Gallery Nucleus is proud to present a limited and exclusive auction event! Check back each week to see what will be on offer for our 15th Anniversary Auction, beginning December 15th!




Zombie Date Night 1 by Becky Cloonan
Ink and watercolor on paper
Starting bid: $800



Zombie Date Night 2 by Becky Cloonan
Ink and watercolor on paper
Starting bid: $800


OVUM: Chicken Eggs by Junko Mizuno
acrylic on watercolor paper
Original value: $1,800
Starting bid: $1,000



Hansel + Gretal Page 80 & 81 by Junko Mizuno
Ink and pencil on paper
Original value: $500
Starting bid: $300


Cinderella Page 114 by Junko Mizuno
Ink and pencil on paper
Original value: $250
Starting bid: $150



Charcoal #1 by John Watkiss
Charcoal on toned paper
Original value: $800
Starting bid: $450



Charcoal #2 by John Watkiss
Charcoal on toned paper
Original value: $800
Starting bid: $450


Untitled Sketch #22 by John Watkiss
ink and pencil on paper
Original value: $400
Starting bid: $250



Untitled Sketch #20 by John Watkiss
ink and pencil on paper
Original value: $400
Starting bid: $250


Untitled Sketch #19 by John Watkiss
ink and pencil on paper
Original value: $350
Starting bid: $200


Oh, Where's the Cat in the Hat? by MALL
Acrylic and colored pencil on paper
Original value: $1,600
Starting bid: $900


Midnight Moon by MALL
watercolor & gouache on paper
Original value: $600
Starting bid: $350


Evolution by Peter Han
Ink & watercolor
Original value: $800
Starting bid: $400


LifexDeath by Peter Han
ink
Original value: $500
Starting bid: $250


Wizard of Oz by Lorelay Bove
Gouache
Original value: $850
Starting bid: $450


Flow by Yellena
Acrylic on Wood
Original value: $850
Starting bid: $450


When He Came To The Place by Chuck Groenink
Pencil on found paper
Original value: $350
Starting bid: $200



Once Upon A Time... by Juan Manuel Pedraza
watercolor & gouache on paper
Original value: $700
Starting bid: $350


Study Work: 2006 Autum by Yoko Tanji
Acrylic and gesso on paper
Original value: $600
Starting bid: $350



Girl by Hope Larson
Ink on paper
Original value: $500
Starting bid: $300


Release by Andrea Offerman
Ink & oil glazes on wood
Original value: $2,200
Starting bid: $900


From Above by Andrea Offerman
Ink & oil glazes on wood
Original value: $1600
Starting bid: $800


Overtaken by Andrea Offerman
Ink & oil glazes on wood
Original value: $165
Starting bid: $50

Arc by Andrea Offerman
Ink & oil glazes
Original value: $1600
Starting bid: $700


Still by Andrea Offerman
Ink & oil glazes on wood
Original value: $350
Starting bid: $100


Anfang by Andrea Offerman
Ink & oil glazes
Original value: $800
Starting bid: $400



Ende by Andrea Offerman
Ink & oil glazes
Original value: $800
Starting bid: $400


Where I Saw You Last by Andrea Offerman
Mixed Media
Original value: $800
Starting bid: $400



Karte #037 - Gesichtet by Andrea Offerman
Mixed Media
Original value: $800
Starting bid: $400


Could be Both by Andrea Offerman
Mixed Media
Original value: $800
Starting bid: $400




Hanging on by Andrea Offerman
Ink & oil glazes on wood
Original value: $1,400
Starting bid: $500



Walfang by Andrea Offerman
Mixed Media
Original value: $1,000
Starting bid: $500




Saved by Andrea Offerman
Ink & oil glazes on wood
Original value: $1,600
Starting bid: $800


Leuchtturm - 10 Degrees by Andrea Offerman
Mixed Media
Original Value: $800
Starting bid: $400



Thunderstorm by Ronald Kurniawan
Acrylic
Original value: $120
Starting bid: $60



Best of L.A Sketch (Ciudad Magazine) by Ronald Kurniawan
Graphite on paper
Original value: $300
Starting bid: $180



Sea of Lies by Ronald Kurniawan
Graphite on paper
Original value: $600
Starting bid: $400


Literary Hoax (L.A Weekly) by Ronald Kurniawan
Graphite on paper
Original value: $600
Starting bid: $400


They Could Have Burned It All, We Will Always Be There by Edwin Ushiro
Mixed Media
Original value: $500
Starting bid: $300


Oheso by Wakako Katayama
Giclee print
Original value: $150
Starting bid: $90




Zombies in Love (RED) by William Hand
Acrylic on Ceramic Board
Original value: $600
Starting bid: $360


Decomposition by KNB EFX
Resin cast
Original value: $1,500
Starting bid: $300


Wish by Michael Brown
Acrylic
Original value: $1,100
Starting bid: $400

Is by Michael Brown
Acrylic on Canvas
Original value: $2,000
Starting bid: $500


Death of the Prophet by Michael Brown
Acrylic on Canvas
Original value: $2,800
Starting bid: $700




Omni by Michael Brown
Acrylic on Canvas
Original value: $1,800
Starting bid: $500



Fawn of Romulus by Michael Brown
Acrylic on Canvas
Original value: $2,800
Starting bid: $700



Watergirl by Michael Brown
Acrylic on panel
Original value: $2,500
Starting bid: $650



The Waiter by Michael Brown
Acrylic
Original value: $1,100
Starting bid: $300



The Flower King by Michael Brown
Oil on canvas
Original value: $2,500
Starting bid: $800


Untitled 21 by Tadahiro Uesugi
Watercolor
Original value: $900
Starting bid: $540


Hunt for Red Panda by Brianne Drouhard
Marker, ink & pencil
Original value: $500
Starting bid: $300


Street Fighter Kids by Kei Acedera
Gouache on watercolor paper (unframed)
Original value: $500
Starting bid: $300

Datsun by Christian Schellewald
Acrylic and Ink
Original value: $1,200
Starting bid: $700


Long Beach OT by Christian Schellewald
Silkscreen on wood
Original value: $300
Starting bid: $150




The Tokio Rose by Brigette Barrager
Giclee print
Original value: $220
Starting bid: $100


Yuki 7, Murder in Milan by Josh Parpan
Giclee print
Original value: $150
Starting bid: $80




El paraiso de los gatos 3 by Raquel Aparicio 
Indian ink on paper
Original value: $700
Starting bid: $400



s/t by Raquel  Aparicio 
Indian ink on paper
Original value: $400
Starting bid: $250


El paraiso de los gatos 1 by Raquel  Aparicio 
Indian ink on paper
Original value: $700
Starting bid: $400


Blood Roses by Mike Dringenberg
Watercolor, ink
Original value: $1,000
Starting bid: $600


Owlware by Whitney Sherman
Glazed bisque ware
Original value: $2,800
Starting bid: $300

Sharkus Wood by Israel Sanchez
Gouache
Original value: $400
Starting bid: $250



Wonderful World of Fun by Bob Elson
Ink and color pencil
Original value: $900
Starting bid: $300


Alphabet Letterpress Print "&" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "F" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "H" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "I" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60



Alphabet Letterpress Print "J" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60



Alphabet Letterpress Print "N" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "P" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "Q" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "T" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "U" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "V" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60



Alphabet Letterpress Print "W" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60



Alphabet Letterpress Print "Y" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


Alphabet Letterpress Print "Z" (Editions of 75) by Jessica Hische
letterpress on board
Original value: $120
Starting bid: $60


More pieces will be previewed every week, so check back to see what else we have unearthed!

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Mulan premiered on June 5th, 1998. Lauded by audiences and critics alike, the film was a huge success, earning nominations for two Golden Globes and an Academy Award. Decades later, it remains one of the most beloved Disney classics of all time. This past autumn, Gallery Nucleus proudly celebrated the film with a tribute exhibition for Mulan’s 20th anniversary.

The enthusiastic response to this exhibition is a testament to its beautiful storytelling, iconic characters, and empowering message that is sure to inspire generations to come. We spoke with brothers Tony Bancroft (co-director of Mulan), and Tom Bancroft (supervising animator on Mushu) about their thoughts on the exhibition and the film all these years later.     

                  

                                 Tony Bancroft                                                                         Tom Bancroft

What would you say was your biggest challenge in working on Mulan? 

What did you love about working on the film? 

We had such an enthusiastic response to the 20th Anniversary Tribute Show. Why do you think Mulan is still so beloved after all this time? 

Going off of that, in many ways, Mulan subverted the typical “Disney Princess” model of her time. What are your thoughts on the ways in which the film challenged traditional gender roles? 

Tony: It was all about gender roles!  In some regards we played with this in a comical way (“A Girl Worth Fighting For”) and in other ways in heartfelt ways (Mulan’s “Reflection" song) but either way, we dug deep into the topic of what traditionally was a women’s and what was a man’s role especially in China during that time period. But the impact is felt by the audience who, no matter what time or place, can relate with Mulan and her feelings of not being able to be who she is inside. She’s one of the only Disney “princesses” that doesn’t change through the journey of the story. Her change comes by changing who all of China views her as a woman.   

Tom, you’ve worked on so many Disney classics over the years (Aladdin, The Lion King, Pocahontas, Tarzan... the list goes on!). How did your experience on Mulan differ from the other films you've worked on? 

Tom: So many Disney films are just plain fun. Entertaining. Only a few have touched people in a deeper way. I know I was working on all the sections of the film that were meant to be funny (working on Mushu), but as a young father at the time, I walked away from the experience surprised by the heart of the film. It hit me sometime after we released the film that it wasn't the humor that I was most proud of, but the fact that we had reintroduced the word "honor" back into society. Especially American culture. Honoring your family and your important place in that family is something I want my children to always hold on to.

What excites you about the future of animation, and the types of stories being told? 

Tony: What excites me about the future of animation is the never-ending exploration into the medium and the kinds of stories we can tell and involve audiences in. I’m equally excited to see more and more women joining the talent pool of creators they will be the ones to bring new stories and experiences to audiences like we have never seen before.

And finally, any thoughts on the upcoming live-action adaptation? 

Tony and Tom Bancroft host a show called The Bancroft Brothers Animation Podcast. Find Tony on Twitter and Instagram, and Tom on Twitter and Instagram.

Written by Lila Selle. 

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Gallery Nucleus is proud to celebrate Mulan with a tribute exhibition for the film’s 20th anniversary! As destiny would have it, when artist Jisoo Kim received the email asking her to be a part of the show, she was watching Mulan on Netflix. It was simply meant to be. 

If you are familiar with Nucleus, you’ve probably seen Jisoo’s work before. She has lent her talents to many of our past shows, including our Incredibles 2 Tribute Exhibition, our Disney Television Animation Tribute Exhibition, and Be Our Guest: An Art Tribute To Disney's Beauty and the Beast. After a hugely successful Kickstarter campaign, she published her first collection of illustrations, Kimchicat Vol. 1. Her newest piece for Gallery Nucleus, “Ballad of Mulan”, is a beautiful homage to the film, and we are thrilled to have been able to include it in this exhibition!


Can you talk a little bit about the inspiration behind your piece, and why you chose to depict that particular moment in Mulan's story?

There is a moment when she makes her decision to go against everything and everyone she knows. She gives a prayer to her ancestors with the hope of receiving their blessing and good fortune. To me this is the moment she was solidifying her conviction, and giving herself the courage to go on. Everyone has to make a decision like this at some point. Going against all the people you love and trust takes an immense amount of courage. Is this really the right thing to do? What if it all goes wrong, and I have nothing to show? But in the end it also gives you strength to carry on when things would be too difficult to continue.

Why do you think Mulan continues to resonate with audiences so profoundly, now twenty years after its release? 

I was talking with Helen Chen and Linda Chen, both distinguished and amazing Chinese-American animation artists, about how Mulan was the Disney movie that made them want to be in animation. As it was the first Disney Animation feature to have an Asian historic story and young Asian characters like ourselves, we were able to truly put ourselves into Mulan's shoes. Those strong impressions that were made when we were young seemed to stay with us for a long time.

What, or who, have been your biggest influences on the journey to becoming an artist? 

My favorite movie to this day is Whisper of the Heart, a Ghibli movie by Yoshifumi Kondo. There's a quote in the movie where the grandfather encourages the main character, "I have seen the light of the jewel inside your heart. You are wonderful. There is no need to rush. Please take your time to polish your talent.” It makes me cry every time. This beautiful quote gave me strength when I was young, and now it has an even deeper meaning: For a paper at CalArts, I wrote about the late Yoshifumi Kondo. He passed away at the young age of 47, and it was said to be because of overwork…The balance between work and life, and keeping your mental and physical health in check, is always a struggle for many artists. 

Why does animation, in particular, have the ability to connect so deeply with viewers?

Stories will always draw people in whatever art form it uses, but I particularly love animation [because] the simplicity in drawing and creating everything you see on the screen has a poetic, hidden delicacy to it. Because it is a created art, it can mean so much more, and draw in so many people and have them relate much more easily. 

And finally, what are you working on these days? 

During the day I'm at Warner Brothers on the new Harley Quinn show. During the nights I climb, and I'm hoping to publish a book inspired by climbing soon.

Jisoo Kim lives in Los Angeles. She has studied at CalArts and Korea National University of Arts. A hugely accomplished artist and passionate about animation, Jisoo has worked for Disney, Dreamworks, and Frederator Studios. Prints of “Ballad of Mulan” are available on our website. Follow Jisoo on Instagram @jisookimcat and on Twitter @jisooK. 

Stop by Gallery Nucleus through November 4th to check out our Tribute Exhibition For Mulan’s 20th Anniversary!

_{Written by Lila Selle}

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Lorena Alvarez is currently in the gallery for her Nightlights book signing, so we thought it fitting to repost her interview with Matthew Tobin as featured on nobrow.net! 

When I saw the cover of Nightlights for the first time in the Nobrow catalogue, I knew that I had been hooked. There was something about the style and colour of that cover that brought images of Miyazaki’s worlds to mind as well as a touch of Sendak’s Outside Over There and Henson’s Labyrinth: a taste of the mythical and magical daubed with a sense of weighted reality. When I managed to get hold of a copy and found that it was all of these and yet, equally, none of them – a story set within the imagination of a vibrantly creative individual – I was swept in from the first few frames and taken on a wonderful journey which I still regularly return to. My review can be found here.

Thanks to the people at Nobrow and Lorena herself, I was able to ask the creator a few questions that I had about Nightlights and the creative process that went into its making:

1. Can you tell me a little about yourself and the path you took that brought you into illustration and creating Nightlights?

I’ve always been interested in writing and drawing my own stories but the idea of becoming an author was too intimidating. I was waiting for a big, epic story to come out of nowhere in my head and it took me a while to understand that it doesn’t work that way. I started then with “small” ideas, taking notes from my everyday life, writing about the music I like, about the people I met; it wasn’t only a good exercise but also it gave me an opportunity to communicate with others and share experiences.

When I wrote the first draft for Nightlights I was living in a small town in Arkansas. Being in a place so different from Bogotá gave me enough distance to see things in perspective, to appreciate my personal story in a different light. I was educated in a catholic school for girls and it was something I dreaded to talk about, but at some point I realized that the whole experience was an important part of my identity. I thought a lot about the stories we used to tell each other—particularly during our elementary years—and they were amazing. Unknowingly, we mixed the doctrine we learned from the nuns with elements of our own imagination, pop culture and the social context we lived in. With all that in mind I started to work in the plot of Nightlights.






2. One of the things that immediately grabbed my attention when reading Nightlights was where you positioned me as a reader. Sometimes I was high up, looking down and other times I was at ground level. Using some of the pictures from your book as examples, could you tell me a little about how you go about choosing the reader’s positioning and what your intention is in some scenes?




I think it depends on what aspect of the characters I want to present to the reader and the action that’s taking place. I draw many scenes viewed from above because I like to give and idea of how Sandy interacts with the place she’s in. For example, when Morphie and Sandy are playing in the supply room, I wanted to create a dynamic image, without a rigid sequence to follow, in which both girls are using didactic objects as toys, moving freely in an otherwise regulated space. Also, when Morphie leads Sandy to the forest I wanted to show how Sandy is engulfed by the surroundings which symbolizes Morphie’s power. When I want to show more subtle aspects of the story I like to draw details, like Sandy’s hands which represents her feelings and reactions.






3. Sandy’s story really struck a chord with me with and how much we encourage children to follow their dreams and interests. How much of your own story is she telling?

Sandy was created as a silent character in a short story I wrote before Nightlights. She actually resembles me during that age, with the ponytails and the oversized skirt. I also used to imagine that there were little bright dots in the darkness of my room at night, that I could catch them and give them any shape I wanted. For a long time I didn’t have close friends at school and I was found being by myself during recess.

In a way, Sandy has allowed me to acknowledge and appreciate the little girl I once was, with her flaws and complexities. It wasn’t until I started this project that I could see how the decisions I made being so little draw the path I would follow ever since. I have drawn since I can remember; I made the decision of being an artist when I was a kid. I like to think that determination is still in me, so as it is in Sandy.

4. ‘Breathtaking’ is probably a good word to describe some of your panels. How you go from the start of creating a page to the end, sharing a little about your method and materials?

Thank you! I start doodling and writing notes, trying to “catch” and give shape to the idea I have in mind. Then I take all that mess and put it in a layout, working the flow of the story until I’m happy with the plot. Finally I start to clean the images and work in the dialogues.

5. There are too many scenes for me choose from which I enjoy. Which picture is your favourite and how long did it take to put together? 

One of my favorite scenes is the one in the supply room, when Sandy and Morphie play together. It was very important for me to write it because I could define their relationship through that scene.

6. Can you give us a little sneak peak of your work-space and how a typical working day looks for you? (I know you’re extremely versatile and work in other mediums besides illustration – please do share)

This year has been kind of weird because I had so much to do, but I usually try to keep a routine. A typical day for me means to get up at 8am, feed my cats, water the plants, and check the online papers and the mail before getting to work. I like to take time and draw my sketches on paper before taking them to coloring in Photoshop. I dedicate two days a week to write. When it comes to exhibitions I like to paint with watercolors and acrylics, lately I’ve been also working with Ink and bleach. I make time to knit and sew, I haven’t been able to do it lately but i love to do plush toys. Now that I have a little more time I’m planning also to retake my guitar lessons and my swimming practice.

7. All readers will carry on interpretation of what or who Morphie is, but can I ask what Morphie means to you?

Morphie is a part of Sandy, that’s why she mirrors her in some panels and that’s why she won’t die or disappear. In a certain way Morphie represents the traps and insecurities you have to deal with when something you love to do becomes your job. I think it is a concern for many artists to lose their authenticity while dealing with the pressure of staying relevant and produce great things all the time to the pleasure and benefit of others.

Morphie is also that part of me that tells me to stop trying, that inner critic that we all have but sometimes grows so much that it consumes all your energy and makes you feel worthless.

8. Finally, can you tell us of any future projects?

I hope so! :) I’m writing a second book, so I’m again feeling this mix of happiness and fear again, I’m really excited about it. I’m also planning to paint more, to create a new line of plush toys, to work in some animation projects too.

Special thanks to Nobrow Press for letting us repost the interview, and to Matthew Tobin and Lorena Alvarez for the insightful questions and inspiring answers—respectively (this interview originally appeared here)!

If you aren't here in-person getting your book signed by Lorena, visit our store and pick up a copy or snag one online.

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