William Fort produces pencil & charcoal drawings in which he explores the
realm between the serious and the ridiculous. Rendered with an unsettling
amount of detail, his drawings often contain wordplay and juxtaposition
which give them an absurd quality.
Eric Yahnker employs elaborate metaphors and cultural commentaries in his monumental, irreverent charcoal and colored pencil drawings. Immediately appealing on their surfaces, Yahnker’s drawings convey deeper meanings to viewers who patiently engage with them. The artist begins his drawings as a series of words in a sketchbook, collaging ideas as much as images. The results are aggregations of witty, politically charged imagery.
Fernan Odang Jr. is a self-taught artist based in Manila. Odang explores the idea of internal damage by depicting oppressive and corrupt systems that prey on the poor and underprivileged in a series of charcoal on paper works.
Odang chose to delve into issues such as sexual abuse, drug addiction, and political manipulation. He interprets the nature of abusers by correlating them with animals, using the image of pigs, for instance, as a stand-in for greed, or dogs as a proxy for sexual predators.
In San Francisco based artist Joel Daniel Phillips’ art, the characters living in his neighborhood are brought to the center stage and become the hero of their own story. His graphite and charcoal drawings feature people on the streets who generally go unnoticed by the public, or are virtually ignored, only to become celebrated in his monumental works.
Dylan Andrews‘ work largely centres around monochromatic portraiture and studies of the human form.
Andrews’ aim is to project and emphasise emotion without relying on deliberate facial expressions, instead placing an emphasis on manipulating light and shadow in his images in order to construct dramatic and intense atmospheres. Each portrait contains ambiguous patterns forming over the subjects face, created by an object unknown to the viewer. Each subject has their own unique mask of shadow, reflecting the varying factors that can contort and obstruct our identities. The intricacy and ambiguity of the patterns encourage the viewer to get lost in the subjects.
Ian Ingram explores the art of the self-portrait, working with charcoal, pastel, ink, watercolor, as well as less conventional things like beeswax, string, and butterfly wings. A graduate of the University of Chicago, Ingram now lives and works in Sayulita, Mexico.
Judith Ann Braun takes on a familiar method of child’s play to the next level of skillful craftsmanship. By using her own fingers dipped in charcoal as a brush to translate her visual strategies, she ‘feels’ her way through a given space, giving new meaning to the relationship between an artist and his/her canvas. The results are quite striking and one can’t help but admire the laborious achievement and its intricate aesthetic.