Buenos Aires-based artist Leandro Erlich’s “Single Cloud Collection” gives us a surreal taste of what capturing a cloud in glass would look like. Using the artistic method of layering, Erlich’s sculptural pieces are given a three-dimensionality. Each “captured cloud” is the illusionary result of numerous panes of glass that are individually embellished with acrylics.
Erlich plays with an audience’s visual senses. The artist forces viewers to rethink the way they see things. Like a true magician, he leaves one to question the impossibility of something. What appears to be a three-dimensional anomaly seems to be true based on sensory observation, but, ultimately, is just an illusion.
Greg Parma Smith‘s painted realism is perversely synthetic and immaculately crafted. His works, composed of oil, acrylic and metallic leaf, are baroque in their construction and subject matter. Smith’s use of cartoons seems at the service of a more hermetic endeavor, one that further mystifies the relationship between a popular image and a rarified artwork.
Luboš Plný is the only child of a possessive mother. Already as a child he was drawn to two phenomena : graphic art and anatomy. He used to dissect dead animals and in adulthood attended a number of autopsies on human corpses and passed a course in gravedigging.
After leaving elementary school he went into apprenticeship to learn electro-mechanics. There, as a boarder, he was subjected to a semi-military regime. He also had problems maintaining discipline during his military service, which resulted in his transfer to a psychiatric clinic. Consequently he began an intensive study of psychiatric and medical literature. After 1989 he became a model at the Academy of Fine Arts. Luboš Plný signs all his works with a special stamp “Luboš Plný – academic model“.
His works in ink, reworked with acrylic, often contain organic materials : blood, hair, pieces of skin and even teeth. Its main theme is the body, that he explores in anatomical sections with multiple points of view. Despite a realistic precision, he sometimes decides to exclude certain parties, but always pays great attention to the head and genitals. The absence of thyroid on some drawings – a surgery he underwent recently – indicates that we might be in the presence of self-portraits.
Los Angeles based artist Chyrum Lambert uses ink, dye, stain, acrylic, wax, epoxy, and oil to create the pieces of his artwork, which he cuts up and layers into these fantastic pieces. Some of the artwork is more abstract while others have a semblance of figures or plant-life, familiar shapes slowly appearing.
CB Hoyo was born in 1995 in Havana, Cuba. At a young age, he immigrated to the Dominican Republic, and now lives in Belgium. His artistic process began as a child, when he started interpreting the world through his paintings. Over the past few years, his work has increased in stature.
A self-trained artist, CB Hoyo continually produces works that celebrate life itself. Fresh, colorful, and fun are three words that easily describe his creations. Working in acrylics, either on canvas or paper, the artist uses a mixture of art historical trends but always incorporates his unique voice.
Stefan Gunnesch studied Communication Design and works mainly as a book designer and illustrator. Daemonien is a book project gathering overpainted photographs, collages and acrylic on paper. The pictures show explorations of the body and the ego.
The striking photographs reveal posturing bodies and portraits, but were alienated by radical interventions that made the motifs fragmented and partly illegible. The process of overpainting becomes an egotistical appropriation of the images and questions a new (visual) identity.
Chicago-based artist Tom Herzberg’s paintings and the humorous and occasionally unsettling watercolor and acrylic works are absorbing and offer the chance to form our own theories about each’s wild characters. Herzberg is also an educator whose illustrations for magazines, books, newspapers, and other products number in the thousands.
David Cooley was born in North Hollywood and currently lives in Santa Barbara, CA. He’s been creating art ever since he was a youngster. Now he’s creating intricate multi layered, multi dimensional mixed media paintings using mostly acrylic, resin, spray paint, pen and fabric, to achieve an effect in and of his own.
He’s always been inspired by the idea of creating something that’s previously only existed in thought and making something that’s tangible, with the intent to have an impact on others, weather it’s thought provoking, fun, or just aesthetically pleasing.
Brooklyn-based Clark Goolsby’s imagery often references mortality, the passage of time, and mutable perceptions of space; skulls, body parts, and skeletons are recurring motifs in some of his abstract compositions. His style is characterized by experiments with hard-edge geometry and surrealism, and is also influenced by classical art history and graffiti. In the late 2000s, Goolsby started incorporating different materials into his acrylic on paper works, including collage elements, pen, pencil, spray paint, and markers. More recently, he has created multimedia sculptural installations with string.
Minneapolis-based artist Mathew Zefeldt successfully balances improbable combinations – modern with historical, digital with classical, painterly foregrounds with computer-like backgrounds – all by densely rendering them in traditional painting techniques with oils and acrylics. The figures cohesively exist alongside more modern glitch aesthetics, shifting colors, garish patterns, and computer-like repetition.
“These figures are based around my own ideas of the fictional potential of paint. The entities often appear as illustrations of heaps of paint, objects covered in paint, cross sections of imaginary impasto paintings, classical statue heads that multiply into larger heads, studio detritus, or simply figures that are liquefied into gooey, lumpy, colorful painterly abstraction. Exploring the materiality of paint as well as its capacity for figuration, my paintings self-reflexively reinterpret the history of abstraction as a collection of codes to be referenced and reworked.” Mathew Zefeldt