Rich Rogowski or "Rogo" as he is more well-known , is famed for his graphic and illustrative work that is silkscreened on various substrates. He is a self-taught printmaker heavily influenced by the skateboarding and punk rock aesthetic of the 80's. As an avid skateboarder, Rogo absorbed the underground culture of skateboarding, punk rock and comic books. In his work, Rogo plays off the dichotomies of an action packed arena where the symbols and graphics of these cultures mesh into a world of intense power play. The art harkens back to a day when neon colors and odd characters were heavily influenced into a pop art world of its own. Born in 1971, Rogo attended the Art Institute of Pittsburgh, Visual Arts program in 1990, but attained most of his training through colleagues and peers with the Pittsburgh Society of Illustrators as a volunteer and member from 2008-2010. As an Illustrator, Rogo has created artwork for The New Yorker Magazine, Concrete Warrior Skateboards, Tucson Roller Derby, Pacific Roller Derby ( the artwork was featured on an episode of the new Hawaii 5-0 television series), Pain Killer Products, The Besmirchers, Bricktop, The Surly Wench. Rogo has had numerous solo shows in both Pittsburgh, Pa, England, New York City, and Tucson, AZ. Mission Statement: A resurgence of the 1980's aesthetic continues to play out in the rich subculture of skateboarding. This subculture infused elements of comic books and punk rock with its own brand of imaginative visuals. The skateboarding community was tight knit and had it's own brands of clothing, musicians that made music celebrating the culture and it's own secret language. With artwork silkscreened onto the wooden skateboard decks in neon colors and shapes, the boards themselves served as wooden palettes to propel its riders into the sky and carve through empty and abandoned swimming pools. Nostalgic and earnest, this work is an amalgamation of my own inscrutable experiences as a skateboarder, music aficionado and comic book reader. Nihilistic and intense, there is still an arc of humor and optimism launched within the otherwise dark pieces. The works are silkscreened on canvas - a nod to the method in which the image was transferred to the wooden skateboard decks. A gathering of arcane elements that once only the select dedicated few recognized (logos and fashions specific to the above mentioned cultures of the time.) These elements are being appropriated into the mainstream thirty-five years later by fashion designers and art galleries impacting a broader demographic of consumers. Skateboarding's history is being written today by those who were there to originate its reality and mythology. This work pays further homage to the legacy.
|B-X Ray Hand|