Xiaoyi Chen currently lives and works in UK and China. She received her MA in photography from the London College of Communications in 2014 and was awarded the LCC/Photofusion Prize. Chen’s work has been exhibited and published internationally.
Chen’s practice is tied to a natural, oriental aesthetic, influenced by Western abstract art and oriental philosophy. Photography is a personal tool for Chen, used to question broad concepts that migrate from the personal to the philosophical realm. Her recent work focuses on the combination of photography and printmaking, a combination of techniques used to explore beneath the surface of things by simplifying and abstracting; an approach aimed at reviving spiritual awareness and intuition before entering the symbolic nature of what we view.
Los Angeles based Joshua Dildine is a painter that repurposes family photographs, using them as armatures for abstract painting. Three different steps in his work are construction, deconstruction, and reconstruction. Construction involves selection of the photography and setting up the emotional context that the image possess. Deconstruction is actually defacement of photography so he could create something new. During this step that last only a few moments Dildine works very quickly to harmonize the photo with paint. Last stage is the reconstruction of the context. Using acrylic, spray paint, oil and UV coated ink, he defaces the image into works of art.
New York City based artist Claire Sherman produces large-scale paintings and jewel-like drawings of natural landscapes and their details that appear both representative and off-kilter. Though she has recently started visiting the places she paints, most of her work is based on images she finds in kitschy nature books. Sherman convincingly captures the saturated colors and fine textures of nature. Her works are anything but straightforward. She paints loosely and frames her views awkwardly, building ambivalence and abstraction into her alluringly strange visions of nature.
Akira Beard is an artist living and working in San Francisco, CA. When not creating in the studio, his professional time is spent between exhibiting artwork and teaching painting/drawing. He is a faculty member at the Academy of Art University in San Francisco, where he has taught Fine Art Anatomy and Fashion Illustration. Akira has shown at a variety of venues, mainly in the San Francisco Bay Area, including pop-up shows at the Academy of Science, live painting at the West Inn’s New Year Gala and other similar forms of contemporary exhibition.
New York City based Ted Lawson reveals a persistent interest in the human body. His art investigates processes related to the physical body such as growth, its needs, its decay and death. Lawson strips individuality from his subjects while simultaneously forcing character through implications of the viewer, and therefore, complicating the very meaning of identity.
Using figurative representation and geometric abstraction, Ted Lawson creates a narrative progression of forms that reveals something conceptually greater than the sum of their parts. Ted’s large scale works combine digital technology with highly crafted traditional sculpting methods to seamlessly produce conceptual objects that express the underlying analog truth within his subject matter.
Self-taught French artist Lou Ros launched his career on the streets of Paris at the tender age of 17 when he would go around tagging walls and creating bespoke graffiti art. Today, he’s exhibiting his paintings all across the world and has made a solid reputation for himself amongst the global art community. His art represents the visible and not so visible worlds. With paint brush in his hands colors fly, dance and rejoice with pleasure and passion.
“Through the colors, brush strokes, composition, background and rhythm of the painting, I attempt to create works which truly represent bodies in a space without distortion. Without having a clear idea of the final result, I stop my work before it seems finished. The moment where little is enough to suggest the structure interests me, leaving the spectator’s imagination open at the moment the scene is starting to appear. Knowing when to stop before saying too much is what I tried to do.” Lou Ros
Surface often provides the dominant metaphor in the work of Sally Bourke and more recently this has turned towards thinking about the nature of fabric and its relationship to skin with its capacity to project an image of self and to protect at one and the same time.
The faces and scenes she portrays in her work are attempts to make reconciliations with her past, live in the present and imagine the future. She paints people from the inside out. At any given moment she is working on around ten to twenty paintings at a time in the studio. That way she can sit with them and see which demands her attention the most. She works across multiple mediums and is constantly experimenting with them to create new ways of telling her stories.
Samuel Bassett studied at Falmouth University and The Arts Institute Bournemouth. He currently works from studio space in the recently renovated prestigious Porthmeor Studios in St Ives. Bassett is an artist with boundless energy enthusiasm and has an integral and honest art language where he displays a scattered image of his inner monologue, mapping a truly active mind searching for the meaning of life.
New York-based painter David Humphrey works on paper and sculptures defy categorization. He emerged as an artist in the late 1970s along with Postmodernism, an approach that continues to inform his heterogeneous compositions, visual pastiches that, in his words, “erase the breaks” between divergent styles.
In his paintings, this grammar includes gestural abstraction, cartoonish figuration, Pop Art, Surrealism, and Expressionism. His vibrant compositions feature human figures, narrative vignettes, animals, and objects interwoven into abstract passages.
Tehran-based artist Salman Khoshroo creates large-scale figures and portraits that practically drip from the canvas. Most of these pieces are several feet tall, composed of enormously precise strokes that veer toward abstraction while eventually leading to a cohesive figure.
Working in his studio in Tehran with a large palette knife to spread oil colors directly on the canvas, Khoshroo’s paintings harness figurative abstraction to evince very concise figures of emotional tension. Beginning with portraits of people he knew, his style evolved from one based on realism to one that draws from abstract art, expressionism and fauvism.
His interest in painting the human face is twofold, both as a conduit of human emotions, made all the more pertinent in his home country where women have to cover up the rest of their bodies; as well as an expression of identity and self-presentation in the age of Facebook.