New York based Calvin Seibert builds sand castles inspired by modern architecture. His sculptures are minimal in appearance, yet complex in form. They feature a mix of geometrical shapes and neat angular edges, that it’s hard to believe are made of sand and water. Using a paint bucket, homemade plastic trowels, and up to about 150 gallons of water he creates spectacular modernist sandcastles.
John Harman’s exploratory, give-it-a-go-and-see-what-happens attitude has propelled him since he was a boy. His iterative journey has had its fits and starts, but its forward momentum has been fueled by his unceasing curiosity and his desire to learn—not just from his tools, but also from the larger creative community. While working full-time, Harman pursued a four-year degree in video game art. The courses taught him a lot, but they skipped right over the basics, so, as with Photoshop before, his made his own way through 3D Studio Max, Adobe InDesign, and a whole host of other programs.
Los Angeles based Mark Whalen (previously featured here) has been showing some new work. Using a tightly controlled painting technique, Whalen expresses satirical social narratives in seemingly universal situations. The most recent series of sculptural works continues his study into the complexities of displacement and positioning that we, as both individuals and a species, experience through our evolutionary trajectory. Construction netting captures, cordons and compartmentalizes our distinctive characteristics as they shift under the weight of societal pressure through this ever-changing global economy.
Bradley Eastman aka Beastman is an multidisciplinary artist from Sydney, Australia. Influenced by the biodiversity, symbolism and design aesthetics behind nature’s repetitive geometric growth patterns and organic landscapes, Beastman’s paintings, digital illustration, commercial projects and public murals explore a unique visual language, depicting future environments of abstracted landscapes, potential new life forms and human intervention.
Scotland-based laser physicist-turned-artist and web developer Tom Beddard, aka subBlue, has produced a number of intriguing geometric forms he refers to as Fabergé Fractals. Like an ornate Fabergé egg, Beddard’s creations boast brilliant and intricate design patterns. The English artist uses a formulaic method to create his digitally rendered three-dimensional models.
The 3D fractals are generated by iterative formulas whereby the output of one iteration forms the input for the next. The formulas effectively fold, scale, rotate or flip space. They are truly fractal in the fact that more and more detail can be revealed the closer to the surface you travel.
Los Angeles based Leo Eguiarte creates unique visual art with beautiful use of colors and subject matter. His work consists of behind-the-scene issues of the mind, body and spirit, in which he documents his surroundings that inspires his artwork.
“Holographic conjuration is a visual metaphor for the illusionary state we as people are subjected to by our material desires. The work addresses issues of perceived power and its consolidation by a selected minority, the psychological, social, spiritual, and cultural effects of which are visible on both micro and macro levels.” Leo Eguiarte
Jan Kaláb was born 1978 in Czechoslovakia, at a time when the Iron Curtain still existed and graffiti was a rare sight in the Eastern World. Luckily for us, with the fall of the Iron Curtain, Jan Kaláb was able to fall into the world of graffiti and street art, developing his unique style within the iconic street art crew DSK.
Starting off as a founder of the DSK crew he made a name for himself throughout Europe as “Cakes”. Later on, he decided to broaden his horizon and move to New York where he changed his name to “Point” and started creating huge sculpted abstract letters which he chose to put up in the streets and on walls. He thereby created another form of graffiti without a spray can, but truthful to the spirit of competition and innovation of the urban scene. He uses colorful squares and circles as his vocabulary for infinite variations around depth, time, and motion.
Chris Agnew is a British artist known for his highly detailed drawings and icon panel etchings. He received his BA in Contemporary Art Practice from The University of Leeds in 2008, followed by a Masters in Fine Art at the Wimbledon College of Art in 2010.
Agnew’s work deals with the construction and deconstruction of belief systems, be they political, religious, social or cultural. He is interested by the malleable nature of what we hold as ‘truth’, and how the presentation of information informs our subsequent understanding of events.
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.
Nigerian-born, Brooklyn-based artist and designer Olalekan Jeyifous received a Bachelor’s degree in Architecture from Cornell University where his focus of study was primarily on investigating the relevant potential for a variety of computer software within the fields of art, design and architecture.
“Not My Business” is named after a poem by Nigerian poet, dramatist, and literary critic, Niyi Osundare. The title of the exhibition references the fact that Jeyifous has not been back to Nigeria since he left when he was 7 years old.
“Using rigorous Cubist geometric shapes, I freely juxtapose recognizable icons of the informal economy- from street vendors, industrial waste or power generators — with those of the post-Colonial Utopia-orderly State and social infrastructure– to create strange constructions in which time and space collide ambiguously.” Olalekan Jeyifous