BRIAN DEGRAW
SP555
December 11, 2024—February 8, 2025
5015 Melrose Ave, Los Angeles

“Our heads are round so our thoughts can change direction.”—Francis Picabia

James Fuentes is very pleased to present Brian DeGraw, SP555, the artist’s first solo exhibition in Los Angeles, and fifth with the gallery. A visual artist and a musician working across virtually all mediums, the exhibition’s title is lifted from the Roland SP555 Sampler; a piece of equipment central to DeGraw’s process when making music, and in an analogous sense as well. This new body of work emerges from a simple, encompassing ideal: to trust spontaneity over all else.

As delivered from the sixteen square pads of the SP555’s sample bank, for DeGraw a composition will start by pulling many disparate sources, styles, places, and sketches—recombined, sequenced, processed, repeated, and so on to create something entirely new. DeGraw’s SP555 visual equivalent, then, is the 24 x 30 inch frame within which these visual compositions take place, working and reworking with the image or technique that arises in the moment. Sidestepping any given formula, obvious theme, or overarching look, it’s through this process that these works channel meditations on personal freedom—namely, from the paranoid constraints of personal branding, visual identity, and for-consumption art production.

The process of sampling is an ancient one, and DeGraw’s works fold in personal and autobiographical elements as well as fragments pulled from the work of others that reflect these personal aspects. 24th of 24 (2024), for instance, uses as its foundation the Frank Stella album art of the Phillip Glass Ensemble’s Music in Twelve Parts. The painting was started during the weeks following Stella’s death, which coincided with a rare performance by the ensemble of the album in its entirety, DeGraw in attendance. The direct and spontaneous incorporation into his art of experiences and images like these is a reflection of DeGraw’s “faith in the idea that everything I am drawn to is existing in the same spiritual orbit.”

Many of the impulses inherent to this exhibition also realize a circle back to DeGraw’s first exhibition with the gallery, Behead the Genre, in 2007, which inaugurating the gallery’s first address at 35 Saint James Place, New York. That project consisted, in part, of works made from requests written on paper that were handed to the artist in clubs when he worked as a DJ. Thus, the desire to dissolve the barriers of categorization remains one that DeGraw continually returns to and cycles through.

Brian DeGraw (b. 1974) has presented solo exhibitions at James Fuentes, New York; Wish-Less, Tokyo; Allen & Eldridge, New York; Le Confort Moderne in Poiters, France; Dazed Gallery, London; and UKS Gallery, Oslo, among others. Most recently, he presented a two-person exhibition alongside Maia Naveriani at Tanya Leighton, Berlin. His work has been included in group exhibitions at the Museum of Modern Art, Whitney Museum of American Art (in the 2008 Whitney Biennial), Jewish Museum, White Columns, Swiss Institute, Pace Gallery, Tramps, The Hole, ATM Gallery, and American Fine Arts Co. in New York; Kunsthalle Wien in Vienna, Austria; Deste Foundation in Athens, Greece; and Wish-Less, Hysteric Glamour, and Gallery Claska in Tokyo. His work is in the permanent collections of the Museum of Modern Art, Zabludowicz Collection, Dakis Joannou Collection, Ragnarock Museum, and Agnes B Collection. DeGraw is also a member of the band Gang Gang Dance. DeGraw lives and works in New York City.

Brian DeGraw SP555

Brian DeGraw
SP555