The paintings and installations of Hendrik Zimmer are influenced by the Internet’s impact on culture at large and its distribution. Belonging to the post-internet art generation and experiencing the changes brought from a long-since digital age and the network ideology, Zimmer develops his paintings concerned particularly with their materiality and their ways of presentation and dissemination in the physical and digital space.
Zimmer’s décollage paintings reconcile figurative elements in form of a photographic image taken from a poster or magazine and the expressionist abstract painted gestures. Most of the times the elements are parts of human figures, faces, hands or other parts of the body and fully integrated in the composition.
Costa Rican contemporrary artist John Paul Fauves‘ work is full of meaning and critique; covered in color and intensity. Both his alias and his style are influenced by Fauvism, but his game of faces, tones and brushstrokes add a vibrant touch of singularity.
“I have painted since I can remember, I now understand that this passion for art is the soul trying to express through colors and strokes. My inspiration comes from the Fauvist movement. This being an individualistic style that lacks a classical order , and which in turn uses color to communicate feelings . Expressionism is clearly my interpretation of Art.” John Paul Fauves
George Raftopoulos was born in Sydney in 1972, the son of Greek parents. In the 1970s, the Raftopouloses found themselves to be the only Greek family in the New South Wales town of Grenfell. George had questions of cultural identity in his youth and continues to do so in his paintings today.
Raftopoulos’s paintings have always possessed an expressionist fierceness. He describes his method of painting as an “interactive process”, in that it is undertaken without the safety net of preliminary studies. His work of the mid-1990s was full of human/animal hybrids, inhabiting a world that combined playfulness with anxiety and apprehension.
Line plays a key role in his current painting, and his line is both economical and swift. It is as firm and elastic as cartilage. Most of Raftopoulos’s works of the last couple of years have turned on a single color, which sets the temper of the painting. Recently that sole color has often been a primary color.