Poznan, Poland based Robert Proch is a painter, muralist and animator. He was educated at the Akademy of Fine Arts in Poznan, Poland. Proch’s style is inspired by state-of-the-art animation as much as classic caricature, and impressionism as much as modernist graffiti. The mini-narratives he paints examine the modern human condition using vivid colors and tangible emotions. Sentimentality, ambition, fear, loss, hubris, greed and friendship play their roles in snapshot dramas set in coffee shops and shopping malls; or during pregnancies and suicides.
Lee Yun Hee creates narrative ceramic pieces inspired by literature and story telling. She uses both Western and Eastern influences, creating a style of her own that is striking, unique and undoubtably contemporary. Her work is fragile and flawless, almost creating an aura of effortlessness. She uses her work to reflect upon stories of everyday people; their struggles, fears, hopes, and anxieties.
Hee’s work is mystical and fantastic. Though balancing modern, classic, Eastern, and Western styles, she has creating an epic body of art that is honest, profound, and truly unique. Her work acts as windows into her own version of a fairy tale; she is able to re-create morality stories within her own framework.
Rebecca Hastings’ work explores themes of maternal ambivalence and subverts the sentimental romantic ideal of motherhood. Transgressing the traditional image of mother and child, Hastings charts the complexities and contradictions of motherhood, where emotions see-saw between ambivalence, affection and aggression.
She describes her works as “psychologically charged images which beckon us into an unsettling and perhaps not-so make-believe world, in which the child is strange, other-worldly, confrontational and playful.” Rebecca’s work speaks of the uncomfortable and often conflicting emotions that can accompany motherhood, employing humor and a generous sense of play to diffuse darker themes that permeate her paintings.
Ronit Baranga‘s sculptures animate every day objects such as dishes, tea cups, and saucers, offering them the ability to express the full spectrum of human emotions. Even her humanoid figures sprout new body parts as if their skin has a mind of its own. Baranga’s works express an undercurrent of pain, violence, joy, and tranquility.
“I took the simple utensil- the utensil we take for granted, the passive utensil- and I gave it the limbs with which we use it. So, now the utensil is in a different place. It is active. It can decide whether to use itself, whether to allow me to use it, or whether to run away.”
Akvile Magicdust (Akvile Miseviciute) is Lithuanian artist currently living in Bruxelles, Belgium. Her works varies from comics and fanzines, commercial illustration and exhibitions of acrylic paintings. But to describe her just as an illustrator is to sell her talents short – comic-maker/zinester, photographer, urban muralist, she is definitely not one to limit her creative output to just one medium.
Artist Beth Cavener explores the extremes of human emotion and psychology through the articulated forms of animals. The twisting shapes of oversized predatory cats, foxes, goats, and other animals are meant to depict the internal and external human struggles of fear, anger, love.
“On the surface, these figures are simply feral and domestic individuals suspended in a moment of tension, but beneath the surface, they embody the consequences of human fear, apathy, aggression, and misunderstanding.”
Necomimi could be the most amazing invention ever. These adorable ears read your emotions. They perk up when you concentrate and lay down when you are relaxed and obviously we want them on our heads right now. After that Jake in his undies pic our ears would be perked up.
She sat silent for 700 hours, and now Marina Abramovic’s newest installation/performance piece has her enacting her own funeral. When Abramovic did her 700 silent hours at the MoMA this summer, she said of the piece:
To be a performance artist, you have to hate theatre,” she replied. “Theatre is fake… The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.”