Michael Reedy (previously featured here) works with elements of photorealistic anatomy in his drawings that are blended with pop surrealist fare, combining anatomically-precise figures with strange, bug-eyed monsters, Classicist cherubs or geometric designs arranged in the background. Reedy uses his penchant for photorealism to create bizarre and sometimes haunting juxtapositions; we see characters with their internal organs and bones exposed, adding an element of vulnerability to his work.
In his most recent drawings he has revisited the timeless themes of life, death, and the human condition. This new interest in the expulsion and the fall of man has been paired with his prior leanings, which have long been rooted in fringe images of the body, medical illustration, ornamentation, dark comedy, and the uncanny.
Wanjin Gim aka Willeys was born in the Republic of Korea and is currently living in Seoul. Wanjin usually paints nudes. Fascinated by Lucian Freud’s paintings, he is mainly devoted to expressing the abstract curves of the human body and the infinite color of the surface of the flesh. In recent years, the idea has expanded to conceptual and meta-physical work.
Nathan Sawaya was born in Colville, Washington and raised in Veneta, Oregon. He attended New York University. Sawaya lives and works between his two studios located in New York City and Los Angeles.
Since his first solo exhibition, Sawaya’s artwork has grabbed the attention of art critics and pop culture novices alike. His artwork has been shown in major art institutions throughout the world, and held in the collection of both prominent private and public collections. Sawaya was the first contemporary artist to ever take LEGO into the art world as a medium. His work is obsessively and painstakingly crafted and is both beautiful and playful. Sawaya’s ability to transform LEGO bricks into something new, his devotion to scale and color perfection, the way he conceptualizes the action of the subject matter, enables him to elevate an ordinary toy to the status of fine art.
Samuel Salcedo was born in Barcelona in 1975, where he lives and works. Bachelor of Fine Arts, he studied at the University of Barcelona and the Manchester Metropolitan University in England. Since 1998 he exhibits in galleries and participates in international Art Fairs with 3 Punts Galeria. Since then he has had numerous exhibitions in 3 Punts Galeria, Galerie Robert Drees from Hannover (Germany), Osnova Gallery in Moscow, Soda Gallery in Istanbul or Can Sisteré Center for Contemporary Art, among others.
Salcedo’s sculptural work is characterized by technical excellence. One can see his mastery in the diversity of the materials he uses (resin, wood, aluminum) and which integrate painting, the discipline with which he began his career. His sculptures and characters always question the viewer with their subtle irony and vulnerability.
Jaume Plensa produces monumental sculptures in steel, glass, marble, polyester resin, concrete, and bronze. He is best known for his Crown Fountain in Chicago’s Millenium Park, two 50-foot-high glass towers set amidst a pool of water, which play giant video portraits of Chicago residents that periodically purse their lips and spout water into the pool.
Predominantly producing figurative sculpture, Plensa has created larger-than-life-sized heads constructed of fine, stainless-steel wire mesh so that their surrounding environments are visible through the works, and bronze figures cast from his own body.
Based in Tucson, Arizona, Daniel Martin Diaz is a fine artist with an insatiable curiosity to explore the mysteries of life and science. Diaz has designed artwork for large public art projects in the US and has won many awards such as a gold and platinum record designed for Atlantic Records.
“Over the past few years, I have become immersed in scientific and philosophical concepts, such as Anatomy, Computer Science, Math, Cosmology, Biology, Quantum Physics, and Consciousness. I have been particularly fascinated with scientific diagrams, which explain theories and properties through imagery. Although these rudimentary images are without any leanings towards aesthetics, I find them to be beautiful, though that is not the intention. All of the projects I have created begin as drawings, which I feel has a beauty and intimacy that painting cannot capture. The subtle lines that graphite creates, and the quickness in which one can capture an idea makes this medium alluring.” Daniel Martin Diaz
Masao Kinoshita draws much of his inspiration from diverse mythologies, religions and folklores from around the globe. Fusing narratives across space and time, the horned maenads of ancient Greece live alongside the Yoga Asura deities of Buddhism in a visceral, animalistic universe where fitness reigns supreme.
Kinoshita’s sculptures stand skinned and erect. Working with materials ranging from wood to resin to bronze, the Japanese sculptor uses an aesthetic we normally associate with natural history museums to render athletic, flexing creatures of the sea and land.
Santissimi‘s work (Antonello Serra and Sara Renzetti) looks at the art as an operational machine in which the forms are comfortably reflected in the definition of “philosophical empiricism in the art”. Philosophical empiricism means putting into practice the knowledge, to perform an operation of thought, or to be more precise translate into visual terms, linguistic and conceptual thinking in scientific and philosophical matters.
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.
Cao Hui’s (previously featured here) new series of dissected sculptures sees classical works of art divided up into segments, both linear and fractional. Within the resin forms, the artist shows what might lie beneath the sculptures’ stone façades, depicting hyper-realistically rendered, flesh-like innards, bits of brain and open organs.
“We must not only see the surface, but also examine the inside, and so the relationship between inner and outer crystallizes into a kind of perfect logic, explainable by our inherent ‘knowledge’. Thus we can begin to deceive others, using set after set of theoretical explanations. The result is laughter — in the end we’ve merely amused ourselves before god did.” Cao Hui