Scott Treleaven, ‘dog (simon)’, 2005, C-print, 29 X 19 Inches

Scott Treleaven

Distant Train Whistles, Smell of Burning Leaves (2012)

Diptych, soft ground etching with chine-collé

13.25 x 10.25 inches each | 33.5 x 26 cm each

Edition of 9

Scott Treleaven, Glad Tidings (Prospect Cottage), 2021

Gouache, acrylic, fluorescent pigment and water-soluble pastel on raw canvas, 60" X 48"

Scott Treleaven, 'Fountain 2' (2014)

Slate, paint, water pump, archival photo prints, polypropylene, adhesive

Scott Treleaven, Jackson Heights Cinema Syncretism (2019)

Acrylic, gouache and permanent crayon on canvas, 65 x 54cm

Scott Treleaven, Untitled (Anteros) 2022 Oil on canvas, 9 x 7"

Scott Treleaven, Untitled (Pan's People) 2022 Acrylic, gouache, water soluble pastel, 48 x 36"

SCOTT TRELEAVEN ANIMAL CHAPEL

May 1 - June 7, 2015

OPENING RECEPTION Friday, May 1, 6 - 8 pm

INVISIBLE-EXPORTS 89 ELDRIDGE STREET I NEW YORK NY 10002

Scott Treleaven Untitled (pink geranium) 2023

oil on canvas, 10 x 8"

Scott Treleaven, Scott Burton’s Garden Court, print from 35mm analog negative, 2021

A new series of photographs of Garden Court –sculptor Scott Burton's little known last and posthumously realized work of public art– accompanies a text by Paul P. for Maharam Stories. The text and photographs are excerpted from a book P. co-authored with Rui Amaral about the history of Garden Court, Scott Burton, and curator Peter Day. Forthcoming in September and supported by ArtworxTO during Toronto's Year of Public Art

‘New Pagan Paintings’ - opens April 1  at Cooper Cole [West Gallery] 

Little Gods Again (2023) oil on canvas, 9 x 6”

Very grateful to the extraordinary Derek McCormack for the exhibition text below:  “Deathly - this is how flower paintings struck Treleaven for the longest time - the flowers under duress, their viewers under duress to value them. He was interested in dispersing this duress, so he started painting flowers himself, and this show features the nasturtiums, sunflowers, geraniums and morning glories that captured him. "I turned to flowers," he says, "to find out what made me resist painting them." There are nine paintings in 'New Pagan Paintings,' all finished in the last few years. The blooms are what you'll notice first, then the light: light's shining on them and light seems to be shining from them. They're alive - it’s animism, though that's not the point of the paintings; it's the starting point. If he grants that flowers have spirits, then what spirit will they grant him? If they have spirit, then surely part of their spirit is perverse. These paintings are pagan in that they're full of a particular spirit: petalled and petulant, hermaphroditic and horny - to me, they suggest what we might get if Joe Brainard paintings buggered Charles Burchfield paintings - paradise! These are cultured flowers with the souls of wildflowers or weeds. When he started painting them a few years ago, he realized that they'd been lurking for a long time. Even in his previous body of work - in his Jewel/Galaxy paintings, he'd drawn flowers on his canvases then painted over them, as if paint were soil, and as if every part of a flower were a seed. In 'New Pagan Paintings,' in these stellar paintings, flowers star: they swarm over the surface; indeed, they are the surface. I might also mention that there's also a painting of a berry, which shouldn't surprise any of Treleaven's admirers: everything in his work's fruity as fuck.” - Derek McCormack's most recent books are Castle Faggot (Semiotext(e)), a novel, and Judy Blame's Obituary (Pilot Press) a collection of essays on fashion and death.