Morgan Blair (previously featured here) is a freelance illustrator, fine artist, and desperado. She is a recent graduate of Rhode Island School of Design (RISD), now living in Brooklyn, New York and continuing to advance her interest in trees, legos and excellent music.
Blair’s recent work explores the balance of control and freedom in her process, manifested in a mashing up of low contrast flesh tones with wild, neon color schemes; hard edges with fuzzed out airbrush gradients; smooth, flat shapes with brush marks and rough, sandy textures; and wonky, irregular forms with geometric curves and angles. The resulting optical abstractions play on the absurd in pop culture, current events, the mall, the internet, common street trash, consumerism, and personal experience.
Kentucky-based designer Robert Beatty’s succulent, technicolor, psychedelic-tinged, airbrush-like artworks can sometimes grace the covers of bands’ albums, thus making them cool, successful and lucky in love and good fortune forever. Robert’s magic touch is a unique style lifted from way back when life on earth was cooler, and from some cauldron of fluid in his brain from which he draws impressive draughtsmanship and weird ideas.
Jim Buckels is a delightful anomaly: An artist more driven by his inner visions than by fashions and trends. Yet, his work possesses an innate sophistication that places it prominently within the post-modern mainstream. In fact, Buckels is a Neo-Surrealist of a peculiarly American Breed: a creator of dream-like images, rendered in a meticulous, modern airbrush technique with the crystalline clarity of a Colonial limner. In his lithographs and serigraphs, as well as in his acrylic paintings, Buckels limns a seamless realm of fantasy that has won him a major reputation in a remarkably short span of time.
Brooklyn based painter Brian Willmont‘s paintings today share a graphic and theatrical quality with his references, citing obscure movies and novels, such as Suspiria and Blood and Guts in High School, among his inspirations.
Beginning as multiple variations of digital compositions, the paintings in this series are transferred to canvas via stencils prepared with masking tape, allowing a crisp definition of color and lines in the tradition of Michael English and other airbrushing artists of the 1970s and 80s.