Scott Treleaven, Before Become Extinct (2017) Gouache, Acrylic And Collage On Paper 8 ¼" X 6 ¼" 20.32cm

Scott Treleaven

Untitled (studio floor/Mercury sandal), 2018

Unique photo collage from original 35mm negative prints, archival tape, in hand-painted artist frame, 12 x 10″

Scott Treleaven, ‘Untitled (messe noire VII)' 2024 gouache, acrylic and pastel on paper, 24 x 18”

Scott Treleaven

Ghostbox, 2014

Pastel, crayon, pencil, house paint, gouache and collage on paper

48.75 x 37 inches

Scott Treleaven, Untitled (messe noire IV) 2023

Keith Haring, Untitled for Lick Fat Boys, August 1979.

Andrew Blackley, Johanna Burton and Scott Treleaven discuss Haring, feminism, activism, early work, etc. for Bomb.  "This conversation between Andrew Blackley, Johanna Burton, and Scott Treleaven is the third and final component of Keith Haring: Languages. It supplements an exhibition at the Fales Library and Special Collections (NYU) of 130 never-before-exhibited, understudied artworks and documents held by the Keith Haring Foundation. A conference featuring nine speakers coincided with the exhibition's opening, bringing together figures from across academic and professional disciplines in order to publicly address the lineages available in these text-based materials as adjacent and precedent to the more well-known visual art of Haring’s later career. The text below threads together the major themes from Keith Haring: Languages—historicity, methodology, and the readership of artists’ writings and papers as substantive material and theoretical categories."

http://bombmagazine.org/article/1000216/keith-haring-languages

Scott Treleaven - MOCA Tucson, 2018

Animal Chapel, 2015 Triptych: pastel, gouache, gesso, house paint and collage on paper three panels; each panel 75 x 50.5″

curated by Ginger Shulick Porcella

‘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. 

Photocollages by Scott Treleaven in ‘The Age of Collage 3’ 2020 by @gestalten

“Initiated in 2017 and made from three decades worth of the artist’s own 35mm analog snapshots...the strikingly simple gesture of tearing and uniting the photographs yields uncanny, filmic collisions.”

Book includes Penny Slinger, Adam Pendleton, Richard Hawkins, Troy Michie, Collier Schorr, Seana Gavin, Simon Moretti & others

Scott Treleaven, 2006, untitled (spit), silkscreen on paper

Scott Treleaven, Nights and Days (2021) gouache, flashe, collage on paper diptych, 41.5 x 41" ea.