Christopher Kuhn approaches his paintings backwards, meaning his compositions are often built in such a way that what appears to have been added last is often in fact the first layer. Looping gestural line work switches from positive to negative and back, revealing itself to be graphic. What appears to be thin multicolored graphic lines turn out to be silhouettes of gestural marks that were meticulously covered over, save for the edges. Kuhn asks the viewer to piece together the puzzle of his paintings and, in doing so, reassess how they perceive the world of images around us.
Till Rabus was born in Neuchâtel, Switzerland and graduated from the Ecole des Beaux-Arts in La Chaux-de-Fonds. He now lives and works in Neuchâtel. Rabus has a keen eye for arranging inanimate objects in provoking ways. The artist combines these skills in his strange still lifes, where ordinary, discarded objects are found in mysterious compositions that play with symmetry and saturated colors. Rabus eradicates any signs of human presence in his paintings, as if these objects ended up in these orderly arrangements out of their own free will.
Casey Gray’s work is characterized by his commitment to aerosol paint and laborious, hand cut masking techniques resulting in a type of skewed hyper-realism. Through pairing and composing specific content, sourced from both his immediate and online environments, into layered still life arrangements, he is able to form narratives, create identities and discover new truths about the world. He regularly uses historical painting tropes as a point of departure for simultaneous bodies of work, such as cabinets, pin boards and marble ledges. These platforms become a stage for disparate subject matter to mingle, interact and play.
Jordan Jackson uses clean, fine lines to create intricate and sprawling works that detail symbols and icons. His compositions become hand-drawn catalogues of artifacts. Using mainly pen on off-white papers, Jordan’s illustrations feel folk-like and otherworldly in their content but his style keeps his depictions of wiggling coral, ambiguous symbols and indistinct vessels fresh and interesting.
Netherlands based Nicola Kloosterman creates collages using scraps of collected paper and fragments of images that speak to her. She is especially interested in shape and color, the female body, hands, botanicals, and vintage printed material. Kloosterman likes to use a lot of negative space and her images are always quite airy and light.
She likes to think of herself as an explorer and a wanderer. Nicola thinks the process of finding images in the torrent of our daily visual communications, carefully excavating them and them recycling them into a new context and narrative is exciting as she never knows where she may end up. Each collage begins with a single image or piece of paper. She then slices, combines, reduces and composes until a new visual narrative emerges on her paper reflecting the incomprehensible, the invisible, the immeasurable and the infinite.
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
Broome, Australia based artist Joshua Cocking is quickly becoming known for his surreal compositions and hyperrealist style. Within his compositions, Cocking addresses the relationship humans have with their immediate environment, how one can affect the other and that they are inextricably linked.
After 15 years painting, Joshua has found his visual voice and in the last 4 years and has received acclaim in several prestigious Australian Art Prizes. In 2014 he was the winner of the 2014 Cossack Acquisitive Art Award and was awarded a highly commended in the 2015 Paddington Art Prize and 2015 Black Swan Portrait Prize.
Artist Eric Wert’s paintings are a perfect example of hyperrealism – painted with absolute technical mastery but incorporating hyperrealistic colors and compositions that make them seem more than real.
Filip Hodas is a graphic designer from Prague. Very skillful with 3D softwares, he creates during his free time impressive conceptual compositions and imaginary landscapes with very detailed and realistic textures.