional and three-dimensional planes, which technically fall into the category of relief sculpture or assemblage. The collaged paintings can be read either left to right or vice versa, initiating a back and forth motion that offers a constant momentum of visual activity and adds an extra dimension to his unusual compositions.

Putting bits of cut or torn paper together is a time-honored tradition, and actually evolved from Cubism, a process that broke down traditional narrative paintings into abstracted facets that still retained recognizable elements. Often these early experiments would incorporate the appearance of wood grain, wallpapers, fabrics and newspapers. The word “collage” originated from the French word “coller,” meaning to paste. Braque and Picasso were the first to incorporate paper into their paintings, which was a revolutionary idea that stirred up much controversy within the art community. Later, artists such as Kurt Schwitters, Max Ernst and Marcelle Duchamp utilized this new method, which continues to be respected and popular to this day. The most famous contemporary artist who utilized collage exclusively is Jacques de la Villeglé, who invented the term “décollage” (literally, “unpasting”), and for over forty years has been pulling down and salvaging the posters that adorn Parisian walls. Like Verbicky, Villeglé is satisfied with fragments and the whole repertoire of rips, scratches, scrawls and graffiti, which become impromptu novel devices that both artists characteristically incorporate into their work. The renowned contemporary collage artists Romare Bearden and Jess, who are unfortunately no longer with us, would be pleased to know that the value of their narrative collaged paper works has increased dramatically at auction and have become popular subjects for major museum surveys.

Recycling materials from the street or from used publications that no one wants are key elements that strengthen Verbicky’s sharp eye and artistic convictions, turning one man’s trash into another’s treasure. As a collage artist myself, this writer has a special appreciation and admiration for the minimal compositions reviewed here, because they require an exceptional knack for spatial relationships. It remains a distinct challenge and takes an understanding of abstraction to successfully reinvent printed materials that originally existed in another form. A late great colleague of mine, Ray Johnson, who specialized in collage and was famous for his bunny heads and his literally traveling show of correspondence art, often used simple black and white Xeroxed copy paper in his work. John Chamberlain, the celebrated artist who recently had a retrospective at the Guggenheim Museum, had a similar task when in the late 1950s he decided to make three-dimensional “collages” out of twisted and abandoned automobile parts. The Los Angeles-based collage artist Tony Berlant has spent his entire career making collages out of printed tin trays and advertising signs that are cut and “glued” down with hammered steel brads. So there is a historical fraternity of artists like Verbicky, who offer us a fresh vision and original insights that obviously can stand the test of time.

The simple point of all these disparate examples of artists working in the media of collage is that first, legendary and celebrated artists have brought collage into the forefront of respectability and invention and that this discipline continues to be an inventive tool for younger contemporary artists. Secondly, that there are special conceptual and perceptive skills that not many artists master, as it requires, unlike a traditional landscape or still life for example, an instinctual comfort zone in abstraction that can’t really be taught, but must be brought out intuitively, piece by piece, and mastered with practice and a natural sense of design, which Verbicky’s new series clearly demonstrates.


West Palm Beach
April 2013


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