Beth Brown is a visual artist and experimental musician practicing in Baltimore, MD. Her body of work includes intricate ink drawings on paper. These delicate marks are a systematic response from one additive accumulation to another. Each drawing is essentially an illustration narrated through a personal visual language.
Monochrome is Helena Vizcaíno, a visual artist and illustrator from Spain. She is currently living and working in Helsinki, Finland. She illustrates dark universes that don’t exist, elements from her imagination, natural and outer space elements. Her interests go from animation to the tattoo culture, to fashion design and advertising, where she also finds her inspiration.
Melbourne-based artist Christian Vine aka VEINS’ artwork possesses strong characteristics of solid black work, which is surrounded by a mix of white space and contoured outlines. There is a sense of unfinished business that emanates through his work, although others might see it as a space for improvement or a space that is yet to be developed to its full potential. What may look like a regular picture at first glance has layers upon layers of stories hidden within.
Tours and Paris based Fabien Mérelle is a highly talented and emerging young French artist who creates delicately detailed drawings in black ink and watercolor. Although Mérelle’s drawings appear at first sight realistic in their rendering, they in fact depict outworldly scenarios, unsettling situations and dream-like occurrences.
These renderings, simultaneously absurd, humorous, ironic and cruel, weave their own tapestry of tales and legends, blurring the line between what has been written and what our memory has forged.
UK based Hitomi Hosono is a ceramic sculptor who studied pottery in Kanazawa, Japan and Copenhagen, Denmark. Ever since then she’s studied the botanical forms of leaves and flowers she found in her garden. She allows herself to be consumed by the legion of small, intricate details present in every leaf.
Often monochromatic, the works are focused on carved detail rather than color—repetition of form making each piece uniquely beautiful. The level of detail she’s able to wrestle from her porcelain sculptures is astounding. Every fragment of her botanical-inspired forms screams with intention, whether it’s in the finely-chiseled and painstakingly-researched anatomy of the plant or the mesmerizing colors of her glazes, which make the forms look equally organic whether they’re in cream and orange or black.
Amandine Urruty lives and works on her bed, with a suit case full of pens always nearby. After studying at University for long years and a brief career in underground music, Amandine spreads her repertoire of beasts and her gallery of weird characters on all kind of mediums, on paper as on walls. As she masters techniques of traditional drawing, Urruty offers us a cheerful gallery of deviant portraits, associating grotesque outfits with baroque decorum which miraculously reconcile lovers of alchemistic symbolism to young ladies with too much make up.
Urruty trusts her instincts and draws inspiration from a wealth of eclectic interests which span the wide gap between high art and pop culture. Revelling in the mystique of her decision making process, she engages in the creation of a unique and personal symbolism, which unveils and unravels itself over the course of time.
Australian artist Anna di Mezza creates photorealistic paintings based on found vintage photos removed from their original context. Combined to unexpected landscapes, she describes the result as bizarre visual narratives. Her body of work is influenced by found vintage photos, and films, superimposing images on unrelated and unexpected backgrounds to create a visual narrative.
Her paintings are of a mostly monochromatic palette with occasional pops of color. They invite the viewer to make up the plot in their own mind as if the images were taken from a surreal film frame. The inspiration for the concept of her work is the beauty and culture of the 1940’s, 50’s and 60’s, the artists Magritte and Giorgio De Chirico as well as the film makers Hitchcock, Kubrick and David Lynch.
Colombian, Houston-based artist Johan Barrios‘ work is a universe of images in movement, whose language goes in search of different features of sonorous expressions, synchronic or asynchronous visuals, elements of action, gestures and silhouettes that pierce his paintings as an ascending vanishing line that sequentially runs through every painting so as to make us understand the meaning of interval between one image and the next, which shows us the power that is communicated by the images and the perceptive impact that stems from viewing a painting and the communicational impression it leaves on us.
This vibe creates a balance with the levity and the lightness of their bodies and with the body of the artist himself, who announces his presence in the painting, not in an explicit way, but rather from the stealthy perspective of someone who is observing in order to put together, quietly and precisely, the outlines of his characters.
Mike Lee was born in 1983 in Placentia, California and is currently living and working in New York City. He is a visual artist and he received his Bachelor degree in Fine Arts from Otis College of Art and Design in 2006.
Alongside his commercial work, Lee finds the time to devote to his own personal artwork and often exhibits his highly meticulous figurative drawings at prestigious galleries throughout the US. Lee is also an active member of RVMP, a collaborative art group. In 2012, Mike self-published his first book, entitled ‘Bodega’, which revolves around the everyday activities of an urban corner store; each hour is represented in its 24 pages and illustrates the daily life of the neighborhood.
Zoé Byland was born in Bern, Switzerland in 1975 and currently splits her time between Bern and Vienna, Austria. Her paintings exist within a carefully constructed monochromatic universe; exuding a curious timelessness and imbued with a palpable atmosphere.
Through her protagonists, Byland invites us on a journey into intriguing territory, where past and present collide, providing us with opportunities to explore the relationships that exist between all facets of our cultural experience from high to low, the ways in which we form personal memories and how these serve to alter our expectations and perceptions. The nature of identity is also under scrutiny, as Byland’s characters often appear in disguise, or are partially obscured, inviting us to project ourselves forth, and once again granting us the occasion for valuable introspection and the convergence of philosophical contemplations.