God's Hands

In "God's Hands," brilliantly colored backgrounds composed of unconventional materials such as tar, rubber and gravel represent our complex universe. The unfinished, earthy edges are the fingertips of God, holding us in His palm. Presented in graffiti are abstract portraits.

This collection illuminates Joshua Stone's perception of God as a relentless, undeniable force in the universe - the God who once chased him down, spoke softly in an afternoon of chaos, and re-routed Joshua's life in a way that would save it - both body and soul.

Remixism

A tribute to several Modern Masters of painting, Stone's canvases for this series are composed entirely from high-quality fine art prints.

In a style Stone has dubbed, 'Remixism,' each art print is disassembled into pieces, randomly sorted and then rejoined in thread. Stone adds a colorful, abstract self portrait in graffiti onto each newly constructed grid of a previous masterpiece. He describes this graffiti element as a painting of himself existing within a world of art constructed by these Modern Masters, and an image of how he absorbs their influences.

Some viewers may see these works as blasphemous. However, as Stone relates, "...the canvas of each piece is merely paper with printed ink - not a true-life masterpiece. It's just a reflection of one with me standing in front of the mirror."

Tender and Private

In this series, Stone utilizes both domestic and foreign currencies as a working medium, exploring the connection between the U.S. and countries with which it has experienced conflict.

Paralleled in these works is the consistent use of national leaders and monuments as preeminent images in currencies. What depictions truly portray a nation on a two-sided piece of paper? You decide.

The currencies are juxtaposed against brightly colored graffiti elements. Stone sees the graffiti in Tender and Private as an abstract self-portrait - a figurative representation of humankind’s existence and value superceding any particular monetary system or conflict.

The Bourgeois Diagnostic

Inspired by his visit to San Miguel de Allende, Mexico, Stone’s The Bourgeois Diagnostic series features remixed Spanish-language children's books he found in the colonial town.

"The colorful illustrations were so alive and radiant…I returned from my trip toting a backpack bursting with books with which to experiment.”

English-language stories that later joined The Bourgeois Diagnostic included a classic Dr. Seuss, as well as a 1960’s era children’s story, oddly replete with political rhetoric. Joshua chose to frame the series in gorgeous baroque frames refinished with high-gloss color lacquers. He allowed excess sewn string to flow downward so as to overlap the frame, seemingly portraying the artwork’s refusal of containment.

Repurposementation

From antique store finds to x-rays, Repurposementation features materials found and remixed. Stone’s "WAVE" graffiti signature is fully intact in this series, appearing bolder and larger against the sewn structure.

Talking Leaves

This installation features a distorted version of the Cherokee syllabary, set behind fragmented graffiti. The Cherokee language syllabary is a ground-breaking writing system developed by Sequoyah in 1819. Each symbol in the syllabary represents a syllable, rather than a letter.

Stone suggests that an interesting parallel exists between the eradication of the Cherokee language and that of graffiti. “Talking Leaves is a representation of government's propensity to eliminate the unfamiliar," he says.

The works are mounted on found and repainted ornate frames, and arranged in a manner that visually emphasizes the artist’s message.

Reassembled Deconstruction

This series represents Stone’s first work with a sewing machine as a creative tool. In the development of Reassembled Deconstruction, he began to view his fine art in the manner he had once considered graffiti. Stone enjoyed in this series the deconstruction of a finished product, and the subsequent reassemblage via a new method, often producing results that left the original image near to unrecognizable.

Typographic Redistribution

The first full series of graffiti-inspired artwork by Stone, 2004’s Typographic Redistribution features predominantly mixed media on canvas. Several pieces incorporate female faces (you’ll recognize a few) as well as figures in graffiti relief.

Miscellaneous

Works created for specific shows; experimental efforts.

Graffiti Street Art

A collection of select murals painted by Stone over the last 15 years across the Midwest United States.