Tyler Spangler is a designer, visual artist and punk enthusiast from Huntington Beach, California. Through his work, he plays with color and animation, often interposing bright color with aged black and white photos— merging different worlds together and bringing old-fashioned two-dimension photography into the age of color and gifs. He describes his way of working as “a bit obsessive”, at one point creating as many as 2,000 pieces in one year and sharing them.
Liu Di believes that “by violating the rules of common sense, we can break the hypnotic trance induced by familiar reality.” Liu uses digitally manipulated photographs to investigate the friction between the natural world and urban residents in China.
His series “Animal Regulation” (2010) features a suite of exaggeratedly large and cartoon-like wild animals, like the giant rabbit in Animal Regulation No. 7, sitting in the midst of destroyed landscapes of residential neighborhoods. He explains that these works look at a mutually destructive relationship through ruins of both human and animal living spaces. Liu first conceived of the project while navigating the crowded suburbs of Beijing, where he has been based since his graduation from the Central Academy of Fine Arts.
Ben Mendelewicz‘s work is a sickly mix of collage and digital manipulation, with lurid colors and gross representations of everyday life. The New York-based illustrator draws comics, illustrates and animates for the likes of Adult Swim, Stussy and Funny or Die.
New York based artist Anne Vieux works with the idea of mediation and gesture through the lens of the screen, in painting, video, and sculpture. Vieux’s abstract paintings emerge out of real objects captured through a digital process manipulated by hand. Vernacular materials evoke familiarity while computed color fields create an otherworldly aspect.
London based artist Katja Angeli creates poised collages of simplicity and wonderment. Katja’s subtle artworks have gained her a selection for Bloomberg New Contemporaries, as well as being awarded the prestigious Clifford Chance Purchase Prize. Interfering with the digital, Katja’s practice uses traditional hand-made assemblage techniques with digital mark making, printing onto Japanese paper.
“Recently I have been examining ways of deconstructing the digital imprint, reflecting on the relationship between the digital and physical. The digital artwork eradicates the trace of the hand for an image that seems almost too perfect.” Katja Angeli
Bangkok, Thailand based artist Pruch Sintunava‘s digital paintings draw your attention for its beauty and detailed animation. As you look deeper, you start to see the complexity and hidden meaning within each piece, and it stirs something inside you.
Luis Toledo (LAPRISAMATA) is an artist hailing from Madrid, Spain. The hyper-detailed digital collages of Toledo really need to be seen at a much larger size, something you can do at the artist’s Behance pages and at his website. As always with collage, composition is crucial, and Toledo certainly knows what he’s doing on that score.
Istambul, Turkey based Aykut Aydogdu’s work is purely digital, drawn or painted with a tablet in Adobe Photoshop. His work walks the fine line between surrealism daydream and surrealism nightmare.
Aydogdu’s work is stunning in both quality and subject matter. Portraying scenes like a woman’s head impaled by a rose, another woman engaging in a sensual kiss with a decapitated head, and a third atop a toilet seemingly “shitting roses,” the result is both comical, dark, and deeply alluring.
Italian graphic designer Giacomo Carmagnola disagrees with the current state of Glitch Art. He shakes up the field by exchanging digital computation with human intuition. Mixing the occult with the emotional with a dedicated eye he is able to abstract and curate sinister images that give you raw phychological thrills when you look at them. Often with an face replaced by bleeding pixels, the entities tell their story miraculously without an mouth or expression.
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.