Dutch artist Eric Basstein started painting on an early age and at the age of 19 he went to art school. Although he didn’t had the right degree the school decided to take him in by judging his work. After two years he decided to quit school and start focussing on one of his other passions, music.
After 10 years in the music scene he felt that the need to paint again got bigger and bigger. In 2015 Eric decided to switch back to painting and this time with full focus. He took his experience from his musical background with him, and used that for his paintings. The use of multiple layers and all sorts of existing samples to create a new song inspired him. This is how Eric came up with the idea to make collages with samples of old paintings, comic books and fashion magazines. These collages are sketches for his paintings.
Eric’s blend of the historical and modern is sublime. His paintings blends realist figurative work inspired by old masters with abstractions taken from comic books and fashion. His work combines contemporary and classical references to create an astonishingly resonant dialogue with the viewer.
Christopher Kuhn approaches his paintings backwards, meaning his compositions are often built in such a way that what appears to have been added last is often in fact the first layer. Looping gestural line work switches from positive to negative and back, revealing itself to be graphic. What appears to be thin multicolored graphic lines turn out to be silhouettes of gestural marks that were meticulously covered over, save for the edges. Kuhn asks the viewer to piece together the puzzle of his paintings and, in doing so, reassess how they perceive the world of images around us.
Diego Rodriguez-Warner was born in Managua, Nicaragua in 1986. In 2008, he studied under the Cuban Minister for Fine Arts, Lesbia Vent Dumois, in Havana, and completed his Bachelor of Arts in COIN Theory and Fine Arts from Hampshire College in 2009. In 2013, he received his Masters of Fine Arts from the Printmaking Department of the Rhode Island School of Design.
Rodriguez-Warner is an artist who makes often jarring images dealing with violence, layered history, originality, and collapse. He’s keen on art history and pop culture, so you see in the works references to Matisse, Picasso and Asian watercolors but also to Disney, Japanese anime, urban street art, superheroes and maybe some Internet porn.
Buenos Aires-based artist Leandro Erlich’s “Single Cloud Collection” gives us a surreal taste of what capturing a cloud in glass would look like. Using the artistic method of layering, Erlich’s sculptural pieces are given a three-dimensionality. Each “captured cloud” is the illusionary result of numerous panes of glass that are individually embellished with acrylics.
Erlich plays with an audience’s visual senses. The artist forces viewers to rethink the way they see things. Like a true magician, he leaves one to question the impossibility of something. What appears to be a three-dimensional anomaly seems to be true based on sensory observation, but, ultimately, is just an illusion.
German artist Wilfried Grootens paints extraordinary figures comprised of dots and tendrils sandwiched between dozens of laminate glass layers. These strangely precise optical float paintings take on the form of some fantastic microscopic creatures and are sometimes reminiscent of the photos depicting the milliseconds before a nuclear explosion.
Jess Johnson was born in Tauranga, New Zealand in 1979. In 2016 she relocated permanently to New York after ten years of living and working in Melbourne, Australia. Her drawing and installation practice is influenced by the speculative intersections between language, science fiction, culture and technology.
In her drawings she depicts complex worlds that combine densely layered patterns, objects and figures within architectural settings. Johnson’s drawings are often displayed within constructed environments that act as physical portals into her speculative worlds.
Cristi Rinklin received her MFA from the University of Minnesota, Minneapolis in 1999, and her BFA in painting from Maryland Institute, College of Art in 1989. She has exhibited her work in galleries and museums throughout the United States, as well as venues in Rome, Florence, and Amsterdam.
“I present a pictorial language that is altered by technology, in turn becoming a lens through which we translate our contemporary understanding of space. Imagery in my work is constructed and manipulated through opposing forces and visual impossibilities, via intense color, and optical effects. The seamlessness of layering I employ is a response not only to current widely available digital technologies, but also to the great tradition of illusion in painting.” Cristi Rinklin