Philip Ashley

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Artist Statement

I’m drawn to moments and junctures of imagery, physicality, and pattern. Whether it be a bus with a vinyl wrap around advertisement that covers it’s door hinges and gas cap with smiling faces, creating a type of 3-d visual never seen before in human history, or a cacophony of light and shape moving through city windows with transparent ad campaigns reflecting over laptop screens open to search engines on tabs of ancient history, narco-terrorism, or eBay shopping, bringing about a symphony of incomprehensible real and virtual information all within a single moment.

Focusing on the day-to-day transcendence of commonplace sights like these that I find both breathtakingly beautiful and anxiety inducing have shaped my practice both materially and conceptually

As a child I lived above a ceramics studio run by my father. This familiarity with sculptural materials has carried over into my own creative practice. I’ve gravitated towards plaster in this body of work for both its ease of use, and historical ubiquity. It is a medium both readily available at your local Home Depot as well as having been used to coat the floors and ceilings of the first significant human structures in history, or now to mimic more expensive materials or cast prostheses on Hollywood movie sets. This juxtaposition of the sacred and the mass produced is important to my work.

In casting different repeating patterns and fabric into the plaster to create rhythm and movement I combine the photographic base imagery with 3 dimensional elements creating a symbiotic relationship between the two. By sourcing imagery from headlines, ancient cultures, corporate graphic design, or folk art and then digitally superimposing them over sculpturally textured surfaces I imbue them with weight, structure and the lasting mystery that I perceive around me.

The images oscillate between representation and abstraction, figure and background are melded into one. They read as multiple layers on a single fixed plane and are partially abstracted by the glitches and distortion from combining digital industrialized printing techniques with hand crafted materials. This inherently problematic and double-sided way of painting is designed to challenge the status quo of contemporary image making.



Born Chattanooga, TN
BFA Savannah College of Art and Design 2005


New Release, Arts and Performance Center, Chinatown NYC curated by Erin Goldberger (June 2015)

Mulberry street Ryobi 4, Bodega Basement, 120 Grattan, Bushwick, Brooklyn (March 7, 2015)

Spring Break Art Show, Skylight over Monyahin Station, (March 3-8, 2015)

Ryobi Room Miami, Deauville Beach Resort, Miami, Florida (Dec. 2014)

Ryobi Room # 2, The Ryobi Room, Bushwick Brooklyn (August 2014)

Dog fight at the Ryobi Room, The Ryobi Room, Bushwick, Brooklyn (June 2014)

Cindy Rucker Gallery, TEN, curated by Ian Cofre, NYC  (August 2014)

Five Myles Gallery, Empire, curated by Natika Soward, Brooklyn, NY (May 2013)

Andrew Edlin Gallery, B-Out, curated by Scott Hug, New York, NY (July 2012)

Family Business Gallery, The Virgins Show, curated by Marilyn Minter, performance with Prayertown, New York, NY (February 2012)

Legal Arts, Four Minutes and Thirty Three Seconds, curated by Omar Lopez Chahoud, Miami, FL (December 2011)

Carol Jazzar Gallery, “You Are Here Forever”, curated by Omar Lopez Chahoud, Miami, FL (November 2011)

Youth Group Gallery, Chain Gang, Brooklyn, NY (May 2011)

Nicelle Beauchene Gallery, K48 Benefit, curated by Scott Hug, New York, NY (September 2011)

Youth Group Gallery, ABRAK48DABRA issue No. 8 K48 launch party and fundraiser, Brooklyn, NY (April 2011)

Galerie Se Konst, Drawing on Paper, Falun, Sweden (July 2010)

Youth Group Gallery, Tremors, Brooklyn, NY (June 2010)

Nicelle Beauchene Gallery, K48 benefit, New York, NY (May 2010)

Tate Modern, No Soul for Sale, K48, London, UK (May 2010)

Tate Modern, Prayertown Compton Tapes secret performance w/K48, London, UK (May 2010)

Frieze Art Fair, Art Basel, Miami, FL (December 2009)

Andrew Edlin Gallery, Out of Order, curated by Scott Hug, New York, NY (December 2009)

Youth Group Gallery, First Communion, Brooklyn, NY (September 2009)

Xspace, No Soul for Sale, New York, NY (2009)

Public Art Fund, New Deal, curated By Matthew Moravec and Kyle Thurman, New York, NY (March 2009)

Postmasters Gallery, Group Show, New York, NY (2009)

John Connelly Presents, K48 Benefit Auction, New York, NY (2008)

Art Basel, Perpetual Art Machine Video Project, Miami, FL (December 2007)

Zeke Gallery, Phil at Zeke, curated by Matthew Mascotte, Savannah, GA (May 2005)

Red Gallery, Video Works, curated by Matthew Mascotte, Savannah, GA (2004)