Andrew Schoultz, Floating Beast in Nature, 2018 - 2020, acrylic on canvas (comprised of two parts), 120 x 140 inches

We are pleased to announce that Hosfelt Gallery will re-open for private viewings of Andrew Schoultz’s most ambitious project to date – Mother Nature, Father Time – with extended hours – beginning Monday June 1, 2020.

To protect the safety of our community, the following protocols must be observed:

One viewer, or a group of viewers who have been sheltering together, will be allowed to be in the gallery at a time.

You must make an appointment to view the exhibition. You will have 40 minutes to see the show privately. To schedule a gallery visit, you may call the gallery or use our online calendar: calendly.com/hosfelt-gallery.

There will be a 20 minute break between appointments, during which time surfaces that might have been touched will be wiped down with disinfectant.

We ask you to wear a mask while you are in our space.

We ask you to use the hand disinfectant at the front door, as you enter the space.

Hosfelt Gallery staff will be in the gallery in an alternating schedule, so that no more than 3 will be present in the gallery on any given day.

Gallery hours have been extended to 6 days a week – Monday through Saturday.

Andrew Schoultz, Mother Nature, Father Time Installation View

Andrew Schoultz, Holy Mountains, Floating Beast, 2020, acrylic on paper, 29 1/2 x 41 1/4 inches

Uncannily prescient, LA-based Andrew Schoultz’s new exhibition of paintings and sculptural installations looks at mortality—personal, societal, cultural, environmental—with an eye to taking responsibility, and glimmerings of hope.

Schoultz’s stylized, symbolic lexicon includes archaic military machines, volcanic eruptions, Greek vases, mythical creatures and iconography from the Great Seal of the United States. Weaving them together with formal references to mid-20th-century Op Art, Schoultz depicts a complex and unstable world in which truth must be de-coded. We live, he says, in a dizzying time of environmental degradation poised at a tipping point of no return, endless wars fought in the name of religion inflicting suffering at massive scale, and income disparity empowering the demagogic at the expense of the democratic. Add a plague of biblical proportions and it’s no wonder we’re all reeling.

Andrew Schoultz, Transcendence, 2020, acrylic on paper, 30 x 22 1/2 inches

As important as the vocabulary of symbols that those familiar with Schoultz’s work will immediately recognize, is his use of the tools of classic Op Art to create visual effects like vibration or trembling. Such effects can literally induce physical sensations of disorientation in a viewer. For the artist, they function as a concrete representation that best describes the zeitgeist.

Andrew Schoultz, Mother Nature, Father Time Installation View

Central to what is likely his most ambitious gallery exhibition to date is an 11×34 foot painting he calls Cathedral. Three years in the making, it’s an epic cycle examining the history of the Western world—of greed, partisanship, war for profit, self-interest, and the failure of governments. This painting specifically, and the exhibition generally, is a wakeup call… a plea to examine how we treat each other and how we abuse our environment. It serves notice that we must take responsibility and make changes, or face the consequences.

Andrew Schoultz, Cathedral, 2016 - 2020, acrylic on canvas over panel (comprised of 20 panels), 146 x 388 inches

Andrew Schoultz, Cathedral, 2016 - 2020 (detail), acrylic on canvas over panel (comprised of 20 panels), 146 x 388 inches

Andrew Schoultz, Cathedral, 2016 - 2020 (detail), acrylic on canvas over panel (comprised of 20 panels), 146 x 388 inches

"At a certain point, I wanted to start doing work that would have more of an effect on society, about something more than myself." — Andrew Schoultz

Watch Andrew Schoultz in studio discussing his process.

Andrew Schoultz, Serpent with Blue Birds (Facade), 2018 - 2020, acrylic on canvas over panel, 72 x 48 inches

Andrew Schoultz, Overwhelming Color Grid, 2020, acrylic on canvas over panel, 60 x 48 inches

Q: Politics/geopolitics/war/globalization are themes that both overtly and covertly show up in your work. Is that a strategy?

A: For many years my work was related to social politics, the environment, globalization and war. What has happened for me in the past couple of years has been a shift towards the idea of mortality and the fragility of life. Things I’ve experienced... family members have experienced... having a child, brought me to a place where everything you look at comes back to the idea of the ephemeral nature of being alive, in this body, on this planet. I quickly realized that politics, the environment, globalization and war, and the decisions being made around those things are ultimately about our health, our lives.

Andrew Schoultz, The Long Way Forward (Window), 2020, acrylic on canvas, 78 x 72 inches

Andrew Schoultz, Glowing Vessel with Arch, 2019, acrylic on canvas over panel, 60 x 60 inches

Andrew Schoultz, War Helmet (Prism), 2020, acrylic on canvas over panel, 49 x 38 inches

Q: Can you talk about how/why your color palette has changed?

A: Well moving from San Francisco to Los Angeles, there is a different kind of color that you see every day. But the bigger influence was visiting Sagrada Família in Barcelona. I went as any other tourist would because it is an important attraction. But when I got there, I had an intensely spiritual experience that had nothing to do with religion. The way the color palettes shifted through the crossing beams of light blew my mind. I also like how stained glass has been used historically — to create narratives in a folk art sort of way, which I am also really into.

Walking through the cathedral was like experiencing a piece of art versus viewing one.

Andrew Schoultz, The Overwhelming Weight of History (Prism Flag), 2018, acrylic on stretched American flag over panel,
42 x 66 inches

Andrew Schoultz, Monumental Mind Fortress, 2020, acrylic on paper, 30 x 22 1/2 inches

Paul Klee: Life and Work
by Boris Friedewald

"This book I have been particularly excited about... Paul Klee is one of my absolute top 5 artists, probably number one. This book is great because it shows examples of his work from his different time periods... it states where he was living and what was going on at the time with a few simple quotes that sum up or give you insight into what he was thinking about. It describes the state of his health, mentally and physically, and provides detailed information about what his studio practice looked like. One of my favorite quotes: 'I am doing well,' which for Klee meant 'I am working.'"
— Andrew Schoultz

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Hosfelt Gallery is located at 260 Utah St, between 15th & 16th streets. Wheelchair accessible entrance at 255A Potrero Avenue. For more information call 415.495.5454 or visit hosfeltgallery.com.

Open by appointment Monday through Saturday
To schedule an appointment, call the gallery or sign up online:
calendly.com/hosfelt-gallery

Hours: M, Tu, W, F, Sa 10-5:30, Th 11-7

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