OFG.XXX (b. 2011) is an independent curatorial project spawned from a now defunct brick and mortar gallery space in Old East Dallas. OFG.XXX operated as a powerlifting gym for some time coinciding with an identity crisis. OFG.XXX is looking for a $ugar daddy.

CONTACT
info@ofg.xxx
+1 817 879 8231

ARCHIVE
KEITH ALLyN SPENCER OxGord Economy Auto Cover - 1 Layer Dust Cover - Lowest Price - Ready-Fit / Semi Glove Fit fro SUV, Van, and Truck - Fits up to 206 Inches
LUC FULLER + NICHOLAS GOTTLUND
MSHR performance (BRENNA MURPHY + BIRCH COOPER)
JOSH REAMES + AMBER RENAYE
CO-ED

MICHAEL WYNNE + PEDRO VELEZ
JOSÉ LERMA + JOSH SMITH (DB14 - DALLAS BIENNIAL)
LUDWIG SCHWARZ
RETROSPECTIVE (1990 - 2014)

WOW. SUCH POETRY
DB14
MATERIAL ART FAIR
DARK MARKETS
(CURATED BY INTERSTATE)

MICHAEL MAZUREK
MICHAEL MAZUREK

CURTIS JACKSON DAVIS
HANG YOUR COLORS UP INSIDE

ANTHONY KEITH GIANNINI
CROSSING THE LINE

PUPPIES PUPPIES
BLUE

SKIM MILK @ INTERSTATE
JEFF GIBBONS
CHEE$E = MILK'S 4th STATE OF MATTER _
CHANCES ARE _ INTERMISSION _ THE BRITE SUN

THIS IS NOT ABOUT YOU/
I DID NOT CHOOSE TO BE HERE

(SCHOPENHAUER RECALLS THE ABRUPT MOMENT
HIS MOTHER WAS FERTILIZED)

KRISTIN OPPENHEIM
SHE WAS LONG GONE

P_E_R_I_S_H_A_B_E_L
ANDREW BLANTON
PANOPTICS

LANA PANINCHUL
THIS MAKES ME SAD

ALFREDO SALAZAR-CARO
MMORPGFPS

ARTIFICIAL MARTYRS
BRAD TROEMEL
CONCEALED CARRY

NOW 2
KEITH ALLyN SPENCER
almost Relevant

FRANCISCO MORENO
DORMANT SUBVERSION

SNAFU
RACHEL DE JOODE
REAL THINGS

DICK HIGGINS GALLERY _ DICK HIGGINS
DITHER_DOOM
ARTHUR PEÑA
ever/always/elsewhere

JEFF GIBBONS
BOYLET TOILET

HOMECOMING! COMMITTEE
HANDS ON AN ART BODY (1) (2)
DB12
DICK HIGGINS GALLERY

MOREHSHIN ALLAHYARI
THE ROMANTIC SELF-EXILES

KEVIN TODORA
MIXED FRUIT

CASSANDRA EMSWILER
GILDING THE SILK LILY

JEFF ZILM
AN INTRODUTION TO TEMPORAL CLOAKING

MICHAEL A. MORRIS
IT'S JUST MEANT TO BE

MICHELLE RAWLINGS
EMPATHICALISM

MICHAEL MAZUREK
MASTER FORMAT

... PAINTING IS A PHILOSOPHICAL ENDEAVOR, DUH
CHEESEBURGER NEBULA
JESSE MORGAN BARNETT COMPENSATION ASSEMBLY (1993-2008)
ALAN SIGGERS THE OBJECT OF MY CONSTRUCTION
FRANCISCO MORENO SEVEN DAYS IN AMERICA

LUC FULLER + NICHOLAS GOTTLUND
29 AUG - 26 SEP 2015

INTERVIEW
08/18/2015

Luc Fuller: ...roots or tradition that everything you make is steeped in. do you find that tradition to be an endless well of material, or does it ever feel burden-some? especially the aspects of place and craft which seems to run so deep...

Nicholas Gottlund: ...this is something that I dove into headlong early on...the way that decoration and adorn-ment were both embraced and shunned depending on whether you were “plain” or “fancy” in the P.A. German jargon...

LF: ...but I think there is some kind of reverence that the work has...the work has roots, as do you...in that the same way tradition is basically performing something from the past so that it can continue and be passed on in the future, rhythm is basically the same thing...

NG: ...the performance repeated...

LF: ...for instance a musician has to assume that the next beat will be the same as the previous one... it’s the same way we create patterns in our mind...

NG: ...doubt becomes the break...and non–conformity with the outside world...I’ve always been a “cropper” in the way I take photographs...that closeness and that merge has always been a goal...when I visited your studio I remember you mentioned how the new paintings with their large margins were at least in part inspired by looking at reproductions of art in books...

LF: ...I have always felt that art books help people, including myself believe in art...so by cropping the painted space on the canvas, I think in a way made it easier for me to believe in the painting...not like a trick, but just a format which is for whatever reason more legible...

NG: ...the design and composition of the image area versus the margin or “white space”...that imbalance and tension is really interesting to me...

LF: ...intuitively and just by making decisions on the go...5 inches here, 3 inches here 10 inches here, etc... some of your recent work also has the “figure”, or image, or really just color, pushed to the margins as well...

NG: ...right, the Brick Gutters book, the Spanners and the newest Dunk paintings all in their own ways address marginal spaces and the periphery...

LF: ...for me that is where the humor lies in your work, in a very subtle way of course...do you feel that the restrictions that you give yourself, such as cropping, splicing, or pushing information to the margins, is conducive to repeated looking?...as in the lack of information allows you room to breath and to want to come back for more...

NG: ...within the procedure there is the dance...and that book is a good example because while it’s 500 pages of the same pattern and white page...areas vary due to inking, pressure and humidity...a whole host of variables that alter the way the pattern appears...

LF: ...and if it weren’t for that repetition, all those little characteristics would be lost...I find a similar thing in my painting, in that it isn’t really about coming up with something new every time I start a new painting...I’m more interested in new things that occur when basically painting the same painting...

NG: ...seeing your new paintings which have the same figures/elements in them, I start to zero in on the brushwork and where things converge, repeat and wobble from piece to piece...

LF: ...which also goes back to this element of perform-
ing something...ING: ...or playing pick–up sticks...

LF: ...I think of it in terms of music, where you only have 12 notes ... but for me it does help to narrow it down to something...and to take myself out of it, or at least attempt to...

NG: ...I guess I’m getting around to asking about a sense of weight or the lack thereof within the pieces... for me there is a real feeling of buoyancy...

LF: ...I’m not sure exactly how I ended up here...I think I’ve sort of fallen in love with painting all over again and so these new works are really involved...I think it has to do with painting being made from a human per-
spective, and so everything is grounded to the horizon...NG: ...they are also very life–sized in scale...they feel very 1:1...these table pieces I’m working on for our show are goofy because they are basically paintings with legs...they were going to have a rather elaborate base, but now they are just spindly 2x2’s...like you repur-
posed this painting cause you got tired of it and wanted to see it flattened out...

LF: ...or you just needed a place to have lunch...
 
 
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