Angel LOVECRAFT

EDUCATION
2017-??? BFA in Painting at Pratt Institute, New York

SELECTED GROUP EXHIBITIONS
2025, FACE VALUE, && Gallery, Los Angeles, CA
2025, ANIMATTER, N.A.D. Gallery, Brooklyn, NY
2024, Midsommar Dance, GR Gallery, New York, NY

BRAND PARTNERSHIPS & COMMISSIONS
2025, Promotional art for release party, Mountain Dew x Blind Barber, Brooklyn, NY

PRESS & FEATURES
2024, Art of the Digital Age, Emma Grace Harper, Visionary Art Collective
Link: https://www.visionaryartcollective.com/blog/art-of-the-digital-age

PUBLICATIONS
2025, Have a Great Day Magazine, Vol. 7
Link: https://willmahony.com
2025, Save Files, Vol. 2
Link: https://www.superpotionlabs.com/save-files
2023, Soap, Issue 1
Link: https://www.printedmatter.org/catalog/63843

Gleb: In your artist statement, I found an interesting phrase describing your practice: the burgeoning digital world - could you elaborate on that?

Angel: I was born in 1998 so growing up I got to see the rise of a few interesting developmental software. Flash games were huge during my adolescence years, and a lot of new creatives expressed themselves with that medium, me and my friends used to spend hours on sites like Onemorelevel.com, Gaiaonline.com, and adventure quest worlds. For a long time my family didn't have a computer that could connect to the internet. So after school I'd spent a lot of time at the public library which had free internet access, since Flash programs didn't require additional downloads. It was a huge boon to be able to connect with others in flash based MMO's...

As time went on many developers shifted to other platforms, still free at the time like unity which allowed the used of 3d graphics.

When I was just getting to middle school, unreal engine 3 had just come out, debuting with gears of war 1, a full year before halo 3. I cannot understate how big of a moment this was. It blew my mind to see graphics that good. New programmers were rejoicing at the idea of licensing the software, us consumers were so excited to celebrate these video games, and investors were eager to pump huge cash injections into the gaming sector.

It really seemed like for the first time what we'd called out "digital world" was being adopted on a mass scale.
Now on all sides people were celebrating interconnectivity through tech on a mainstream level. If you weren't on xbox playing modern warfare 2 live you weren't cool. A stark contrast to the stereotypes of a nerd set a few years ago.

Take this all with a grain of salt though this is just waxing on what I consider the glory days of the internet

Gleb: How do you see the relationship between fan art and what's conventionally called "fine art"? What does fan art as a form mean to you personally?

Angel: When I was a boy I spent a lot of time at the public library, I wasn't interested in reading anything but I latched on the the comic and manga sections. It was a mishmash of works but it was all killer. There were a few works there that made a big impact on me. I remember specially "Alita Battle Angel" and Alan Moore's "The Killing joke". These were hugely important works not only to me personally but also as commercial juggernauts of the 1990s. these works stuck with me as I grew into an adult.

When I was a little older and learned about the lineage of "pop art" from 1980. I learned how Andy Warhol had taken commercial products into the fine arts space by printing images of super market soup cans. And how Roy Lichtenstein hand painted large scale comic strips and resold at auction for high prices. I had wished so badly he had instead painted Bain breaking Bruce Waynes back instead.

from then I knew the only operation between image classes was only semantic. Even what was perceived as the lowest brow of media could be repackaged into a white wall space. After realizing that, I took my "How to draw manga" Books and was off to the races.

More time in my life rolled by and I learned about the "super flat moment". it further justified my feelings about images being equal. I often hear people talk about "Fan art" as an emerging medium, but in my opinion everything has been leveled as equal since the 80s there's no such thing as fan art, just art.

Gleb: Could you tell me more about the pains of suburban modernity - what is it that hurts, and where does it come from?

Angel: When I was a boy I moved to the burbs', and I had a lot of dark experiences that I'm interested in exploring through my art. I love the contrast between the importance of maintaining appearances and the hidden darkness that lurks below the surface. I like David Lynch's movie "Blue Velvet" a lot because I think he talks about these pains a lot. Instead of talking about my specific traumas I think it's much more interesting to talk about other art that explores this feeling like "The Stepford Wives". If you enjoy reading, I recommend Kōbō Abe's 1962 novel "The Woman in the Dunes".