Houston, Texas based Ana María, “Anamarietta” was born and raised in Barranquitas, an agricultural town in the center of the Island of Puerto Rico. Ana studied Animal Sciences at the University of Puerto Rico Mayaguez Campus and graduated in 2005. Known by the local art scene for her Humanoid creatures, Ana’s work has been recognized in multiple cities for the subtle brush stroke and shading of characters that seemed to be taken from a dream of a Biologist with excessive imagination.
Miami and New York based artist Juan Travieso‘s work explores notions of impermanence and decay through a combined language of pop, realism, and abstraction. Figures, be them humans or animals, are broken up into spaces and forms much like 3d models, speaking to both their temporality and transition into the digital age.
His paintings involve images ranging from Soviet propaganda and cartoons, to the iconic figures of the Cuban revolution. Woven inside is the personal and how these personal and cultural icons are in constant conflict and transformation. Ambitious and daring are qualities in the very flesh of his work. Travieso is a dynamic maker he approaches painting with great appetite and produces a feast for the eyes and mind.
Groningen, Netherlands based artist Joram Roukes‘ energetic canvases have an incredible liveliness that draws us into each surreal world that he constructs. He works in predominantly large scale oil paintings that are reflections of everyday life situations, observed, filtered and reassembled in a collage like way. The resulted paintings pose a fragmented yet cohesive view on today’s society and human behaviour.
Nick Sheehy is an Australian-born artist and illustrator living in London. After studying bronze sculpture in the wilds of Tasmania, Nick gave up on art only to re-discover his love of drawing whilst living in London, sparked by an interest in the city’s low brow art, illustration, street art, and graffiti. In his work, Nick explores the dreamlike, sometimes semi-autobiographical scenes and oddball characters that echo from his childhood imagination. Employing a laborious technique, building up layers of texture and thin color, his work infuses precision and attention to detail with random abstraction and clumsiness.
Madeline von Foerster uses a five century-old mixed technique of oil and egg tempera, developed by the Flemish Renaissance Masters. Although linked stylistically to the past, her paintings are passionately relevant to the present, as such timely themes as deforestation, endangered species, and war find expression in her work.
Alessandro Gallo is a young Italian ceramic sculptor living and working in Genoa and London. Gallo is renowned for his anthropomorphic, hybrid sculptures, consisting of human bodies and animal heads. The figures have become widely popular in Europe. Apart from the clay sculptures, Gallo still paints, draws and does digital collages, which are later screen-printed on paper in a studio in Genoa, Italy.
These ceramic sculptures by San Francisco-based artist Erika Sanada strike an interesting balance between creepy and cute. There’s a real tension in these works that the artist says is a struggle between joy and sorrow.
Young French illustrator and founder of the street-art collective “Jeanspezial”, Nicolas Barrome Forgues draws complex artworks full of reliefs. His surreal illustrations are garnished by animals cocktails, dogs with open mouths, tentacular octopuses and a good dose of evil creatures.
Patricia Piccinini is one of Australia’s most acclaimed contemporary artists who works in a variety of media, including painting, video, sound, installation, digital prints, and sculpture.
Her startling sculptures examine the connections between science and nature, art and the environment. Audiences are drawn to Piccinini’s sculptures because they appear so real, yet they are creatures of the artist’s imagination developed to consider a strange new world of artificial or mutant beings derived from experimental biotechnology.
Created using a combination of materials such as silicone, fibreglass and human hair, Piccinini’s sculptures are familiar yet fantastical in their depiction of possible future species and their interaction with human beings. Often confronting yet endearingly vulnerable, her sculptures give form to her fascination with the relationship between the ‘natural’ and the ‘artificial’ while asserting the power of social relationships, love and communication. Piccinini’s work is fundamentally about the human condition, despite the quasi-human appearance of her sculptures. The artist sees them as ‘beautiful rather than grotesque, miraculous rather than freakish’.