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Jason Brian Fox: Painting Joy Through Color, Rhythm, and Freedom

By
BLVKBOOKMO
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0

In the ever-evolving landscape of contemporary art, few artists capture movement, color, and emotion quite like Jason Brian Fox. Known for his vibrant, layered compositions that blur the line between surrealism and fantasy, Fox creates immersive visual worlds filled with energy and imagination.

I had the opportunity to interview him during the New York Art Expo, where his work immediately stood out. Drawn in by his bold use of color and dynamic compositions, I knew I had to learn more about the mind behind the canvas.

What followed was a conversation that revealed an artist deeply rooted in instinct, rhythm, and joy.

What artists or experiences have significantly influenced your style and approach to art?

1. I would have to say my influences I like the action of Jackson Pollack and the color of Kandinsky

Fox’s influences reflect a balance between movement and emotion. The raw, physical energy of Jackson Pollock combined with the spiritual and color-driven compositions of Wassily Kandinsky can be felt throughout his work. It is this fusion that gives his pieces both structure and spontaneity.

Can you walk us through your creative process when starting a new piece? How do you decide on themes or subjects?

2. I think about color first balancing warm and cool tones then composition and most importantly it’s the rythum that determines the theme

For Fox, creation begins not with subject matter, but with sensation. Color leads. Balance follows. But it is rhythm that ultimately shapes the narrative. His process feels closer to music than traditional painting, where flow and timing dictate the final outcome.

What are your preferred mediums to work with, and are there specific techniques you enjoy exploring in your art?

3. Watercolor is my first love and then pastels and acrylic my techquies involve working in textured layers which the benefits is that if your not feeling and element you can cover it up.

His approach to materials reflects both discipline and freedom. Watercolor provides a fluid foundation, while pastels and acrylics allow him to build depth through layered textures. This method gives him the flexibility to evolve a piece organically, constantly refining until it resonates.

How do you hope viewers will connect with your work? Are there particular emotions or thoughts you aim to evoke?

4 what I want to view to connect the most to is the feeling of joy I had in the creation of the piece.

At its core, Fox’s work is about emotional transmission. Each piece carries the energy of its creation, inviting viewers to not just observe, but feel. Joy is not just the outcome, it is embedded in the process itself.

Are there any upcoming projects or collaborations you’re excited about that you could share with us?

5. I am currently on view in an exhibition called visual voice the freedom to create at the Cape Cod Museum of Art

Currently, Fox’s work can be experienced in Visual Voice: The Freedom to Create at the Cape Cod Museum of Art, a fitting setting for an artist whose work celebrates expression without limits.

Layers of Heritage: Exploring Identity with Kirby Santos

By
BLVKBOOKMO
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0
Screenshot

I had the privilege of meeting the extraordinarily talented artist Kirby Santos through his brother, who owns a vibrant restaurant in Chinatown. From the moment I encountered his captivating artwork within that lively space, I was drawn in; originating from the Lower East Side and proudly hailing from Puerto Rico, his pieces resonate deeply with rich cultural heritage.

Kirby’s work is characterized by bold colors and dynamic compositions, exploring themes of identity, community, and the human experience. He masterfully employs a variety of mediums, blending painting, collage, and digital art to create unique, layered pieces that invite contemplation.

Many of Kirby’s artworks delve into the complexities of identity and belonging, poignantly depicting the experiences of those navigating urban environments. This exploration provides profound insight into his brilliant mind and artistic vision.

“Grounded in the vibrant culture of Puerto Rico and the dynamic streets of New York City my art seeks to unravel the intricate narratives of identity and community. Using a vivid color palette and expressive forms, I strive to capture the essence of my experiences and the stories of those around me. My work serves as a celebration of cultural heritage, drawing from the rich traditions and folklore of Puerto Rico while intertwining with the contemporary urban landscape. Each piece acts as a dialogue, inviting viewers to engage with themes of belonging, resilience, and connection. I believe in the transformative power of art to foster understanding and dialogue, whether through large-scale murals or intimate canvases. In creating these spaces, I hope to encourage individuals to reflect on their identities and the diverse experiences that shape our communities, inspiring a sense of pride and awareness while nurturing a deeper appreciation for the beauty found in our differences and the shared experiences that unite us.”

ARTIST Q & A

Can you describe your creative process when starting a new piece?

What elements do you consider?

I begin with putting together an amalgam of colors, shapes, lines,and textures. Whether they be photographs or line drips and sketches I am always keeping in mind what elements work best for the feeling I intend to convey.

Once I feel comfortable with all the elements included, I’ll break from the work to give me time to observe and process how each element works with the other.

Followed by removing or adding other pieces whether they be new gestures or void spaces.

This process can happen very quickly or timely depending on how long it takes to achieve the initial message.

What inspired you to start creating graffiti, and how has your style evolved over time?

Graffiti provided an artistic freedom that did not require the approval of art’s gatekeepers.

Jim Carrey: The Intuitive Canvas Behind the Comedian

By
BLVKBOOKMO
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0

A Hidden Practice That Became a Calling

Known globally for his elastic face and explosive comedic energy, Jim Carrey has quietly built a second identity that feels just as raw and expressive: painter, sculptor, and visual storyteller.

Long before Hollywood, Carrey was drawing as a child, using art as a personal outlet. That instinct never left. Around 2011, he began painting seriously, eventually dedicating years to creating hundreds of works inside his studio. 

What began as a private ritual evolved into a full artistic practice, culminating in exhibitions like Sunshower, where his work was shown publicly after years of solitude and production. 

Art as Therapy, Identity, and Release

Carrey’s work is not decorative. It is emotional processing in physical form. He has described painting as something that frees him from time, anxiety, and identity itself. His pieces often feel like psychological landscapes, where color replaces language. 

Themes that appear repeatedly include:

Self identity and ego dissolution Love, heartbreak, and memory Existential questioning of reality Inner chaos versus stillness. In many ways, his visual art mirrors the same intensity seen in films like The Truman Show or Man on the Moon, but without a script, without a character, and without boundaries.

Carrey’s visual language blends multiple influences:

Expressionism through aggressive brushwork and emotional color Pop art references similar to Andy Warhol Caricature and satire rooted in his comedic instincts

Distorted portraits Political figures Skulls and symbolic objects Self portraits and surreal forms. One of the most talked-about aspects of his work is his political art, where he uses grotesque exaggeration and bold color to critique power structures and public figures. His drawings and paintings often act as visual editorials, blending humor with discomfort. 

His subjects range from:

The Outsider Artist Debate

Carrey has even been associated with the idea of an “outsider artist,” a term used for creators working outside traditional art systems. 

This raises an interesting tension:

Is he a celebrity experimenting with art, or an artist who happened to become famous elsewhere? The volume of his work, the consistency of his themes, and the depth of intention suggest the latter. His studio is not a side hobby. It is a parallel life.

Painting the Unseen: Maryam Zadeh’s Journey Through Emotion and Identity

By
BLVKBOOKMO
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0

In the vibrant world of visual arts, where emotion and intuition intertwine, one artist stands out through a journey that is as layered as her creations. Maryam Zadeh is driven by the need to process her emotions and reflect on the complexities of life, she describes art not merely as a career but as an essential form of expression. Her style, shaped by personal experiences and a commitment to authenticity, embodies the themes of memory, identity, and emotional landscapes, often merging abstraction with symbolism.

Her creative process is a testament to her intuitive approach, starting from a feeling rather than a fixed concept. With each piece, she allows color, texture, and composition to guide her—building and sometimes removing layers until the artwork reveals its essence. This organic evolution keeps her work alive and honest, inviting viewers to engage with it on a personal level.

Navigating the delicate balance between personal expression and audience expectations, she remains steadfast in her belief that authenticity resonates more deeply than following market trends. Acknowledging the challenges faced as an emerging artist such as establishing visibility and creating opportunities. She embraces persistence and discipline, continuously evolving to foster connections within the art community.

1. What inspired you to pursue a career in visual arts, and how has your journey shaped your style?

Art has always been a way for me to process emotions and make sense of the world around me. I didn’t just choose it as a career—it’s something I’ve continuously returned to as a form of expression and reflection. Over time, my journey—personally and professionally—has shaped my style into something that feels very intuitive and layered. My work has evolved to reflect memory, identity, and emotional landscapes, often blending abstraction with more symbolic elements.

2. Can you describe your creative process from concept to completion?

My process usually begins with a feeling rather than a fixed idea. I often start with color, texture, or a loose composition and allow the piece to develop organically. It’s a very intuitive and responsive process—I build layers, sometimes remove them, and let the work guide me as much as I guide it. I don’t always know the final outcome at the beginning, which keeps the process honest and alive.

3. Which themes or messages do you aim to convey through your art, and why are they important to you?

I’m deeply interested in themes of memory, identity, and emotional experience. My work often explores the spaces between clarity and ambiguity—what is seen versus what is felt. These themes are important to me because they reflect universal human experiences, but also allow for personal interpretation. I want viewers to connect with the work in their own way and find something of themselves in it.

4. How do you balance personal expression with audience expectations or market trends?

I try not to let market trends dictate my work too much. For me, authenticity is essential—if the work isn’t honest, it loses its meaning. That said, I’m aware of my audience and how people engage with my work, but I see that more as a dialogue rather than a compromise. I believe that when something is genuinely personal, it often resonates more deeply with others.

5. What challenges have you faced as an up-and-coming artist, and how have you overcome them?

One of the biggest challenges has been navigating visibility and building a consistent presence while staying true to my voice. It can be difficult to find the right opportunities or platforms at times. I’ve learned to be persistent, to create my own opportunities when needed, and to trust the process. Building connections, staying disciplined in my practice, and continuing to evolve have all helped me move forward.

Murakami’s Real Faces at The Broad DTLA

By
CharlieBLVK
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Murakami just pulled back the curtain on everything at The Broad and you need to see this.

You know those happy rainbow flowers? The smiling faces on Kanye albums and Supreme drops? Those were always a lie. Murakami’s been saying it himself those smiles represent the repressed trauma Japanese people carry from Hiroshima and Nagasaki. The happy faces were never about joy. They were masks hiding rage, fear, sadness. In Japanese culture you smile through the pain. You don’t show what hurts.

Well now Murakami’s done smiling.

The Broad just dropped a fresh installation with four major Murakami works, and the centerpiece is his newest *Hiroshige’s 100 Famous Views of Edo: Japonisme Reconsidered Moon Pine, Ueno* (2024-25). He’s channeling Utagawa Hiroshige’s 1856 ukiyo-e woodblock prints, that same traditional Japanese art that inspired Van Gogh and Monet. But this ain’t just homage. This is Murakami adding his own characters, his own anger, his real emotions. The tree, the circular composition it’s rooted in classical Japanese aesthetics but the emotion? That’s right now. That’s all of us post pandemic, post everything.

The faces aren’t hiding anymore. They’re angry. Frustrated. Terrified. Real. No more kawaii facade. This is the darkness that was always there, finally showing itself.

And this is happening at The Broad Eli and Edythe Broad are absolute legends for what they built in DTLA. Free admission to world class contemporary art? That’s revolutionary. Most museums gatekeep behind ticket prices but “The Broad” understood great art should be accessible to everyone. The building alone is bucket list material that honeycomb facade, the way light breathes through it, stunning. Then you walk in and see Basquiat, Warhol, Koons a collection that shows the rest of the art world how it’s done.

They’ve got construction happening right now but they also brought in Richard Therriens oversized objects exhibit that one’s paid admission but honestly worth it. His massive stack of plates, tables you can walk under kids lose their minds over it and the line to get in shows you it’s a hit. I’ve seen his huge table installation before and it never gets old watching people’s faces when they realize the scale.

They had this scavenger hunt for the kids that was genius. Kids running around asking me about every single piece, hunting for clues like little art detectives. That’s how you teach art. That’s how you keep them curious. Get them engaged early, make it fun, and suddenly they’re actually looking at the work instead of just walking past it. Clever as hell.

But right now it’s all about Murakami at his most powerful, most honest. Watching him drop the happy facade and show us the real work that’s what art is for.

And the permanent collection is free. One of the most important living artists showing his truest work in one of the most beautiful museums in America and they’re not charging you anything for the main galleries.

Get to The Broad. Stand in front of that ukiyo-e inspired piece. Look at those real faces not the smiling masks. Feel what Murakami’s expressing. 

This is what happens when artists stop performing happiness and start showing truth. This is why we need art that doesn’t hide. This is why spaces like The Broad matter because the best thing a museum can do is show us work that’s real, that’s honest, that makes us feel something deeper than surface level beauty.

—CharlieBLVK

CHINCHILLA Bleeds Her Heart Out at WuuM During Grammy Week

By
CharlieBLVK
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0

By CharlieBLVK

Look, I’m not the type to get dragged to concerts. But when your fiancée is obsessed with an artist, you show up. That’s how I found myself in east Hollywood at this spot called WuuM for a night called Formless curated by Mo (not our BLVKBOOK Mo, but a different Mo Mo.faulk a proflic music manager and organizer we just met whose concert series absolutely slaps and hopefully brings it to the BLVKBOOK next). CHINCHILLA was in town for Grammy weekend, and this past Tuesday night showcase was the move.

WuuM is this rare gem that feels less like a venue and more like someone’s impossibly cool library living room. People sprawled across the floor on pillows, sunk into couches, leaning against bookshelves the whole space radiates intimacy. Word on the street was that Dave Yaden had done his first analog show there the week before, and after experiencing the room myself, I understood the hype. This is the kind of space where music doesn’t just play it seeps into your bones.

The lineup for this Grammy Week Friends Edition was stacked: BANOFFEE, SHE.LAILAI, SARA DIAMOND each bringing their own flavor. Solid performances across the board, setting the emotional architecture for what was coming. But everyone knew who we were really there for.

When CHINCHILLA finally took the stage, the energy shifted. This woman doesn’t perform she exorcises. Every song about lost love, every verse dissecting the tribulations of relationships, every note felt like watching someone bleed out the pain in real-time. And she wasn’t just singing about romantic heartbreak between songs, she kept bringing up her label. Talked about dropping them multiple times like they were a toxic ex she couldn’t stop mentioning. The way she referenced them, you could tell she was relieved to be free of that relationship too. There was this lightness in how she said it, like finally exhaling after holding your breath for too long.

She came all the way from the UK for Grammy weekend, and instead of playing the industry game, she chose intimate spaces like WuuM. This wasn’t some industry showcase this was her reclaiming her narrative, her sound, her story on her own terms. While everyone else was networking at award show circuits, CHINCHILLA was pouring her soul out to a room full of strangers who became family by the end of the night.

Her cadence is otherworldly the way she manipulates rhythm and phrasing, stretching syllables in unexpected places, letting words hang just long enough to ache. She’ll hit you with rapid-fire flows that feel conversational, then slow everything down where every word lands with weight. And her range? She’d drop into these smoky, whisper-soft lows that made everyone lean in, then climb into these highs that cut straight through the room. Not showy. Just intentional storytelling through sound. By the third song, tears were everywhere, people holding each other, swaying with closed eyes, completely undone.

Then came the closer. An unreleased track that she saved for the end, and it leveled the room. In that intimate WuuM space where you could hear every breath between verses, see every emotion flicker across her face she reached into her chest and pulled out something vulnerable and devastating. The intimacy of the venue made it feel like she was singing directly to each person’s deepest wound.

CHINCHILLA isn’t just talented she’s got that rare thing where technical skill meets genuine emotion. The kind of artist who makes heartbreak feel communal, who reminds you that being broken isn’t weakness. If you ever get the chance to catch her in a space like WuuM, drop everything and go.

And if you missed her in LA, she’s taking The Bigger Room Tour across Europe starting late February hitting cities from Dublin to Amsterdam to Vienna. If this intimate WuuM performance was any indication of what she’s bringing to those stages, European audiences are in for something special.

That’s what transcendent music does. It doesn’t fix you. It just makes you feel less alone in the wreckage.

And if you’re still riding the Grammy weekend wave, BLVKBOOK is hosting the pre-party and after-party at SkyBar. Come through.

Montana Mills: Carrying the West Coast Warhol Legacy Forward

By
CharlieBLVK
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0

By CharlieBLVK

When bloodline meets grind, something special happens. I’ve been around Montana Mills long enough to see the work speak for itself. As the nephew of Richard Duardo the legendary West Coast Warhol who earned that moniker by being the first person on the West Coast to make art out of a photo of Warhol himself Montana’s putting in the work daily, building his own legacy. Duardo was a key figure in the Chicano street art movement and a master printmaker who passed those techniques down to Montana. His impact is documented in the film *Print and Die in LA*, which chronicles his role in founding the Chicano street art movement alongside Cheech Marin.

Old School Mastery

I’ve watched Montana evolve from computer prints on Japanese paper to pulling serigraphs that make the old heads nod with respect. High powered water hoses blasting away emulsion, giant industrial lights in the exposure room techniques refined over decades through the Duardo bloodline. Getting to work alongside him, you realize quick: this isn’t some nostalgia trip. This is the real deal, done right.

But Montana doesn’t just live in the past. His digital giclées are equally amazing. For those unfamiliar, giclée (pronounced zhee-clay) comes from the French “to spray” tiny droplets of pigment sprayed onto archival paper or canvas, creating fade resistant fine art with exceptional color and detail. Montana’s giclées hit that gallery level quality, bridging traditional craft with modern technology without compromise.

Big Brother Publishing and Modern Multiples

Montana founded Big Brother Publishing to continue his uncle’s vision and now champions Modern Multiples the legendary studio Richard Duardo originally built. These aren’t just print shops. They’re institutions where contemporary art becomes tangible, collectible form, bridging street culture and fine art.

The distinction matters. Montana deals in archival prints using special paper, canvas, and pigment inks designed to resist fading for decades, even centuries. These are high quality, long lasting images, often signed and numbered with certificates of authenticity that increase their collectible value. And when it comes to multiples reproducing an artistic idea across limited editions like 1/50 or 2/50 Montana’s controlling scarcity while maintaining quality, whether it’s lithographs, etchings, or serigraphs.

The Education

Working with Montana is straight-up education in the original techniques Richard Duardo used to launch careers. Banksy, Retna, Shepard Fairey, Ed Ruscha that’s just scratching the surface. Anyone serious about their prints finds their way to Montana and leaves knowing more.

What makes Montana different is his work with every street artist, young and old. He’s in the trenches helping them with stencils and prints, keeping his ear to the streets. His sense of humor and ability to teach makes the process natural he’s taking young graffiti writers into the fine art world one print at a time. He demonstrates, elevates. That’s how traditions survive and how new voices get heard.

The Facility

Walk into Montana’s workspace and you get it. Top Gun’s aircraft hangar meets Andy Warhol’s Factory. This massive space is wall to wall with art, screens, squeegees, and every piece of equipment an artist needs. Giant exposure units, industrial sinks, drying racks climbing toward the ceiling a cathedral built for printmaking where ideas become editioned artworks built to last.

The Work

Montana’s crosshair poodle logo is unmistakable quality and authenticity in one icon. But he’s not just printing for others. Right now at BLVKBOOK, we’re featuring his West Coast Warhol soup can series a direct nod to his uncle’s legacy and Warhol’s revolutionary pop art, brought home to the West Coast aesthetic Richard Duardo pioneered. Not imitation. Continuation.

We’re looking forward to doing a big event at BLVKBOOK soon with Montana Mills and his prints stay tuned.

Living the Legacy

Richard Duardo earned “West Coast Warhol” by democratizing art, bringing printmaking to communities who needed it without sacrificing quality. Montana does the same for this generation. Every day, water hose in hand, burning screens, pulling prints that’ll outlive us all.

The craft and technique passed down through Montana you won’t find it at any other print shop in LA. After watching him work all these years, one thing’s clear: Montana Mills is the real deal, keeping the tradition alive at the highest level.

Montana Mills’ West Coast Warhol soup can series is currently featured at BLVKBOOK.

Peer Into the Keyhole: Inside the Mind of Alex Whitehouse

By
CharlieBLVK
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0

By CharlieBLVK. This piece includes insights about Alex Whitehouse.

You know how some people just have it? That’s Alex Whitehouse.

This twenty four year old has been moving through LA’s creative scene with purpose yes, he’s nightlife royalty, but that’s just context. He’s an actor, a writer, with credits on IMDb, but it’s his visual art that demands attention. Born and raised in Los Angeles, Alex Whitehouse has established himself as the innovator behind New Age Expressionism a style built on raw materials, primitive figures, visceral poses, and vivid color that’s completely his own.

His artistic identity was forged early. By thirteen, he had committed himself to art with unwavering clarity. His practice emerged from personal experience his father’s heart attacks starting when Alex was just ten trauma that continues to shape the symbolic vocabulary in his work. The skeletal forms, distorted shapes, and crude drawings that dominate his canvases serve as both personal landmarks and universal metaphors for fragility, survival, and resilience.

His work lives at BLVKBOOK inside Beverly Center because where else would it be? It’s where contemporary art and LA culture collide, and honestly, it’s the only gallery in the city that makes sense for what Alex is doing.

I’ve seen a lot of artists come through this city trying to make their mark. Most of them are just noise. Then you meet Alex Whitehouse, and suddenly everything else feels like background static.

What Alex creates has weight. It has soul. As the pioneer of New Age Expressionism, his work is bold explosively so with color and energy that demands your attention. But here’s what separates him: there’s technical precision underneath all that raw power. His style draws from African and Caribbean influences while remaining unapologetically original, woven through as foundation, not decoration.

And his use of black? Powerful. Understated yet generous in a way that shows he understands restraint is just as important as expression. It’s not about filling space it’s about knowing exactly where that black needs to land to make everything else pop, to create depth, to give the eye somewhere to rest before the next explosion of color hits you.

Take his newest work, simply titled “Keyhole.” That’s where you see the real skill. There’s intention in every mark, every color choice, every compositional decision. The way he balances chaos with control, raw emotion with calculated technique it’s masterful. Looking at Alex’s art is exactly what the title of this piece infers it’s like peering through a keyhole, through the looking glass into a mind that sees the world differently than everyone else. You’re not just observing; you’re being let into something intimate, something real. It’s the kind of work that makes other artists quietly panic. All these people out here trying to produce something this authentic? They need to go back to art school. And even then, I’m not sure it would help.

I watched him paint this sick jacket with an Andy Warhol stencil once, and the way he moved focused, deliberate, but somehow effortless told you everything you need to know about his process. This isn’t someone trying to be an artist. This is someone who simply is one.

His canvases carry this electric tension bold strokes that feel spontaneous but land with surgical precision. The color palette hits you first, vibrant and aggressive, but look closer and you’ll see the sophisticated layering, the symbolic vocabulary he’s building piece by piece. African and Caribbean motifs aren’t borrowed here they’re lived, internalized, transformed into something that could only come from Alex’s vision.

His work reflects what he calls the mindset of the outsider, the rebel, the one who refuses to fit the mold. That’s not artist talk that’s lived experience translated into visual language. Take “King,” one of his most powerful statement pieces. It’s bold, unapologetic, and carries this raw energy that demands you stand with it for a minute. The piece moves between emotion, chaos, and clarity in ways that feel both immediate and timeless. You can see the street-driven symbolism meeting refined technique, and the result is something that feels personal and universal at once.

Despite all this talent, the man carries himself like Steve McQueen or James Dean that effortless cool, that quiet intensity you can’t manufacture. He walks into a room and you feel it, but he’s not performing. Just himself.

People will make their Basquiat comparisons because of the cultural influences. Let them. Alex Whitehouse is building his own legacy.

The contemporary art world loves its safe bets. Alex Whitehouse is not that. He’s creating from genuine vision while everyone else is still figuring out their brand strategy. He’s part of LA’s creative fabric in ways that matter not just seen, but respected.

Alex Whitehouse is nightlife royalty, and he brings that same energy to his art events. It’s not just about the work on the walls it’s about the experience, the vibe, the way he moves through a space and makes it feel alive. Catch him at BLVKBOOK inside Beverly Center or out on the scene, and you’ll understand what I mean. His work is currently on display at BLVKBOOK’s Beverly Center location, a gallery space that’s redefining what contemporary art looks like in Los Angeles. If you haven’t seen his pieces in person yet, that’s your next move.

As an official BLVKBOOK artist and member, Alex represents everything we stand for: authenticity, raw talent, and the courage to create without compromise. We don’t just cosign anyone.

Remember the name: Alex Whitehouse. You’ve peered through the keyhole. Now watch what happens when the door opens.

Follow Alex Whitehouse on Instagram: @alex.whitehouse

For inquiries about Alex Whitehouse’s work, visit BLVKBOOK.com

SINISTER MONOPOLY: From the Cell Block to the Canvas

By
CharlieBLVK
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0

By CharlieBLVK

Let’s get one thing straight: Sinister Monopoly isn’t playing dress up in a top hat. This is the real deal a genuine gangster turned artist whose story reads like a Scorsese film, except he lived it.

Growing up in Manhattan Beach during the 70s and 80s, Sinister started out detailing cars at his own shop, Paradise Auto. But his clientele deep in the South Bay drug scene pulled him in a different direction. By 2006, he’d become the largest marijuana trafficker on the West Coast, orchestrating multiple international networks with precision that would make any CEO jealous. He sent California kush clones to Canada for cultivation, effectively controlling the entire LA kush scene. He was the first to supply bubba kush to Atlanta, Chicago, and Detroit. At his peak, the Jason Syndicate as the FBI dubbed it was moving 800 pounds a week in Los Angeles alone, trafficking across three countries and eleven states with three airplanes.

Then 2011 hit. Federal arrest. By 2012, he was sentenced to over eleven years for conspiracy to distribute marijuana and cocaine, plus money laundering. Eight years. That’s what the feds gave him for building an empire. At Terminal Island, Sinister turned his cell into a studio and transformed rage into Renaissance. Self taught, he painted his memories of those three planes, the networks, the hustle. One of his pieces literally depicts a Coca Cola submarine transporting contraband, the Monopoly man at the helm. It’s autobiography as pop art, and it hits different when you know it’s not fiction.

His gangster portraits some real, some cinematic carry an authenticity that gallery bred artists simply can’t fake. When he paints John Wick or renders Heat era Val Kilmer, there’s a knowing eye behind it. He understands that world because he belonged to it. As one of the first chronic kings of America, his paintings are visual memoirs of an era most people only see in documentaries.

Now, about that name. Yes, there’s another artist who works with the monopoly iconography you know the one, the factory guy with the spray cans and the celebrity collectors. Respect to him for building an empire and popularizing the monocled mogul. But let’s be real: one came from street art and clout, the other came from the streets. Sinister would probably love to paint for that operation, maybe even collaborate. Imagine what those two could create together the polish meets the prison yard, the brand meets the biography. Tongue firmly in cheek, but the chemistry could be explosive.

These days, Sinister’s evolving beyond the top hat. His collaborations with legends like RETNA (we’ve got two stunning pieces featured right now at the Beverly Center location) and Miami’s anime master Crome showcase his range. Speaking of Crome our very own Flavio just closed a massive sale this week on that Hello Kitty collaboration. My favorite is the John Wick Louis Vuitton embellished print? Chef’s kiss. And don’t sleep on that Monopoly Val Kilmer Heat piece pure cinema meets street art sophistication….can’t wait for Heat 2!

He’s also been exploring samurai imagery with the elusive Defer, hinting at possibly dropping the monopoly moniker altogether and just going full SINISTER. Honestly? The rebrand makes sense. The work speaks for itself.

If you’re in DTLA, check out his gallery The Vault. And if you want to see what happens when authentic street credentials meet fine art technique, stop by BLVKBOOK. Sinister Monopoly just joined the family, and trust me this partnership is about to get interesting.

Welcome home, Sinister. Let’s make some moves.

Catch Sinister Monopoly’s RETNA collaborations now at BLVKBOOK Beverly Center, and explore more at The Vault Gallery in Downtown LA.

Life is Beautiful: BLVKBOOK Exits Through Mr. Brainwash’s Gift Shop

By
CharlieBLVK
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0

When the BLVKBOOK family decides to pull up somewhere, we don’t just show up we transform the space with our presence. That’s exactly what happened when we descended on the Mr. Brainwash Museum in LA, and I’m telling you right now, this wasn’t just some casual Sunday gallery stroll.

We came through with the whole squad Tom Wright and Greg Hasty holding it down with us, bringing that energy they always bring. Before we even stepped through those doors, you could feel it. This place vibrates different. It’s not one of those museums where you gotta whisper and pretend you understand what you’re looking at. This is where pop art screams at you in technicolor and dares you to look away.

Mr. Brainwash Thierry Guetta for those keeping score didn’t just create a museum. He built an experience. Walking through those doors was like stepping into the mind of someone who refuses to color inside the lines, someone who sees the world as one giant canvas and decides to paint it his way. Every surface is alive, every corner bursting with that raw fusion of street culture and fine art that makes you question why we ever separated the two in the first place.

Tom and Greg were instantly in their element, dissecting techniques, talking about the layers spray paint, stencils, mixed media all working together. That’s what I love about moving through spaces like this with people who truly see. The BLVKBOOK family spread out naturally, everyone gravitating toward what spoke to them, but all of us connected by this shared moment of pure discovery.

Here’s what makes Mr. Brainwash’s work hit different: it’s accessible without being basic. Einstein with his tongue out, Marilyn in colors that wouldn’t exist in nature, icons from music and culture filtered through this unique lens it’s familiar and completely new at the same time. He’s dismantling the walls between “high art” and “street art” one spray can at a time.

But let me tell you about the moments that had us all stuck. The Star Wars room was straight magic our entire childhood reimagined through his pop art vision. Everyone in the crew was losing their minds, connecting with the work on levels we didn’t expect.

Then there’s his genius use of scale. He takes toys and objects you could once hold in your hand and blows them up to monumental proportions. That giant Apple II computer installation, towering over us like a monument to tech history? When something small becomes massive, you’re forced to really see it and consider what it means. These objects shaped who we are, and he’s making them larger than life because that’s how they live in our memories anyway.

The rooftop shifted everything. Mickey’s Fantasia brooms actively painting the floor not a painting of the scene, but the actual enchanted brooms brought to life in three dimensions, caught mid spell. It’s whimsical, surreal, and exactly the kind of installation that reminds you why we need art.

But the wall of Mona Lisas? That might’ve been the moment for me. Instead of treating Da Vinci’s masterpiece with stuffy museum reverence, Mr. Brainwash created an entire wall where the most famous face in art history gets remixed and reimagined. Each Mona Lisa transformed differently some with sunglasses, some exploding with color, some completely deconstructed. It’s irreverent without being disrespectful. Greg was breaking down how this approach democratizes art, strips it from the pedestal. Tom was documenting every variation because each one was telling its own story.

There’s something powerful about experiencing art collectively. We weren’t just individuals passing through; we were family moving through this space together, building on each other’s observations, challenging perspectives, creating memories that’ll outlast any photograph.

Walking back out into that LA twilight, it hit me what made this day resonate. Yeah, the art was incredible world class, mind expanding. But what mattered most was the BLVKBOOK family doing what we do: showing up together, elevating each other, finding inspiration and beauty in spaces that speak to our souls. Tom, Greg, everyone we brought our full authentic selves to this experience, and that’s what transformed a museum visit into something we’ll carry with us.

And here’s the thing that kept running through my mind: somewhere out there, Banksy is probably watching all of this unfold with the most complicated smile. The street artist who helped launch Mr. Brainwash into the stratosphere with Exit Through the Gift Shop was it commentary? Was it satire? Was it the greatest art prank ever pulled? Or did the student actually become the master? Maybe the real masterpiece isn’t what’s on the walls. Maybe it’s the fact that we’re still asking the question. Maybe Mr. Brainwash’s entire existence is the art, and we’re all part of the installation. If that’s the case, Banksy pulled off something even more brilliant than any stencil on a brick wall he created an artist who creates artists out of everyone who walks through his museum trying to figure out if it’s genius or the joke. Either way, we’re here, we’re inspired, and we’re creating. Mission accomplished.

That’s the real power of art. It doesn’t just exist on walls. It connects people. It sparks dialogue. It reminds us why creativity isn’t optional it’s essential.

See you on the next adventure. Keep creating. Keep building. Stay BLVK.

—CharlieBLVK

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