Morgan Blair (previously featured here) is a freelance illustrator, fine artist, and desperado. She is a recent graduate of Rhode Island School of Design (RISD), now living in Brooklyn, New York and continuing to advance her interest in trees, legos and excellent music.
Blair’s recent work explores the balance of control and freedom in her process, manifested in a mashing up of low contrast flesh tones with wild, neon color schemes; hard edges with fuzzed out airbrush gradients; smooth, flat shapes with brush marks and rough, sandy textures; and wonky, irregular forms with geometric curves and angles. The resulting optical abstractions play on the absurd in pop culture, current events, the mall, the internet, common street trash, consumerism, and personal experience.
Check out the new work by Michael Reeder (previously featured here). Centered on portraiture, Reeder’s current body of work seeks to make a direct connection with the audience. This connection encourages viewers to bring their own perceptions, imagination, and vision to light alongside his.
Throughout his work, realism is mixed with flat graphic space, and themes or motifs of identity, ambiguity, and ego are loosely implied. The convergence of infinite space and the figure highlights the realm of contemplation located between the conscious and the subconscious mind.
Check out the new work by Vancouver-based artist Rebecca Chaperon. Chaperon’s paintings act as a means of storytelling, as landscapes meet flat geometry and emotive undercurrents. Born in England in 1978, Rebecca attended Emily Carr University in Vancouver, BC where she studied fine arts until graduation in 2002. Her work is exhibited/collected internationally and recently shown (2014) in Vancouver, LA and San Francisco.
Her process often begins with the idea of place. We see paintings of dark landscapes that seem to stretch infinitely, a doomed place invented by the artist as a theatrical stage where various protagonists bravely live out mysterious vignettes. The setting becomes a representation of the internal landscape of the artist, or more specifically the small brilliant garden of creativity that exists within. On the visual journey through Chaperon’s work we are immersed in surreal versions of the world, places that waver just outside of our perception.
Bryce Wymer is a director, designer, visual artist, illustrator and musician, currently based out of Brooklyn, New York. Wymer develops, designs, and directs within a variety of platforms, ranging from live action and animation projects to interactive to experiential design. He also operates Flat Earth Studios, a visual arts space specialized in fine art narratives and image making. Check out some of his illustrations and sketches.
Los Angeles based artist Orion Martin is known for his stylized, super-flat style, which re-contextualizes the still life into seductive portraits of consumerism. Often presented in over-the-top, polished plastic frames, Martin’s works combine various limbs and objects, interweaving each object into an elegantly cohesive statement.
Brooklyn, New York based Brian Alfred‘s paintings, collages, and animations examine how technology has altered our perception of our surroundings and how we process information. Working from photographs, Alfred uses a computer to reduce images (often of architecture, machinery, urban landscapes, and office interiors) to their essential forms, before turning these elements into flattened, bold color fields that retain a handmade feel.
Tel Aviv, Israel based Guy Yanai attended Parsons School of Design and the New York Studio School, and received a BFA from Hampshire College, Amherst, MA. Yanai’s paintings are characterized by bold colors, simplified shapes, and a shallow depth of field. He often chooses everyday objects and spaces as his subjects, flattening and abstracting them in a way that seems removed and objective.
Synthesizing a wide range of influences, from Renaissance humanism and classical antiquity to modernist abstraction and the Internet, Yanai’s work captures the sense of simultaneous anxiety and excitement characteristic of today.
The focus of Andrea Joyce Heimer‘s work is narrative painting. Much of the work speaks from her status as an adult adoptee whose records are sealed, meaning she have no access to her own biographical, birth, and heritage information. The narratives represent different perspectives of her experience as an adoptee: first-person autobiographical, the outsider-looking-in neighborhood observer, the archetypal orphan (the charming tramp). Self-authored mythologies of her own origins as well as mythologies of her home state, Montana, are interwoven with these themes.
The figurative elements focus on the interactions between human beings in moments of disconnection or detachment. Emotional themes of loneliness, anger, and longing are performed in symbol-laden environments including houses, yards, forests, and bodies of water. The distinctive flatness with which the scenes are rendered recall the flattened perspective of medieval art and speak to the “flattened” experience of the adoptee, whose lack of background knowledge represents a deficiency of depth to one’s selfhood.