A selection of some of my favorite posters, mostly for shows that I played/performed in. All of my posters are hand-drawn, and either screenprinted or photocopied.
Art for Music and Musician Minds
These images are selections from my extensive artistic collaboration/synthesis with the music community and musicians. Baltimore has proven an incredibly fertile ground for their continued creation, inspiration, and experiences. I worked with these musicians and artists because I respect and personally champion their own work. It's certainly not for the little money I occasionally receive for my work, which is ok, because I have trouble with deadlines anyway, and tend to spend a long time working through each project until it feels right.
In 2010 I was asked to create a 24 page book that somehow synthesizes the Artist and Musician, in a series of books published by Soundscreen Design, NY, called the "Artists Music Journals". I've attached documentation of the book in this Project series.
Formative Vocabulary Archive
Photographs of various sculpture and installation.
The Last Time It Is For All Time
Artworks and Installation pictures from my solo show, "The Last Time It Is For All Time", at Galerie Francois E.S.F. in Baltimore, Md.
Landscape Portraits / Zomes (Asa Osborne)
In 2010, I made 2 ink portraits of 2 friends using real or imagined landscapes as their settings, the portraits showing through as illusions of the landscapes' specifications. "Gettysburg (Andrew Field-Pickering)" was created specifically as lp/cd album art for his music project "Maxmillion Dunbar" and his first album, "Cool Water," on Ramp Recordings. The woods setting for the drawing depicts a house that his dad built, and is a special orchard-neighboring setting in Gettysburg crucially formative to his life, music, and many cool memories that have emerged from there over many summers. I have included as reference/process photographs the original house and portrait study of Andrew that I used. "Untitled (Elizabeth Flyntz)" is a purposefully unfinished landscape in an unsure land of flora and fauna, a cabin, and dead trees. Maxmillion Dunbar also used a close crop of this drawing as art on his 3-song 12" (prequel to Cool Water) record, "Every Girl's Dream." I have also included here images of both that final product, as well as a closer detail of her cabin/face. It is great to be able to use work like this for album and poster work, because the drawings themselves have no specific commercial adjustments, words, or other specifications from whomever in this case considered me a client. They are drawings that just happened to be perfect for the reproducible projects, made out of love and respect for the people and music that have brought those things to me.
Also included in this project series are 3 pictures from my drawing and poster making process for the Skull Defekts w/Daniel Higgs/Zomes/Microkingdom/Shave show for 4/8/11 at Floristree, which is the multi-use performance and art space where I have lived and helped curate hundreds of events in Baltimore for the past 9 years . It depicts a portrait of Asa Osborne, aka Zomes, someone whose music, art, and life, are as inspiring to me as are the landscape portrait subjects.
Installation and works from Protocol: Syntax/Semantics at Gallery Four
"Protocol: Syntax/Semantics" was a 4 person show (Shaun Flynn, Brian Randolph, Hadieh Shafie, and Dan Steinhilber) at Gallery Four in the Summer of 2009. From Gallery Four's press release: "The artists in this show compile objects from material culture to invent a stunning new vernacular, which sometimes compliments and also contradicts their original meaning."
Love the Woods but Keep it Together I, II, III
Love the Woods but Keep it Together I, II, III are an evolving series of sculptures with plywood and tennis balls, predominantly. They emerged from investigating the potential of single forms/objects, in this case, a 4'x8' sheet of plywood, without using metal hardware or glue to find their forms. I started making these collapsible pyramids, and the tension of the bended wood formed the proper pressure to pinch and hold the tennis balls, chosen only for their perfect qualities that these forms materially desired, geometrically, practically, and formally, creating a flexible but quite sturdy precarious form. The most recent version, "III", takes a big step forward creating 8 diamonds held together with bungee cords into an octahedron. The geometric name for these facets of this platonic solid as they spike, or pyramid, out from their edges, is stellation. The sculpture is therefore a Stellated Octahedron, an important octave of the universal harmony of forms.
Triple Helix / All Feeling In Sides (Truncated Icosahedron)
The first images are from Baltimore Liste, an ambitious series of week-long groups of solo shows in May 2011 at The Contemporary Museum by artists nominated by various galleries in Baltimore and then selected by Director Sue Spaid after personal studio visits. All artists were asked to create new works for the exhibit.
As an honored recipient of a 2011 b-grant, I was invited to participate in the Baker Art Awards Exhibit at The Baltimore Museum of Art in September. The second sculpture depicted is my piece for that exhibit.
Works and Installation at Shoot The Lobster project space, at Martos Gallery, NYC
I exhibited 3 sculptures this July at the Shoot The Lobster project space at Martos Gallery, in Chelsea, NYC. The 3 person show also included David Ostrowski and Max Warsh, and was curated by Baltimore's Nudashank Gallery.
Based in Baltimore, Shaun Flynn has been an active member of the city's art and music community for the past 15 years, primarily a sculptor and percussionist. His first Baltimore band Cutter/Hammer once played for 60 hours straight in Times Square. Later forming WZT Hearts, he performed both as drummer and... more