Justin Ortiz

2025 group shows
interview

2024 interview conducted between Justin Ortiz and LVL3 gallery:

Tell us a little bit about yourself and what you do.
I’m Justin Ortiz, I make paintings, drawings, sculptures and lithographs. I was born in upstate New York in 1998, but have lived in Los Angeles, CA for the last four years. I received my undergraduate degree from SAIC in 2020.

How do you maintain a steady art practice?
I like to paint every day except the weekends. I am of the mind that the more you show up, the more things can happen. That doesn’t mean showing up when you’re not into it and ruining a painting, but I will show up just to move my tables around and clean my brushes. Put it this way: there’s an episode in the third season of Twin Peaks where a guy has to sit at this desk every day and watch an empty glass box in a top secret research facility, and they never explain why. Then one day, I think it’s when he’s paying attention the least, there’s a huge lightning flash and an entity appears in the box. That feels very much to do with painting and the stage one needs to set, the paraphernalia, the routine.

What is one of the bigger challenges you and/or other artists are struggling with these days and how do you see it developing?
I think artists make too much work, myself included. Ideally I would be making 20 paintings in a year that could potentially leave my studio. Everyone adapts to their situation, if you’re getting asked to do multiple shows in a year you can certainly hunker down and make a little more work, but I think some quality is lost generally speaking.

What are you really excited about right now?
Recently a character is appearing in my work facing away from the viewer, towards whatever entity or void is facing out. I am spreading it out across drawings, paintings and lithographs. It has been a useful device for making work.

What materials do you use in your work and what is your process like?
A lot of it is about formalizing drawing, making a drawing “real.” I always drew as a kid. Drawing for me is a compulsion. I have pads of paper everywhere and I keep everything I make, like a hoarder. Except everything is useful eventually. It could be years before I use a drawing and no stone goes unturned. I paint with thin layers of oil paint, sometimes multiple underpaintings depending on the optical effect and what is called for.
Lithography plates I produce en masse in my studio using grease pencil on a porous plastic sheet, mostly as a break from other projects. If I like something, I can bring it to the printmaking studio and collaborate with printers to produce an edition. Fast and loose drawings are transformed after being processed a dozen or so times into something completely new.

What artists have you been thinking a lot about right now and why?
Carroll Dunham, Sigmar Polke, Gary Larson and Jason Fox. I can feel the bodies in their work and above all they make artwork as if something else is possessing them. I always thought that painting was unique because it feels like you’re communicating with other painters living or dead when you do it. I always look at the Dutch masters of mythological figure painting, and tattoos on the internet.

Do you ever look back on your older work in order to inform your future?
I do that often. I think you have to separate yourself from older work to understand it more versus in the heat of the moment.

In regards to your making, what is something that you’ve always wanted to do and are working towards achieving it?
I would like to exhibit my paintings alongside my lithographs and I would like to make a thick book of drawings.

Do you have any daily rituals?
Walk the dog, see friends… I have been keeping a daily email correspondence with my friend Leroy. We mostly talk about boring life moments and how our paintings are progressing. I love it and recommend it.

What are some recent, upcoming or current projects you are working on?
A painting of mine will hang at the Innertown Pub in Chicago on 12/15. The neon sign above the doorway says ‘Home to the Arts.’
See you there, Chicago!

2024 group shows
Pumpkin Bong

April 20, 2024
Catbox Contemporary

Text by Kira Scerbin

Big titty brass songs
All along
The pumpkin bong
Bong
Rubber conveyor belt churning
And it is so fine
The way painful is written
Like taffy
Sing song away from playful
To be so alive forever you can’t tell
You name it
You date it
A sucking pumpkin production

2023 group shows
The Golden Arm (solo)

November 5 - December 12, 2022
Emma Gray HQ at Five Car Garage
Artforum must see

Text by Reilly Davidson

Justin Ortiz's peculiar cast of tormented subjects endure a haunted, oneiric dimension. He has been gearing up to make this body of work for a long time. In their undeniably gothic rendering, Ortiz's primordial bodies present an extreme past or an extreme future. The fleshy inhabitants of Ortiz's world appear to be arrested mid-transformation, an implication that they are caught in time's chokehold without much prospect for a bodily resolution. Therefore, left to toil in darkness, the creatures probe and feel for one another as an otherworldly cycle trudges on.

Through the Renaissance painters, a young Ortiz became accustomed to idealized forms. Without a clear understanding of mythology or biblical references, he was drawn to the formal aspects of mutating figures. His introduction to painters such as Jordaens and Tintoretto exposed Ortiz to alienized bodies through their singular craftsmanship. Furthermore, in examining the history of sculpture he came to understand the dimensionality of figure as well as the interplay of light and form.

Ortiz's perpetual return to the body as subject is the result of a childhood spent marveling at the great artists of antiquity - his favorite being Rubens. As a teenager, Ortiz was engaged with modern classicism during an apprenticeship until he pivoted to Lyme Academy where the tenets of realism were deeply embedded in the atelier's program. Anatomy classes further informed his technical acumen as he exacted the scientific makeup of the human form. Ortiz went on to the Art Institute of Chicago where he became attached to the production of a singular humanoid, one bearing two balls and a snout, lacking any clarified identity or narrative.

This figure came to be an internally generated subject - one move by compulsion. In the act of drawing, Ortiz was compelled to return to this figure. A lot of his thinking therefore happens in hindsight. While drawings don't specifically become paintings, the character recurs as Ortiz rattles off his compositions. Though he could try to shake his subject, this proves futile as something new is always possible within the established framework. Whether this be size or texture, Ortiz confronts problems available for solution. Rigor and consistency of technique become integral to the expansion of his singular subject.

The previous compositions in Ortiz's oeuvre were largely constructed using monochromatic palettes. Seeing as his methods have been honed in luminous blues and oranges, he's now introducing new pigments into the paintings. He brings his colors out slowly, while maintaining translucent shadows. In a preparatory initiative, he lays down burnt sienna tones, then grisaille surfaces left to cure. The layering process is crucial to the expansion of colors while harkening back to his cured surfaces in service of a more complex, chromatic painting. One can see an expanded index in Contraption where a sea foam hand strokes a sickly green creature. At the painting's left edge a peach form clutches the same picklish entity, though with a pronounced authority.

His bizarre, contorting figures emerge out of pure process - Ortiz identifies this mode of production as an ongoing engagement with slippery subjecthood. He's directly implicated in the open market of ideas, pursuing instinct rather than agenda. Carroll Dunham illustrates this system as resigned to instinct, noting I didn't sit down and strategise my way to an image of a sightless humanoid with genitals growing out of its head in a funny hat. It just evolved from things connecting, triggering.

The masterful lighting in works such as They Toiled is reflective of Ortiz's concern for historical precedent. One can recognize the painting's alignment with the language of Rubens's The Elevation of the Cross or Johann Liss's The Satyr and the Peasant. Something of an internal glow emanates from Ortiz's figures, doubling down on the hallmark of sensation. This preoccupation with the grotesque form is a persistent one, not unlike those mutated bodies of the Chicago Imagists.

The perverse subject gets reiterated on end within his landscapes, generated by impulse and an accumulated understanding of form. Co Westerik's output has become an important reference point, as Ortiz was exploring his own visual language not unlike the consistency maintained by Westerik. The dilution of realism is a common thread between the two artists, as they maintain stylistic conceits rooted in accumulated layers and bizarre figuration. The unconscious remains a central point of departure for Ortiz, just as it had been for Westerik. The Golden Arm is thus a hyperimaginal space in which the viewer must come to terms with surrealism and nature as they exist on the same image planes.

The Apartment (with Kira Scerbin)

September 24 - October 22, 2022
Droll, Chicago, IL

The Apartment is a two-person exhibition of recent drawings, paintings, and sculpture by Justin Ortiz and Kira Scerbin curated by Justin D'Acci.

Pleasure Guttus (solo)

March 6 - April 17, 2021
Emma Gray HQ at Five Car Garage

"Pleasure Guttus is a pouring vessel decorated with images. An artifact which now teems with dirt, a finger is slipped through its ring to drip oil. Through the mixture's smokey film, a flutter of a past life. The guttus is full and snug around a digit, poised to overfill."

2021 group shows

info

Justin Ortiz: b. 1998, NY
Lives and works in Los Angeles, CA
justinortiz5621@gmail.com

Solo & Two Person Exhibitions
2024 Cista Mystica, Innertown. Chicago, Illinois, USA
2024 Pumpkin Bong, Catbox Contemporary. New York, New York, USA view
2022 The Golden Arm, Five Car Garage. Los Angeles, California, USA view
2022 The Apartment: Justin Ortiz & Kira Scerbin, Droll. Chicago, Illinois, USA view
2021 Pleasure Guttus, Five Car Garage. Los Angeles, California, USA view
2021 Sky Worm, Light Harvesting Complex. Vantaa, Finland view

Selected Group Exhibitions
2023 Chanterelle, ASHES/ASHES. New York, New York, USA view
2023 Beach, Nino Mier Gallery. New York, New York, USA view
2023 Evening Shadow, Make Room. Los Angeles, California, USA view
2022 Merde!, Alyssa Davis Gallery Gala. New York, New York, USA
2022 The Sexy Show curated by Anna Frost. view
2021 Nice Work curated by Jake Fagundo, Sulk Chicago. Chicago, Illinois, USA view
2021 Timely, 11 Newel. New York, New York, USA view
2021 burden, darkZone. view
2021 The Forest and the Sea, Emma Gray HQ. Los Angeles, California, USA view
2020 Shedding the Third Skin, Final Hot Desert. view
2020 Sinkhole Project curated by Joe W. Speier. view
2020 Organized by Alan Stefanato, Turin, Italy view
2019 Apartment 13 Gallery. Providence, Rhode Island, USA view
2019 K_Night. Turin, Italy view

Education and Residencies
2020-2018 BFA Painting School of the Art Institute of Chicago
2018 Student Residency, Bethany Arts Community, New York.
2018-2016 Lyme Academy College of Fine Arts

Press
2024 Artist of the Week: Justin Ortiz, LVL3. view
2022 Justin Ortiz by Grant Tyler, Caesura Magazine. view
2021 ~'TIMELY' review, artloversnewyork. view
2021 What is Garthim? A Conversation with Justin Ortiz, Przemijam. view
2021 Pleasure Guttus, Justin Ortiz, Art Forum. view
2021 Shedding the Third Skin, Fotograf Magazine #38. view
2020 Justin Ortiz, Saint Maison Archive 02 Publication. view
2019 Justin Ortiz, Heads Magazine #10. view

Curatorial
2022 Garthim at Baitball 02 Project Fair, Polignano a Mare, Italy. view
2021 Ditch Number 3 by Jacob Mattingly, Garthim. Los Angeles, California USA. view
2021 Gone Broody by Christopher Peckham, Garthim. Los Angeles, California USA. view
2021 Hushed Inheritance by Tatiana Sky, Garthim. Los Angeles, California USA. view
2020 Kaleidoscope: Gilgal, Garthim. Salt Lake City, Utah, USA. view
2020 Dewdrop Toadstool Hopscotch by Isabelle Adams, Garthim. Mattheisen State Park, IL, USA. view


Garthim